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Just file this one under the helpful heading of "I Can; So Therefore I Do":
No, Starz Network's Ash Vs. Evil Dead isn't Science Fiction even by the most watered down definition, but -- as these pages are my property -- deal with it, baby! SciFi superstar-in-his-own-mind Bruce Campbell headlines the program in only the way he can, and I thought it worthy of mentioning as most fanboys and fangirls certainly worship All Things Bruce. I watched the program as it aired on the aforementioned network, and I thought it perfectly groovy. I'll be penning a review of the first season -- which streeted on DVD this week -- so watch this space.
And if any of you knuckleheads want to sit on your keister and get yourself a copy, you know what to do: just follow the link right here. Baby.
Thanks for reading, and -- as always -- live long and prosper!
No, Starz Network's Ash Vs. Evil Dead isn't Science Fiction even by the most watered down definition, but -- as these pages are my property -- deal with it, baby! SciFi superstar-in-his-own-mind Bruce Campbell headlines the program in only the way he can, and I thought it worthy of mentioning as most fanboys and fangirls certainly worship All Things Bruce. I watched the program as it aired on the aforementioned network, and I thought it perfectly groovy. I'll be penning a review of the first season -- which streeted on DVD this week -- so watch this space.
And if any of you knuckleheads want to sit on your keister and get yourself a copy, you know what to do: just follow the link right here. Baby.
Thanks for reading, and -- as always -- live long and prosper!
- Published on
Full disclosure: I totally missed the film upon which this sequel/prequel extends from, and that’s mostly because as I’ve said many, many times I’m not as huge a fan of traditional Fantasy as I am Science Fiction properties. Oh, I do see quite a few of them, but what typically leaves me cold with so very many is the fact that the various worlds see far too similar for my tastes. I think I end up “blending” them all together in my head, and – when that happens – I begin to question whether or not the world-building required did its job or was even up to the task of telling this singular story.
So if there are any nuances lost to me (as a reviewer) by not having seen SNOW WHITE AND THE HUNTSMAN (2012) I’ll apologize in advance for missing them … but so far as WINTER’S WAR is concerned? I had plenty enough fun with this swashbuckling tale that I’m giving it a thumbs up.
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last three paragraphs for my final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
So if there are any nuances lost to me (as a reviewer) by not having seen SNOW WHITE AND THE HUNTSMAN (2012) I’ll apologize in advance for missing them … but so far as WINTER’S WAR is concerned? I had plenty enough fun with this swashbuckling tale that I’m giving it a thumbs up.
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last three paragraphs for my final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
From the product packaging: “If it’s the Snow White tale you’re looking for, discover the story that came before …”
Genre favorites Charlize Theron and Chris Hemsworth bring their screen magic together in THE HUNTSMAN: WINTER’S WAR, a fairy tale of star-crossed love transcending the force of Evil that would keep them apart in what appears to be a functional crowd-pleaser if there ever were. As best as I can detail, it would seem that this tale kinda/sorta book-ends the SNOW WHITE tale its linked to as some of the action and adventures serve as set-up for the characters and then leap ahead seven years (or so) to the point wherein Hemsworth’s Eric learns that the love of Sara (the always lovely Jessica Chastain) denied him by the scheming Queen Freya (Emily Blunt) was a magical ruse: Sara lives, but now she’s an adversary who’ll stop at nothing to recover the Magic Mirror for Freya whom she serves.
Thankfully, WINTER’S WAR is structured like a big budget fairy tale, and it follows that formula consistently from start to finish. There are magical kingdoms, evil queens, dwarves, trolls, and the like all thrown together around an epic quest to keep Ravenna (Theron) from controlling all of the known worlds; and the tale is even given an off-screen narrator who helps make sense of how these smaller moments combine with the larger action pieces. Director Cedric Nicolas-Troyan keeps the pace up, and – about the time one experiences even a modest lull in the action – you can bet he’ll deliver another effects sequence to boggle the mind. It’s effective and efficient eye candy, even when some of it feels more than mildly glossed over in the rush.
