- Published on
Well, it’s finally here: HBO’s much hyped Westworld premiered on October 2nd, giving viewers the chance to find out whether or not this reboot of the Michael Crichton property lived up to the reputation it was christened with by slobbering media types.
Basically, the Jonathan and Lisa Joy Nolan penned revisioning brought the 1973 film into the 21st century, complete with high-priced graphics, big name stars, and enough full frontal nudity to perhaps choke even Linda Lovelace. While the story remains much the same – a Wild West theme park staffed by lifelike androids begins to come apart at its seams when the robots figure out who’s really in charge – but the narrative is cleverly couched in ideas about life, death, sentience, and what it all might mean should we meet our creator. Also, the first hour (plus) brings new meaning to that whole “like to be a fly on the wall” phrase in ways decidedly cleverer than truly prescient, though in the end the insect may be little more than Armageddon’s first victim.
As expected, performances are good (this IS HBO, after all).
Critical favorite Jeffrey Wright steals the show out from under everyone (so far as I’m concerned) as the park’s resident roboticist Bernard Lowe: never quite evil, the actor imbues this Brainiac with simmering fascination with human foibles so much so that he asks his female boss (the lovely Sidse Babett Knudsen) if he can capture her subtlest reactions on video, proving nuanced sexual harassment truly knows no bounds. Ed Harris chews scenery as possibly the program’s central villain (too early to tell), bringing the invincible gunslinger into the modern age. Evan Rachel Wood and James Marsden are perfectly cast as star-crossed androids perhaps always meant to come together, though Fate and the narrative wishes of the park’s wealthy customers (referred to as ‘newcomers’) apparently keep them apart. And Anthony Hopkins turns in exactly the kind of Anthony Hopkins’ moments he’s well paid for: hopefully the future stories give him more to do than sit around, look like he’s in charge, and paraphrase Shakespeare.
For all of its posturing (this first hour plays out like Bill Murray’s Groundhog Day cybernetically going off the rails more than it does anything else), I thought one of the nuances this Westworld brought to the table over the original was the suggestion that it may not be the robots who ultimately are the source of evil here. The 1973 film earned terrific mileage by pitting helpless men and women against their robot betters, but this Westworld hints that mankind may have reached the end of its evolution given the fact that it has now assumed the mantle of creating others ‘in thy image.’ While God might be offended, I wasn’t, and it’s those sentiments that might be quality stomping ground for stories yet to come.
Still, pilot episodes can be exceedingly troubling: there’s a lot of ground to cover when creating a world compelling enough for audiences to stick with, and Westworld rather economically raised plenty of questions without giving up the store or any answers. Where do these people come from? Where are they going? What’s really wrong with the code, and what exactly does Wood’s Dolores Abernathy know, when did she know it, and what is she doing about it? And how can it be that these super-intelligent scientists think keeping a veritable warehouse of malfunctioning homicidal creations is a good idea?
But here’s the dirty little secret: where can they go with this that we haven't already been?
Basically, the Jonathan and Lisa Joy Nolan penned revisioning brought the 1973 film into the 21st century, complete with high-priced graphics, big name stars, and enough full frontal nudity to perhaps choke even Linda Lovelace. While the story remains much the same – a Wild West theme park staffed by lifelike androids begins to come apart at its seams when the robots figure out who’s really in charge – but the narrative is cleverly couched in ideas about life, death, sentience, and what it all might mean should we meet our creator. Also, the first hour (plus) brings new meaning to that whole “like to be a fly on the wall” phrase in ways decidedly cleverer than truly prescient, though in the end the insect may be little more than Armageddon’s first victim.
As expected, performances are good (this IS HBO, after all).
Critical favorite Jeffrey Wright steals the show out from under everyone (so far as I’m concerned) as the park’s resident roboticist Bernard Lowe: never quite evil, the actor imbues this Brainiac with simmering fascination with human foibles so much so that he asks his female boss (the lovely Sidse Babett Knudsen) if he can capture her subtlest reactions on video, proving nuanced sexual harassment truly knows no bounds. Ed Harris chews scenery as possibly the program’s central villain (too early to tell), bringing the invincible gunslinger into the modern age. Evan Rachel Wood and James Marsden are perfectly cast as star-crossed androids perhaps always meant to come together, though Fate and the narrative wishes of the park’s wealthy customers (referred to as ‘newcomers’) apparently keep them apart. And Anthony Hopkins turns in exactly the kind of Anthony Hopkins’ moments he’s well paid for: hopefully the future stories give him more to do than sit around, look like he’s in charge, and paraphrase Shakespeare.
For all of its posturing (this first hour plays out like Bill Murray’s Groundhog Day cybernetically going off the rails more than it does anything else), I thought one of the nuances this Westworld brought to the table over the original was the suggestion that it may not be the robots who ultimately are the source of evil here. The 1973 film earned terrific mileage by pitting helpless men and women against their robot betters, but this Westworld hints that mankind may have reached the end of its evolution given the fact that it has now assumed the mantle of creating others ‘in thy image.’ While God might be offended, I wasn’t, and it’s those sentiments that might be quality stomping ground for stories yet to come.
Still, pilot episodes can be exceedingly troubling: there’s a lot of ground to cover when creating a world compelling enough for audiences to stick with, and Westworld rather economically raised plenty of questions without giving up the store or any answers. Where do these people come from? Where are they going? What’s really wrong with the code, and what exactly does Wood’s Dolores Abernathy know, when did she know it, and what is she doing about it? And how can it be that these super-intelligent scientists think keeping a veritable warehouse of malfunctioning homicidal creations is a good idea?
