- Published on
Huh. Well, that looks a bit odd.
As I've always cautioned, I rarely make all that much fuss over what some marketing executives chose to highlight in their particular coming attractions. Often times, the final story ends up veering in slightly different directions than what's promised. And I've also always been a bit skeptical of mentioning the work of other filmmakers in what's supposed to be an advertisement for your own, and the earlier works of Christopher Nolan were just a bit too trippy for my tastes. (Yes, yes, yes, I know I'm in the minority.)
In any event, it kinda/sorta looks like director Rob Schroeder's P.R. time are lining him up to be the next Nolan with their spin on Ultrasound (2021), which looks set to launch in theaters and on demand this upcoming March 11th. Plot details are a bit sketchy, but here's what they've listed under their citation on the reliable IMDB.com:
"After his car breaks down, Glen spends one hell of an odd night with a married couple, setting into motion a chain of events that alter their lives plus those of several random strangers."
Interestingly enough, the project has a fairly respectable score on IMDB.com (6.6 on their 10 scale) as well as a healthy 24 critical reviews (as of today's date). I suspect the flick has enjoyed a bit of exposure on the film festival circuit; though such reviews make for pleasant reading, I've often found that they don't always represent the more 'common man' perspective as event viewings like that tend to be loaded with industry insiders looking for a bigger gig. Again, peeps, that's not intended as an insult to anyone; it's just an honest reflection of what I've seen.
Trailer will be below. Those of you interested? You know what to do.
As always, thanks for reading ... and live long and prosper!
-- EZ
As I've always cautioned, I rarely make all that much fuss over what some marketing executives chose to highlight in their particular coming attractions. Often times, the final story ends up veering in slightly different directions than what's promised. And I've also always been a bit skeptical of mentioning the work of other filmmakers in what's supposed to be an advertisement for your own, and the earlier works of Christopher Nolan were just a bit too trippy for my tastes. (Yes, yes, yes, I know I'm in the minority.)
In any event, it kinda/sorta looks like director Rob Schroeder's P.R. time are lining him up to be the next Nolan with their spin on Ultrasound (2021), which looks set to launch in theaters and on demand this upcoming March 11th. Plot details are a bit sketchy, but here's what they've listed under their citation on the reliable IMDB.com:
"After his car breaks down, Glen spends one hell of an odd night with a married couple, setting into motion a chain of events that alter their lives plus those of several random strangers."
Interestingly enough, the project has a fairly respectable score on IMDB.com (6.6 on their 10 scale) as well as a healthy 24 critical reviews (as of today's date). I suspect the flick has enjoyed a bit of exposure on the film festival circuit; though such reviews make for pleasant reading, I've often found that they don't always represent the more 'common man' perspective as event viewings like that tend to be loaded with industry insiders looking for a bigger gig. Again, peeps, that's not intended as an insult to anyone; it's just an honest reflection of what I've seen.
Trailer will be below. Those of you interested? You know what to do.
As always, thanks for reading ... and live long and prosper!
-- EZ
- Published on
PROGRAMMING NOTE
The Accursed (2021) is now available for streaming. Where can you watch it online?
According to Google.com, interested viewers can purchase The Accursed on Apple iTunes, Google Play Movies, Vudu, Amazon Video, Microsoft Store, YouTube, Redbox as download or rent it on Apple iTunes, Google Play Movies, Vudu, Amazon Video, Microsoft Store, YouTube, Redbox, DIRECTV, Spectrum On Demand online.
According to Google.com, interested viewers can purchase The Accursed on Apple iTunes, Google Play Movies, Vudu, Amazon Video, Microsoft Store, YouTube, Redbox as download or rent it on Apple iTunes, Google Play Movies, Vudu, Amazon Video, Microsoft Store, YouTube, Redbox, DIRECTV, Spectrum On Demand online.
I’ve always argued that traditional Horror films suffer from one central drawback: no matter how interested the viewers might be with the plot, its mechanics, or its performances, they’re still all patiently waiting for the next body to drop.
After all, everybody knows that’s what the main appeal of Horror has been, remains, and always will be. Films of the genre are one of the truest expressions of vicarious entertainment because … well … we can’t go out and do what the baddies are doing lest we risk being caught, charged, and incarcerated. We’re rapt in our seats waiting for the kill. We’re focused on those characters we think are next in line to suffer a cruel, cruel fate. We’re watching the sidelines trying to figure out just how and when the source of evil might strike. And we’re likely to suspend our disbelief over practically anything in order to witness some bloodshed. That’s just life in Horror, folks.
Thankfully, Horror comes in all shapes and sizes … but rarely – rarely – does it come with a legitimate family angle.
Now, I’m not talking about the Leatherface family, those relatives featured prominently in the Texas Chainsaw Massacre franchise. Those cannibals were merely hellbent on figuring out where their next meal is coming from. That’s their thing. What I’m talking about here is the family that’s dealt a curse, and – as a consequence – they’re racing against time to undo the danger wished upon them. That kind of dark magic tangled up in the bloodlines of a family tree has been tinkered with in some foreign affairs I’ve watched. U.S. flicks dabbling in similar ideas generally involve immigrants, relocated dissidents, foreign asylum seekers, and the like.
What these films have that other Horrors don’t is they explore a particular culture in ways big and small … and that’s something which could’ve been a greater asset to The Accursed (2021), a spooky family potboiler emerged from the minds of co-writers and co-directors Kathryn Michelle and Elizabeta Vidovic. Mixing up potions all of their own, they packed this low-budget chiller with some of the right ingredients but perhaps left a few untouched on the table as well. And just a bit more spice would’ve elevated this perfunctory scare to something a bit more special.
(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 few paragraphs for the final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
From the film’s IMDB.com citation:
“Hana spends twenty years suppressing a maleficent curse that was placed upon her bloodline, only to have a family member knowingly release it forcing her to kill or be killed.”
As I said above, Horror is perhaps the only genre which truly relies on perpetuating victimhood. In short: the more, the merrier! On that score, The Accursed definitely comes up a bit short as the body count never quite reaches the heights possible; and that’s largely owed to the fact that scribes Michelle and Vidovic really centered on keeping this a family affair. Divulging too many details on that front would really spoil the plot (which I won’t do), but suffice it to say that maybe when you think you’ve had it up to here with this bunch there’s one more secret to drop … so I’ll leave it at that.
What I will compliment is how well the writers kinda/sorta framed their ‘worst honeymoon ever’ in the fabric of culture.