Still, Hemsworth’s charisma carries the picture about as far as it can; and Chastain proves yet again that she’s a bona fide screen presence alongside the sometimes Marvel comic book character. (For those born on an island, Hemsworth plays Thor for the big screen.) Theron’s work here feels a bit obligatory, much of which may be owed to the fact that she appears only in the opening set-up and the finale; as the central force for badness in the land, she chews scenery as required but is never quite given enough chutzpah to be more than a carbon copy villainess. By contrast, Blunt becomes her own force to be reckoned with, and she’s necessarily provided a means to achieve redemption from the stroke of evil genius that set her on her own path.
Excepting the mythology set out for the film’s big leads, everything else here is a bit muddled. There’s a point wherein I suspected more of it may’ve made perfect sense had I seen SNOW WHITE, but – in the end – films do need to stand on their own merits. WINTER’S WAR has enough chemistry to make it palatable for newbies like myself, but I’m not sure all audiences would feel the same. When you’re structured on fairy tales, methinks it all works to keep it simple, and – when it does – the flick works just fine as a few hours of mindless popcorn funnery.
If you want more narrative substance or worldly messaging in your fantasy, then stick with Peter Jackson’s THE LORD OF THE RINGS trilogy instead.
Genre favorites Charlize Theron and Chris Hemsworth bring their screen magic together in THE HUNTSMAN: WINTER’S WAR, a fairy tale of star-crossed love transcending the force of Evil that would keep them apart in what appears to be a functional crowd-pleaser if there ever were. As best as I can detail, it would seem that this tale kinda/sorta book-ends the SNOW WHITE tale its linked to as some of the action and adventures serve as set-up for the characters and then leap ahead seven years (or so) to the point wherein Hemsworth’s Eric learns that the love of Sara (the always lovely Jessica Chastain) denied him by the scheming Queen Freya (Emily Blunt) was a magical ruse: Sara lives, but now she’s an adversary who’ll stop at nothing to recover the Magic Mirror for Freya whom she serves.
Thankfully, WINTER’S WAR is structured like a big budget fairy tale, and it follows that formula consistently from start to finish. There are magical kingdoms, evil queens, dwarves, trolls, and the like all thrown together around an epic quest to keep Ravenna (Theron) from controlling all of the known worlds; and the tale is even given an off-screen narrator who helps make sense of how these smaller moments combine with the larger action pieces. Director Cedric Nicolas-Troyan keeps the pace up, and – about the time one experiences even a modest lull in the action – you can bet he’ll deliver another effects sequence to boggle the mind. It’s effective and efficient eye candy, even when some of it feels more than mildly glossed over in the rush.
Still, Hemsworth’s charisma carries the picture about as far as it can; and Chastain proves yet again that she’s a bona fide screen presence alongside the sometimes Marvel comic book character. (For those born on an island, Hemsworth plays Thor for the big screen.) Theron’s work here feels a bit obligatory, much of which may be owed to the fact that she appears only in the opening set-up and the finale; as the central force for badness in the land, she chews scenery as required but is never quite given enough chutzpah to be more than a carbon copy villainess. By contrast, Blunt becomes her own force to be reckoned with, and she’s necessarily provided a means to achieve redemption from the stroke of evil genius that set her on her own path.
Excepting the mythology set out for the film’s big leads, everything else here is a bit muddled. There’s a point wherein I suspected more of it may’ve made perfect sense had I seen SNOW WHITE, but – in the end – films do need to stand on their own merits. WINTER’S WAR has enough chemistry to make it palatable for newbies like myself, but I’m not sure all audiences would feel the same. When you’re structured on fairy tales, methinks it all works to keep it simple, and – when it does – the flick works just fine as a few hours of mindless popcorn funnery.
If you want more narrative substance or worldly messaging in your fantasy, then stick with Peter Jackson’s THE LORD OF THE RINGS trilogy instead.
THE HUNTSMAN: WINTER’S WAR (2016) is produced by Roth Films and Universal Pictures. DVD distribution for this Extended Edition is being handled by Universal Pictures Home Entertainment. As for the technical specifications? Well, the effects work is quite good (though there are a few sequences lacking in superb detail afforded other fantasy films as of late), and the sound mix is definitely solid. If you’re looking for extras, then there are some commentaries, a gag reel, and the usual assorted ‘making-of’ bits that make it worth the purchase price.
