- Published on
After what seemed to be an endless stream of starts and stops, someone has finally put together a theatrical adaptation of Stephen King's The Dark Tower, and the trailer has dropped on the World Wide Web today. I'm posting it below for those interested in checking it out.
I'll admit that I'm not familiar with The Dark Tower all that much. I used to work with a guy who assured me that it's arguably King's best work ever (I'm pretty fond of The Stand, myself), so I'll have to wait and see (like so many others) whether or not this Fantasy-fueled tale of good versus evil lives up to all of the hype. The trailer is kinda meh, and I'm not all that thrilled with the featured dialogue, but -- as I've often preached -- don't affix too much faith to trailers as they're generally created by advertisers and not the involved storytellers.
In any event, here's the trailer:
I'll admit that I'm not familiar with The Dark Tower all that much. I used to work with a guy who assured me that it's arguably King's best work ever (I'm pretty fond of The Stand, myself), so I'll have to wait and see (like so many others) whether or not this Fantasy-fueled tale of good versus evil lives up to all of the hype. The trailer is kinda meh, and I'm not all that thrilled with the featured dialogue, but -- as I've often preached -- don't affix too much faith to trailers as they're generally created by advertisers and not the involved storytellers.
In any event, here's the trailer:
As always, thanks for reading ... and live long and prosper!
- Published on
Star Wars fan films have certainly come a long way. Granted, there are some which exist as little more than an excuse to put together a mildly cinematic lightsaber duel, but I'm continually impressed with the increased attention to detail and soft characterization budding filmmakers bring to their inspired projects. It may be little more than an attempt to "get noticed" by mankind or a particular niche of internet users, but quality deserves to be recognized as quality.
I saw "The Force And The Fury" via a media website the other day, and I thought it worth sharing, definitely if for no other reason than to continue our celebration of Star Wars' 40th birthday! So -- in that spirit -- I say "Happy Viewing!"
I saw "The Force And The Fury" via a media website the other day, and I thought it worth sharing, definitely if for no other reason than to continue our celebration of Star Wars' 40th birthday! So -- in that spirit -- I say "Happy Viewing!"
- Published on
I'll admit to never quite being a fan of Luc Besson's The Fifth Element. Oh, it was made with the right spirit, but the simplistic ending -- having it all saved by love -- was just a bit too sappy for my refined tastes. Still, kudos to all the players, and Besson certainly turned in an incredibly visual experience that even today looks mighty impressive on the screen.
And speaking of on the silver screen ...
Fathom Events is bringing The Fifth back into its element, putting it up on the silver screen in selected cities on May 14th and 17th. While I may not be a fan, I certainly think those who are might want to take advantage of seeing Besson's scenery once again in an environment where it was designed to be viewed. Usually there's some "special footage" involved in Fathom's experiences, even if it's just an introduction from the filmmaker or celebrity interviews, but I'm not finding any particular details on this listing. Hopefully there will be a little something extra as Fathom generally charges a little bit extra than regular admission prices for their affairs.
In any event, interested parties can check out the site right here.
As always, thanks for reading ... and live long and prosper!
And speaking of on the silver screen ...
Fathom Events is bringing The Fifth back into its element, putting it up on the silver screen in selected cities on May 14th and 17th. While I may not be a fan, I certainly think those who are might want to take advantage of seeing Besson's scenery once again in an environment where it was designed to be viewed. Usually there's some "special footage" involved in Fathom's experiences, even if it's just an introduction from the filmmaker or celebrity interviews, but I'm not finding any particular details on this listing. Hopefully there will be a little something extra as Fathom generally charges a little bit extra than regular admission prices for their affairs.
In any event, interested parties can check out the site right here.
As always, thanks for reading ... and live long and prosper!
- Published on
Catching the attention of potential viewers is an uphill battle, especially in this day and age. There are a billion channels out there on the television dial. There are countless streaming opportunities, both legal and (ahem) otherwise. And most households have a mounting collection of DVDs and Blu-rays just waiting for an open weekend when erstwhile viewers pop a disc into the machine and binge away. What it boils down to is content providers really have to find something special to make a grand ruckus loud enough to be heard, and I suspect that’s entirely what Starz Network is attempting with their adaptation of Neil Gaiman’s American Gods.
