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I know, I know, I know. I've heard it all before. "We don't like independent Science Fiction films because they're not made with big budgets, big stars, and big special effects!"
See, the problem I have with that statement is that I do like the smaller, the quieter Science Fiction films precisely because they don't have some of those -- ahem -- big deals. A SciFi indie has to work harder and work smarter to get its ideas across precisely because the reliance upon the story is typically much higher than those tentpole projects. If all you want is spectacle, then I think you're truly missing out on some interesting side diversions, one forthcoming one of which looks to be the indie thriller Shifter.
I happened across the preview via a web advert and checked it out. Yes, it's a quieter tale than some of the big studio stuff, but do you really want to be that picky in the age of COVID-19? It looks like we're getting fewer and fewer releases for the foreseeable future, and I, for one, wouldn't mind a little something something different to pass the time.
For what it's worth, it has a festival win to its credits, and that generally bodes well for these smaller releases. Check out the preview for yourself as Shifter looks to shift onto various online streaming platforms this upcoming August 6th. I'll also post selected yet official details after the trailer below.
See, the problem I have with that statement is that I do like the smaller, the quieter Science Fiction films precisely because they don't have some of those -- ahem -- big deals. A SciFi indie has to work harder and work smarter to get its ideas across precisely because the reliance upon the story is typically much higher than those tentpole projects. If all you want is spectacle, then I think you're truly missing out on some interesting side diversions, one forthcoming one of which looks to be the indie thriller Shifter.
I happened across the preview via a web advert and checked it out. Yes, it's a quieter tale than some of the big studio stuff, but do you really want to be that picky in the age of COVID-19? It looks like we're getting fewer and fewer releases for the foreseeable future, and I, for one, wouldn't mind a little something something different to pass the time.
For what it's worth, it has a festival win to its credits, and that generally bodes well for these smaller releases. Check out the preview for yourself as Shifter looks to shift onto various online streaming platforms this upcoming August 6th. I'll also post selected yet official details after the trailer below.
[Los Angeles, CA] The Horror Collective will be releasing Planet Thunder’s bold and fascinating sci-fi body horror film SHIFTER on August 6th on VOD and On Demand platforms. The announcement was made through EW.com.
The film had its world premiere at this year’s deadCenter Film Festival in Oklahoma City, where it won Best Oklahoma Feature.
Director/writer/producer Jacob Burns says, "What excites us most is that it was obvious from the beginning that Jonathan and Shaked were genuine fans of the film. We took a chance on making SHIFTER because we truly believed in what the film could be, so we are incredibly grateful to have found a distributor who believes in the film as much as we do. The Horror Collective has a reputation of releasing unique, memorable, and just plain awesome horror films of all types and it’s an honor for SHIFTER to be included among them."
Writer/producer Zach Burns states, “With SHIFTER we wanted to make something people hadn’t seen before. We are so excited to work with Shaked Berenson and Jonathan Barkan at The Horror Collective because they strive to not only embrace and celebrate genre filmmaking but also to help push it forward!”
“We created The Horror Collective to give a voice for a diverse and wide range of voices in the horror genre.” commented Shaked Berenson, The Horror Collective’s CEO, “As a sci-fi thriller, SHIFTER is a great addition to our already eclectic library.”
Producer/Composer Vinnie Hogan adds, "Planet Thunder Productions wants to be a group of movie fans that make movies for movie fans. We were so excited when we met Shaked and Jonathan and discovered that The Horror Collective is a distribution company created by horror fans for horror fans! Our main goal with SHIFTER is to capture exactly that: the essence of what makes unique films exciting to watch."
Jonathan Barkan, The Horror Collective’s VP of Acquisitions and Distribution, comments, “SHIFTER hypnotized me from the first frame. It’s daring, bold, and a stunning display of independent genre cinema pushing boundaries and telling captivating, engaging stories. I am so proud to have The Horror Collective’s name on this film and I look forward to sharing it with genre audiences.”
Synopsis:
A young woman experiences painful and gruesome side effects after an experiment with time travel goes wrong.
Directed by Jacob Burns, who co-wrote alongside Zach Burns, SHIFTER was produced by Jacob Burns, Zach Burns, and Vinnie Hogan.
SHIFTER stars Nicole Fancher (Unchained Love), Ashley Mandanas (Golden Arm), Paul T. Taylor (Hellraiser: Judgment), and Jamie Brewster (The Adventures of Jurassic Pet: Chapter 1).
The film had its world premiere at this year’s deadCenter Film Festival in Oklahoma City, where it won Best Oklahoma Feature.
Director/writer/producer Jacob Burns says, "What excites us most is that it was obvious from the beginning that Jonathan and Shaked were genuine fans of the film. We took a chance on making SHIFTER because we truly believed in what the film could be, so we are incredibly grateful to have found a distributor who believes in the film as much as we do. The Horror Collective has a reputation of releasing unique, memorable, and just plain awesome horror films of all types and it’s an honor for SHIFTER to be included among them."
Writer/producer Zach Burns states, “With SHIFTER we wanted to make something people hadn’t seen before. We are so excited to work with Shaked Berenson and Jonathan Barkan at The Horror Collective because they strive to not only embrace and celebrate genre filmmaking but also to help push it forward!”
“We created The Horror Collective to give a voice for a diverse and wide range of voices in the horror genre.” commented Shaked Berenson, The Horror Collective’s CEO, “As a sci-fi thriller, SHIFTER is a great addition to our already eclectic library.”
