Monthly Archives: February 2019

Movie Review: The Wandering Earth

A big budget, FX heavy, Sci-Fi film The Wandering Earth  looks to be China first real attempt at the global blockbuster environment while remaining a Mandarin language film. Firmly within the Disaster film genre

The Wandering Earth  is about a solar system wide catastrophe. The sun’s core has ‘degenerated,’ and the it will soon expand and consume at the very least the inner planets if not the entire solar system. (Yes, this will occur in billions of years, but the film is not that much of a far future device and it would be best to forget what science you know when watching the feature.) To save humanity mankind unites under the United Earth Government and launches the wandering Earth project, an ambitious undertaking to move the entire planet to another star. After stopping the planet’s rotation affixing 10,000 ‘planetary engines,’ and constructing a massive space station/ship that acts as a navigation and path finding aid, the Earth is launched on a trajectory for a gravity assist from Jupiter and from there Alpha Centauri. When Jupiter emits ‘gravitational spikes’ the orbits are changed and many of the massive planetary engines are disabled leaving Earth on a path towards a collision with the Jupiter. Amid the frantic efforts to restart enough engines to avoid the Earth’s destruction the story follows the interpersonal crisis of one family as they come to grip with the nature of sacrifice.

Reminiscent of big budget disaster films from the 1970s, a genre I admit to loving, with state of the art digital effects The Wandering Earth  is a treat best enjoyed in a theater where massive speaker and an enormous screen can submerge the viewer into the film’s bonkers reality. Sadly, as a foreign language film that doesn’t fit neatly into an Art House aesthetic this movie has a very short life in American theater exhibition and the streaming giant Netflix has already purchased the rights.

One aspect I heard mentioned before I watched the film was the idea that the movie pushed a Chinese propaganda line. This I did not see at all. Oh, there’s no doubt that the viewpoint is centered in Chinese characters and it is Chinese scientists and heroes that perform the film massive saves, but this is no more ‘propaganda’ than the fact Hammer films consistently have British heroes or that American movies also have American’s saving the day. In the end these films are made for their own homes and reflect everyone’s desire to see themselves as heroes.

While the hard science fiction nerd in me screamed from the nearly uncountable errors in the movie, the kid who loves action, spectacle, and grand adventure was entirely thrilled. Turn off all scientific understand and enjoy The Wandering Earth.

 

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Condor 26

This past weekend was Condor 26, San Diego’s local Science-Fiction convention.  I have attended for quite a few years as a fan and for the last several conventions as a fan and as a panelist. Something I have found that I enjoy immensely.

Attendance was still a bit low this year though up from last year when the flu ravaged San Diego County. The best part of local SF conventions is seeing the friends and pros that the zigs and zags of life cause us to miss far too often.

I participated in nine panels and had a terrific time on each and every one of them. They ranged from discussions on serial killers to the future of food and what religion may look like once humanity expands into space. My fellow panelists, spanning a wide array of opinions and philosophies, were sharp and thoughtful.

The convention revitalized my creative energies, as cons often do, and once again I am ready to take on the tasks of crafting something from nothing.

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Vintage SF Movie Review: Destination Moon

This weekend I attended our local Science-Fiction convention, Condor. After three days of panels and great conversations I was ready for a bit of classic SF cinema and pulled the DVD for Destination Moon  out of my library.

Released in 1950 Destination Moon  is an important but mostly forgotten element of science-fiction film history. Without this film the entire decade of the 1950s would look radically different and the changes only increasing in amplitude with the following cinematic eras.  Destination Moon  brought George Pal as a movie maker into the genre  leading him to later make the classics of When Worlds Collide, War of the Worlds, The Time Machine  and others. With assistance from one of the largest names in science-fiction, Robert A. Heinlein, this movie attempted to depict a realistic trip to the moon hewing to scientific accuracy as much as filmmaking and their knowledge at the time allowed. A highly anticipated feature Destination Moon  inspired the fast production of another film,Rocketship X-M thatwas shot in 18 days and rushed into the theaters just under a month ahead of Destination Moon.  Upon release Destination Moonproved to be a smash success, earning more than 5 million dollars, a box office takes that all the major studios noted and kicked off the swarms of both good and bad SF movies of the 50s.