Essentially what audiences get here are gypsies-of-a-kind. These characters come from families forced out of their birth countries and relocated to their own quiet corners (in the U.S.) where they do still engage in some of the Old-World habits. Yes, the uniformed might call this a kind of witchcraft – we eventually do learn that they are practicing something like it – and this family has been labeled as such by the world around them. It’s this added flavor that gives The Accursed its best moments (well, the ones besides its effect scares), though some of that cultural trickery unspools with not enough exposition for me to truly understand and appreciate what was happening.
But while this ethnic angle drew me in – it was the script’s singular source of magic – I couldn’t summon greater interest in much else. As a ghost story, it was all a bit too generic.
From the film’s IMDB.com citation:
“Hana spends twenty years suppressing a maleficent curse that was placed upon her bloodline, only to have a family member knowingly release it forcing her to kill or be killed.”
As I said above, Horror is perhaps the only genre which truly relies on perpetuating victimhood. In short: the more, the merrier! On that score, The Accursed definitely comes up a bit short as the body count never quite reaches the heights possible; and that’s largely owed to the fact that scribes Michelle and Vidovic really centered on keeping this a family affair. Divulging too many details on that front would really spoil the plot (which I won’t do), but suffice it to say that maybe when you think you’ve had it up to here with this bunch there’s one more secret to drop … so I’ll leave it at that.
What I will compliment is how well the writers kinda/sorta framed their ‘worst honeymoon ever’ in the fabric of culture.
Essentially what audiences get here are gypsies-of-a-kind. These characters come from families forced out of their birth countries and relocated to their own quiet corners (in the U.S.) where they do still engage in some of the Old-World habits. Yes, the uniformed might call this a kind of witchcraft – we eventually do learn that they are practicing something like it – and this family has been labeled as such by the world around them. It’s this added flavor that gives The Accursed its best moments (well, the ones besides its effect scares), though some of that cultural trickery unspools with not enough exposition for me to truly understand and appreciate what was happening.
But while this ethnic angle drew me in – it was the script’s singular source of magic – I couldn’t summon greater interest in much else. As a ghost story, it was all a bit too generic.
The frights – while a few of them are quite effective – ended up being a bit predictable, and that’s never a good thing for any Horror property. Scares need be constructed to deliver maximum effect; otherwise – as I’ve tried to be perfectly clear – storytellers run the risk of disenfranchising the very reason why the viewers showed up in the first place. Ratcheting up a sense of dread is all well and good (the co-directors make great use of their camera and location), but a subpar delivery of frights will likely have your audience losing interest. Winning them back in this type of thriller – one relying on ethnicity – is damn near impossible, especially when they’ve grown tired of waiting for the ax to swing.
All of those objections aside, The Accursed certainly brought together a cast capable of delivering the goods (or, at least, what the script provided). The luminous Yancy Butler has long been a favorite of mine; though her career may not be as storied as others, she brings a great center to this whole affair as the failed sinner whose greatest secret threatens to unravel a bloodline. The reliable Goran Visnjic could’ve had a bit more to do here; he spends the first half of the picture brooding (it becomes understandable when you know the details), and then I felt like he spent too much of the second half running here and there at Butler’s commands. I’ve loved Melora Walters since her time on HBO’s Big Love; but most of what she does here felt a bit of an overreach in theatrics. It’s almost like she’s seen her future, knows she’s destined to fail, and spends her screen time angry; a bit of nuance might’ve served everyone’s goals here better.
Are there a few relative newcomers worthy of mention? There sure are!
Maiara Walsh does a great turn here as ‘Zara,’ a young sprite who’s trying to use her cultural talents for good in the community beyond. She taps a great energy, filling her scenes with a welcome youthful vitality when everyone else is trending dour. George Harrison Xanthis – as ‘Petar’ – balances his family issues against trying to fit into the world outside, and the script gives him some nice small moments to make all of his struggles seem real. His dark turn in the second half helps elevate the tragic circumstances everyone was secretly fighting to avoid. The pretty Izabela Vidovic handles much of what the scripts asks of her fairly well. Alas, there’s a nebulousness to her character’s motivation in the film’s second half that doesn’t quite reconcile easily with what we’re told earlier, so perhaps one more draft on the script could’ve iron things out a bit more evenly.
In the end, The Accursed proves – without reservation – that some families are more of a curse than they’re worth.
All of those objections aside, The Accursed certainly brought together a cast capable of delivering the goods (or, at least, what the script provided). The luminous Yancy Butler has long been a favorite of mine; though her career may not be as storied as others, she brings a great center to this whole affair as the failed sinner whose greatest secret threatens to unravel a bloodline. The reliable Goran Visnjic could’ve had a bit more to do here; he spends the first half of the picture brooding (it becomes understandable when you know the details), and then I felt like he spent too much of the second half running here and there at Butler’s commands. I’ve loved Melora Walters since her time on HBO’s Big Love; but most of what she does here felt a bit of an overreach in theatrics. It’s almost like she’s seen her future, knows she’s destined to fail, and spends her screen time angry; a bit of nuance might’ve served everyone’s goals here better.
Are there a few relative newcomers worthy of mention? There sure are!
Maiara Walsh does a great turn here as ‘Zara,’ a young sprite who’s trying to use her cultural talents for good in the community beyond. She taps a great energy, filling her scenes with a welcome youthful vitality when everyone else is trending dour. George Harrison Xanthis – as ‘Petar’ – balances his family issues against trying to fit into the world outside, and the script gives him some nice small moments to make all of his struggles seem real. His dark turn in the second half helps elevate the tragic circumstances everyone was secretly fighting to avoid. The pretty Izabela Vidovic handles much of what the scripts asks of her fairly well. Alas, there’s a nebulousness to her character’s motivation in the film’s second half that doesn’t quite reconcile easily with what we’re told earlier, so perhaps one more draft on the script could’ve iron things out a bit more evenly.
In the end, The Accursed proves – without reservation – that some families are more of a curse than they’re worth.
The Accursed (2021) is produced by Almost Normal Productions, Blue Jean Baby Productions, RMR Productions, and Compound B. Presently the film is available on a variety of streaming platforms including Apple, iTunes, Amazon, YouTube, and several more. As for the technical specifications? The film looks and sounds very solid – there were a few instances wherein someone was visibly speaking on camera but there was no line, so I’m thinking something may’ve been removed and/or edited in post. Special effects are mostly good, though as can happen from time-to-time with CGI some of the sequences are a bit too obvious. Overall, it wasn’t a distraction.