But here’s the dirty little secret: where can they go with this that we haven't already been?
Yes, I know it isn’t TV – it’s HBO – and all that jazz, but haven’t we already been treated to any number of big budget examinations of science gone off the rails?
The original Westworld already explored this territory (to a degree) back in the early 1970’s, and there has been more than a fair share of similarly-themed good if not great attempts in the past decade alone to make me question how a weekly ‘procedural’ might be any different. Will Smith’s I, Robot wasn’t exactly a barn-burner (so far as this reviewer is concerned), but 2015’s Ex Machina certainly put a human face (compliments of Alicia Vikander) on the whole ‘man vs. machine’ controversy. For what it’s worth, AMC’s English-version of Humans presented far more interesting and relatable characters about the risk of our living side-by-side with manufactured counterparts than I saw in HBO’s first hour, and I’m more interested in seeing where creators can go with that than I am with pay cable’s promise of more sex, violence, and swearing.
To be perfectly honest, my single greatest fear for Westworld involves the participation of JJ Abrams, who serves as the program’s Executive Producer. Despite the popularity his works possess, I’ve often maintained that – as a storyteller – he isn’t very good; he tends to provide a lot of flash and sizzle, but his narratives have an established track record of raising far more questions than they ever answer (i.e. ABC TV’s Lost, Fox TV’s Alcatraz, etc.), and this premise of robots kinda/sorta running amok (or, at least, misbehaving) isn’t all that far from ideas and themes he explored in Fox TV’s Almost Human, a show that seriously deserved a full season pick-up AND renewal. Given the fact that I’m already concerned about where the writers can really go with this property as it’s defined, I’ll keep my fingers crossed that they’ll keep their eyes on whatever prizes they unearth in serial excavation AND boldly go where no man (or automaton) has gone before.
Perhaps it’s best to conclude that I believe this particular Westworld achieved as much as it disappointed. Giving HBO’s audience something new to watch is grand, but can’t we go back to the time when pay cable offered programs truly unavailable on regular TV? As I said, AMC’s Humans covers this stuff without the promise of gratuitous sex and violence … so what else ya got?
Only time will tell …
The original Westworld already explored this territory (to a degree) back in the early 1970’s, and there has been more than a fair share of similarly-themed good if not great attempts in the past decade alone to make me question how a weekly ‘procedural’ might be any different. Will Smith’s I, Robot wasn’t exactly a barn-burner (so far as this reviewer is concerned), but 2015’s Ex Machina certainly put a human face (compliments of Alicia Vikander) on the whole ‘man vs. machine’ controversy. For what it’s worth, AMC’s English-version of Humans presented far more interesting and relatable characters about the risk of our living side-by-side with manufactured counterparts than I saw in HBO’s first hour, and I’m more interested in seeing where creators can go with that than I am with pay cable’s promise of more sex, violence, and swearing.
To be perfectly honest, my single greatest fear for Westworld involves the participation of JJ Abrams, who serves as the program’s Executive Producer. Despite the popularity his works possess, I’ve often maintained that – as a storyteller – he isn’t very good; he tends to provide a lot of flash and sizzle, but his narratives have an established track record of raising far more questions than they ever answer (i.e. ABC TV’s Lost, Fox TV’s Alcatraz, etc.), and this premise of robots kinda/sorta running amok (or, at least, misbehaving) isn’t all that far from ideas and themes he explored in Fox TV’s Almost Human, a show that seriously deserved a full season pick-up AND renewal. Given the fact that I’m already concerned about where the writers can really go with this property as it’s defined, I’ll keep my fingers crossed that they’ll keep their eyes on whatever prizes they unearth in serial excavation AND boldly go where no man (or automaton) has gone before.
Perhaps it’s best to conclude that I believe this particular Westworld achieved as much as it disappointed. Giving HBO’s audience something new to watch is grand, but can’t we go back to the time when pay cable offered programs truly unavailable on regular TV? As I said, AMC’s Humans covers this stuff without the promise of gratuitous sex and violence … so what else ya got?
Only time will tell …
- Published on
Happy SciFi Tuesday, peeps! It's beginning to look a lot like Christmas, and -- for a whole host of reasons -- that means we'll be gifted from Hollywood with a slew of tentpole holiday releases, the likes of which pit some pretty big names against one another. Well, how nice it is to find a few big names joining forces in our beloved realm with a SciFi/Drama/Romance the likes of Passengers coming down the pike. The trailer dropped today, and I've posted it above. Check it out, and feel free to sound off.
As always, thanks for reading ... and live long and prosper!
As always, thanks for reading ... and live long and prosper!
- Published on
As I’ve mentioned before, I grew up at a time when society at large wasn’t afforded so many entertainment choices. The late 1960’s and early 1970’s were their own pop culture Dark Ages (if you ask me); and growing up on a farm then an equally small city meant that, at best, you were only going to have anywhere between eight-to-ten television channels … so long as you were provided good weather! Fortunately, one of those channels only afforded programming that was (apparently) fantastically cheap, so I “cut my teeth” on a plethora of black’n’white films, creature features, and monster movies, the favorite of which was any of the original Godzilla flicks.
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last three paragraphs for my final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
From the product packaging: “With a higher budget and more advanced special effects than any previous film in the serious, THE RETURN OF GODZILLA (aka GODZILLA 1984) returns Japan’s greatest monster to his intended role as an epic force of destruction and the film’s spectacular success re-launched the Godzilla franchise after nearly a decade in suspended animation …”
There’s more, but I’ll leave it at that.