With a history like that what kind of movie is Destination Moon?

The answer is a very dry one. More concern with technical details and realism, the movie only hints at a subplot of enemy agents and foreign powers working to sabotage and hamper American’s nascent space program. Following a failed attempt at launching a satellite, which costs him his federal funding Dr. Cargraves retreats, to work, entirely off screen, on an atomic rocket motor. Two years later his collaborator in the satellite project, General Thayer, now retired, recruits aeronautical genius and tycoon Jim Barnes, perhaps an analog for Howard Hughes, to lead a consortium of industry to fund, research, and build a crewed rocket capable of reaching the moon. Launching without authorization, and with a last minute replacement, the rocket with a crew of four leaves for the moon.

Winning an Oscar for best Special Effects, Destination Moon, created many of the tropes used and over used in following, technically less accurate space movies of the 1950s. (Though it should be noted that this movie did not create the horrible trope of ‘dodging meteors or asteroids during the voyage.) The special effects, though dated, hold up well and help sell the reality of the fantastic voyage. Looking back following the monumental challenges, achievements, and costs, both in money and lives, it is easy to dismiss this movie for its enthusiastic and overly optimistic tone, however Destination Moon  for all its flaws and shortcoming is SF cinema that deserves to be remembered.

Destination Moonairs on Turner Classic Movies March 2nd at 3:45 pm.

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How Dune (1984) is Not a David Lynch Film

Dune  Frank Herbert’s classic SF novel has bedeviled filmmakers for decades. In the 1970s Alejandro Jodorowsky attempted to launch an adaptation of the work and while his project never saw reality the talent he assembled kept in touch and influenced SF film making for years afterwards.

1984 saw the release of the first feature film adaptation, produced by Dino De Lauentiis, and written and directed by David Lynch the film was a commercial failure but survived to become a cult favorite. Sixteen years later the SF channel aired a televised multipart adaptation and since then there has been talk and speculation about another feature film go at the property until recently when Dennis Villeneuve, following the success of his SF film Arrivalstarted work on a new production slated for a late 2020 release.

So the adaptation trail has been winding and strange producing one feature film and that one considered a failure, as far as making money was concerned, however a lot of people think of Lynch’s Duneas visual masterpiece, and it is hard to argue them on the visuals, but something that occurred to me is how unlike Lynch’s other work that film turned out to be.

I am not referring to movie having a standard action plot, though it was Lynch’s first foray in the SF action, The Elephant Manis a more general public film than Lynch’s other work, I am referring to the nature of the narrative and it’s relationship with exposition.

Lynch is famous for refusing to explain his movies. In interviews he’s stated the opinion that after the film is made the scripts should be burned, as they only existed to help guide the film and their existence is no longer required after its completion. He will not explain such strange, dreamlike, and nightmarish experiences such as Mulholland Drive, Eraserhead,  orTwin Peaks: The Return. Lynch devoutly holds to the idea that as an audience member your interpretation is critical to the artistic merits of a film and explanation destroys that process.

And yet throughout his version od Dunethings are not only explained, that are explained repeatedly. Plots and plans are spelling out in detail and with repetition, voice over narration, present in the original script and not a studio imposed dictate as with Blade Runner, are used the explain characters motivation and inner thoughts, a technique wholly at odds with the rest of Lynch’s catalog. Unlike the puzzle boxes of his other movies, Dune has it’s interior dissected and examined for the audience. More than anything else, this stand apart and makes 1984’s Dune  the most unLynchian David Lynch film.