Recommended. As this is clearly a smaller, indie-style Horror release, I’m suspecting The Accursed might be cursed to find a wider audience. Within the broader category of Horror, it really fits more into the subset of witches and/or witchcraft; given that I believe it invokes a specific heritage, it might even be suggested as a ‘cultural Horror film,’ an even more narrow subset of films. Performances are good – a few are a bit over-the-top – but the entire project could’ve used a more thorough set-up and maybe even some further discussion of the family’s heritage. That could’ve bolstered some of the slower sequences wherein audiences are waiting for the next body to drop.
In the interests of fairness, I’m pleased to disclose that the fine folks at Almost Normal Productions provided me with a complimentary streaming link for The Accursed (2021) 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.
-- EZ
Recommended. As this is clearly a smaller, indie-style Horror release, I’m suspecting The Accursed might be cursed to find a wider audience. Within the broader category of Horror, it really fits more into the subset of witches and/or witchcraft; given that I believe it invokes a specific heritage, it might even be suggested as a ‘cultural Horror film,’ an even more narrow subset of films. Performances are good – a few are a bit over-the-top – but the entire project could’ve used a more thorough set-up and maybe even some further discussion of the family’s heritage. That could’ve bolstered some of the slower sequences wherein audiences are waiting for the next body to drop.
In the interests of fairness, I’m pleased to disclose that the fine folks at Almost Normal Productions provided me with a complimentary streaming link for The Accursed (2021) 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.
-- EZ
- Published on
Huh.
Did you ever wonder, by chance, what the Steven Spielberg SciFi Classic E.T. - The Extraterrestrial would've been like had it been directed by, say, Roger Corman? Likely, the little space critter would've been a bit hungrier -- and maybe even a bit more sensual -- and he'd say a bit more around the house than "phone home." He probably would've devoured little Gertie, tried to do the nasty with Elliot's mom, and we'd definitely seen a lot more of Dee Wallace, maybe even a nip slip here and there.
Well, if you ever had that singular thought (I doubt many of you did), then maybe this little something something called The Seed might be more your speed. Written and directed by Sam Walker (I believe this may be his big screen debut), the SciFi/Horror film screened in 2021 for audiences in attendance of the Beyond Fest. There are a few reviews from that screening available on the Information Superhighway (for those interested in knowing a bit more), but I wouldn't make too much of those rundowns as it's clearly a fairly small sample.
Here's the plot summary as provided by IMDB.com:
"What starts out as girls weekend away in the Mojave desert becomes a tale of horror, death and alien invasion."
It would appear that this one is screening exclusively on Shudder in March (I'm copying and pasting the press materials below after the trailer), so it's going to be a bit difficult to get a look at it if you're interested. Hopefully it'll expand to other platforms thereafter so that the rest of us can take a look into it as it does appear to pose some interesting scenery for those of us who like that sort of thing.
As always, thanks for reading ... and live long and prosper!
-- EZ
Did you ever wonder, by chance, what the Steven Spielberg SciFi Classic E.T. - The Extraterrestrial would've been like had it been directed by, say, Roger Corman? Likely, the little space critter would've been a bit hungrier -- and maybe even a bit more sensual -- and he'd say a bit more around the house than "phone home." He probably would've devoured little Gertie, tried to do the nasty with Elliot's mom, and we'd definitely seen a lot more of Dee Wallace, maybe even a nip slip here and there.
Well, if you ever had that singular thought (I doubt many of you did), then maybe this little something something called The Seed might be more your speed. Written and directed by Sam Walker (I believe this may be his big screen debut), the SciFi/Horror film screened in 2021 for audiences in attendance of the Beyond Fest. There are a few reviews from that screening available on the Information Superhighway (for those interested in knowing a bit more), but I wouldn't make too much of those rundowns as it's clearly a fairly small sample.
Here's the plot summary as provided by IMDB.com:
"What starts out as girls weekend away in the Mojave desert becomes a tale of horror, death and alien invasion."
It would appear that this one is screening exclusively on Shudder in March (I'm copying and pasting the press materials below after the trailer), so it's going to be a bit difficult to get a look at it if you're interested. Hopefully it'll expand to other platforms thereafter so that the rest of us can take a look into it as it does appear to pose some interesting scenery for those of us who like that sort of thing.
As always, thanks for reading ... and live long and prosper!
-- EZ
Shudder, AMC Networks’ premium streaming service for horror, thrillers and the supernatural, unveils today the new trailer and poster for the Shudder Original sci-fi/horror comedy The Seed, which will debut exclusively on Thursday, March 10. The film marks the feature debut for British writer/director Sam Walker.
The Seed is produced by Shudder, Camelot Films and Hardman Pictures, in association with Lipsync Productions, AMP International, The Malta Film Commission and Ingenious Media. The film is written and directed by Sam Walker (Duck Children), while Matt Hookings, Chris Hardman and James Norrie serve as producers.
The Seed is produced by Shudder, Camelot Films and Hardman Pictures, in association with Lipsync Productions, AMP International, The Malta Film Commission and Ingenious Media. The film is written and directed by Sam Walker (Duck Children), while Matt Hookings, Chris Hardman and James Norrie serve as producers.
- Published on
Rod Serling’s The Twilight Zone certainly made the small screen’s best use of the whole fantastical, magical endings.
Running for five years on network television, the Zone played host to any number of great performances, and every one of them were trapped smack in the middle of the great ‘what if’ story. What if man went to another planet only to find he wasn’t alone? What if there’s a way to change history without travelling through time? What if you can return from the afterlife but only to serve one certain purpose? These were the yarns that captivated audiences when they originally aired, and the show continues to delight audiences who rediscover it from time-to-time either in syndicated airings or on home video. It’s even had a reinvention or two for posterity’s sake, and I suspect we’ll likely see another one in the years ahead. The stories are just that timeless that they lend themselves to remakes and reboots.
Well … what if I told you that The Twilight Zone wasn’t the first property to explore the whole idea of what if? What if an earlier motion picture – one called cleverly Repeat Performance – toyed with the idea more than a decade before?
That brings us to today’s exploration of a recently explored cinematic gem: Alfred L. Werker’s directs this black-and-white potboiler that’s probably a bit more melodrama than it needed to be. The film boasts a great central performance from the late Joan Leslie as well as a solid supporting one from the late Richard Basehart. While it may not be an entirely perfect theatrical affair, it certainly explores a few behind-the-scenes affairs but rendering this dark tale under the rubric of Fantasy might require audiences to suspend a bit more disbelief than was probably intended.
You be the judge.
Running for five years on network television, the Zone played host to any number of great performances, and every one of them were trapped smack in the middle of the great ‘what if’ story. What if man went to another planet only to find he wasn’t alone? What if there’s a way to change history without travelling through time? What if you can return from the afterlife but only to serve one certain purpose? These were the yarns that captivated audiences when they originally aired, and the show continues to delight audiences who rediscover it from time-to-time either in syndicated airings or on home video. It’s even had a reinvention or two for posterity’s sake, and I suspect we’ll likely see another one in the years ahead. The stories are just that timeless that they lend themselves to remakes and reboots.