For those of you unaware, Starz Network produced one of the its finest contributions to pop culture a few years back with its gobsmackingly stellar Spartacus series. (I say this with full knowledge that the blood and sandals epic wasn’t exactly to everyone’s liking, but – for those of you who “got” it – the show was like nothing else. It was a rarity that managed to impressively grow its audience size from start to finish.) With buckets of blood and heaving bosoms whenever it had the chance, Spartacus revisited the tale of the gladiator (over four seasons) who rose up and challenged not so much a nation as he did a way of life, inspiring others to join his crusade against Rome. The program received multiple awards nominations throughout its run, and Starz briefly considered a spinoff that would’ve allegedly focused on the life of Caesar, though I’m uncertain as to what fate befell that potential property.
For those of you unaware, Starz Network produced one of the its finest contributions to pop culture a few years back with its gobsmackingly stellar Spartacus series. (I say this with full knowledge that the blood and sandals epic wasn’t exactly to everyone’s liking, but – for those of you who “got” it – the show was like nothing else. It was a rarity that managed to impressively grow its audience size from start to finish.) With buckets of blood and heaving bosoms whenever it had the chance, Spartacus revisited the tale of the gladiator (over four seasons) who rose up and challenged not so much a nation as he did a way of life, inspiring others to join his crusade against Rome. The program received multiple awards nominations throughout its run, and Starz briefly considered a spinoff that would’ve allegedly focused on the life of Caesar, though I’m uncertain as to what fate befell that potential property.
Also, any fanboy will tell you that Starz more recently found fame with the kinda/sorta reboot/relaunch of the Evil Dead franchise: Ash Vs. Evil Dead is a gloriously demented horror procedural that brought Ash Williams as played by Bruce Campbell to the boob tube. Thus far, the blood and guts have fueled two fun-filled seasons, with a third on the way.
So genre works “work” for Starz, and – if the pilot episode “The Bone Orchard” is any indication – I suspect American Gods is a natural fit for them.
Gods tells the story of the deities of old clashing with those of the new; as civilizations have grown separated from their various faiths, those gods have lost much of their luster. In an attempt to regain their prominence, the All-Father (aka Odin, aka Mr. Wednesday, as played in the series by Ian McShane) plots to recruit the heavenly old-timers in a bid to go to war against the newcomers, and he recruits ex-con Shadow Moon (Ricky Whittle, formerly of The CW’s The 100) to serve as his bodyguard and closest accomplice. There’s plenty more to the story – some of which involves Shadow’s wife and a veritable pantheon of supporting players – but that synopsis works for the purposes of this review.
“The Bone Orchard” rather efficiently introduces most of these players, but a new god brought on toward the end of the hour is handled clumsily – like a drug tripping sidebar – and without much explanation. The entrance is given a highly-stylized, CGI-fueled presentation, one that’s thematically the opposite of what’s come before where dialogue, nuance, and relationships were handled with deft. While this probably came off as intended, it was still enough of a break to pull me out of the previous experience to wonder if I’d somehow changed the channel, and that’s never a good thing.
So genre works “work” for Starz, and – if the pilot episode “The Bone Orchard” is any indication – I suspect American Gods is a natural fit for them.
Gods tells the story of the deities of old clashing with those of the new; as civilizations have grown separated from their various faiths, those gods have lost much of their luster. In an attempt to regain their prominence, the All-Father (aka Odin, aka Mr. Wednesday, as played in the series by Ian McShane) plots to recruit the heavenly old-timers in a bid to go to war against the newcomers, and he recruits ex-con Shadow Moon (Ricky Whittle, formerly of The CW’s The 100) to serve as his bodyguard and closest accomplice. There’s plenty more to the story – some of which involves Shadow’s wife and a veritable pantheon of supporting players – but that synopsis works for the purposes of this review.
“The Bone Orchard” rather efficiently introduces most of these players, but a new god brought on toward the end of the hour is handled clumsily – like a drug tripping sidebar – and without much explanation. The entrance is given a highly-stylized, CGI-fueled presentation, one that’s thematically the opposite of what’s come before where dialogue, nuance, and relationships were handled with deft. While this probably came off as intended, it was still enough of a break to pull me out of the previous experience to wonder if I’d somehow changed the channel, and that’s never a good thing.
The rest of “Orchard” recalls the slow-motion-symbolism, stark staging, and flashes of violence that made Spartacus the sensation it was; but whereas the saga of a slave uprising had greater context, here director David Slade’s touches feel like just that … “touches.” There’s plenty of flash and sizzle to keep the viewer interested, but so much of the hour felt like a smorgasbord of ideas planned with the help of storyboards instead of inspiration. Lacking context, these are scenes (albeit good ones) in search of a premise to unify them soundly, and that may be coming. I understand that some nebulousness is sadly common with pilot episodes, so – at the very least – I’m hoping for greater definition with subsequent chapters.