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last three paragraphs for my final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
From the product packaging: “With a higher budget and more advanced special effects than any previous film in the serious, THE RETURN OF GODZILLA (aka GODZILLA 1984) returns Japan’s greatest monster to his intended role as an epic force of destruction and the film’s spectacular success re-launched the Godzilla franchise after nearly a decade in suspended animation …”
There’s more, but I’ll leave it at that.
Basically what matters historically is that this particular Godzilla film (in this particular form) has never been seen in the states; the version that did get promotion was heavily edited in order to allegedly amp up the humor (a concept I’ve rarely understood with the Hollywoodization of monster movies). The truth is that this version promotes the seminal monster largely as a monster – he isn’t here for any elevated purpose to save us from ourselves or another gigantic creature – and perhaps this is why those involved with its American release felt it needed some narrative ‘tweaking’ three decades back. (I’m not trying to excuse any tampering done to the story; instead I’m trying to suggest that perhaps – for its place in cinema history of the 1980’s – maybe they wanted something a bit more uplifting.)
As for the story, Godzilla has returned, and there’s a team of scientists intent upon stopping the behemoth’s destruction of Japan. The government does eventually unleash the Super-X – a levitating aircraft loaded with missiles and lasers – and a good portion of the film details the obvious back-and-forth between monster and man. In the end, however, it’s science that used to lure the creature to its inevitable demise, a scene that’ll put a lump in the throat of any monster maniac like myself. What’s an ogre to do to achieve a measure of respect from mankind?
Much to my chagrin, what didn’t work here were the characters. Granted, they’re always secondary to the creature, but GODZILLA 1984 unloaded a veritable salvo of generic players, each one less interesting than the last. Methinks that’s part of why more mainstream audiences never quite embraced the Godzilla franchise the way fans have: there’s simply nothing and no one they can relate to, and – were it possible to change this in post-production – that might go a long way toward elevating the status of these earlier motion pictures.
All of that said, GODZILLA 1984 will probably tickle the fancy of any monster movie aficionado.
Yes – for those of you wondering – it’s once again little more than “a guy in a suit,” but for all of those blemishes that’s part and parcel of what made that whole franchise so incessantly appealing. For those of us who relish that sort of thing, there’s simply no replacement for the practical in-camera effects of Japan’s destruction. It’s visceral and exciting, and maybe even on one level (subconsciously) we’re relieved that none of it is real.
As for the story, Godzilla has returned, and there’s a team of scientists intent upon stopping the behemoth’s destruction of Japan. The government does eventually unleash the Super-X – a levitating aircraft loaded with missiles and lasers – and a good portion of the film details the obvious back-and-forth between monster and man. In the end, however, it’s science that used to lure the creature to its inevitable demise, a scene that’ll put a lump in the throat of any monster maniac like myself. What’s an ogre to do to achieve a measure of respect from mankind?
Much to my chagrin, what didn’t work here were the characters. Granted, they’re always secondary to the creature, but GODZILLA 1984 unloaded a veritable salvo of generic players, each one less interesting than the last. Methinks that’s part of why more mainstream audiences never quite embraced the Godzilla franchise the way fans have: there’s simply nothing and no one they can relate to, and – were it possible to change this in post-production – that might go a long way toward elevating the status of these earlier motion pictures.
All of that said, GODZILLA 1984 will probably tickle the fancy of any monster movie aficionado.
Yes – for those of you wondering – it’s once again little more than “a guy in a suit,” but for all of those blemishes that’s part and parcel of what made that whole franchise so incessantly appealing. For those of us who relish that sort of thing, there’s simply no replacement for the practical in-camera effects of Japan’s destruction. It’s visceral and exciting, and maybe even on one level (subconsciously) we’re relieved that none of it is real.
GODZILLA 1984 was produced by Toho Company and Toho Eizo Company. DVD distribution for this release is being handled by Kraken Releasing. As for the technical specifications? Booyah! This cut looks and sounds stellar from start to finish, though there was one sequence which seemed to drop audio a bit (I couldn’t say why, though I replayed it twice to see if it was me but it wasn’t). Lastly, if you’re looking for special features, there’s the obligatory behind-the-scenes stuff for those interested. Me? I wanted the feature and nothing else.
HIGHLY RECOMMENDED. Even as much a die-hard fan of the Godzilla franchise I may be, I’m still not afraid to admit there’s something benignly fascinating about knowing none of it is real. Practical effects like these don’t overload the senses the way CGI-laden epics today do, so there’s something to be said for those of us who appreciate subtlety over visual gluttony. I can’t much stomach any of the TRANSFORMERS flicks, but I’ll happily sit through GODZILLA 1984 a few times a year because it symbolizes a welcome return to more affordable death-and-destruction that doesn’t need to be delivered at hyperactive pace. This story might prove too slow for today’s ADHD audiences, but it’s grand for the ten-year-old kid still trapped inside of me.
In the interests of fairness, I’m pleased to disclose that the fine folks at Kraken Releasing provided me with a Blu-ray of GODZILLA 1984 by request for the expressed purposes of completing this review; and their contribution to me in no way, shape, or form influenced my opinion of it.
