Category Archives: Movies

Cinematic Social Commentary: Robocop vs They Live

 

In the essay I will not be taking a position on the merits of either films observations. I trust my readers are more than competent to make their own value judgements and evaluations politically but rather I am looking at how the films made their comments and which films, in my opinion, succeeded more adeptly at its intentions.

In 1987, the penultimate year of Ronald Reagan’s presidency, Paul Verhoeven’s Robocop was released to theaters, the story Alex Murphy, husband, father, cop, who is murdered and then scientifically resurrected as Robocop makes important comments on the nature of humanity and identity but its sharpest social observations are on conservatism and Reaganism.

The next year John Carpenter’s They Live debuted and under the guise of an alien invasion movie spoke to the same social commentary about its views on conservatives and the effects of the Reagan presidency.

They Live posits aliens living amongst us that are subtly controlling and directly all facets of human life and social development. The title refers to the ‘waking sleep,’ created by a signal broadcasted by aliens, that keeps people from seeing the aliens around them and the subliminal messaging used to control the population. Global pollution is not a side effect of unregulated industrialization but rather a deliberate project of ‘terraforming’ the Earth to alien standards. Capitalism is an alien system imposed upon humanity for the purpose of extracting the planet’s wealth to the aliens and corrupting select human into acting as quislings for the invaders. Aliens live amongst us at every level of society but most importantly solely occupy the commanding heights of our cultural and political institutions.

The commentary here is not subtle. The direct one to one mapping of capitalist, the wealthy, and the powerful as a parasitic and controlling force with the alien invaders is a clear analog to class-based observations of our real-world economies, However, the worldbuilding is sloppy and not thought out in any logical manner. How the aliens extract wealth is hand waved away. The illogic of aliens travelling hundreds if not thousands of lightyears at great expense of energy to live as beat cops and bank tellers is ludicrous mudding Carpenter’s social commentary allowing neo-Nazis to reinterpret the text in an anti-Semitic screed. The fact that extremists on the right can see the commentary as supporting their racists position rather than attacking the economic system  they favor speaks volumes to the film’s failure to build any coherent statement.

Robocop is set in an undefined near future where crime is rampant and social services are nearly non-existent. The city of Detroit is crumbling under the lack of resources as the tax base evaporates and crime runs uncontrolled in the streets. Changes in the tax codes have benefited corporations concentrating wealth and privatization has turned social services such as prisons, hospitals, and schools over to corporate control and as the film open the fiction OCP corporation takes over management of Detroit’s police force. While corporate control of social services is presented in a plain and unflattering light the factions within OCP, standing in for all of corporate America, are given a richer and more nuanced portrayal. Dick Jones, a senior vice-president who is in bed with the city’s criminal boss, is a greedy immoral man only interested in the wealth and power he can extract from his positions. Bob Morton is a corporate climber and ambitious young man but seems to believe that the corporation can be a force for good and actually wants to deliver beneficial services. The ‘Old Man’ heading OCP is more of an enigma, it is unclear if he is even aware of the corruption within the company or if his ‘it’s time to give back’ speech is heartful or merely for appearances.

What is clear is that the film’s stand that corporate government is an ill is quite clear. Despite the story being about social disintegration and collapse there is no representation of actual government. Aside from a brief use as hostages, and there’s powerful symbolism in that, there is no mayor or civic leader presented in the film. The people and their representatives are whole absent a comment on their invisibility to corporate views.

As social commentary Robocop succeeds for better than They Live

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Quick Hits for July 23rd

No long form essay today just a few quick thoughts to kick off the morning.

 

Ladyhawke this film from 1985 doesn’t get the love that it deserves. A romantic fantasy directed by Richard Donner and starring Mathew Broderick, Rutger Hauer, and Michelle Pfeiffer this movie has it all, action, comedy, romance, and one of the best magical curses ever devised and yet it doesn’t get a tenth of the fan love and devotion as The Princess Bride. Both movies deserve to be in the Fan Cannon.

 

The year 2020 sucks. Not a new or shocking revelation but one I think constantly. I never expected that the year I debuted as a published novelist would be so terrible.

 

It’s hard getting people to leave reviews on Amazon. Please if you’ve read Vulcan’s Forge leave a review even if it is one star and you hated the book. Though of course I pleased that so far people seem to really like it and got what I was shooting for. Reviews raise visibility on the shopping sites and all of this year’s debut authors need the help.