Well … what if I told you that The Twilight Zone wasn’t the first property to explore the whole idea of what if? What if an earlier motion picture – one called cleverly Repeat Performance – toyed with the idea more than a decade before?
That brings us to today’s exploration of a recently explored cinematic gem: Alfred L. Werker’s directs this black-and-white potboiler that’s probably a bit more melodrama than it needed to be. The film boasts a great central performance from the late Joan Leslie as well as a solid supporting one from the late Richard Basehart. While it may not be an entirely perfect theatrical affair, it certainly explores a few behind-the-scenes affairs but rendering this dark tale under the rubric of Fantasy might require audiences to suspend a bit more disbelief than was probably intended.
You be the judge.
(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 few paragraphs for the final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
From the product packaging:
“An amazingly original hybrid of film noir, supernatural fantasy, and backstage melodrama, Repeat Performance stars Joan Leslie as a Broadway actress who magically relives the previous year of her life, but can she alter the fateful mistakes and misjudgments that led to a New Year’s Eve tragedy?”
Which of us hasn’t wanted a do-over?
That central idea is essentially most of what this Repeat Performance is all about: Sheila Page (played by Joan Leslie) ends her year in the worst way possible – shooting dead her philandering husband in their posh apartment on New Year’s Eve. (FYI: we’re not given a lot of specifics on this event, but we do learn a few specifics as the story unfolds, so be patient.) Realizing this’ll likely be the end to her very own life, she makes a wish and voila! The universe magically responds! In the blink of an eye, she’s transported back in time twelve months with the opportunity to do it all over again and maybe – maybe – just get things right this time.
Therein lies the rub, as anyone can imagine: are the events of our life fated, or can we truly institute lasting changes and achieve some more storied existence?
As this story evolves, it becomes increasingly clear that perhaps Page isn’t as powerful a figure in her own universe as the set-up implies, nor does she appear to be a person of particularly good judgment. So far as this reviewer is concerned, she’s made a series of – ahem – truly bad choices in her life, including falling in love with and marrying Barney Page, a failed screenwriter turned alcoholic who can’t keep his eyes or his hands to himself. Why she would want to save this relationship never quite gets explained nor explored in the script from Walter Bullock (adapted from a novel by William O’Farrell); there are never any moments of true love shared between the husband and wife, though the man occasionally flirts with his significant other when not carousing with her friends.
From the product packaging:
“An amazingly original hybrid of film noir, supernatural fantasy, and backstage melodrama, Repeat Performance stars Joan Leslie as a Broadway actress who magically relives the previous year of her life, but can she alter the fateful mistakes and misjudgments that led to a New Year’s Eve tragedy?”
Which of us hasn’t wanted a do-over?
That central idea is essentially most of what this Repeat Performance is all about: Sheila Page (played by Joan Leslie) ends her year in the worst way possible – shooting dead her philandering husband in their posh apartment on New Year’s Eve. (FYI: we’re not given a lot of specifics on this event, but we do learn a few specifics as the story unfolds, so be patient.) Realizing this’ll likely be the end to her very own life, she makes a wish and voila! The universe magically responds! In the blink of an eye, she’s transported back in time twelve months with the opportunity to do it all over again and maybe – maybe – just get things right this time.
Therein lies the rub, as anyone can imagine: are the events of our life fated, or can we truly institute lasting changes and achieve some more storied existence?
As this story evolves, it becomes increasingly clear that perhaps Page isn’t as powerful a figure in her own universe as the set-up implies, nor does she appear to be a person of particularly good judgment. So far as this reviewer is concerned, she’s made a series of – ahem – truly bad choices in her life, including falling in love with and marrying Barney Page, a failed screenwriter turned alcoholic who can’t keep his eyes or his hands to himself. Why she would want to save this relationship never quite gets explained nor explored in the script from Walter Bullock (adapted from a novel by William O’Farrell); there are never any moments of true love shared between the husband and wife, though the man occasionally flirts with his significant other when not carousing with her friends.
However, the construct of melodrama is that we, the audience, are provided characters a bit larger than life so that we can study and perhaps learn from their respective predicaments. On that level, I suppose Sheila may not be all that different from the average Broadway actress; though I’ve no way to know for certain, I have followed enough trade publications to know that marriages for creatives can be hit or miss (probably more misses than hits). Whatever the case, it’s very clear that these two people were on separate career trajectories, so much so that Barney’s death may’ve been his only release from the self-inflicted torture he shacked himself with.
Still, the remainder of Repeat Performance’s players don’t offer much hope for decent folk, either.
Paula Costello (Virginia Field) plays another self-centered playwright, one who isn’t above stealing another’s husband, casting him out when she’s finished with him, and misdirecting him with murderous intent back to the little lady waiting at home. Bess Michaels (Benay Venuta) steals every scene she’s in but can’t bring herself to lacing her observations with insulting barbs directed at everyone but herself. And Eloise Shaw (Natalie Schafer) throws away her untold millions by financing the various creatives she hopes will give her the attention her ego so desperately craves, even at the cost of destroying a man or two. Yes, this is a dark, noirish world audiences are shown … and yet somehow we’re encouraged to care for one of them? Sheila?
Because all of this is Fantasy, it might be easy to dismiss such an increasing display of inhumanity (or, at least, incivility amongst the talented and powerful), but I thought the juxtaposition of noir and goodness (i.e. Barney versus Sheila) a bit hard to swallow.
While the players do make the most of the experience, I just couldn’t accept Leslie’s ‘jilted wife’ as being so damn naïve. She spent a year getting to the point of realizing she had to defend herself against Barney (to the death), so why would she think a do-over could possibly fix anything? The man never appears worth saving in the first place! Had we been given, say, a different reason that she shot him in the original timeline, then perhaps we might have achieved a greater appreciation of her murderous intent? Sadly, the way this is scripted there’s just no way to know. When Sheila finally raises her hand to defend her honor from the conniving Costello with a firm slap across the face, I was ready to cheer … not so much because it was good to see the character stand up for itself but entirely because there was a moment that actually made narrative sense.
If actors are this self-absorbed that they can’t see evil when it’s staring them in the face, then let’s just all be glad we’re not all actors.
Still, the remainder of Repeat Performance’s players don’t offer much hope for decent folk, either.