Producer/Composer Vinnie Hogan adds, "Planet Thunder Productions wants to be a group of movie fans that make movies for movie fans. We were so excited when we met Shaked and Jonathan and discovered that The Horror Collective is a distribution company created by horror fans for horror fans! Our main goal with SHIFTER is to capture exactly that: the essence of what makes unique films exciting to watch."
Jonathan Barkan, The Horror Collective’s VP of Acquisitions and Distribution, comments, “SHIFTER hypnotized me from the first frame. It’s daring, bold, and a stunning display of independent genre cinema pushing boundaries and telling captivating, engaging stories. I am so proud to have The Horror Collective’s name on this film and I look forward to sharing it with genre audiences.”
Synopsis:
A young woman experiences painful and gruesome side effects after an experiment with time travel goes wrong.
Directed by Jacob Burns, who co-wrote alongside Zach Burns, SHIFTER was produced by Jacob Burns, Zach Burns, and Vinnie Hogan.
SHIFTER stars Nicole Fancher (Unchained Love), Ashley Mandanas (Golden Arm), Paul T. Taylor (Hellraiser: Judgment), and Jamie Brewster (The Adventures of Jurassic Pet: Chapter 1).
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COVID-19 hasn't so much killed our culture as has the overwhelming panicked reaction to it.
Don't get me wrong: I'm all for being safe, washing hands, and wearing masks and whatnot, but the ongoing shutdown of our global society? This honestly seems a bit like overkill to me. It's clear that the virus is deadly for a certain segment of our society, but do those folks really attend Comic-Con?
As a result of the virus, we've successfully 'flattened the curve' only to prolong the lifetime of the bug, and many events that fans look forward to -- things like Comic-Con -- turned into 'virtual programming' for those interested. I guess that isn't a bad means with which to get out the word on upcoming projects, but given the fact that production has been halted worldwide I'm not sure what's to be gained from some of this advertising.
In any event, the virtual Doctor Who event explored an upcoming multimedia event for the singular Time Lord from Gallifrey ... and Time Lord Victorious certainly looks interested. Those interested can check out the virtual coverage via the SyFy Wire by following the link right here.
As always, thanks for reading ... and live long and prosper!
Don't get me wrong: I'm all for being safe, washing hands, and wearing masks and whatnot, but the ongoing shutdown of our global society? This honestly seems a bit like overkill to me. It's clear that the virus is deadly for a certain segment of our society, but do those folks really attend Comic-Con?
As a result of the virus, we've successfully 'flattened the curve' only to prolong the lifetime of the bug, and many events that fans look forward to -- things like Comic-Con -- turned into 'virtual programming' for those interested. I guess that isn't a bad means with which to get out the word on upcoming projects, but given the fact that production has been halted worldwide I'm not sure what's to be gained from some of this advertising.
In any event, the virtual Doctor Who event explored an upcoming multimedia event for the singular Time Lord from Gallifrey ... and Time Lord Victorious certainly looks interested. Those interested can check out the virtual coverage via the SyFy Wire by following the link right here.
As always, thanks for reading ... and live long and prosper!
- Published on
I've mentioned many, many times before (probably too many to recall) that I grew up in the great American Heartland that is, ultimately, better known as Nowhere, USA. Back in the day, I was lucky to get a handful of television channels, most of which were local affiliates out of small towns in somewhat central Illinois; and these were the kind of stations that didn't have any original programming to speak of, yet offered a solid line-up of syndicated programs, many of which were imports.
Probably because the franchise was cheaper than Godzilla, I knew Gamera as my first giant, hulking behemoth before the signature lizard king. While kids elsewhere were jazzing their time away watching that other monster chew scenery in downtown Tokyo, I was captivated by this somehow rocket-powered turtle/creature who never got enough cinema love.
Thankfully, it looks like the good people at Arrow Video are about to set things right: this coming August they're releasing The Gamera Collection -- all twelve films -- in one incredible Blu-ray box set. I'll be copying and pasting the materials below so dare to behold ...
Probably because the franchise was cheaper than Godzilla, I knew Gamera as my first giant, hulking behemoth before the signature lizard king. While kids elsewhere were jazzing their time away watching that other monster chew scenery in downtown Tokyo, I was captivated by this somehow rocket-powered turtle/creature who never got enough cinema love.
Thankfully, it looks like the good people at Arrow Video are about to set things right: this coming August they're releasing The Gamera Collection -- all twelve films -- in one incredible Blu-ray box set. I'll be copying and pasting the materials below so dare to behold ...
For the first time ever worldwide, all twelve tales of the adventures of everyone's favorite titanic terrapin are collected together in one deluxe Blu-ray boxset!
This limited edition collectors' set traces the decades-long evolution of Gamera, from the "friend of all children" in his more light-hearted earlier films, to the Guardian of the Universe in the groundbreaking 1990s reboot series, often hailed as three of the best kaiju films ever made.
COLLECTOR'S EDITION BOX SET CONTENTS
This limited edition collectors' set traces the decades-long evolution of Gamera, from the "friend of all children" in his more light-hearted earlier films, to the Guardian of the Universe in the groundbreaking 1990s reboot series, often hailed as three of the best kaiju films ever made.