 

Though it doesn’t look like I will return in in-person role play gaming before next year I have been hard at work on my Space Opera Campaign. I’ve been spending weekends working on Excel spreadsheet to do the tedious calculations that slow down the flow of play and last night I had an epiphany for solving a calculation that has been bugging me.

 

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Streaming Review: The Old Guard

This month Netflix added to its catalog the adventure The Old Guard. Starring and produced by Charlize Theron The Old Guard is an adaptation of a comic book about a band of warriors who are nearly immortal.

Theron plays ‘Andy,’ the leader of the mercenaries and the eldest having been at this since antiquity. Kiki Layne plays Niles Freeman a U.S. Marine and she is the newest addition to the squad providing an audience surrogate and a handy target for backstory and exposition. Attempts to stay in the shadows of the modern world fails for the Andy and her team leading to confrontation with a greedy pharma corporation and the discovery that truly are fates worse than death.

The Old Guard is a solid action movie without any glaring flaws or shortcomings. Theron plays both action and emotional beats with skill and as a producer she has shown a talent for bring in productions that have a deeper construction than a surface gloss. All of the performances in the film are competent and the script moves at a pleasing clip. There are turns and reveals in the story and it may be because I am a writer myself but none of these were truly surprising but neither are they damaging to the movie’s dramatic narrative. The combat is brutal and the effects of violence, even on those who heal magically, is never ignored. A moment at the film’s resolution echoed another film about immortality Chronos but aside from that I thoroughly enjoyed by hair of two hours it took to watch this film.

Overall if you have a Netflix account and enjoy films of the fantastic this is worth your time.

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Movie Review: Little Monsters (2019)

Little Monsters a 2019 Zombie-Comedy is a bit of a ‘bait and switch.’ The trailer and promotional material pushes the storyline of Miss Caroline (Lupita Nyong’o) as a kindergarten teacher who must keep her charges safe during a zombie outbreak while simultaneously keeping the small children from understanding the truth of their dire situation by making it all an elaborate game. Those plot elements do make up a substantial portion of the film’s second and thirds acts but Miss Caroline is not the story’s protagonist.

The story’s main character is David, a pot-addicted, obscenity spewing, failed street busking musician, man-child. So, the core plot of Little Monstersis a very tired one, the immature man forced into adulthood. David intersects with Miss Caroline and her class because his nephew Felix is one of her students and after becoming enamored with Miss Caroline David accompanies her and the class on the field trip where the zombie outbreak take place.

A third central character is Teddy McGiggles played by comedian Josh Gad, a popular American children’s television host on tour through Australia where the film is set. in another expedition to trope-ville Teddy is a boozing, foul, kid-hating character with little to differentiate him from similar characters that have come before.

What saved Little Monsters and made the viewing enjoyable was the immense talent of Lupita Nyong’o. This woman as an actor is simply credible in everything she plays and can draw in a viewer while making a character that on the page feels rather worn fresh and complex. Had the movie been centered on her character rather than the fairly typical David the movie would have been greatly enhanced and it is no surprise that the marketing focused on the movie’s greatest asset.

In this movie much of the comedy works though there is a fair amount of ‘cringe’ comedy focused on a character’s lack 0f self-realization that brings public embarrassment, so on that front your mileage may vary. The story’s approach to the nephew Felix is charming and the both the young actor and the character are endearing enough to pull the viewer into serious concern when he is threatened.

Overall this is worth at least one viewing though you must remember that it is not until the second act that the film’s real star and emotional heart arrives.

Little Monsters is currently streaming on Hulu as a Hulu Original.

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Quick Hits July 17, 2020

Burn the GOP to the Ground

 

Pence would have been far from perfect but leaving corrupt incompetent Trump in has made the pandemic far worse and that is entirely at the feet of the spineless Republican politicians.

 

 The Towering Inferno Still Holds Up.

 

I’ve been watching this on HBO (I have the DVD, but HBO is in High Def.) and thoroughly enjoying a style of filmmaker that has fallen out of favor. Loads with stars and taking the time to tell stories. Though you gotta wonder about a team of firemen walking around with plastic explosives and detonators.

 

New Story Ideas beginning to bubble in my brain

 

This damned crisis, both global and personal, has been sapping my creativity but an idea for another Sf/noir is starting to take form in my head. It would be on a generation ship where sharp distinct classes have formed between crew and colonists and the murder that shatters the secrecy at the heart of the noir.