In part, “Gods” is coming from the skilled storyteller Bryan Fuller who did some incredibly impressive work on NBC’s three seasons of Hannibal; those of us who stuck with that program from start to finish will warn you that occasionally the visuals overtook an otherwise flat narrative. Granted, Fuller’s sensibilities always rescued the episode before the final reel, but that doesn’t mean all of Hannibal’s meals went down easily (pun intended). Like Twin Peaks experienced back in its days, “Gods” runs the risk of alienating viewers before they can sink their teeth in, much less hang on for the long run, so hopefully Fuller and crew will strike some balance with what lies ahead.
In part, “Gods” is coming from the skilled storyteller Bryan Fuller who did some incredibly impressive work on NBC’s three seasons of Hannibal; those of us who stuck with that program from start to finish will warn you that occasionally the visuals overtook an otherwise flat narrative. Granted, Fuller’s sensibilities always rescued the episode before the final reel, but that doesn’t mean all of Hannibal’s meals went down easily (pun intended). Like Twin Peaks experienced back in its days, “Gods” runs the risk of alienating viewers before they can sink their teeth in, much less hang on for the long run, so hopefully Fuller and crew will strike some balance with what lies ahead.
If not?
Well, anyone who has followed Fuller (if we’re being honest) will tell you that he’s probably the best ‘niche’ director in television. The list of his programs (i.e. Wonderfalls, Pushing Daisies, Hannibal, Dead Like Me) read like a veritable ‘Who’s Who’ or a ‘What’s What’ of quality programming that defied labels but still built audiences … albeit small ones. There’s something to be said for ambitious storytelling, but when television and the internet provide so many alternatives to traditional or pay cable networks I suspect suits will be pushing for ratings’ success. “Gods” might have to deliver if it wants to stay in production, much less relevant. In that regard, only time will tell.
Hey, look: everyone knows I tend to champion even genre shows I don’t personally much care for (i.e. Babylon 5, Buffy The Vampire Slayer, Westworld, etc.), so just because I found this first installment a bit confusing is no reason for me to give it thumbs-down or for you to go and find something else to watch. “The Bone Orchard” did what it could to present a world worthy of your time and patience; and – on that estimation alone – methinks this is the kind of thing worth tuning in for a handful of episodes before you either endorse it or write it off as artistic fodder.
Well, anyone who has followed Fuller (if we’re being honest) will tell you that he’s probably the best ‘niche’ director in television. The list of his programs (i.e. Wonderfalls, Pushing Daisies, Hannibal, Dead Like Me) read like a veritable ‘Who’s Who’ or a ‘What’s What’ of quality programming that defied labels but still built audiences … albeit small ones. There’s something to be said for ambitious storytelling, but when television and the internet provide so many alternatives to traditional or pay cable networks I suspect suits will be pushing for ratings’ success. “Gods” might have to deliver if it wants to stay in production, much less relevant. In that regard, only time will tell.
Hey, look: everyone knows I tend to champion even genre shows I don’t personally much care for (i.e. Babylon 5, Buffy The Vampire Slayer, Westworld, etc.), so just because I found this first installment a bit confusing is no reason for me to give it thumbs-down or for you to go and find something else to watch. “The Bone Orchard” did what it could to present a world worthy of your time and patience; and – on that estimation alone – methinks this is the kind of thing worth tuning in for a handful of episodes before you either endorse it or write it off as artistic fodder.
- Published on
Like so many, I'm holding out hope that Sir Ridley Scott can return the greater Alien franchise to its former glory with the forthcoming Alien: Covenant, especially after the bad taste that was left in so many mouths with Prometheus' shortcomings. (Note: I didn't dislike the film; I just didn't quite see the need for it, nor where Scott decidedly wanted it to fit in the mythology.) Covenant will be on screens soon, but -- in the meantime -- we're starting to get some minor featurettes out on the web meant to promote the flick as well as some leakage of snippets that were previously aired as part of Fox's "Alien Day."
In the respect, I'm sharing this set visit from Adam Savage that hit the information superhighway last week. (Yes, I'm late to the game, but I'm still good looking for my age.) It's pretty spiffy, and it definitely helps to whet the whistle a bit for more in this universe.
In the respect, I'm sharing this set visit from Adam Savage that hit the information superhighway last week. (Yes, I'm late to the game, but I'm still good looking for my age.) It's pretty spiffy, and it definitely helps to whet the whistle a bit for more in this universe.
As always, thanks for reading ... and live long and prosper!
- Published on
This li'l nugget of knowledge might seem a bit like fluff to some, and that's probably because it's one of the more commonly known slices of trivia about the original Star Wars movie. Still, I think it deserves a mention because -- chiefly -- it's probably the most recognized swing in all of cinema history. Kudos to Mark Hamill and Carrie Fisher for making it happen.