COLLECTOR'S EDITION BOX SET CONTENTS
- Limited collectors' edition packaging, housed in a large-format rigid box, fully illustrated by Matt Frank
- Casebound, fully-illustrated disc book containing eight Blu-ray discs
- High Definition (1080p) versions of all twelve films, with lossless original Japanese audio and a complete collection of English dub tracks, including classic American International dubs on the Showa-era films remastered from original MGM elements
- Hardback 130-page comic book including a full-colour reprint of the four-issue Gamera comic series originally released by Dark Horse Comics in 1996, and the first-ever English-language printing of the prequel comic The Last Hope by Matt Frank and Joshua Bugosh
- Perfect-bound 80-page book including a new retrospective on the series by Patrick Macias, an archive interview with Noriaki Yuasa by David Milner, kaiju X-ray illustrations by Jolyon Yates, Fangoria set reports on the Heisei trilogy by Norman England, and a viewers' guide to the English-dubbed versions of the films
- Double-sided four-panel poster of "Gamera's Map of Japan" in both Japanese and English
- Collectors' artcards for each film, featuring new artwork by Matt Frank
DISC THREE - GAMERA VS. VIRAS / GAMERA VS. GUIRON
DISC FOUR - GAMERA VS. JIGER / GAMERA VS. ZIGRA / GAMERA SUPER MONSTER
- High Definition (1080p) transfers of Gamera vs. Viras and Gamera vs. Guiron, with lossless original Japanese and dubbed English mono audio, and optional English subtitles
- Choice of three different versions of Gamera vs. Viras via seamless branching (72-minute Theatrical Version, 81-minute Director's Version and 90-minute US Extended Version)
- Commentary on Gamera vs. Viras by Carl Craig and Jim Cironella
- Commentary on Gamera vs. Guiron by David Kalat
- Newly filmed introductions to both films by August Ragone
- New featurette with actor Carl Craig showing his souvenirs and props from Gamera vs. Viras
- Highlights from the G-FEST X convention in 2003, featuring Noriaki Yuasa and Carl Craig
- The 4th Nippon Jamboree, a promotional film for the Boy Scouts of Japan directed by Yuasa in 1966
- Alternate English credits for both films
- Trailer and image galleries
DISC FOUR - GAMERA VS. JIGER / GAMERA VS. ZIGRA / GAMERA SUPER MONSTER
- High Definition (1080p) transfers of Gamera vs. Jiger, Gamera vs. Zigra and Gamera Super Monster, with lossless original Japanese and dubbed English mono audio, and optional English subtitles
- Commentary on Gamera vs. Jiger by Edward L. Holland
- Commentary on Gamera vs. Zigra by Sean Rhoads & Brooke McCorkle
- Commentary on Gamera Super Monster by Richard Pusateri
- Newly filmed introductions to all three films by August Ragone
- Alternate English credits for all three films
- Trailer and image galleries
DISC FIVE - GAMERA THE GUARDIAN OF THE UNIVERSE
DISC SIX - GAMERA 2: ATTACK OF LEGION
- High Definition (1080p) transfer of Gamera the Guardian of the Universe, from a 4K restoration by Kadokawa Pictures
- Original Japanese and dubbed English DTS-HD MA 5.1 and 2.0 audio, with optional English subtitles
- Commentary by Matt Frank
- Newly filmed introduction by August Ragone
- A Testimony of 15 Years: Part 1, the first in an epic three-part documentary interviewing cast and crew of the Heisei Trilogy
- Interviews with director Shusuke Kaneko and SFX director Shinji Higuchi, filmed by Jörg Buttgereit in 2002
- Extended 90-min interview with Shinji Higuchi from 2001, focusing on the trilogy's special effects
- Behind the scenes featurettes tracing the film's production from announcement to release
- Alternate English credits
- Trailer and image galleries
DISC SIX - GAMERA 2: ATTACK OF LEGION
- High Definition (1080p) transfer of Gamera 2: Attack of Legion, from a 4K restoration by Kadokawa Pictures
- Original Japanese and dubbed English DTS-HD MA 5.1 and 2.0 audio, with optional English subtitles
- Commentary by Kyle Yount
- Newly filmed introduction by August Ragone
- A Testimony of 15 Years: Part 2, the next part of the documentary interviewing cast and crew of the Heisei Trilogy
- On-set footage from the shooting of the film's main unit and special effects filming
- Behind the scenes featurettes tracing the film's production from announcement to release
- Alternate English credits
- "Lake Texarkana" comedic dub track
- Trailer and image galleries
DISC SEVEN - GAMERA 3: REVENGE OF IRIS
DISC EIGHT - GAMERA THE BRAVE
Details
Directors: Noriaki Yuasa, Sandy Howard, Shigeo Tanaka, Shusuke Kaneko, Ryuta Tasaki
Cast: Eiji Funakoshi, Albert Dekker, Kojiro Hongo, Nobuhiro Kashima, Tsutomu Takakuwa, Eiko Yanami, Mach Fumiake, Tsuyoshi Ihara, Toshiyuki Nagashima, Shinobu Nakayama, Ryo Tomioka
SRP: $179.95
Format: BLU-RAY
SKU: AV275
UPC: 760137365983
Street Date: 08/18/20
Label: Arrow Video
Run Time: 1174 mins
Number of Discs: 8Audio: STEREO
Year of Production: 1965
Region Code: 0
Language: Japanese
- High Definition (1080p) transfer of Gamera 3: Revenge of Iris, from a 4K restoration by Kadokawa Pictures
- Original Japanese and dubbed English DTS-HD MA 5.1 and 2.0 audio, with optional English subtitles
- Commentary by Steve Ryfle & Ed Godziszewski
- Newly filmed introduction by August Ragone