RECOMMENDED. At first blush, THE HUNTSMAN: WINTER’S WAR doesn’t approach the level of cinematic importance of other Fantasy fare (I’m thinking here of THE LORD OF THE RINGS adaptation much more than THE HOBBIT trilogy of films, which I found bloated), but instead it takes a simpler road through the forest, one dedicated to delivering action, suspense, and romance in typical Hollywoodesque fashion. On that level, I had absolutely no problem with the flick; the cast feels right at home, the story delivers on its fairy tale promises, and – in the end – love conquers all. Consider it acceptable Friday or Saturday night fluff if you’re in for the night.
In the interests of fairness, I’m pleased to disclose that the fine folks at Universal Pictures provided me with a copy of THE HUNTSMAN: WINTER’S WAR by request for the expressed purposes of completing this review; and their contribution to me in no way, shape, or form influenced my opinion of it.
RECOMMENDED. At first blush, THE HUNTSMAN: WINTER’S WAR doesn’t approach the level of cinematic importance of other Fantasy fare (I’m thinking here of THE LORD OF THE RINGS adaptation much more than THE HOBBIT trilogy of films, which I found bloated), but instead it takes a simpler road through the forest, one dedicated to delivering action, suspense, and romance in typical Hollywoodesque fashion. On that level, I had absolutely no problem with the flick; the cast feels right at home, the story delivers on its fairy tale promises, and – in the end – love conquers all. Consider it acceptable Friday or Saturday night fluff if you’re in for the night.
In the interests of fairness, I’m pleased to disclose that the fine folks at Universal Pictures provided me with a copy of THE HUNTSMAN: WINTER’S WAR 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.
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Hey, peeps!
It's a hearty 'Welcome Back' to Yours Truly, back on the blog after a much needed vacation. I thought I'd put that quick notice here so that you knew the Main Page was "back in action" as it were, and I should be posting a variety of items over the course of the days remaining in this week. So welcome to Hump Day! Thanks for reading, and -- as always -- live long and prosper!
It's a hearty 'Welcome Back' to Yours Truly, back on the blog after a much needed vacation. I thought I'd put that quick notice here so that you knew the Main Page was "back in action" as it were, and I should be posting a variety of items over the course of the days remaining in this week. So welcome to Hump Day! Thanks for reading, and -- as always -- live long and prosper!
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Truth be told, I'm not as big a fan of Fantasy as I am of more traditional Science Fiction. I think that's largely because I see so many works in the realm of Fantasy as sharing far too many elements to see them as individual properties, and all of that inevitable 'blending together' confuses me more than it entices my old brain. Still, I do appreciate some talented folks playing dress-up and making an honest go of it, and that's why I wanted to highlight the fact that The Huntsman: Winter's War is available on home video this week with some special 'Extended Edition' bonuses for all who are interested. I have received a complimentary copy, and I'll be putting up a review this weekend (after I've had the chance to fully digest the picture), so be certain to watch the Main Page for more details. In the meantime, if you're interested in purchasing yourself a copy from Amazon.com, you can follow the link right here.
Thanks for reading, and -- as always -- live long and prosper!
Thanks for reading, and -- as always -- live long and prosper!
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One of the elements of the FX Network's ongoing episodic adaptation of Guillermo del Toro's The Strain is the fact that -- when the storytelling is at its best -- the show very cleverly combines science into the realm of the far more traditional horror aspects of the narrative: Corey Stoll's portrayal of Dr. Ephraim Goodweather is a man tortured as much by the science which fails to cure those succumbing to a vampire-like condition as he is by the vampires themselves. I've also received a complimentary copy of Season 02 -- which is available on home video this week -- and I'll be posting a more in-depth review later in the week. Keep your eyes peeled for the coming darkness.
For those interested, you can surf over to Amazon.com right here and purchase yourself a copy.
Thanks for reading, and -- as always -- live long and prosper!
For those interested, you can surf over to Amazon.com right here and purchase yourself a copy.
Thanks for reading, and -- as always -- live long and prosper!
