science fiction

17 posts

The Curate’s Crapburger

Film Film Reviews

The Day After Tomorrow (Roland Emmerich, 2004)

One of the principles I try to hold to when reviewing films is to avoid simply savaging a film. The smugness of smart-arsed critics who can do nothing but pick apart a movie always irritates me. Which isn’t to say that bad movies shouldn’t be criticised. It’s just that the best reviews of bad films are those that also stop to note the good points amongst the bad. Likewise, most classic films have their share of flaws, and defining why these films succeed despite their problems is often difficult. Critics need to appreciate the elusiveness of the strange alchemy that makes a good film. As they say, nobody sets out to make a bad movie.

Nobody, that is, except Roland Emmerich.

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A Long Trek Down a Short Pier

Film Film Reviews

Star Trek: Nemesis (Stuart Baird, 2002)

There has been a long-standing tradition that the even-numbered Trek films are good and the odd numbered ones mediocre or bad. Star Trek: Nemesis – the tenth Trek film, and almost certainly the last involving the full “Next Generation” crew – mixes enough good, bad and indifferent elements that it would have been held up as vindication of that theory whether it was been odd or even numbered. The villain of the piece is Shinzon, who has masterminded a political coup in the Romulan empire by the empire’s underclass, the Remans. Story logic would dictate that Shinzon would be Reman himself, but Nemesis is founded on twin contrivances: firstly, that Shinzon is a clone of the captain of the starship Enterprise, Jean-Luc Picard, and secondly, that Shinzon has somehow come into possession of a prototype for the android Data. These plot points are, on close examination, patently absurd, but they serve their purpose of providing a personal link between the villain and the hero of the piece.

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What Was the Matrix?

Film Film Reviews

The Matrix (Lana and Lilly Wachowski), 1999

The Matrix was the third in a cycle of movies to arrive in the late nineties with a strikingly similar theme. Like its predecessors from the previous year, Dark City and The Truman Show, it tells the story of a seemingly ordinary man who suddenly finds that his whole life is faked: he is trapped in an artificially created environment designed to keep him in submission. Like the heroes of those earlier movies, Keanu Reeves’ Neo starts to realise that he is somehow special, and tries to escape the confines of his prison. Yet while I liked both Dark City and The Truman Show (particularly the latter), I think The Matrix found the most perfect framework in which to play out such a story. The artificial city of Dark City was essentially a fantasy construct, kept running by creatures with mysterious magical powers; while The Truman Show was a more reality-based media satire that showed its fake world constructed painstakingly out of bricks and mortar. The inspiration of The Matrix is to graft this plot into a cyberpunk premise in which the world is a computer simulation, created to keep humans enslaved so that machines can live off the energy produced by their bodies.

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Repuzzled

Film Film Reviews

The Matrix Reloaded (Lana and Lilly Wachowski), 2003

The Matrix Reloaded labours under mighty expectations. It isn’t that this is the most expensive and hyped movie of the mid-year round of blockbusters: we don’t have high expectations of heavily hyped movies any more. It’s that its predecessor, 1999’s The Matrix, is so well regarded. With that film, Larry and Andy Wachowski blended elements such as cyberpunk, comic books, Jet Li-style kung fu, and John Woo-style gunplay into a satisfying and exciting narrative. The elements that were mixed weren’t unfamiliar: indeed, many were already well on the way to hackneyed. But the film fused its checklist of geek favourites into such perfect harmony that it was a deserved critical and financial hit. Only four years later it has already staked a convincing claim as a modern sci-fi classic.

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Send in the Clones

Film Film Reviews

Attack of the Clones (George Lucas, 2002)

Part I: All Things Star Wars (The Story So Far)

I’m an unabashed fan of Star Wars… but lately when I say that, it always sounds defensive. I grew up with the original trilogy: while I was too young to enjoy the first two films’ release, they were a video fixture throughout my youth and I remember the excitement of seeing Return of the Jedi in cinemas in 1983. When Lucas re-released the trilogy in hacked-about versions in 1997, my disturbance at his poor creative decisions could not entirely stifle my excitement. As an adult cinema buff, this was my chance to experience the thrill of enjoying Star Wars properly, as a cinema experience. I knew the new trilogy was coming, and that every few years until 2005 I would get a new chance to relive the magic. In 1999, however, The Phantom Menace let me know I was in for a bumpy ride. A film so wretched in so many areas it almost defies any attempt to catalogue its faults (click here for my own attempt written at the time), it was particularly had to take because of the way it seemed to undermine the foundations of the earlier films. Entering the cinema hoping to be reunited with familiar characters, instead I had C-3PO with his skin ripped off. Wanting more quasi-mystical dialogue about Jedi knights sensing the “Force,” I instead was shown Obi-Wan Kenobi doing blood tests for “midi-chlorians” like an intern at the pathology lab.

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