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Intertextuality and Vulcan’s Forge

Last night I watched a video essay on YouTube that argued the central flaw of most of Disney’s newer slates of film came down to a misuse of intertextuality. Intertextuality is when the text of one work impacted by the text of a previous work. It can be used as a powerful tool to explore themes and idea raised by the original work either in that work’s own text or as interpreted by the new text. An ideal example would be Tom Stoddard’s play Rosencrantz & Guildenstern Are Dead which follows as its central character Rosencrantz & Guildenstern two minor characters from Hamlet and uses that conceit to explore concept of narrative and fiction.

The essay argued that lazy utilization of intertextuality in the Disney live action remakes and the extended Star Wars trilogy resulted in a cheap ‘fan service’ rather than using the references to earlier works to comment either those previous pieces or to deepen the content of the new ones. The exception for Disney being the Marvel Cinematic Universe which stretching across more than 20 films and ten years is a grand experiment in intertextuality and uses those connections to paint deeper, richer, and more engaging emotional lives for its characters.

This leads me to think about my own debut novel Vulcan’s Forge. I shall avoid spoilers for the plot of that story but I will touch on how it itself is a work of intertextuality.

The protagonist of Vulcan’s Forge is Jason Kessler and on the colony of Nocturnia his job is to use mass media, principally film, to create, sustain, and reinforce the colony’s culture derived from mid-twentieth century Americana. To promote an idealized version of that culture, which honestly is more mythology than history, some films are elevated in their importance while others are banned as ‘corrupting.’ Jason, an ill fit for this suffocating version of American culture, is dismissive of some films and longs for the forbidden fruit.

Ideally, and only someone who has read the novel and also is unaware of the films it references can answer if I succeeded, the story can be read and enjoyed without understanding the film references but on an intertextual level the movies that Jason derides and the ones he adores informs the readers of the nature of Jason’s character.

Hopefully my use of intertextuality expands and deepens Vulcan’s Forge but even if I missed the mark making all of those film references was damn fun.

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More Movies: Voice from the Stone

Voice from the Stone is a 2017 atmospheric horror film with Games of Thronesstar Emilia Clarke leading the small cast. It centers on Verena (Clarke) a young nurse that lives with families to help psychologically troubled children. She has come to the Rivi family is post war Tuscany to help with Jakob who has not spoken for several months following the death of his mother Malvina. Welcomed to the family by Malvina’s mother Lilia and more coolly by her husband Klaus Verena
finds Jakob a difficult case and the young boy’s obsessive listening to the stonework of the ancient house intent to hear his mother’s voice from beyond grave layers a sense of insanity onto the boy’s silent condition. Finding herself increasingly attracted, in part due to Lilia’s prompting, to Klaus and with her attempts to help Jakob failing Verena becomes desperate to remain with the family in the isolated mansion.  Eventually twists are revealed and the story lands in a far too easily predicted conclusion.

Despite starring an actor from a global sensation Voice from the Stone received only a limited release in 2017 and was primarily a Video on Demand product. Currently streaming on the horror specialty service Shudder, Voice from the Stone fails to create a sense of building dread and inevitability essential for slow burn atmospheric horror and instead plays as a family drama that only in the final acts makes any move towards the unsettling and horrific. Adapted from an Italian novel I suspect that the source material is very much an interior story driven mostly by the Verena’s thoughts and suppressed emotional reactions and while that can be translated to film it is a particularly difficult task that has foiled more talented filmmakers. About a third of the way into this movie brief running time of 87 minutes I voiced the opinion that this could very well turn about to be quite similar to Henry James’ The Turning of the Screw another horror story that relies heavily on the psychological life of its central character but instead this story does come to a definitive conclusion and not a unsettling ambiguity.

Voice from the Stone failed to fully engage me as a viewer and failed to deliver any revelation that surprised or shocked and instead proceeded in a plodding manner to an ultimately unsatisfying conclusion. It is not a film I can recommend.

 

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Revisiting: The Spook Who Sat by the Door

Last night I pulled out my DVD and re-watched the 1973 film  The Spook Who Sat by the Door.

The central plot of the film is Dan Freeman becomes the CIA’s first black officer but the processing is in reality nothing more than a stunt to lift a Senator’s sagging re-election prospects. After enduring years of racism and menial assignments Freeman resigns from the Agency and returns as a social worker to his home the mean streets of Chicago. However, Freeman has no intention of being a mere cog in the vast system and subverts his old street gang and utilizing his training from the Agency begins crafting a violent Black Liberation movement. Along the way his relationships with former lovers and close friends are tested by his radicalism and when Freeman’s devotion to his cause comes with a terrible price he doesn’t hesitate to pall in full.