Paula Costello (Virginia Field) plays another self-centered playwright, one who isn’t above stealing another’s husband, casting him out when she’s finished with him, and misdirecting him with murderous intent back to the little lady waiting at home. Bess Michaels (Benay Venuta) steals every scene she’s in but can’t bring herself to lacing her observations with insulting barbs directed at everyone but herself. And Eloise Shaw (Natalie Schafer) throws away her untold millions by financing the various creatives she hopes will give her the attention her ego so desperately craves, even at the cost of destroying a man or two. Yes, this is a dark, noirish world audiences are shown … and yet somehow we’re encouraged to care for one of them? Sheila?
Because all of this is Fantasy, it might be easy to dismiss such an increasing display of inhumanity (or, at least, incivility amongst the talented and powerful), but I thought the juxtaposition of noir and goodness (i.e. Barney versus Sheila) a bit hard to swallow.
While the players do make the most of the experience, I just couldn’t accept Leslie’s ‘jilted wife’ as being so damn naïve. She spent a year getting to the point of realizing she had to defend herself against Barney (to the death), so why would she think a do-over could possibly fix anything? The man never appears worth saving in the first place! Had we been given, say, a different reason that she shot him in the original timeline, then perhaps we might have achieved a greater appreciation of her murderous intent? Sadly, the way this is scripted there’s just no way to know. When Sheila finally raises her hand to defend her honor from the conniving Costello with a firm slap across the face, I was ready to cheer … not so much because it was good to see the character stand up for itself but entirely because there was a moment that actually made narrative sense.
If actors are this self-absorbed that they can’t see evil when it’s staring them in the face, then let’s just all be glad we’re not all actors.
Repeat Performance (1947) was produced by Bryan Foy Productions. DVD distribution (for this particular release) is being coordinated by Flicker Alley. As for the technical specifications? Wow. This release looks and sounds spectacular in this restoration sponsored by the Film Noir Foundation. As for the special features? It’s a solid collection, listed as follow:
Recommended. As older films go, Repeat Performance (1947) may not have the rewatch potential of other classics, but it does boast some solid talent, the requisite period melodrama, and an interesting premise … though audiences have seen these cinematic ‘do-overs’ quite a bit. Think It’s A Wonderful Life done with murders, and you get the idea. Star Joan Leslie does a great job carrying her weight, and Richard Basehart makes the most of his smaller role as her confidante and best friend.
In the interests of fairness, I’m pleased to disclose that the fine folks at Flicker Alley provided me with a complimentary Blu-ray of Repeat Performance 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.
-- EZ
- Introduction by Eddie Muller – The noir historian only appears briefly. He’s great to listen to, and I wish he’d appeared in more supplements on this disc.
- Profile of Joan Leslie – It’s a short documentary-style piece, really more fluff than anything else. It’s narrated by author and historian Farran Smith Nehme.
- “Eagle-Lion: A Noir-Stained Legacy” – This 30-minute documentary detailing the short but solid history of the Eagle-Lion film production company is (honestly) the best thing in here. It’s narrated by historian Alan K. Rode, and the big plus is that he cites some other films worth looking into. Fabulous job.
- Audio Commentary – Film historian Nora Fiore provides what’s more of a conversational track, occasionally distracting from the flick as she delves into an awful lot of ancillary material as well as her own light comic observations about the performances. As commentaries go, I found it above average but not by a lot.
- Promotional Pressbook – The motion picture’s press materials for its original release are recreated digitally. It’s an interesting item to view.
- Souvenir Booklet – This is another big plus for fans who like this sort of thing: the package’s interior booklet contains an essay that deals a bit more with the screenplay’s source material (it’s based on a 1942 novel by William O’Farrell) more than it does the film, highlighting the differences between the two and providing some commentary regarding the changes. The booklet also contains some photos as well as reproductions of its lobby cards and posters. A nice touch.
Recommended. As older films go, Repeat Performance (1947) may not have the rewatch potential of other classics, but it does boast some solid talent, the requisite period melodrama, and an interesting premise … though audiences have seen these cinematic ‘do-overs’ quite a bit. Think It’s A Wonderful Life done with murders, and you get the idea. Star Joan Leslie does a great job carrying her weight, and Richard Basehart makes the most of his smaller role as her confidante and best friend.
In the interests of fairness, I’m pleased to disclose that the fine folks at Flicker Alley provided me with a complimentary Blu-ray of Repeat Performance 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.
-- EZ
- Published on
Sigh. Some folks just don't understand English.
Ahem.
When I say openly as I have so many times on SciFiHistory.Net that I'm just not a Marvel guy, that doesn't mean I wish the Mouse House or Marvel Entertainment or any of their projects to languish or never be seen. I've always said much to the contrary, in fact: I wish every genre project could do as well as Marvel's that way we'd only be getting more, more, and more. Walt Disney and Marvel have the money to put some serious energy in to their films and series; and while I'm not convinced that'll always be the case -- nor do I think it's been great for the overall film industry -- I'd never wish failure on anyone, anything, or any franchise.
Just because it ain't for me doesn't mean I hate it. I hate nothing ... except having to show up in the space each time a Marvel film reaches a benchmark so that I can give it suitable props.
In that regard, CONGRATULATIONS to Spider-Man: No Way Home (2021) for dethroning James Cameron's Avatar at the top of the box office list. Think what any of us will about any film: you have to have serious magic at your command to do that, and it's no small feat for a franchise film to sling webs at the stars.
Kids, money isn't everything ... but it speaks every possible language in corners controlled by Hollywood. Look for more Spidey films in the years ahead as his future is most decidedly bright.
As always, thanks for reading ... and live long and prosper!
-- EZ
Ahem.
When I say openly as I have so many times on SciFiHistory.Net that I'm just not a Marvel guy, that doesn't mean I wish the Mouse House or Marvel Entertainment or any of their projects to languish or never be seen. I've always said much to the contrary, in fact: I wish every genre project could do as well as Marvel's that way we'd only be getting more, more, and more. Walt Disney and Marvel have the money to put some serious energy in to their films and series; and while I'm not convinced that'll always be the case -- nor do I think it's been great for the overall film industry -- I'd never wish failure on anyone, anything, or any franchise.
Just because it ain't for me doesn't mean I hate it. I hate nothing ... except having to show up in the space each time a Marvel film reaches a benchmark so that I can give it suitable props.
In that regard, CONGRATULATIONS to Spider-Man: No Way Home (2021) for dethroning James Cameron's Avatar at the top of the box office list. Think what any of us will about any film: you have to have serious magic at your command to do that, and it's no small feat for a franchise film to sling webs at the stars.
Kids, money isn't everything ... but it speaks every possible language in corners controlled by Hollywood. Look for more Spidey films in the years ahead as his future is most decidedly bright.