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Added Yet Another Streaming Service – Kanopy

This past weekend I managed to add to my Roku enabled television the streaming service Kanopy. Founded in 2008 Kanopy is an on demand streaming service that functions in conjunction with public libraries and universities. I first heard about Kanopy a few months ago when I attended a screening presented by the San Diego Film Geeks and fellow audience member told me about the service. With a catalog that includes award winning documentaries and foreign film, including a fair number from the Criterion Collection, Kanopy is perfect for the discriminating cinephile. Immediately after that afternoon’s screening of a classic noir, I hurried home only to be disappointed to discover that the San Diego Public Library did not participated in Kanopy.

Fast forward a few months and I found myself at the San Diego State University’s writers Conference, a program that was a function of the University’s college of extended studies. At first that meant very little to me, but when NPR’s Pop Culture Happy Hour discussed the Oscar nominated documentaries for 2018 they mentioned Kanopy and I decided to see if the San Diego Public Library had joined the program.

They had not.

But San Diego State did, and I realized that because of the Writers Conference I had a SDSU student ID. After a bit of trial and error I managed to activate both my library access at SDSU and my Kanopy account. Once I added the channel to my T.V. everything was in place and I started browsing the catalog.

Man, it is quite an eclectic collection. Everything from cheap horror films to esoteric art house productions and famous entries into the cannon of classic cinema. This past Sunday I watched The Naked Kiss, a 1964 noir  from iconoclastic writer/producer/director Sam Fuller about a prostitute moving to a ‘clean’ American town and the terrible secrets she uncovers about their local philanthropist and hero.

I anticipate quite a few hours watching the film of Kanopy’s library and if you love film it is something you should explore.

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The Boy Who Cried Wolf – Republican Edition

Some time ago I mentioned in a post how the Democrats and many on the left overused ‘Fascist’ draining the word of its terror and so when a Presidential candidate and eventually President came along who at the very least had proto-fascists in his circle of advisers the warning sounded too much like the familiar electoral noise and failed to gain much traction.

A similar but not exactly analogous sequence dogs the heels of the Republicans and many on the right. For decades the many in the GOP and their supporters have labeled any proposal to their left as ‘socialism.’ It didn’t really matter what the proposal actually did, nearly any government program addressing nearly any inequity was creeping socialism and would inevitably lead the United States to a Soviet future with gulags dotting our Western Deserts. Baby Boomers, of which I am one, seemed congenitally unable to recognize they world had changed, stuck to the script even after the collapse of the USSR and only switched the totem of terror to the latest failed state that worked for their propaganda.

In my morning political reads on the right I see over and over pieces where the authors and editors are quaking in terror at the rise of Alexandria Ocasio Cortez and the pronounced leftward push from the Democratic. Socialism as a pejorative insult and warning has lost all meaning joining the background of noise that is for the most part ignored.

Now be sure the liberal/progressive/left policies pushed by AOC, are in no way the equivalent to Soviet totalitarianism and the drive leftward has yet to reach anything comparable to the GOP’s abandonment morality, decency, and loyalty in their election and protection of President Trump.

I do not know if they had kept the term in more of a reserve if it would have helped them at this point in time. Between the party’s protective interference for Trump with his bold blatant corruption and their indifference to the economic turmoil to struggling Americans while playing blood brothers to voter suppression instead of adapting to the nation’s changing needs and demographics they may have painted themselves in an electoral trap that mere words would have proved inadequate as a means of escape. A party governing over peace and prosperity, albeit both serious issues and far from assured, should not have had the House washed away from them and I believe the flood has yet to crest.

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Reading The Manchurian Candidate

I have long been a fan of the film The Manchurian Candidate   an early 1960s thriller about Raymond Shaw, a Medal of Honor winner, his overbearing zealot mother, and his idiotic, easily manipulated, step-father who also happens to be a U.S. Senator. Part of a vast Russian/Chinese communist conspiracy to undermine and deliver control of the U.S. Government to a foreign power, the film is a fantastic example of cold war paranoia.