- A Testimony of 15 Years: Part 3, the final part of the documentary interviewing cast and crew of the Heisei Trilogy
- Newly filmed interview with Kaho Tsutsumi about the DNA Tokasatsu exhibition in Tokyo, by kaiju historian Edward L. Holland
- Behind the scenes featurettes tracing the film's production from announcement to release
- Deleted Scenes
- The Awakening of Irys (Remix), a montage of behind-the-scenes footage and work-in-progress special effects footage
- Alternate English credits
- Spoof commentary by "Gamera" & "Soldier No.6"
- Trailer and image galleries
DISC EIGHT - GAMERA THE BRAVE
- High Definition (1080p) transfer of Gamera the Brave
- Original Japanese and dubbed English DTS-HD MA 5.1 and 2.0 audio, with optional English subtitles
- Commentary by Keith Aiken & Bob Johnson
- How to Make a Gamera Movie, a featurette hosted by director Ryuta Tasaki
- Behind The Scenes of Gamera the Brave, an all-access on-set documentary
- The Men That Made Gamera, a documentary looking back at the series from start to finish, featuring interviews with cast and crew
- Opening Day Premiere, a featurette showing the cast and crew presenting the film at its first showing
- Kaho's Summer, an interview with the film's young star
- Special Effects Supercut, a montage of effects shots overseen by FX supervisor Hajime Matsumoto
- Trailer and image galleries
Details
Directors: Noriaki Yuasa, Sandy Howard, Shigeo Tanaka, Shusuke Kaneko, Ryuta Tasaki
Cast: Eiji Funakoshi, Albert Dekker, Kojiro Hongo, Nobuhiro Kashima, Tsutomu Takakuwa, Eiko Yanami, Mach Fumiake, Tsuyoshi Ihara, Toshiyuki Nagashima, Shinobu Nakayama, Ryo Tomioka
SRP: $179.95
Format: BLU-RAY
SKU: AV275
UPC: 760137365983
Street Date: 08/18/20
Label: Arrow Video
Run Time: 1174 mins
Number of Discs: 8Audio: STEREO
Year of Production: 1965
Region Code: 0
Language: Japanese
- Published on
Ach. I saw the news yesterday evening about the passing of the lovely Kelly Preston, and my heart aches. I don't follow the trades and celebrity stuff as much as I used to, but the actress always seemed so lively and gracious from my memories of when I did watch programs of that sort. If you believe in that sort of thing, then you'll have to agree that Heaven earned itself a delicate flower of a woman with her exit from our world.
Her genre credentials are interesting, to say the least. She roared onto the silver screen in the somewhat campy and forgettable Metalstorm: The Destruction Of Jared-Syn, a Fantasy/Adventure whose most memorable facet is probably the fact that it was made during the brief 3D craze of the 1980's. She had some solid screen time as part of the charming ensemble that lifted 1986's SpaceCamp to perhaps better heights than it deserved: while I found the flick largely a notch better than TV fare for its time, I did enjoy it a bit more when I screened it not all that long back for its special DVD release. I've yet to see 1988's Spellbinder -- a Romance/Horror entry -- but I've read that the only reason to do so is to enjoy Preston's work in it; I think I have it on my DVR from a recent airing on Turner Classic Movies, so maybe I'll have to see what all of the fuss was about.
Then, in 2000, she joined hubby John Travolta in the silver screen adaptation of L. Ron Hubbard's Science Fiction classic Battlefield Earth. (Ahem) As can happen when star's allow vanity projects to become as big and clunky as Earth did, the critics were unkind; audiences didn't exactly warm to the interpretation either, and the result is a flick which is often cited as one of SciFi's worst. This is no fault of Preston, mind you; I'm only mentioning it as it's part of her cinematic record.
Still, it's probably the Walt Disney Superhero flick Sky High which most fans remember her for, and -- dare I say? -- she's downright delicious soaring across the big screen. As imperfect as I found the release, I still think the pairing of Kurt Russell and Preston as parents to the young man only just finding his powers is downright genius: Russell's always been a favorite of mine, and the chemistry between the two worked wonders for an otherwise light-and-fluffy tween narrative.
Alas, the end comes for us all, and the lady finally succumbed to what I've read was a two-year struggle with breast cancer. I choose to find comfort in knowing that she's at peace now, but I'll always miss her smile when it played out in whatever tale she found herself a part of.
Her genre credentials are interesting, to say the least. She roared onto the silver screen in the somewhat campy and forgettable Metalstorm: The Destruction Of Jared-Syn, a Fantasy/Adventure whose most memorable facet is probably the fact that it was made during the brief 3D craze of the 1980's. She had some solid screen time as part of the charming ensemble that lifted 1986's SpaceCamp to perhaps better heights than it deserved: while I found the flick largely a notch better than TV fare for its time, I did enjoy it a bit more when I screened it not all that long back for its special DVD release. I've yet to see 1988's Spellbinder -- a Romance/Horror entry -- but I've read that the only reason to do so is to enjoy Preston's work in it; I think I have it on my DVR from a recent airing on Turner Classic Movies, so maybe I'll have to see what all of the fuss was about.