As always, thanks for reading ... and live long and prosper!
-- EZ
- Published on
Many moons ago, I was approached by someone who offered to write movie news for SciFiHistory.Net.
We went back and forth over several emails regarding what it was this person actually wanted to write. 'Movie news' is a pretty vague premise, so I wanted to pick his mind about what exactly he was defining as legitimately newsworthy. Was it forthcoming releases? Was it combining reviews about major pictures and creating his own column? Was this actor and actress bios? Was this box office performance? As you can guess, there are a lot of blurbs that could be considered part and parcel of 'movie news,' so I was seeking a bit of direction.
Well, what it boiled down to was he wanted to kinda/sorta create his own space regarding projects in development; and I think that's a noble goal. At the time, I stated that it just wasn't something I was all that interested in for one single reason: there are an awful lot of projects that start and stop in the Hollywood movie mill. All one need do is research the number of times, say, John Carpenter's Escape From New York (1981) has been thrown around for rebooting. I know of, at least, three times in the past thirty years, and none of them have ever seen the light of day. So while I have no qualms with the reportage involving said projects, I'm more inclined to cover them once I know that they're actually late in production and heading into post. That way, I'm hedging my bets that it's something we're all going to eventually see and respond to, instead of committing space around here to things that ... well ... simply vanish.
Things are a bit different now. As SciFiHistory.Net has grown over the past decade (or so), I've stretched my wings a bit and now I risk reporting some of what looks to be on the cusp of becoming a real thing.
In this spirit, I noticed in an article over on The Wrap that 'Black Adam' screenwriter Adam Sztykiel has been tapped to bring a version of -- ahem -- DC Comics' Wonder Twins to life for HBO Max.
Why share this?
In all honesty, are the Wonder Twins really that popular in the DC pantheon of characters that they warrant to TV show before some of the others? It just seems like a bizarre choice in my mind. As best I know, they weren't even created in the books: I believe they were first seen aboard the Hanna-Barbera show The All-New Super Friends Hour ... so aren't they a weird choice? In fact, I jumped over to Wikipedia.org just to check if they had been in print (looks like they have), but ... do they really have that large a fan base to justify giving them their own show?
Meh. What do I know? Stranger things have happened, I guess.
Just thought I'd sound off as I'm still waiting for that live action Green Lantern show that would totally kill.
As always, thanks for reading ... and live long and prosper!
-- EZ
We went back and forth over several emails regarding what it was this person actually wanted to write. 'Movie news' is a pretty vague premise, so I wanted to pick his mind about what exactly he was defining as legitimately newsworthy. Was it forthcoming releases? Was it combining reviews about major pictures and creating his own column? Was this actor and actress bios? Was this box office performance? As you can guess, there are a lot of blurbs that could be considered part and parcel of 'movie news,' so I was seeking a bit of direction.
Well, what it boiled down to was he wanted to kinda/sorta create his own space regarding projects in development; and I think that's a noble goal. At the time, I stated that it just wasn't something I was all that interested in for one single reason: there are an awful lot of projects that start and stop in the Hollywood movie mill. All one need do is research the number of times, say, John Carpenter's Escape From New York (1981) has been thrown around for rebooting. I know of, at least, three times in the past thirty years, and none of them have ever seen the light of day. So while I have no qualms with the reportage involving said projects, I'm more inclined to cover them once I know that they're actually late in production and heading into post. That way, I'm hedging my bets that it's something we're all going to eventually see and respond to, instead of committing space around here to things that ... well ... simply vanish.
Things are a bit different now. As SciFiHistory.Net has grown over the past decade (or so), I've stretched my wings a bit and now I risk reporting some of what looks to be on the cusp of becoming a real thing.
In this spirit, I noticed in an article over on The Wrap that 'Black Adam' screenwriter Adam Sztykiel has been tapped to bring a version of -- ahem -- DC Comics' Wonder Twins to life for HBO Max.
Why share this?
In all honesty, are the Wonder Twins really that popular in the DC pantheon of characters that they warrant to TV show before some of the others? It just seems like a bizarre choice in my mind. As best I know, they weren't even created in the books: I believe they were first seen aboard the Hanna-Barbera show The All-New Super Friends Hour ... so aren't they a weird choice? In fact, I jumped over to Wikipedia.org just to check if they had been in print (looks like they have), but ... do they really have that large a fan base to justify giving them their own show?
Meh. What do I know? Stranger things have happened, I guess.
Just thought I'd sound off as I'm still waiting for that live action Green Lantern show that would totally kill.
As always, thanks for reading ... and live long and prosper!
-- EZ
- Published on
That gloriously depraved bit of 1980's animation -- Heavy Metal -- is getting a makeover.
Sony Pictures has announced that they're going back into that well for not one updating but they'll also be giving its curious sequel, Heavy Metal 2000, a restoration. While the original promises to be a 4K workout, the specs on its follow-up are unclear. (My guess would be that it's likely just a relative clean-up for paired distribution as a 'franchise.')
For all of its merits and drawbacks, I've always thought that Heavy Metal was a product of its time. The animation wasn't groundbreaking in any respect -- it was, in most places, just above Saturday morning fare of the era -- but pairing its stories up as more adult programming certainly brought out fans wanting something a bit different. I do recall loving the voice work -- Eugene Levy, Joe Flaherty, and John Candy were SCTV staples of my youth, and I love much of what they did -- and I guess that's something worth mentioning in any retrospective about the finished product.
Also, I'd be remiss if I failed to mention the feature has one of the better soundtracks of its day in the sun. Some of the stuff is a bit forgettable, but I've always Don Felder's 'Heavy Metal' over Sammy Hagar's. Just my two cents.
Here are the specifics (below) regarding the package that'll hit stores on April 19th. Or -- if you're so inclined -- head on over to Amazon.com and pre-order your copy today.
As always, thanks for reading ... and live long and prosper!
-- EZ
Sony Pictures has announced that they're going back into that well for not one updating but they'll also be giving its curious sequel, Heavy Metal 2000, a restoration. While the original promises to be a 4K workout, the specs on its follow-up are unclear. (My guess would be that it's likely just a relative clean-up for paired distribution as a 'franchise.')
For all of its merits and drawbacks, I've always thought that Heavy Metal was a product of its time. The animation wasn't groundbreaking in any respect -- it was, in most places, just above Saturday morning fare of the era -- but pairing its stories up as more adult programming certainly brought out fans wanting something a bit different. I do recall loving the voice work -- Eugene Levy, Joe Flaherty, and John Candy were SCTV staples of my youth, and I love much of what they did -- and I guess that's something worth mentioning in any retrospective about the finished product.