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Funny. I was just thinking the other day that it had been some time since an intelligent Alien Invasion drama came "Straight Outta Hollywood" ... and, lo and behold, today a trailer drops starring the always soft-speaking Amy Adams in yet another role wherein she speaks softly. (Seriously, can't this gal project?!) It's appropriately called ARRIVAL, and the coming attraction actually feels kinda/sorta Arthur C. Clarke to me. This one looks to also star Jeremy Renner and the always reliable Forest Whitaker. IMDB.com states that this one comes out this November, and I, for one, am looking forward to it.
As always, thanks for reading ... and live long and prosper!
As always, thanks for reading ... and live long and prosper!
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In fairness to the Resident Evil franchise, I can't much tell the movies apart all that much, but I've never been certain that one needs to. This video-game-adaptation from Paul W.S. Anderson has largely been a popcorn(ish) guilty pleasure at best or passable screen filler at worst. Still, I have nothing but respect for a property that gives tough ladies a chance to join in the action, and Milla Jovovich never disappoints.
According to IMDB.com, this one hits the megaplexes next January (2017), so you've got plenty of time to clean up your calendars now and no excuse whatsoever to miss the big finish ... assuming there's truth in advertising, that is.
As always, thanks for reading ... and live long and prosper!
According to IMDB.com, this one hits the megaplexes next January (2017), so you've got plenty of time to clean up your calendars now and no excuse whatsoever to miss the big finish ... assuming there's truth in advertising, that is.
As always, thanks for reading ... and live long and prosper!
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Let’s get this out of the way right up front: “Is Suicide Squad as bad as the critics and online media sites have reported?”
The short answer: absolutely not.
A bit longer answer: Clearly, someone is showing favoritism to ‘All Things Marvel’ by continuing this campaign to trash the greater DC Universe of films. While healthy competition is always good for the marketplace, it’s very clear that someone somewhere somehow is trying to orchestrate the failure of Batman, Superman, Wonder Woman, The Flash, Aquaman, and more. While the (ahem) Self-Important Online Intelligentsia Community would have you believe that they’re only doing what’s best in seeing these movies so that you don’t have to, it’s hogwash. Go see Suicide Squad and make up your mind for yourself as that’s exactly what they don’t want you to do.
Full disclosure: I’ve always been more of a DC guy than a Marvel guy. I read my first comic books in 1970 (I kid you not), and – while I can admit that I thought Spider-man and the Fantastic Four were pretty cook – the Marvel stable of characters just didn’t interest me as much as did DC’s. I guess my young mind saw that Batman had a mission – a life’s pursuit – and Superman stood for something. This isn’t to say that Marvel’s heroes lacked any substance; rather, they seemed more interested in what I’d say are personal interests than they were professional ones.
After all, “saving the day” isn’t only about “saving the day.” How one does it, why one does it, and what it means beyond an act of heroism helps define not only the man or woman completing that awesome feat but the greater world OUT THERE. Batman willfully and deliberately surrounds himself with a veritable asylum full of psychopaths, and – like it or not – that tells me more about the world he’s only one part of than it does about him. Sure, these are narrative tricks … but they still count for something.
The short answer: absolutely not.
A bit longer answer: Clearly, someone is showing favoritism to ‘All Things Marvel’ by continuing this campaign to trash the greater DC Universe of films. While healthy competition is always good for the marketplace, it’s very clear that someone somewhere somehow is trying to orchestrate the failure of Batman, Superman, Wonder Woman, The Flash, Aquaman, and more. While the (ahem) Self-Important Online Intelligentsia Community would have you believe that they’re only doing what’s best in seeing these movies so that you don’t have to, it’s hogwash. Go see Suicide Squad and make up your mind for yourself as that’s exactly what they don’t want you to do.
Full disclosure: I’ve always been more of a DC guy than a Marvel guy. I read my first comic books in 1970 (I kid you not), and – while I can admit that I thought Spider-man and the Fantastic Four were pretty cook – the Marvel stable of characters just didn’t interest me as much as did DC’s. I guess my young mind saw that Batman had a mission – a life’s pursuit – and Superman stood for something. This isn’t to say that Marvel’s heroes lacked any substance; rather, they seemed more interested in what I’d say are personal interests than they were professional ones.