As always, thanks for reading ... and May The Force Be With You!
As always, thanks for reading ... and May The Force Be With You!
- Published on
Welcome, one and all, to the month of May, or as we'd like to know it as "Thirty One Days Of Celebrating All Things STAR WARS!" One of the most beloved franchises in cinematic history turns a remarkable forty years young this month, and I thought it entirely appropriate to make certain everyone who wanted to would have the chance to sound off on the property ... anyone interested in participating in any way please feel free to contact me at editor@SciFiHistory.Net.
I thought we'd kick things off a little bit lightly with the original theatrical preview for Star Wars, the one released before it was better known as "Star Wars: Episode IV - A New Hope." Back then, it was just Star Wars, and despite all of the tinkering and the growth of the entire mythology that charm still remains today: you say "Star Wars" and everybody knows what you're talking about.
I thought we'd kick things off a little bit lightly with the original theatrical preview for Star Wars, the one released before it was better known as "Star Wars: Episode IV - A New Hope." Back then, it was just Star Wars, and despite all of the tinkering and the growth of the entire mythology that charm still remains today: you say "Star Wars" and everybody knows what you're talking about.
As always, thanks for reading ... and May The Force Be With You!
- Published on
It's one thing for a film to have longevity, but can you imagine its outdoor props also hanging around for the sake of posterity? I've never been to Tunisia, nor do I really have plans at this point in my existence, but it certainly would be pretty cool to take a trip out into the desert to check out whether or not the remains this galactic creature are still there today.
As always, thanks for reading ... and May The Force Be With You!
As always, thanks for reading ... and May The Force Be With You!
- Published on
Personally, I found Doctor Who in the mid 1970’s when my local PBS station began airing installments featuring the entirely awesome Tom Baker in the titular role as the traveler from Gallifrey, and it’s in those fairy-tale-esque tales I tend to find the best Who stories. Sure, they had their own science and even a heaping helping of SciFi mythology, but that era approached storytelling with greater mysticism than what today’s audiences can stomach. A bit of whimsy was all that was needed to put the Doctor and his companions on track for adventure, and it was generally all wrapped up with the kind of panache one expected from true showmen.
Thankfully, this tenth season of the long-running BBC SciFi procedural has returned to its roots (mostly), leaving behind some of the psychological weight of the past few series in favor of gleaning sparks of magic where they can be found. “Thin Ice” is no exception; in fact, one could argue that it ‘dials up the magic’ to eleven by giving the Doctor and Bill a chance to set things right in pre-Victorian England for some scrappy street urchins and a mysterious underwater ‘slave.’
Things begin with our dashing duo returning home from last week’s adventure only for them to discover they’ve landed in the past on the cusp of the last “Frost Fair,” a circus-style event taking place atop the frozen Thames River. Deciding to spend a few coins on the festivities, the Doctor and Bill grow increasingly concerned that things are not what they seem: victims are disappearing beneath the ice, yet the local authorities seem more concerned with harvesting the sludge from the river’s bottom than they are with resolving its mysteries.
Thankfully, this tenth season of the long-running BBC SciFi procedural has returned to its roots (mostly), leaving behind some of the psychological weight of the past few series in favor of gleaning sparks of magic where they can be found. “Thin Ice” is no exception; in fact, one could argue that it ‘dials up the magic’ to eleven by giving the Doctor and Bill a chance to set things right in pre-Victorian England for some scrappy street urchins and a mysterious underwater ‘slave.’
Things begin with our dashing duo returning home from last week’s adventure only for them to discover they’ve landed in the past on the cusp of the last “Frost Fair,” a circus-style event taking place atop the frozen Thames River. Deciding to spend a few coins on the festivities, the Doctor and Bill grow increasingly concerned that things are not what they seem: victims are disappearing beneath the ice, yet the local authorities seem more concerned with harvesting the sludge from the river’s bottom than they are with resolving its mysteries.
Inevitably, all of this points to a villain, one filled out by the suitably highbrow Lord Sutcliffe (played by Nicholas Burns). Apparently, the Sutcliffe family has been the inheritor of a closely-guarded secret: the creature beneath the Thames produces a waste material that burns as a highly-processed fuel, and this fuel has been used for ages by the crown in pursuit of vast royal interests. So instead of a some off-world threat, the Doctor realizes that humanity’s underlying push for greatness at whatever cost is his current adversary.