Also, I'd be remiss if I failed to mention the feature has one of the better soundtracks of its day in the sun. Some of the stuff is a bit forgettable, but I've always Don Felder's 'Heavy Metal' over Sammy Hagar's. Just my two cents.
Here are the specifics (below) regarding the package that'll hit stores on April 19th. Or -- if you're so inclined -- head on over to Amazon.com and pre-order your copy today.
As always, thanks for reading ... and live long and prosper!
-- EZ
Studio description: Based on the fantastical illustrated magazine HEAVY METAL, producer Ivan Reitman enlists the help of some of Hollywood's animation masters to create the otherworldly tale of a glowing green orb from outer space that spreads destruction throughout the galaxy. Only when encountered by its one true enemy, to whom it is inexplicably drawn, will goodness prevail throughout the universe. Richly and lavishly drawn, the vignettes of the orb's dark victories include the character voices of John Candy, Harold Ramis and a pounding soundtrack by Black Sabbath, Blue Oyster Cult, Cheap Trick, Devo, Donald Fagen, Don Felder, Grand Funk Railroad, Sammy Hagar, Journey, Nazareth, Stevie Nicks, Riggs, and Trust. Highly imaginative and full of surprising special effects, HEAVY METAL set the standard for alternative contemporary animation. An intoxicating experience not to be missed!
Special Features and Technical Specs:
DISC ONE: 4K BLU-RAY
Special Features and Technical Specs:
DISC ONE: 4K BLU-RAY
- BRAND NEW 4K RESTORATION OF THE FILM APPROVED BY PRODUCER IVAN REITMAN
- BRAND NEW DOLBY ATMOS AUDIO TRACK - a brand-new immersive experience utilizing enhanced sound effects and much more, supervised by producer Ivan Reitman
- Also includes the 2022 mix in 5.1, and the original 1981 theatrical Dolby Stereo audio
- NEW: Heavy Metal: A Look Back – an all-new retrospective featuring reflections from producer Ivan Reitman, famous fans Kevin Smith, Norman Reedus, and more!
- Feature presented in High Definition with 5.1 audio
- Original Feature-Length Rough Cut with Optional Commentary by Carl Macek
- Imagining Heavy Metal Documentary
- Deleted Scene
- Alternate Framing Story with Commentary
- BRAND NEW RESTORATION OF HEAVY METAL 2000 with 5.1 audio
- Julie Strain: Super Goddess
- Voice Talent
- Animation Tests
- Animatic Comparisons
- Published on
Longtime readers of SciFiHistory.Net will know that I'm always warning about how difficult it is to effectively combine the genres of Science Fiction and Fantasy along with Comedy.
Don't get me wrong: I appreciate every attempt (well, for the most part I do). My point has always been that humor is a difficult concept, that what's funny varies widely from person-to-person, and that sometimes jokes fall flat as audiences are already psychologically working a 'suspension of disbelief' in order to accept whatever premise the genre project deals with. I'd almost suggest that it's easier to leave the comedy aside and focus on what remains.
But, thankfully, some directors truly have a handle on the two themes working in unison; and I think Ivan Reitman was one of the greats. He was able to martial the talents of Dan Aykroyd, Harold Ramis, Ernie Hudson, and Bill Murray to bring not one but two Ghostbusters projects to cinematic life (sorry, folks, but I gotta be honest and admit that I hated the second one), setting that veritable franchise on the path to greatness that its worldwide fans always knew it could achieve.
Perhaps some of the man's ease at combining material with humor is owed to the fact that he worked with Murray previously on two comic gems: Meatballs (1979) and Stripes (1981) were definitely crowd-pleasing films, so having those trips to the silver screen in one's tool bag certainly put the man in good stead. I can't tell you the number of times I've watched both of those -- especially back in the day -- and they're brilliant comedies.
Still, Reitman's contributions to Science Fiction and Fantasy don't stop there.
As a producer, he helped no less than Horror master David Cronenberg bring his Shivers (1975) to chilling fruition. The two followed that curious project up with another, Rabid, in 1977. In 1981, he produced Heavy Metal, the big screen anthology-style adaptation of the popular comic book of the age, one that combined stories of Horror, SciFi, and Fantasy for audiences hungry for that kind of thing. In 1983, he turned his eyes toward getting Spacehunter: Adventures In The Forbidden Zone in front of audiences; and those of us who discovered the flick's B-Movie charm still love the tale today.
Last -- but certainly not least -- I think it bears mentioning that he joined forces with his son, Jason Reitman, to bring one of 2021's best silver screen surprises to life with Ghostbusters: Afterlife. The film -- unlike his previous work on the failed 2016 reboot -- returned the franchise to the place it always should've been. Fans of the franchise owe the man a debt of gratitude that will never be repaid. What a way to go out on an illustrious career.
Alas, none of us lasts forever; and word reached me this morning of his passing. Thoughts and prayers go out to the family and friends of Ivan Reitman. May they find a bit of peace knowing what great joy he brought to so many with his time on Earth.
-- EZ
Don't get me wrong: I appreciate every attempt (well, for the most part I do). My point has always been that humor is a difficult concept, that what's funny varies widely from person-to-person, and that sometimes jokes fall flat as audiences are already psychologically working a 'suspension of disbelief' in order to accept whatever premise the genre project deals with. I'd almost suggest that it's easier to leave the comedy aside and focus on what remains.
But, thankfully, some directors truly have a handle on the two themes working in unison; and I think Ivan Reitman was one of the greats. He was able to martial the talents of Dan Aykroyd, Harold Ramis, Ernie Hudson, and Bill Murray to bring not one but two Ghostbusters projects to cinematic life (sorry, folks, but I gotta be honest and admit that I hated the second one), setting that veritable franchise on the path to greatness that its worldwide fans always knew it could achieve.
Perhaps some of the man's ease at combining material with humor is owed to the fact that he worked with Murray previously on two comic gems: Meatballs (1979) and Stripes (1981) were definitely crowd-pleasing films, so having those trips to the silver screen in one's tool bag certainly put the man in good stead. I can't tell you the number of times I've watched both of those -- especially back in the day -- and they're brilliant comedies.
Still, Reitman's contributions to Science Fiction and Fantasy don't stop there.
As a producer, he helped no less than Horror master David Cronenberg bring his Shivers (1975) to chilling fruition. The two followed that curious project up with another, Rabid, in 1977. In 1981, he produced Heavy Metal, the big screen anthology-style adaptation of the popular comic book of the age, one that combined stories of Horror, SciFi, and Fantasy for audiences hungry for that kind of thing. In 1983, he turned his eyes toward getting Spacehunter: Adventures In The Forbidden Zone in front of audiences; and those of us who discovered the flick's B-Movie charm still love the tale today.