After all, “saving the day” isn’t only about “saving the day.” How one does it, why one does it, and what it means beyond an act of heroism helps define not only the man or woman completing that awesome feat but the greater world OUT THERE. Batman willfully and deliberately surrounds himself with a veritable asylum full of psychopaths, and – like it or not – that tells me more about the world he’s only one part of than it does about him. Sure, these are narrative tricks … but they still count for something.
Suicide Squad was and remains a title that didn’t exactly tickle me pink, but that didn’t keep me from checking out the film adaptation on the day of its release. To be frank, I (like so many others) bought into the film’s marketing campaign: this one definitely hit all of its marks in terms of ratcheting up the interest, so it’s no surprise that the first weekend box office numbers broke all previous records. Actors Will Smith and Margot Robbie have proven themselves bankable commodities, and preview audiences had been hawking the flick’s praise for months. Count me in.
Government strategist Amanda Waller (played by Viola Davis) has a grand vision: she sees a day when the world’s superheroes might turn on mankind, leaving the United States completely unprepared to defend itself and the American public from the likes of Superman or any other meta-human. So to prepare for that eventuality, she devises Task Force X – a roster of villains she believes can be co-opted to fight for the side of good in exchange for ‘time off’ their sentences. When an all-new menace rears its ugly head, her first bench of anti-heroes including Deadshot (Smith), Harley Quinn (Robbie), and leader Rick Flag (Joel Kinnaman) are sent in to do what no one else can: stop the Enchantress (Cara Delevingne) from destroying the planet.
The good, the bad, and the ugly regarding Suicide Squad is that it covers an awful lot of miles before the big finish.
Written and directed by David Ayer, Squad has a veritable slew of characters it has to introduce – several of which including truncated ‘origins’ – as well as laying out a story about how it all came together. And with so many newcomers to the greater DC Cinema Universe clearly not everyone gets the kind of coverage perhaps deserved or maybe even warranted in a tent-pole release of this sort: an attempt of lesser ambitions probably would’ve cut the Squad in half and given each baddie a bit more to do, but Ayer keeps his foot on the accelerator at all times, even at the expense of some probable smaller moments that may’ve contributed greatly to Waller’s arc. The Joker (Jared Leto) makes several small(ish) appearances, and the only one really of substance so far as this viewer was concerned was during Harley’s origin sequence; otherwise, he’s only a guy trying to get his gal back – a nice touch but somewhat inconsequential when compared against the stakes for the planet.
Still, what Ayer does well here works to great cinematic effect. Flag and Deadshot spend a chunk of the film at odds, and Smith and the always reliable Kinnaman were perfectly cast as enemies willing to ‘play nice’ with one another when circumstances demand. Robbie plays a pitch perfect Quinn, and the camaraderie between her and her various teammates has a welcome comic book flourish. Action sequences have a solid workmanship approach with Ayer (thankfully) backing up the camera (unlike other directors do these days) to show the range of combat, giving viewers a greater sense of what’s happening without sacrificing the pace of the action. Clearly, there’s a sense of greatness here, and while it may not all come together seamlessly I’d argue that it’s entertaining enough to carry the start of a new franchise if not launch several of these Spandex-clad folks into their own series of films.
Government strategist Amanda Waller (played by Viola Davis) has a grand vision: she sees a day when the world’s superheroes might turn on mankind, leaving the United States completely unprepared to defend itself and the American public from the likes of Superman or any other meta-human. So to prepare for that eventuality, she devises Task Force X – a roster of villains she believes can be co-opted to fight for the side of good in exchange for ‘time off’ their sentences. When an all-new menace rears its ugly head, her first bench of anti-heroes including Deadshot (Smith), Harley Quinn (Robbie), and leader Rick Flag (Joel Kinnaman) are sent in to do what no one else can: stop the Enchantress (Cara Delevingne) from destroying the planet.
The good, the bad, and the ugly regarding Suicide Squad is that it covers an awful lot of miles before the big finish.