Of course, this leads to the episode’s soliloquy, handled brilliantly by Peter Capaldi: "Human progress isn't measured by industry. It's measured by the value you place on a life, an unimportant life, a life without privilege. The boy who died on the river, that boy's value is your value. That's what defines an age. That's what defines a species."
Despite saying that I hate splitting hairs, I’d be a fool if I let that pass without a little commentary.
I “get” that the central point screenwriter Sarah Dollard is making deals with “the little folk,” maybe even the riffraff we don’t see in our own daily travels. As the saying goes, every man’s death diminishes us even a little bit, so those nobler than the rest must remind us of the reality from time to time. (Mind you: I’m not arguing against that whatsoever, just trying to explain its sentiments here.) But I thought that those feelings were best applied to all of us and not just – well – “the just”? And who gets to define who “the just” are? Is it the poor? The underprivileged? The forgotten? Who? Dollard never quite clarifies that identity, nor who gets to provide the definition.
Of course, this leads to the episode’s soliloquy, handled brilliantly by Peter Capaldi: "Human progress isn't measured by industry. It's measured by the value you place on a life, an unimportant life, a life without privilege. The boy who died on the river, that boy's value is your value. That's what defines an age. That's what defines a species."
Despite saying that I hate splitting hairs, I’d be a fool if I let that pass without a little commentary.
I “get” that the central point screenwriter Sarah Dollard is making deals with “the little folk,” maybe even the riffraff we don’t see in our own daily travels. As the saying goes, every man’s death diminishes us even a little bit, so those nobler than the rest must remind us of the reality from time to time. (Mind you: I’m not arguing against that whatsoever, just trying to explain its sentiments here.) But I thought that those feelings were best applied to all of us and not just – well – “the just”? And who gets to define who “the just” are? Is it the poor? The underprivileged? The forgotten? Who? Dollard never quite clarifies that identity, nor who gets to provide the definition.
But …
If a society truly measures itself by a single life, then why is there no remorse when the villain suffers his comeuppance? Liberals/Progressives would insist that even the evilest among us is capable of being rehabilitated or – at least – deserves to live out his life behind bars as opposed to being drowned or eaten alive, but “Thin Ice” kinda/sorta revels unnecessarily in revenge if even for an only scene, throwing its core message under the bus in favor of inducing some glee of from its audience. Or is it just that the life of a prominent family has no value?
It’s a minor quibble but one that stuck with me even after the episode’s end.
Because so much of “Thin Ice” goes down with the same sugary ease of those 70’s era stories I referenced in my opening, it’s an imminently forgivable misgiving. Clearly, the story isn’t mean to sleight any soul; rather it’s meant to underscore that we as humans are at our best when we’re recognizing everyone’s worth … for it’s in that coming together that we will pave the way toward a brighter, collective future.
If a society truly measures itself by a single life, then why is there no remorse when the villain suffers his comeuppance? Liberals/Progressives would insist that even the evilest among us is capable of being rehabilitated or – at least – deserves to live out his life behind bars as opposed to being drowned or eaten alive, but “Thin Ice” kinda/sorta revels unnecessarily in revenge if even for an only scene, throwing its core message under the bus in favor of inducing some glee of from its audience. Or is it just that the life of a prominent family has no value?
It’s a minor quibble but one that stuck with me even after the episode’s end.
Because so much of “Thin Ice” goes down with the same sugary ease of those 70’s era stories I referenced in my opening, it’s an imminently forgivable misgiving. Clearly, the story isn’t mean to sleight any soul; rather it’s meant to underscore that we as humans are at our best when we’re recognizing everyone’s worth … for it’s in that coming together that we will pave the way toward a brighter, collective future.
- Published on
Yes, yes, and yes, I am definitely looking forward to the upcoming Justice League movie. As I've mentioned many times in these pages, I largely grew up a lover of All Things DC Comics mostly because that's all I had the good fortune to get my hands on as a little guy, so given the chance to see these heroes together up on the silver screen really is like a dream come true.
The other day an International Trailer for the forthcoming release dropped onto the internet, and it's really brief. I watched it, and, sure, there seems like there may be a snippet or two of new footage, but studios are fairly hesitant these days to give away too much, especially in what they're figuring to be 'tent-pole' releases ... and Justice League certainly qualifies.
Feel free to check it out below. As always, thanks for reading ... and live long and prosper!
The other day an International Trailer for the forthcoming release dropped onto the internet, and it's really brief. I watched it, and, sure, there seems like there may be a snippet or two of new footage, but studios are fairly hesitant these days to give away too much, especially in what they're figuring to be 'tent-pole' releases ... and Justice League certainly qualifies.
Feel free to check it out below. As always, thanks for reading ... and live long and prosper!