Given the unrest, protests, and injustice currently flowering in our nation this film has been mentioned by several podcasts I listen to prompting me to revisit the movie. Laboring under budget and resource constraints the director, Ivan Dixon best known for his role as an actor in the sit-com Hogan’s Heroes, manages to produce a film that is tight, compelling, and without any fat. Watching the film, it is impossible to determine if the conservative directorial choices area  product of limitations or are an influence from Dixon’s long television career, either way Dixon’s makes the most of limited camera set-up and location to explore the characters and their conflicts. The only major weakness in the script is the late introduction of Freeman’s close friend Dawson, played with screen-grabbing presences by J.A. Preston. Given the emotional weight the character brings to the story and the powerful final scenes the film would have been better served introducing him in the first act along with a little revelation of Freeman’s personal history.

The film, though inducted into the National Film Registry for its cultural and historical importance, is not available on any rental or streaming service and to watch it you much, as I did, buy the DVD.

With the resurgence of racially challenging media in the wake of Get Out’s astounding financial success, there is a new adaptation of the novel in development as a series but it is unknown if this will be executed as a period piece or if the event will be transposed into the current day. I think it should remain a period piece, if for no other reason than as a faithful adaptation of the source material.

I have discovered that there is a documentary about the production of the movie Infiltrating Hollywood: The Making of The Spook Who Sat by the Door, but so far, I have been unable to locate a copy, damn it.

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SF Movie: Attraction (2017 – Russian)

After seeing clips of this film on a special effects YouTube program my sweetie-wife and I became interested in seeing Attraction. This was the same show that sparked out interest in the WWII Russian movie T-34 which was silly but fun.

Attraction is about a large alien spacecraft that crashes to Earth causing massive destruction and loss of life in the Chertanovo district of Moscow. The protagonist is Julia daughter of s senior military leader from whom she is estranged over the death of her mother. When Julia’s friend is killed in the alien’s crash landing, she and her boyfriend, along with his street gang, become fixed on the ‘invaders,’ though the aliens have remained unseen and taken no overt hostile actions.

What follows is a decent SF movie that manages to avoid most of the over used tropes while exploring Julia’s relationship with her boyfriend, her father, and herself. The movie at point looks to be retreading the tired excuse that the aliens are ‘here for out water,’ but then manages to subvert that expectation. With decent acting, writing, and impressive special effects Attraction is well worth the two hours of screen time. We watched it in the original Russian language

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Lifeforce: 35 Years Later and Still a Terrible Movie

Sometimes I will revisit a movie I disliked and check-in if it was the movie that was bad or my take on it. Usually the movie is at fault and Lifeforce, currently streaming on HBO, is no exception.

Released in 1985 and part of Cannon Films’ attempt to expand into big budget cinema Lifeforce, adapted from the novel The Space Vampires, is about a derelict alien spacecraft discovered in the coma of Halley’s Comet by a joint American and European manned space mission. The commander of the mission Col. Tom Carlsen (Steve Railsback), and seriously as a friend of mine once clued me in you can pre-judge a film’s quality by the haircuts of the ‘military’ characters and Carlsen’s is terribly non-regulation. Carlsen and his crew discover three aliens with human forms within the craft and bring back to Earth. Something goes wrong and the European space vessel Churchill arrives in Earth orbit but itself now a derelict. A rescue mission finds everyone aboard dead but the three aliens, still in their suspended animation, unharmed and the aliens are brought down to ground. The aliens are of course not dead and ignite a sweeping plague of energy vampirism, and not the cool kind that you get from Colin Robinson, that threatens humanity.

With a budget of 25 million dollars and box office receipts of under 12 million, which I and two friends were part of, Lifeforce crashed and burned on its release gathering neither critical nor commercial success. In some circles the most memorable aspect of the movie are the numerous exploitive nude scenes by the actress Mathilda May. ( I am pleased to report that this did not derail the young woman’s acting career and still is currently still working with nearly six television and film credits.) Lifeforce is a movie that cannot make up its mind as to what it wants to be. At times it’s a sensual vampirism flick, at other times it’s an invasion of body snatchers paranoia movie and by the end it’s an apocalyptic zombie movie with a tacked on happy ending.

There is scarcely an aspect of this movie that works, not in direction, casting, writing, or production design does this film make any sort of sense. Though I will admit that the end credit score by Henry Mancini is a terrific march.

While Lifeforce has found a following as a cult film it is not something anyone really needs to watch.

 

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