HIGHLY RECOMMENDED. Even as much a die-hard fan of the Godzilla franchise I may be, I’m still not afraid to admit there’s something benignly fascinating about knowing none of it is real. Practical effects like these don’t overload the senses the way CGI-laden epics today do, so there’s something to be said for those of us who appreciate subtlety over visual gluttony. I can’t much stomach any of the TRANSFORMERS flicks, but I’ll happily sit through GODZILLA 1984 a few times a year because it symbolizes a welcome return to more affordable death-and-destruction that doesn’t need to be delivered at hyperactive pace. This story might prove too slow for today’s ADHD audiences, but it’s grand for the ten-year-old kid still trapped inside of me.
In the interests of fairness, I’m pleased to disclose that the fine folks at Kraken Releasing provided me with a Blu-ray of GODZILLA 1984 by request for the expressed purposes of completing this review; and their contribution to me in no way, shape, or form influenced my opinion of it.
- Published on
Well, well, well ... guess who still looks great at 50? Star Trek does!
I saw this announcement the other day over at Blu-ray.com, and -- while I like most dedicated Star Trek enthusiasts would certainly be hungry for anything new honoring one of the most respected SciFi franchises of all time -- I'm having a hard time believing that Gene Roddenberry (of all people) had held anything back of relative substance.
Let me explain ...
For those of you who may not have followed the behind-the-scenes history of Trek, it's fairly well known that Gene pretty much "bailed" on Star Trek in its third season on NBC. There are various accounts of why that was, but -- for the most part -- it's been accepted that the writing was on the wall: his show was moved into the Friday night death slot, so it was only natural that this Trek would be coming to an end and soon.
It's at this point that many allege Roddenberry decided that -- since the fan base was still ravenous for all things Trek -- he's branch out more into merchandising the Trek brand and build a different future for the property. Always the visionary, Gene wanted to keep his vision alive, and -- if that meant selling out to what I'd term crass commercialism -- then so be it.
So as that was his reputation for some time, does it stand to logic that there would still be footage yet unseen, stills and images that could've previously been put onto discs and sold for exorbitant prices by Paramount?
As rapid a fan as I am, I'm gonna wait for the reviews on this one. I'll let the experts -- those who get freebie advance copies anyway -- give me the straight skinny on whether or not this collection is worth the investment. Besides, all of us know how Paramount is, and that means there's likely to be dozens and dozens of re-issues of this material down the road; and re-issues have a way of bringing prices down.
Still, I'm exciting ... just more than a bit cynical, too.
As always, thanks for reading ... and live long and prosper!
I saw this announcement the other day over at Blu-ray.com, and -- while I like most dedicated Star Trek enthusiasts would certainly be hungry for anything new honoring one of the most respected SciFi franchises of all time -- I'm having a hard time believing that Gene Roddenberry (of all people) had held anything back of relative substance.
Let me explain ...
For those of you who may not have followed the behind-the-scenes history of Trek, it's fairly well known that Gene pretty much "bailed" on Star Trek in its third season on NBC. There are various accounts of why that was, but -- for the most part -- it's been accepted that the writing was on the wall: his show was moved into the Friday night death slot, so it was only natural that this Trek would be coming to an end and soon.
It's at this point that many allege Roddenberry decided that -- since the fan base was still ravenous for all things Trek -- he's branch out more into merchandising the Trek brand and build a different future for the property. Always the visionary, Gene wanted to keep his vision alive, and -- if that meant selling out to what I'd term crass commercialism -- then so be it.
So as that was his reputation for some time, does it stand to logic that there would still be footage yet unseen, stills and images that could've previously been put onto discs and sold for exorbitant prices by Paramount?
As rapid a fan as I am, I'm gonna wait for the reviews on this one. I'll let the experts -- those who get freebie advance copies anyway -- give me the straight skinny on whether or not this collection is worth the investment. Besides, all of us know how Paramount is, and that means there's likely to be dozens and dozens of re-issues of this material down the road; and re-issues have a way of bringing prices down.
Still, I'm exciting ... just more than a bit cynical, too.
As always, thanks for reading ... and live long and prosper!
- Published on
Like so many men of a certain age, I'm a pure sucker for monster movies, and is there any greater monster to worship than Godzilla? Sure, I enjoyed the Americanized reboot from 2014 probably more than any genre purist should have, but it is what it is.
Still, I'll welcome the return of the original monster, though I've been led to believe that even this creation is being accomplished via CGI ... CGI that's been made to make audiences believe it's still a man in a suit! Now, that's some genius work right there.
Still, I'll welcome the return of the original monster, though I've been led to believe that even this creation is being accomplished via CGI ... CGI that's been made to make audiences believe it's still a man in a suit! Now, that's some genius work right there.
As happens all too often with these rare foreign imports, Godzilla Resurgence (or "Shin Godzilla") will only be given a limited release throughout the United States compliments of Funimation (link here for some details) ... so all of you smilers will have to be on the lookout for opportunites to catch this one theatrically in your area come this October.
As always, thanks for reading ... and live long and prosper!
As always, thanks for reading ... and live long and prosper!
- Published on
Welcome to September, faithful peeps, and hasn't it been -- like -- forever since theatres had a superhero movie? Why, it seems just yesterday that they were all the rage, and ... oh, who am I kidding? Here's a little something called Max Steel (2016), which kinda/sorta looks like an "Iron Man Meets Spider-Man" creation if there ever were such a thing. Check out the preview above via the link I've posted to YouTube.com.
As always, thanks for reading ... and live long and prosper!
As always, thanks for reading ... and live long and prosper!