Written and directed by David Ayer, Squad has a veritable slew of characters it has to introduce – several of which including truncated ‘origins’ – as well as laying out a story about how it all came together. And with so many newcomers to the greater DC Cinema Universe clearly not everyone gets the kind of coverage perhaps deserved or maybe even warranted in a tent-pole release of this sort: an attempt of lesser ambitions probably would’ve cut the Squad in half and given each baddie a bit more to do, but Ayer keeps his foot on the accelerator at all times, even at the expense of some probable smaller moments that may’ve contributed greatly to Waller’s arc. The Joker (Jared Leto) makes several small(ish) appearances, and the only one really of substance so far as this viewer was concerned was during Harley’s origin sequence; otherwise, he’s only a guy trying to get his gal back – a nice touch but somewhat inconsequential when compared against the stakes for the planet.
Still, what Ayer does well here works to great cinematic effect. Flag and Deadshot spend a chunk of the film at odds, and Smith and the always reliable Kinnaman were perfectly cast as enemies willing to ‘play nice’ with one another when circumstances demand. Robbie plays a pitch perfect Quinn, and the camaraderie between her and her various teammates has a welcome comic book flourish. Action sequences have a solid workmanship approach with Ayer (thankfully) backing up the camera (unlike other directors do these days) to show the range of combat, giving viewers a greater sense of what’s happening without sacrificing the pace of the action. Clearly, there’s a sense of greatness here, and while it may not all come together seamlessly I’d argue that it’s entertaining enough to carry the start of a new franchise if not launch several of these Spandex-clad folks into their own series of films.
I had a few problems with Squad despite all of the fun I had with it. First, I never quite understood what Enchantress’s greater “beef” with our world was, so much so that she wanted it destroyed. Granted, she didn’t wish to be on Waller’s leash as it were, but I think the script had opportunities to give this more discussion that it just didn’t take. Second – and others may differ with my assessment here – there really wasn’t much of a logical “first mission” to Waller’s team. Instead, there was a crisis, and the good government steward merely didn’t let a crisis go to waste, using it to prove the point that Task Force X could and would be a viable secret weapon. Lastly, Ayer didn’t handle the film’s tone consistently: the first quarter of the feature almost feels like a different film – a flashy, hyperkinetic potboiler where Waller introduces these villainous heroes to another government suit over dinner. After this protracted sequence, these narrative tricks vanish and are never seen again, leaving me to wonder why the director used them in the first place. They’re “nifty,” I guess; and perhaps they’re a throwback to something from the comic … but they felt a bit out of place to me.
Over the weekend, much ado has been made online about how Warner Bros. ‘tinkered’ with the release: I’ve come to understand that the theatrical cut released to the masses is not the same one which apparently tested through the roof with audiences. While many of the professional entertainment writers have used this to justify that the studio just didn’t know what they were doing with the property, I’m left to wonder, “Why in the name of Grodd would you do that?” That’s like hiring Michael Jordan and asking him to let somebody else shoot the ball, isn’t it? If you had something that was aces, then it defies logic to not give the people want they want. I can’t help but ponder whether or not my few gripes are better handled in this alternate cut … and maybe that version will see life again when Squad inevitably hits video, and I can do some comparison.
In the meantime, I’m left with what I’ve seen.
As much as others have apparently hated it, I had fun with so very much of Squad. I’ll give you that a few scenes may not have had as much impact as perhaps Ayer or Warner Bros. intended, and I’ll even give you that certain lesser elements of the plot could’ve used a bit more exploration; but this film is far from the failure it’s been painted to be. It’s lean and efficient. It boasts some big performances, especially a ‘Hail Mary’ one from Smith, who I but thought his time in the spotlight was fading. Squad offers up a solid beginning – a first step into a world where anti-heroes might just be the best mankind has to save us from ourselves.
Over the weekend, much ado has been made online about how Warner Bros. ‘tinkered’ with the release: I’ve come to understand that the theatrical cut released to the masses is not the same one which apparently tested through the roof with audiences. While many of the professional entertainment writers have used this to justify that the studio just didn’t know what they were doing with the property, I’m left to wonder, “Why in the name of Grodd would you do that?” That’s like hiring Michael Jordan and asking him to let somebody else shoot the ball, isn’t it? If you had something that was aces, then it defies logic to not give the people want they want. I can’t help but ponder whether or not my few gripes are better handled in this alternate cut … and maybe that version will see life again when Squad inevitably hits video, and I can do some comparison.