Last -- but certainly not least -- I think it bears mentioning that he joined forces with his son, Jason Reitman, to bring one of 2021's best silver screen surprises to life with Ghostbusters: Afterlife. The film -- unlike his previous work on the failed 2016 reboot -- returned the franchise to the place it always should've been. Fans of the franchise owe the man a debt of gratitude that will never be repaid. What a way to go out on an illustrious career.
Alas, none of us lasts forever; and word reached me this morning of his passing. Thoughts and prayers go out to the family and friends of Ivan Reitman. May they find a bit of peace knowing what great joy he brought to so many with his time on Earth.
-- EZ
- Published on
I've always thought that Blade Runner's Pris was a brilliant creation.
Without getting too deep into territory that some could find offensive, I think it's safe to conclude that if there were ever going to be a gender that would be most likely to sleep with a robot it would be the male of the species. Even in today's treacherous times, we do see that some cultures have begun experimenting with creating a female sex partner; and every know and then the media graces us with stories about some young adult male who's even married one of these creations. This isn't to say that women wouldn't find some uses for a mechanical male counterpart; I've read plenty of prose about how women love their machines ... but given how risky men are with their penises it's safe to suggest that they're be liable to dabble in such a fashion if and when "Science" gave them the opportunity.
With Pris, Ridley Scott and his designers certainly gave audiences a looker (in the guise of the lovely Daryl Hannah). This tall and leggy Sagittarius who go on to tempt mankind even further in Ron Howard's Splash (1984), but this -- one of her earliest screen roles -- made her the perfect combination of 'beauty' and 'beast' as demonstrated when her mesmerizing looks captivated Deckard upon her discovery late in the film ... and then she unleashed Hell itself, nearly beating the man (or was he?) to death before he gets a couple of slugs into her. Her trim, athletic figure was invented for pleasure, but it was her pursuit of life itself that saw her perfectly willing to dispense pain.
Hollywood likes to deliver images worth thinking about, and Pris certainly fit that bill for the times and even a few decades later.
According to the film itself, Pris was born on this day in 2016.
As always, thanks for reading ... and live long and prosper!
-- EZ
Without getting too deep into territory that some could find offensive, I think it's safe to conclude that if there were ever going to be a gender that would be most likely to sleep with a robot it would be the male of the species. Even in today's treacherous times, we do see that some cultures have begun experimenting with creating a female sex partner; and every know and then the media graces us with stories about some young adult male who's even married one of these creations. This isn't to say that women wouldn't find some uses for a mechanical male counterpart; I've read plenty of prose about how women love their machines ... but given how risky men are with their penises it's safe to suggest that they're be liable to dabble in such a fashion if and when "Science" gave them the opportunity.
With Pris, Ridley Scott and his designers certainly gave audiences a looker (in the guise of the lovely Daryl Hannah). This tall and leggy Sagittarius who go on to tempt mankind even further in Ron Howard's Splash (1984), but this -- one of her earliest screen roles -- made her the perfect combination of 'beauty' and 'beast' as demonstrated when her mesmerizing looks captivated Deckard upon her discovery late in the film ... and then she unleashed Hell itself, nearly beating the man (or was he?) to death before he gets a couple of slugs into her. Her trim, athletic figure was invented for pleasure, but it was her pursuit of life itself that saw her perfectly willing to dispense pain.
Hollywood likes to deliver images worth thinking about, and Pris certainly fit that bill for the times and even a few decades later.
According to the film itself, Pris was born on this day in 2016.
As always, thanks for reading ... and live long and prosper!
-- EZ
- Published on
Sorry, folks, no: I don't watch Superbowls. Nor do I tune in for the commercials. Honestly, I've got better things to do with my time. The NFL is largely an anti-USA organization, and I choose to give it none of my attention. Again, I don't fault folks who do enjoy it: it just isn't for me.
But I did see some of the squeaks and squees online last night regarding some of the coming attractions for 2022's potential blockbusters, one of the most anticipated being Jurassic World: Dominion ... but for the life of me I can't see why. (Well, except for its inclusion of dinosaurs, I guess.) After the first one back in 1993, the film's have grown increasingly dumber; and dare I suggest that 2018's Jurassic Park: Fallen Kingdom barely made a wit (whit?) of sense?
I understand perfectly that films of this sort are made entirely for their escapism; and, sure, on that level each of them have had moments worth the price of admission. From a narrative standpoint, the flicks are largely throwbacks to earlier times when stories rarely included the pretense of commenting on our civilization at large, instead choosing to scare viewers silly. I love the classic Universal Monsters Universe for that very reason: scoring ideological points was secondary, and what mattered most was looking at the monsters. Whatever subtext there was most folks in attendance could agree upon. Think what you will but I've always found that refreshing about 'simpler times.'
I, for one, am hoping that Dominion kinda/sorta just sticks with what it does best: classic monster moments. Leave the politics at the door and just keep us riveted with suspense. I don't need to know what Jeff Goldblum thinks about the Ozone Layer.
In any event, yes, a new trailer was dropped during the Stuporbowl, and it'll be below. Those of you reading? You know what to do.
As always, thanks for reading ... and live long and prosper!
-- EZ
But I did see some of the squeaks and squees online last night regarding some of the coming attractions for 2022's potential blockbusters, one of the most anticipated being Jurassic World: Dominion ... but for the life of me I can't see why. (Well, except for its inclusion of dinosaurs, I guess.) After the first one back in 1993, the film's have grown increasingly dumber; and dare I suggest that 2018's Jurassic Park: Fallen Kingdom barely made a wit (whit?) of sense?
I understand perfectly that films of this sort are made entirely for their escapism; and, sure, on that level each of them have had moments worth the price of admission. From a narrative standpoint, the flicks are largely throwbacks to earlier times when stories rarely included the pretense of commenting on our civilization at large, instead choosing to scare viewers silly. I love the classic Universal Monsters Universe for that very reason: scoring ideological points was secondary, and what mattered most was looking at the monsters. Whatever subtext there was most folks in attendance could agree upon. Think what you will but I've always found that refreshing about 'simpler times.'
I, for one, am hoping that Dominion kinda/sorta just sticks with what it does best: classic monster moments. Leave the politics at the door and just keep us riveted with suspense. I don't need to know what Jeff Goldblum thinks about the Ozone Layer.
In any event, yes, a new trailer was dropped during the Stuporbowl, and it'll be below. Those of you reading? You know what to do.
As always, thanks for reading ... and live long and prosper!
-- EZ