- Published on
Like so many Science Fiction fans, I've written often about my love of all things Star Trek. Truth be told, I never quite took to the whole 'Trekkie' or 'Trekker' moniker, instead choosing to simply call myself a die-hard Star Trek Enthusiast. (I just think it's a more fitting tagline.)
In any event, for those of you who were born on an island, 2016 happens to be the 50th anniversary of what continues to be one of the most popular and (obviously) enduring franchises in all of SciFidom; so -- in that respect -- I'm officially calling September "Star Trek Month" here at SciFiHistory.Net. After all, over the course of the next thirty days you'll see daily citations about Star Trek's television premiere and other things. Additionally, as time permits I promise I'll write up a few pieces that'll screen on the main page (so watch for them). Naturally, if any of the readers out there in the Internet would like to contribute something to feature in written form, don't hesitate to drop me a line at editor@scifihistory.net, and I'll be happy to take a look at it.
As always, thanks for reading ... and live long and prosper!
In any event, for those of you who were born on an island, 2016 happens to be the 50th anniversary of what continues to be one of the most popular and (obviously) enduring franchises in all of SciFidom; so -- in that respect -- I'm officially calling September "Star Trek Month" here at SciFiHistory.Net. After all, over the course of the next thirty days you'll see daily citations about Star Trek's television premiere and other things. Additionally, as time permits I promise I'll write up a few pieces that'll screen on the main page (so watch for them). Naturally, if any of the readers out there in the Internet would like to contribute something to feature in written form, don't hesitate to drop me a line at editor@scifihistory.net, and I'll be happy to take a look at it.
As always, thanks for reading ... and live long and prosper!
- Published on
Like so many, I was there with Ash from the very beginning with EVIL DEAD.
Honestly, I really wasn’t all that captivated, but EVIL DEAD II sealed the deal, basically retelling that first story but in a much more visually captivating way, one that practically required audiences shut up, sit up, and take notice 'cause somethin’ special was about to happen. And I was even one of the rare few who saw the oft quoted ARMY OF DARKNESS (occasionally subtitled as EVIL DEAD III) when it ran theatrically. Again – like so many – I ate it all up, reveling in Ash’s cunning with words and weapons as only the most dedicated fanboys do.
So do you think I was going to let ASH VS EVIL DEAD pass me by without a glance?
Not a chance in Hell.
Buckle up, deadheads. We're goin' for a ride.
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last three paragraphs for my final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
Honestly, I really wasn’t all that captivated, but EVIL DEAD II sealed the deal, basically retelling that first story but in a much more visually captivating way, one that practically required audiences shut up, sit up, and take notice 'cause somethin’ special was about to happen. And I was even one of the rare few who saw the oft quoted ARMY OF DARKNESS (occasionally subtitled as EVIL DEAD III) when it ran theatrically. Again – like so many – I ate it all up, reveling in Ash’s cunning with words and weapons as only the most dedicated fanboys do.
So do you think I was going to let ASH VS EVIL DEAD pass me by without a glance?
Not a chance in Hell.
Buckle up, deadheads. We're goin' for a ride.
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last three paragraphs for my final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
Here's all one needs to know about the ever-expanding universe of the EVIL DEAD: either you get it, or you don't. It ain't Shakespeare, sweetheart. Heck, it isn't even Grisham. Seriously, it doesn't require much explanation, and it requires very little thought. It is what it is, and basically that amounts to some lunatic storytelling told in such a way that even the lunacy ends up making perfect sense.
From the product packaging:
"Campbell reprises his role as Ash, the stock boy, aging lothario and chainsaw-handed monster hunter who has spent the last 30 years avoiding responsibility, maturity, and the terrors of the Evil Dead. When a Deadite plague threatens to destroy all of mankind, Ash is finally forced to face his demons -- personal and literal. Destiny, it turns out, has no plans to release the unlikely hero from its 'Evil' grip."
There is a bit more -- much of it about the cast -- so let's leave it there. After all, what matters most is the story, and there's just enough of that in there to tickle the fancy of anyone watching.
From the product packaging:
"Campbell reprises his role as Ash, the stock boy, aging lothario and chainsaw-handed monster hunter who has spent the last 30 years avoiding responsibility, maturity, and the terrors of the Evil Dead. When a Deadite plague threatens to destroy all of mankind, Ash is finally forced to face his demons -- personal and literal. Destiny, it turns out, has no plans to release the unlikely hero from its 'Evil' grip."
There is a bit more -- much of it about the cast -- so let's leave it there. After all, what matters most is the story, and there's just enough of that in there to tickle the fancy of anyone watching.
I’ve said it before, so allow me the leeway to say it again: Ashley ‘Ash’ Williams is one of the greatest cinema characters of the Twentieth Century. Now, mind you, I’m not talking necessarily about Ash of Evil Dead I and II because – truth be told – those flicks are more about the visceral experience of Sam Raimi’s storytelling than they are the people in them. (That’s not a complaint, just a statement of fact.) Ash – as that character – really came into his own with Army of Darkness; and, yes, I’ve read that for the purposes of ‘canon’ that film isn’t legally to be considered a part and parcel of ASH VS EVIL DEAD … but a guy can dream, can’t he?
Well, Sam Raimi, Rob Tapert, and Bruce Campbell did the unthinkable here: they tapped right back into fertile ground and brought Ash back to life, complete with the Evil Dead still plaguing practically every one of his waking hours. They even upped the ante here by giving the glorious dead slayer not one but two sidekicks (Ray Santiago as Pablo and the comely Jill Marie Jones as Amanda) as well as a new kinda/sorta adversary in the guise of Ruby, played by everyone’s warrior princess Lucy Lawless herself.