Then, in 2000, she joined hubby John Travolta in the silver screen adaptation of L. Ron Hubbard's Science Fiction classic Battlefield Earth. (Ahem) As can happen when star's allow vanity projects to become as big and clunky as Earth did, the critics were unkind; audiences didn't exactly warm to the interpretation either, and the result is a flick which is often cited as one of SciFi's worst. This is no fault of Preston, mind you; I'm only mentioning it as it's part of her cinematic record.
Still, it's probably the Walt Disney Superhero flick Sky High which most fans remember her for, and -- dare I say? -- she's downright delicious soaring across the big screen. As imperfect as I found the release, I still think the pairing of Kurt Russell and Preston as parents to the young man only just finding his powers is downright genius: Russell's always been a favorite of mine, and the chemistry between the two worked wonders for an otherwise light-and-fluffy tween narrative.
Alas, the end comes for us all, and the lady finally succumbed to what I've read was a two-year struggle with breast cancer. I choose to find comfort in knowing that she's at peace now, but I'll always miss her smile when it played out in whatever tale she found herself a part of.
- Published on
In the very early days of SciFiHistory.Net, I was asked by a reader where I thought Science Fiction came from.
Thinking back, I don't honestly recall where or how the question came about, but I believe there were a group of us debating SciFi's earliest influences. Answers were largely dependent upon each person's age -- as humans, we tend to often forget that things happened well before our time in this plane of existence -- but a few peeps threw out some early films and books and debated the merits of Jules Verne versus H. G. Wells. The point that I raised on more than one occasion was that it honestly wasn't until the emergence of SciFi-themed media -- print and, more likely, film -- that gadget and widgets and robots truly lit a fire collectively; at this point, folks could truly 'see' what Science Fiction looked like, and I've no doubt that these fledgling images -- however crudely captured or conceived -- brought more folks into the realm that we so dearly appreciate 'round these parts.
And, yes, one of the very earliest feature films to explore the cinematic potential of Science Fiction was Fritz Lang's Metropolis.
As one who just didn't quite 'get into' silent films, I honestly held off on seeing this one for quite some time. I'd seen snippets of it, mostly from my college-level film classes, and I was definitely interested in seeing; having never chanced upon a recommended silent film that I appreciated as much as the person who originally recommended said film to me kept me from it. When I did see it, I was mostly captivated with it: you really have to be patient with the story despite the strong visuals as it does take some time to fully appreciate what's going on in the tale. This isn't to say that it's hard to follow in any measure; it isn't. Rather, I think the conventions of silent films always require a greater investment by the viewer -- you're reading words normally spoken, and I've always found that challenging as I invest so much in 'how' things are said as opposed to what the words might be.
In any event, I stumbled across an article discussing Metropolis's enduring strengths this morning, and I thought it revelant to share. You can access the piece at ScreenRant right here.
As always, thanks for reading ... and live long and prosper!
Thinking back, I don't honestly recall where or how the question came about, but I believe there were a group of us debating SciFi's earliest influences. Answers were largely dependent upon each person's age -- as humans, we tend to often forget that things happened well before our time in this plane of existence -- but a few peeps threw out some early films and books and debated the merits of Jules Verne versus H. G. Wells. The point that I raised on more than one occasion was that it honestly wasn't until the emergence of SciFi-themed media -- print and, more likely, film -- that gadget and widgets and robots truly lit a fire collectively; at this point, folks could truly 'see' what Science Fiction looked like, and I've no doubt that these fledgling images -- however crudely captured or conceived -- brought more folks into the realm that we so dearly appreciate 'round these parts.
And, yes, one of the very earliest feature films to explore the cinematic potential of Science Fiction was Fritz Lang's Metropolis.
As one who just didn't quite 'get into' silent films, I honestly held off on seeing this one for quite some time. I'd seen snippets of it, mostly from my college-level film classes, and I was definitely interested in seeing; having never chanced upon a recommended silent film that I appreciated as much as the person who originally recommended said film to me kept me from it. When I did see it, I was mostly captivated with it: you really have to be patient with the story despite the strong visuals as it does take some time to fully appreciate what's going on in the tale. This isn't to say that it's hard to follow in any measure; it isn't. Rather, I think the conventions of silent films always require a greater investment by the viewer -- you're reading words normally spoken, and I've always found that challenging as I invest so much in 'how' things are said as opposed to what the words might be.
In any event, I stumbled across an article discussing Metropolis's enduring strengths this morning, and I thought it revelant to share. You can access the piece at ScreenRant right here.
As always, thanks for reading ... and live long and prosper!
- Published on
I have a love/hate relationship with the TV lineup for the DC Universe.
Arrow? I never quite 'got' into it. I watched its first season, but something about its second really felt flat to me, and I tuned it out. I couldn't say why specifically; I can only say that it felt like it was going in a direction I didn't understand.
The Flash? Love it. Mostly. Every now and then, the writers will introduce a villain that I'm not all that interested in, but the growing cast of characters remains interesting to me, and I'm still with it.
Supergirl? Meh. First two-three seasons were great, but then for reasons I don't quite understand its writing staff decided every single episode needed to involve some ongoing political commentary, and I loathe being preached to in my escapist entertainment. Gave it up as a result.
Legends Of Tomorrow? Double meh. I liked its first two seasons, but as the show wore on the plotlines just grew increasingly -- well -- stupid. The characters have almost turned into parodies of themselves from the early episodes, and I can't imagine giving it another chance.