Despite being a fan of the film for decades it was only in the last week that I decided to purchase and read the Richard Condon novel upon from it was adapted.

While I have not finished the novel I have already gathered some impression of the adaptation.

First off Frank Sinatra looks nothing like the character he plays in the movie. Captain Ben Marco, as a character, is well translated to the silver screen, his love of learning, his gruff manner, and bull dog determination, are all elements that were reproduced but his ethnicity and appearance is vastly different. Marco described with bronze colored skin, thick black hair, a wide face, and looking as though he were half Aztec and half Inuit, while being stocky and muscular, which is a far cry from the crooner’s physique.

The novel has a number of subplots and excursions into various characters’ backstory, which the screenwriter adeptly either folded into the main plot or discarded entirely. The essence of a great adaptation is not being 100% faithful to the original material but understanding the core or that material and pulling that out for a screenplay which does not have the luxury of long, lingering digressions.

Perhaps the most striking thing about read the novel at this moment in time is the sense the story and the characters are quite contemporary. Now more than 50 years old quite a few elements have aged and the world no longer works the way it the novel depicts but simultaneously there are striking similarities to current events.

Senator Islen, Raymond’s step-father, is a loud-mouthed lout, a braggart, a man with an entirely fictional story of success, a populist and rabble rouser that undermines US institutions at home and vital alliances abroad. Stirring up paranoia and fear Senator Islen, following his cold and calculating wife’s instructions, ruptures American political norms, breaking ground for an abandonment of democracy in favor of a fevered dream of enemies internal and external sapping the country’s strength unless he, again all this is due to his wife’s manipulations, leads the country back to its lost greatness.

I have to ask, has any really checked into Melania’s history?

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When Does Disparate Impact Become Intended Outcome?

The other day I was reading a conservative column and ventured for a few posts into the comments. In replay to a commenter pointing out the disparate impact of voting restriction policies the author of the column replied with the brief response that he didn’t think disparate impact proved racism. Since in the case of voting restrictions I do think there is a strong racist bias in there, I wondered what are the simple criteria one might use to distinguish between a disparate impact that is an unintended side-effect of the a policy and one that is the goal of the policy?

I think that there is a two-part test that pretty well answers that question.

First, was any attempt made to moderate the disparate impact once it was evident? If a political actor, individual or party, implements a plan and when that plan has a disparate impact on populations and they then take no action to reduce that disparate impact it is fairly safe to assume that at best the disparate impact is of no concern to the political actor. The policy can be judge to be apathetic at best and intention at worst.

Secondly if the policy is propagated to other regions is it modified or altered to avoid the disparate impact evidenced in the original implementation? When a policy becomes popular with a political community it is often copied by its admirers but it is also often adjusted for the perceived flaws of the original version. After all that is how improvements happen, the idea is expanded, deepened, and implementation improved, if throughout this process the disparate impact remains then it is very safe to conclude that the disparate impact is the objective of the policy.

With the voting rights restrictions passed in state after state by the GOP minorities consistently found it harder to vote. No GOP move was made to mitigate this effect and when the policy was copied in new jurisdictions the impact of minority communities remained.

It is understandable, from one point of view, why this occurs. On average the GOP captures only about 15% of the black vote, leaving a substation advantage to the Democratic Party. But instead of asking themselves why their message appeals to only a slim number of minorities, the GOP has instead implemented policies to reduce the numbers reaching the polls. Recently the new Democratic majority in the House has announced plans to make it easier for more voters to participate in our election, this idea, more people voting, has been labeled by the GOP Senate Majority leader as ‘a power grab.’

Unlike Mitch I believe in Democracy, the Franchise, the power of ideas, and that the best ideas can persuade.