But the real question here is: did ASH VS EVIL DEAD deliver the goods?
Meh. But think of that as a good “meh.”
VS takes a while to find its groove, as it were, but when it aims for the cheap seats it does generally hit at least a double, occasionally a triple, and from time to time even a home run. The trouble I had with it is that there’s a fair amount of time exploring and establishing what the Necronomicon is, isn’t, can, and can’t do (every incarnation of Dead does this, mostly for newbies, and VS does no less); that and the fact that Lawless’s Ruby kinda/sorta kept evolving into something a bit different than what had come the episode before made for some periodically frustrating developments. Again, I don’t offer this feedback up as complaint so much as it is just a justification for my minor quibbles with the storytelling; these elements always tend to slow down the pace, and a slow pace doesn’t work well when you’re counting the minutes between roadkill, if you catch my drift.
Still, Ash is a character that largely still fits Campbell like a glove, and the Master Thespian does the Academy proud by slipping so effortlessly into this crazy, hazy world once more.
That last few episodes wear a bit thin, especially given that the big idea ends up being a return to the bloody cabin in the woods where all of this started. A few of the last minute developments – such as a band of hikers showing up primarily to give audiences a body count – don’t feel all that organic here; so it’s best to think of the last hour (or so) as the creation of a writers’ room more than anything else. The cast and crew do give this perhaps an ending as unpredictable as anything else they could’ve come up with, but rest assured there’s always the lingering promise that blood can and will still be shed for the inevitable season two. And thank God for a soon premiering Season Two as I, for one, miss Ash’s merriment as much as the rest fan.
Well, Sam Raimi, Rob Tapert, and Bruce Campbell did the unthinkable here: they tapped right back into fertile ground and brought Ash back to life, complete with the Evil Dead still plaguing practically every one of his waking hours. They even upped the ante here by giving the glorious dead slayer not one but two sidekicks (Ray Santiago as Pablo and the comely Jill Marie Jones as Amanda) as well as a new kinda/sorta adversary in the guise of Ruby, played by everyone’s warrior princess Lucy Lawless herself.
But the real question here is: did ASH VS EVIL DEAD deliver the goods?
Meh. But think of that as a good “meh.”
VS takes a while to find its groove, as it were, but when it aims for the cheap seats it does generally hit at least a double, occasionally a triple, and from time to time even a home run. The trouble I had with it is that there’s a fair amount of time exploring and establishing what the Necronomicon is, isn’t, can, and can’t do (every incarnation of Dead does this, mostly for newbies, and VS does no less); that and the fact that Lawless’s Ruby kinda/sorta kept evolving into something a bit different than what had come the episode before made for some periodically frustrating developments. Again, I don’t offer this feedback up as complaint so much as it is just a justification for my minor quibbles with the storytelling; these elements always tend to slow down the pace, and a slow pace doesn’t work well when you’re counting the minutes between roadkill, if you catch my drift.
Still, Ash is a character that largely still fits Campbell like a glove, and the Master Thespian does the Academy proud by slipping so effortlessly into this crazy, hazy world once more.
That last few episodes wear a bit thin, especially given that the big idea ends up being a return to the bloody cabin in the woods where all of this started. A few of the last minute developments – such as a band of hikers showing up primarily to give audiences a body count – don’t feel all that organic here; so it’s best to think of the last hour (or so) as the creation of a writers’ room more than anything else. The cast and crew do give this perhaps an ending as unpredictable as anything else they could’ve come up with, but rest assured there’s always the lingering promise that blood can and will still be shed for the inevitable season two. And thank God for a soon premiering Season Two as I, for one, miss Ash’s merriment as much as the rest fan.
ASH VS EVIL DEAD: THE COMPLETE FIRST SEASON (2015) is produced by Renaissance Pictures and Starz. DVD distribution is being handled by Anchor Bay Entertainment. As for the technical specifications? Boo-yah! ASH delivers with a wealth of quality sights and sounds, so don’t fret your little self in any way. Buckets and buckets of blood are necessarily captured in wonderfully vivid detail. If you’re looking for special features? All episodes are provided with audio commentaries, and there are some obligatory ‘making ofs’ if that’s the sort of thing you’re desiring.
RECOMMENDED. Look, you already know whether or not Ash – as a character – interests you or not. If he does, then you’re likely to enjoy the wild ride at the heart of ASH VS EVIL DEAD. If you don’t, then what are you doing here? Why did you read all the way down to this? Why haven’t you surfed over to check out what’s left of the Merchant Ivory catalogue already? Quit bothering me and get on with your life, knucklehead: I’ve got dead to kill, and all you’re gonna do is slow my roll, homey.
In the interests of fairness, I’m pleased to disclose that the fine folks at Anchor Bay Entertainment provided me with a copy of ASH VS EVIL DEAD by request for the expressed purposes of completing this review; and their contribution to me in no way, shape, or form influenced my opinion of it.
RECOMMENDED. Look, you already know whether or not Ash – as a character – interests you or not. If he does, then you’re likely to enjoy the wild ride at the heart of ASH VS EVIL DEAD. If you don’t, then what are you doing here? Why did you read all the way down to this? Why haven’t you surfed over to check out what’s left of the Merchant Ivory catalogue already? Quit bothering me and get on with your life, knucklehead: I’ve got dead to kill, and all you’re gonna do is slow my roll, homey.