Black Lightning? Well, I gave it a few episodes, and it wasn't for me. Liked the lead, for sure. Liked the basic set-up. But something about the show's vibe felt off, mildly manufactured.
Batwoman? Hmm. Well, let's just say I gave it about thirty minutes before I turned the channel. Again, I don't mind a reasonable amount of general goofiness and politicizing, but eventually it crosses a line where I feel like "I'm just not this show's target audience." No problem with that.
Stargirl, thankfully, kind of takes the TV superhero formula back to The WB's Smallville mix: you have a budding superhero who just wants to 'do right,' no matter what shape that takes. It's a kinder, gentler program, one that I'd be willing to stick with for the time being. It's a young cast, and they're all just kinda/sorta finding their place in this world; and -- though I've seen it before -- the actors and actresses make it work for me.
In any event, I saw news today that the show was picked up for a second season (link right here), so I thought I'd share that tidbit with everyone.
As always, thanks for reading ... and live long and prosper!
Arrow? I never quite 'got' into it. I watched its first season, but something about its second really felt flat to me, and I tuned it out. I couldn't say why specifically; I can only say that it felt like it was going in a direction I didn't understand.
The Flash? Love it. Mostly. Every now and then, the writers will introduce a villain that I'm not all that interested in, but the growing cast of characters remains interesting to me, and I'm still with it.
Supergirl? Meh. First two-three seasons were great, but then for reasons I don't quite understand its writing staff decided every single episode needed to involve some ongoing political commentary, and I loathe being preached to in my escapist entertainment. Gave it up as a result.
Legends Of Tomorrow? Double meh. I liked its first two seasons, but as the show wore on the plotlines just grew increasingly -- well -- stupid. The characters have almost turned into parodies of themselves from the early episodes, and I can't imagine giving it another chance.
Black Lightning? Well, I gave it a few episodes, and it wasn't for me. Liked the lead, for sure. Liked the basic set-up. But something about the show's vibe felt off, mildly manufactured.
Batwoman? Hmm. Well, let's just say I gave it about thirty minutes before I turned the channel. Again, I don't mind a reasonable amount of general goofiness and politicizing, but eventually it crosses a line where I feel like "I'm just not this show's target audience." No problem with that.
Stargirl, thankfully, kind of takes the TV superhero formula back to The WB's Smallville mix: you have a budding superhero who just wants to 'do right,' no matter what shape that takes. It's a kinder, gentler program, one that I'd be willing to stick with for the time being. It's a young cast, and they're all just kinda/sorta finding their place in this world; and -- though I've seen it before -- the actors and actresses make it work for me.
In any event, I saw news today that the show was picked up for a second season (link right here), so I thought I'd share that tidbit with everyone.
As always, thanks for reading ... and live long and prosper!
- Published on
Think what you may about Apple products -- their iPhones, iPads, and the like -- but it's hard to ignore that the company has always been at the forefront of pushing technology that ultimately changes the lives of its users. Why shouldn't their streaming products be any less visionary?
Hoping to build a new foundation in streaming entertainment, Apple is prepping an ambitious adaptation of Isaac Asimov's Foundation for their subscription services, and they've recently released a promotional video of sorts -- part coming attraction, part super-ridiculously-short behind-the-scenes stuff -- for general web distribution.
For those unaware with the epic tale, Foundation involves the efforts of cutting-edge scientist Hari Seldon whose 'psychohistory' predicts the end of life as we know it (doesn't SciFi always involve the end of times, eh?). Intent of seeing that there is a road to a new future after our eventual collapse, Seldon creates the 'foundation,' a collection of gifted minds with the knowledge, strength, and general wherewithal to see that something survives.
I've embedded the YouTube.com short for your delight.
Hoping to build a new foundation in streaming entertainment, Apple is prepping an ambitious adaptation of Isaac Asimov's Foundation for their subscription services, and they've recently released a promotional video of sorts -- part coming attraction, part super-ridiculously-short behind-the-scenes stuff -- for general web distribution.
For those unaware with the epic tale, Foundation involves the efforts of cutting-edge scientist Hari Seldon whose 'psychohistory' predicts the end of life as we know it (doesn't SciFi always involve the end of times, eh?). Intent of seeing that there is a road to a new future after our eventual collapse, Seldon creates the 'foundation,' a collection of gifted minds with the knowledge, strength, and general wherewithal to see that something survives.
I've embedded the YouTube.com short for your delight.
It looks like 2021 might give SciFi fans something to look forward to!
As always, thanks for reading ... and live long and prosper!
As always, thanks for reading ... and live long and prosper!
- Published on
OMG, you read this headline alone, and you realize how old you are ... but I digress ...
Ridley Scott's Alien remains an indelible masterpiece that inspires today perhaps even more than it did on its original run theatrically in 1979. Alas, I wasn't able to see it in cinemas at that time as my small town movie house knew that I was still a few years shy of eighteen -- the cursed sin of growing up in Little, America, is that everyone knows your age. I did see it as soon as it came out on home video (as your parents or grandparents, readers, for that's what we called it in the Age Before Streaming). Even back then, yes, I found it so captivating and so pure.