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Streaming Review: Sugar Hill (1974)

I first came across this title when I was reading a gift from my sweetie-wife The Encyclopedia of Zombie Movies  and at that time the film was not available on any of my streaming services. My interest was revived when I watched the documentary Horror Noir  on the history the cinema of Black Horror and this time Amazon Prime did have Sugar Hillavailable for streaming.

Set in New Orleans the film about Diana ‘Sugar’ Hill the girlfriend of Langston, a successful nightclub owner. When Langston refuses to sell his club to the mob he is assassinated in a brutal beating sparking a burning vengeance in Sugar. Turning to a Voodoo priestess Sugar enters into a bargain with the Voodoo lord of the dead Baron Samedi to enact her vengeance on the men responsible for Langston’s murder. Now with Samedi and a squad of zombies at her command, Sugar tears her way through the mob as her former boyfriend Valentine, now a homicide detective tries to unravel the supernatural slaughter.

While somewhat flawed in its structure, Sugar faces no real test or challenge to her plans and emotionally all of costs are front-loaded with Langston’s murder, Sugar Hill  proved to be a surprisingly engaging movie. Marki Bay as Sugar is adept at both the sweet and sexy aspects of her character while being able to turn on a dime and present a cold, merciless demeanor as she takes in the fruits of her revenge. From her dazzling smile to her expressionless enjoyment at the savage retribution this is Marki’s movie and she commands the screen throughout its running time of 91 minutes. Her performance is rivaled only by Don Pedro Colley as Samedi, a part that allowed Don to chew the scenery without damaging the product.

A thoroughly fun installment in that curious bit of mid 70s fare, the Blaxploitation genre, Sugar Hilla perfectly fine way to pass a dark film night.

 

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David French: Disingenuous or Dense?

As a devotee to the concept that truth is fractal and complex I try to read from a number of political perspectives. No one has a corner on truth and no one is above getting it wrong but sometimes I read something that makes it seems as if someone is just trying to go out of their way to be thick, David French’s article ‘The Green New Deal is Everything That is Wrong With Progressive Environmentalism‘ is just such a thing.

The core argument of the essay is that progressives even when they are motivated singular subject cannot resist the allure of their various causes and these drag unrelated topics in an every expansive net to transform, alter, and control American culture. As evidence of this he cites Alexandria Ocasio-Cortez’s legislative proposal ‘The Green New Deal,’ and the numerous issues it addresses beyond climate change and environmentalism. He is right that the issues addressed range far and wide but he’s wrong to suggest that this is some sort of nefarious mission creep or a legislative Trojan Horse, the title alone is enough to explain the scope of her proposal.

The title ‘The Green New Deal’ is comprised of three elements, we can safely ignore the article as simply something required by English grammar leaving us with two elements, “Green” and “New Deal.”

Green clearly refers to the environment and currently the point of concern is Global Climate chiefly driven by human induced atmospheric pollution. Here French seems to have stopped reading the title of the legislation and his piece works off the assumption that everything in it is about and should be restricted to environmental policies but there is that second element to consider.

The New Deal was a set of sweeping program, financial reforms, public work projects, and yes social engineering enacted during the Administration of FDR in the decade before America’s entry into World War II. Now, set aside if The New Deal was a good idea or a bad one, a successful government project or not, those questions are immaterial to the French’s disingenuous or dense observation about AOC’s proposal. As French states in his piece ‘Because when you read the document you quickly realize that progressivism is the priority, not the environment.’

The entire critique is built upon the assumption that The Green New Deal is only about the Green and not at all about The New Deal. The title was chosen, clearly, to harken to back to what the Democratic Party, and many others, feel was the shinning success that came about following the Great Depression and ignoring that aspect is misleading and unworthy of a columnist’s precious word count. AOC clearly plans social engineering on the scale or FDR’s and she is not hiding that intent behind bland euphemisms like ‘Enhanced Interrogation,’  ‘Job Creators,’ or ‘Persons of Wealth.’

So I put it to you, who is being dishonest and trying to hoodwink the public?

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