In the interests of fairness, I’m pleased to disclose that the fine folks at Anchor Bay Entertainment provided me with a copy of ASH VS EVIL DEAD by request for the expressed purposes of completing this review; and their contribution to me in no way, shape, or form influenced my opinion of it.
- Published on
I’ve always – ALWAYS – had a fondness for classic monster stories.
Most of this is owed to the monster story’s central conceit – that it ain’t easy being green … or hungry … or blood-thirsty – and most of the genre’s finest examples manage to deliver a powerful undercurrent of sympathy for the ogre, the Frankenstein, and even the vampire. After all, they’re the original victim, you see. In fact, most of them never ‘chose’ to be that way; and now they’re forced to live a life wherein they can’t escape that singular monstrosity – life itself – and we as an audience are taken along for a thrilling ride, one which all too often ends in their ignominious defeat.
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last three paragraphs for my final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
Most of this is owed to the monster story’s central conceit – that it ain’t easy being green … or hungry … or blood-thirsty – and most of the genre’s finest examples manage to deliver a powerful undercurrent of sympathy for the ogre, the Frankenstein, and even the vampire. After all, they’re the original victim, you see. In fact, most of them never ‘chose’ to be that way; and now they’re forced to live a life wherein they can’t escape that singular monstrosity – life itself – and we as an audience are taken along for a thrilling ride, one which all too often ends in their ignominious defeat.
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last three paragraphs for my final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
Guillermo Del Toro’s THE STRAIN wasn’t unknown to me when it premiered on the FX Network, one of the best channels on the pay cable dial. I’d read several of the comic book collections (from Dark Horse Comics), and – while I hadn’t read any of the novels – I was familiar with the series of books that explored a vampire plague in modern day New York (as well as the greater United States). Vampire tales have always intrigued me because they fall into that happy collision where science meets fantasy, and the results hint heavily at Science Fiction in the way even Ridley Scott’s original ALIEN so strongly typifies SciFi/Horror hybrids: once bitten, you’re inevitably doomed.
In many ways, THE STRAIN’s second season was an improvement over the first, a run of thirteen hours that (necessarily) spent a lot of time setting pieces of the ‘big game’ on the board more than it did put any of them in motion. Those first thirteen hours – like the first act of a three-act play – introduced audiences to Dr. Ephraim Goodweather (the omnipresent Corey Stoll), Abraham Setrakian (the venerable David Bradley), Thomas Eichorst (Richard Sammel), and the greater cast of characters, sparing little time for the kind of ‘character beats’ which inevitably help audiences care about their individual and collective fates. Season Two amped up those moments … but more often than not the results were middling to downright frustrating at times.
Too much time was wasted on unproductive relationships. For example, the aging Eldritch Palmer was given a romance (one methinks most viewers found downright implausible if not – well – icky) with show newcomer Lizzie Brocheré as the comely Coco Marchand; the fact that Coco was young enough to be a child Eldritch’s granddaughter once babysat was a calculated creative misfire. Setrakian spent far too much time and energy obsessed with locating an ancient tome – one that promised to a key to defeating the vampires – but little explanation was offered as to what good would immediately come from it; and the pursuit of it via purchase then auction then theft felt more of a screenwriter’s creation than it did anything organic. And Goodweather’s descent into alcoholism? Well, it wasn’t handled well over its proposed arc, leaving viewers to wonder why those around him didn’t see it coming as easily as the audience did.
There are a few others, but I’d rather not beat a dead horse here, as there’s nothing more to be gained. THE STRAIN is what it is at this point, and perhaps Season Three will help right the ship, bring the characters back together in a fashion that engages those still onboard with it, and ratchet up the evil surrounding Eichort’s villainy and The Master’s deviousness. As bad guys go, the show certainly has two worth following in those two creations; saddling those seeking to rid the Earth of their scum with situations more befitting nighttime soap operas is rarely a way to endear sympathy.
In many ways, THE STRAIN’s second season was an improvement over the first, a run of thirteen hours that (necessarily) spent a lot of time setting pieces of the ‘big game’ on the board more than it did put any of them in motion. Those first thirteen hours – like the first act of a three-act play – introduced audiences to Dr. Ephraim Goodweather (the omnipresent Corey Stoll), Abraham Setrakian (the venerable David Bradley), Thomas Eichorst (Richard Sammel), and the greater cast of characters, sparing little time for the kind of ‘character beats’ which inevitably help audiences care about their individual and collective fates. Season Two amped up those moments … but more often than not the results were middling to downright frustrating at times.
Too much time was wasted on unproductive relationships. For example, the aging Eldritch Palmer was given a romance (one methinks most viewers found downright implausible if not – well – icky) with show newcomer Lizzie Brocheré as the comely Coco Marchand; the fact that Coco was young enough to be a child Eldritch’s granddaughter once babysat was a calculated creative misfire. Setrakian spent far too much time and energy obsessed with locating an ancient tome – one that promised to a key to defeating the vampires – but little explanation was offered as to what good would immediately come from it; and the pursuit of it via purchase then auction then theft felt more of a screenwriter’s creation than it did anything organic. And Goodweather’s descent into alcoholism? Well, it wasn’t handled well over its proposed arc, leaving viewers to wonder why those around him didn’t see it coming as easily as the audience did.