It's a simple story, no? Girl Has Spaceship. Girl Meets Alien. Alien Tries To Eat Girl. Chaos Ensues. Girl Wears Space Panties. Girl Kills Alien (spoilers, I guess ...). But it was all rendered in such a memorable way that it no doubt called up nightmares for those who drank it all in from the silver screen of the day.
I have had the good fortune of seeing it up there in shadows and light as, thankfully, our homegrown theatre chain has taken to showing 'classics' of this sort on Tuesday nights; and this was one of their earliest choices. I know that today's audiences prefer CGI over practical miniatures, but I don't: I'd rather films of Alien's era not be updated with modern technology (take that, George Lucas) especially when they deal with story matter as primal as this. That 'rough around the edges' aspect only richens the experience for me, and I suspect others agree.
In any event, the film still works forty-one years later, and that's certainly a testament to getting something done right the first time. Hats off to all involved!
As always, thanks for reading ... and live long and prosper!
Ridley Scott's Alien remains an indelible masterpiece that inspires today perhaps even more than it did on its original run theatrically in 1979. Alas, I wasn't able to see it in cinemas at that time as my small town movie house knew that I was still a few years shy of eighteen -- the cursed sin of growing up in Little, America, is that everyone knows your age. I did see it as soon as it came out on home video (as your parents or grandparents, readers, for that's what we called it in the Age Before Streaming). Even back then, yes, I found it so captivating and so pure.
It's a simple story, no? Girl Has Spaceship. Girl Meets Alien. Alien Tries To Eat Girl. Chaos Ensues. Girl Wears Space Panties. Girl Kills Alien (spoilers, I guess ...). But it was all rendered in such a memorable way that it no doubt called up nightmares for those who drank it all in from the silver screen of the day.
I have had the good fortune of seeing it up there in shadows and light as, thankfully, our homegrown theatre chain has taken to showing 'classics' of this sort on Tuesday nights; and this was one of their earliest choices. I know that today's audiences prefer CGI over practical miniatures, but I don't: I'd rather films of Alien's era not be updated with modern technology (take that, George Lucas) especially when they deal with story matter as primal as this. That 'rough around the edges' aspect only richens the experience for me, and I suspect others agree.
In any event, the film still works forty-one years later, and that's certainly a testament to getting something done right the first time. Hats off to all involved!
As always, thanks for reading ... and live long and prosper!
- Published on
I'll admit it: I do like to 'harp' on some things.
I've always said that I'm the type of personality who gripes about something largely because art like film and books and television mean something to me more than the average person. Stories are the modern day mythology that says something about who we are culturally, about what we represent at this particular point in our cosmic journey, and about who we might very well be on the path to becoming.
Also, I grew up reading comic books. While I don't remember the particular stories, I can remember the images and the characters very vividly as they were imprinted on my young mind. Back in those days, I'd thumb hungrily through pages of Richie Rich, Archie, and even Batman and Superman. Though the superhero stuff always seemed a bit beyond me in terms of narrative scope, I still loved what these colorful creations could do on the page, and I hung with them fairly faithfully for a few decades. Once weekly budgets were challenged by providing a house over my head, I cut back. Still, I do pick up the occasional graphic novel collection from time-to-time, and I page through whatever is on the shelves of the nearest Barnes and Noble every chance I get.
And I think it's because Batman meant so much to me personally that I struggled with the cinematic interpretation brought to us by director Joel Schumacher. He had two goes at giving audiences something to cherish beyond Tim Burton's earlier flicks: Batman Forever worked like a big, dumb comic book, but Batman & Robin was -- ahem -- just plain dumb.
Seriously? Bat nipples? You introduce Bat nipples to the cinematic continuity, and you're actually proud of that?
Geesh.
Still, Schumacher was a smart director; I'll give him that. He definitely kept his finger on the pulse of society with visual spectacles like St. Elmo's Fire, The Lost Boys, and Flatliners. 1993's Falling Down was a particularly prescient look at one man's life spiraling out of control and how one might react to it. And 2002's Phone Booth was, perhaps, one of the smartest 60 minutes of television stretched out into an 81 minute theatrical release.
In any event, word reached us earlier today that he's left us, leaving behind a good portion of films deserving of a second look. Who knows? Maybe I'll pull out my copy of Batman Forever and give it a spin this weekend.
As always, thanks for reading ... and live long and prosper!
I've always said that I'm the type of personality who gripes about something largely because art like film and books and television mean something to me more than the average person. Stories are the modern day mythology that says something about who we are culturally, about what we represent at this particular point in our cosmic journey, and about who we might very well be on the path to becoming.
Also, I grew up reading comic books. While I don't remember the particular stories, I can remember the images and the characters very vividly as they were imprinted on my young mind. Back in those days, I'd thumb hungrily through pages of Richie Rich, Archie, and even Batman and Superman. Though the superhero stuff always seemed a bit beyond me in terms of narrative scope, I still loved what these colorful creations could do on the page, and I hung with them fairly faithfully for a few decades. Once weekly budgets were challenged by providing a house over my head, I cut back. Still, I do pick up the occasional graphic novel collection from time-to-time, and I page through whatever is on the shelves of the nearest Barnes and Noble every chance I get.
And I think it's because Batman meant so much to me personally that I struggled with the cinematic interpretation brought to us by director Joel Schumacher. He had two goes at giving audiences something to cherish beyond Tim Burton's earlier flicks: Batman Forever worked like a big, dumb comic book, but Batman & Robin was -- ahem -- just plain dumb.