There are a few others, but I’d rather not beat a dead horse here, as there’s nothing more to be gained. THE STRAIN is what it is at this point, and perhaps Season Three will help right the ship, bring the characters back together in a fashion that engages those still onboard with it, and ratchet up the evil surrounding Eichort’s villainy and The Master’s deviousness. As bad guys go, the show certainly has two worth following in those two creations; saddling those seeking to rid the Earth of their scum with situations more befitting nighttime soap operas is rarely a way to endear sympathy.
Besides, aren't genre shows best when they're revelling in the central premise -- that good must triumph over evil at the expense of all other things? Try as it might, THE STRAIN will never be SCANDAL (WITH VAMPIRES) any more than it would be THREE AND ONE-HALF MEN (WITH VAMPIRES) because the conventions that go hand-in-hand with such entries just don't lend themselves to the fantastical notions that vampires and vampire hunters exist in everyday universes. Shows like this were meant to be 'out there' on the fringe a bit, and their audiences consequently can usually spot attempts to force feed conventional elements which just don't fit.
Put more simply, THE STRAIN works best when 'Good Vs. Evil' remains center stage, even when those moments are played out in the present or in flashbacks as the screenwriters have been prone to explore. Viewers will sit through exposition and character development so long as it serves the main thrust of the series, not when it gives actors and actresses acting 'meat' for meat's sake. Maybe I'm a 'stick to the issues' kinda guy, but that faithfulness always achieves results, even when they're paired with mild disappointment.
All that said, THE STRAIN is a show that I want so very much to like so very much more than I so very much do. It has a solid cast, and – even though a few characters aren’t as fleshed out as they could be – the talent makes good strides through even the most cumbersome plot developments and contrivances. There’s a part of me that honestly believes that there’s some genius potential yet untapped in the SciFi/Horror storytelling (especially on television), and THE STRAIN just might fit that bill … so long as it can leave the melodrama behind, centralize the narrative around its strongest characters, and spill blood only when necessary (not merely BECAUSE it’s expected).
Put more simply, THE STRAIN works best when 'Good Vs. Evil' remains center stage, even when those moments are played out in the present or in flashbacks as the screenwriters have been prone to explore. Viewers will sit through exposition and character development so long as it serves the main thrust of the series, not when it gives actors and actresses acting 'meat' for meat's sake. Maybe I'm a 'stick to the issues' kinda guy, but that faithfulness always achieves results, even when they're paired with mild disappointment.
All that said, THE STRAIN is a show that I want so very much to like so very much more than I so very much do. It has a solid cast, and – even though a few characters aren’t as fleshed out as they could be – the talent makes good strides through even the most cumbersome plot developments and contrivances. There’s a part of me that honestly believes that there’s some genius potential yet untapped in the SciFi/Horror storytelling (especially on television), and THE STRAIN just might fit that bill … so long as it can leave the melodrama behind, centralize the narrative around its strongest characters, and spill blood only when necessary (not merely BECAUSE it’s expected).
THE STRAIN: THE COMPLETE SECOND SEASON is produced by Mirada. DVD distribution is being handled via 20th Century Fox Home Entertainment. As for the technical specifications? Much of the time, THE STRAIN is one of the smarter productions on television, so you can expect high quality sights and sounds that go with it. Also, the effects work is pretty exceptional consistently, and that’s a hard level to maintain in weekly procedurals of this sort. Lastly, if you’re looking for special features, then the set boasts an audio commentary (“Night Train”) as well as the usual making-of, deleted scenes, and gag reels you’re bound to find with any quality effort. Nice job to all involved, and keep up the good work!
RECOMMENDED. Far from perfect, THE STRAIN still offers enough escapism to warrant being part of any genre fan’s visual diet … but let’s not kid ourselves: the melodrama only works so far as the characters appeal to us. Bring back the scientist Goodweather. Bring back the hunt for a cure while balancing it with the stand against evil. Heroes are allowed to “fall off the wagon” from time to time, but when the world’s at stake let’s everybody pull ourselves together and get the job done, no?
In the interests of fairness, I’m pleased to disclose that the fine folks at 20th Century Fox provided me with a DVD set of THE STRAIN: THE COMPLETE SECOND SEASON by request for the expressed purposes of completing this review; and their contribution to me in no way, shape, or form influenced my opinion of it.
RECOMMENDED. Far from perfect, THE STRAIN still offers enough escapism to warrant being part of any genre fan’s visual diet … but let’s not kid ourselves: the melodrama only works so far as the characters appeal to us. Bring back the scientist Goodweather. Bring back the hunt for a cure while balancing it with the stand against evil. Heroes are allowed to “fall off the wagon” from time to time, but when the world’s at stake let’s everybody pull ourselves together and get the job done, no?
In the interests of fairness, I’m pleased to disclose that the fine folks at 20th Century Fox provided me with a DVD set of THE STRAIN: THE COMPLETE SECOND SEASON by request for the expressed purposes of completing this review; and their contribution to me in no way, shape, or form influenced my opinion of it.
- Published on
One of my chief complaints about comic book adaptations in the past few years is that they've occasionally taken themselves far too seriously, and that's largely why I found so much of the CW's DC's Legends of Tomorrow so refreshing. Once again, here was a television show based on comic book material which embraced comic book sensibilities: it had fun with its characters and situations, and it did little more than try to wrap all of it up in some big finish for its inaugural season. For those of you who missed it, Season 01 streeted on DVD this week, and I strongly encourage readers here to check it out. If you're interested in purchasing a copy, you can find it up on Amazon.com right about here.
Thanks for reading, and -- as always -- live long and prosper!
Thanks for reading, and -- as always -- live long and prosper!