Seriously? Bat nipples? You introduce Bat nipples to the cinematic continuity, and you're actually proud of that?
Geesh.
Still, Schumacher was a smart director; I'll give him that. He definitely kept his finger on the pulse of society with visual spectacles like St. Elmo's Fire, The Lost Boys, and Flatliners. 1993's Falling Down was a particularly prescient look at one man's life spiraling out of control and how one might react to it. And 2002's Phone Booth was, perhaps, one of the smartest 60 minutes of television stretched out into an 81 minute theatrical release.
In any event, word reached us earlier today that he's left us, leaving behind a good portion of films deserving of a second look. Who knows? Maybe I'll pull out my copy of Batman Forever and give it a spin this weekend.
As always, thanks for reading ... and live long and prosper!
- Published on
Confession time, peeps: I'm a total craft nut. I've always been someone who likes to tinker -- mostly I do this with my action figures, but I've occasionally ventured out into self-made modeling, needle-and-thread, and beyond. Now, I don't do 'store quality' work: mine has only been a hobby, essentially to help enhance the display of my own collection ... but I certainly give it a solid try.
My wife kinda/sorta got me hooked on crafting of this sort as she's always been dragging me to the various craft shows and antiquing fairs in and around the area where we've lived (both in Illinois and Arizona). Generally speaking, I've wandered the shows taking in the workmanship -- jewelry, quilting, woodwork, metalwork, etc. -- and though I've never said it to any of the exhibitors (I'm always complimentary of good work) I've felt craft exhibitors were really missing the boat when it comes to men's items.
Don't get me wrong: I like the occasional 'marshmallow shooting pistol' as much as the next bloke ... but that's child's play. Rarely if ever have I stumbled across a craft booth that truly represented what men of my ilk want. What is that, you ask? Well, it's Star Wars. Star Trek. The Lord Of The Rings. Blade Runner. You get the idea, right? Sure, maybe I'd be interested in the Space:1999 laced apron, but is that you have for the discerning fanboy?
Over the weekend, the wifey suggested we swing by this wine-tasting craft event in Gilbert, AZ, and I'm glad we did ... because finally -- for the first time ever -- I stumbled across a craft booth that had me turned emotional cartwheels in my brain. As is my way in life, I wanted to share my experience with PopShopAZ with all of you.
What you have here is an Etsy store (this was on display live, mind you, so I could touch and ogle the merchandise with my own eyes and hands) that creates some of the most clever pop culture displays I have ever had the good fortune to find. The owner, his wife and family clearly 'get' geekdom, so much so that they've taken to sharing their love of general geekery with high quality, colorful displays, all of it handcrafted with the care and attention you'd want from a purchased product.
And because they maintain a presence on Etsy, it's something that you, too, can now gleefully go and discover on your own!
There's a little bit of everything in there, so give yourself some time to look around. As I said, the quality is impeccable. The price points are very good -- indeed, I picked up a framed 'Kirk Vs. Gorn' fight ticket to hang on my wall and a few of the store's SciFi-themed shot glasses. I suspect this might be the perfect place to pick up that special something for that special geeky someone in your life in the months ahead. After all ... Christmas is right around the corner!
Simply follow the link right here. Be prepared to be amazed.
As always, thanks for reading ... and live long and prosper!
My wife kinda/sorta got me hooked on crafting of this sort as she's always been dragging me to the various craft shows and antiquing fairs in and around the area where we've lived (both in Illinois and Arizona). Generally speaking, I've wandered the shows taking in the workmanship -- jewelry, quilting, woodwork, metalwork, etc. -- and though I've never said it to any of the exhibitors (I'm always complimentary of good work) I've felt craft exhibitors were really missing the boat when it comes to men's items.
Don't get me wrong: I like the occasional 'marshmallow shooting pistol' as much as the next bloke ... but that's child's play. Rarely if ever have I stumbled across a craft booth that truly represented what men of my ilk want. What is that, you ask? Well, it's Star Wars. Star Trek. The Lord Of The Rings. Blade Runner. You get the idea, right? Sure, maybe I'd be interested in the Space:1999 laced apron, but is that you have for the discerning fanboy?
Over the weekend, the wifey suggested we swing by this wine-tasting craft event in Gilbert, AZ, and I'm glad we did ... because finally -- for the first time ever -- I stumbled across a craft booth that had me turned emotional cartwheels in my brain. As is my way in life, I wanted to share my experience with PopShopAZ with all of you.
What you have here is an Etsy store (this was on display live, mind you, so I could touch and ogle the merchandise with my own eyes and hands) that creates some of the most clever pop culture displays I have ever had the good fortune to find. The owner, his wife and family clearly 'get' geekdom, so much so that they've taken to sharing their love of general geekery with high quality, colorful displays, all of it handcrafted with the care and attention you'd want from a purchased product.
And because they maintain a presence on Etsy, it's something that you, too, can now gleefully go and discover on your own!
There's a little bit of everything in there, so give yourself some time to look around. As I said, the quality is impeccable. The price points are very good -- indeed, I picked up a framed 'Kirk Vs. Gorn' fight ticket to hang on my wall and a few of the store's SciFi-themed shot glasses. I suspect this might be the perfect place to pick up that special something for that special geeky someone in your life in the months ahead. After all ... Christmas is right around the corner!
Simply follow the link right here. Be prepared to be amazed.
As always, thanks for reading ... and live long and prosper!