In the meantime, I’m left with what I’ve seen.
As much as others have apparently hated it, I had fun with so very much of Squad. I’ll give you that a few scenes may not have had as much impact as perhaps Ayer or Warner Bros. intended, and I’ll even give you that certain lesser elements of the plot could’ve used a bit more exploration; but this film is far from the failure it’s been painted to be. It’s lean and efficient. It boasts some big performances, especially a ‘Hail Mary’ one from Smith, who I but thought his time in the spotlight was fading. Squad offers up a solid beginning – a first step into a world where anti-heroes might just be the best mankind has to save us from ourselves.
- Published on
Meh. There are some films whose magic just escapes me. Generally if it's a cult flick, a SciFi flick, or some other property that's been strongly recommended to me by friends or family, I'm inclined to check it out ... and -- if it's one which somehow transcends the barriers of popularity normally imposed on features by time and space -- I may even check it out a second time should I wish to understand more of what I've missed.
Such is the case with The Adventures of Buckaroo Banzai Across the 8th Dimension. Released back in 1984, I did see this one theatrically. And when it first streeted on home video I watched it a second time ... not because I was dying to see it again but because -- as I said above -- the magic never quite tickled me pink. I couldn't say why exactly, as I thought all of the performances were good and the story mildly intriguing. For some reason, it just never struck a chord in me the way cult flicks sometimes do, and we find ourselves where we are today.
In any event, I received an email notice about the fact that the good ol' Buckaroo was making another appearance in the retail market, this time coming from the fine, fine folks at Shout(!) Factory. In the past few years, they've done an incredible job bringing some of the more obscure titles from cinema's past to life for new worlds and new civilizations (namely, today's consumers); and I have nothing but die-hard respect for companies engaged in such commercialism.
There's a grand review on this new release over at DVD Savant (one of the sites I follow and whose opinions I respect), and -- if you're interested -- here's the link to make a purchase of it at Amazon.
As always, thanks for reading ... and live long and prosper!
Such is the case with The Adventures of Buckaroo Banzai Across the 8th Dimension. Released back in 1984, I did see this one theatrically. And when it first streeted on home video I watched it a second time ... not because I was dying to see it again but because -- as I said above -- the magic never quite tickled me pink. I couldn't say why exactly, as I thought all of the performances were good and the story mildly intriguing. For some reason, it just never struck a chord in me the way cult flicks sometimes do, and we find ourselves where we are today.
In any event, I received an email notice about the fact that the good ol' Buckaroo was making another appearance in the retail market, this time coming from the fine, fine folks at Shout(!) Factory. In the past few years, they've done an incredible job bringing some of the more obscure titles from cinema's past to life for new worlds and new civilizations (namely, today's consumers); and I have nothing but die-hard respect for companies engaged in such commercialism.
There's a grand review on this new release over at DVD Savant (one of the sites I follow and whose opinions I respect), and -- if you're interested -- here's the link to make a purchase of it at Amazon.
As always, thanks for reading ... and live long and prosper!
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As a lifelong Science Fiction enthusiast, I occasionally catch myself going a bit too easy on films of this genre. Much of this is owed to the fact that I do so very much love the ideas that typically populate the good SciFi flick that I’m personally willing to swallow anything which looks, tastes, and sounds like worthwhile entertainment. Naturally, I think this tendency is common across aficionados of any particular class of film (horror fans tend to do the same with horror releases; Western fans tend to do it, too, with Western releases; etc.), and I’ve often said that’s why capitalism has rewarded us with the (ahem) Syfy Channel in its current state … that being it doesn’t quite run a lot of legitimate Science Fiction but rather invests plenty of capital in watered down fantasy, occasionally spruced up wrestling shows, and more Sharknados one can shake a real tornado at.
Because SciFi fans have grown accustomed to accepting less, industry suits are all too happy to finance budget schlock like VICE, the kind of thing that ceased being original in the mid-1970’s and instead tries to capture magic by blending up elements of every Artificial Intelligence story that’s come down the pike ever since. This isn’t to say that I didn’t have a little bit of fun watching it; I did, but it’s the kind of fun the ‘Adult Me’ can now comfortably admit feeling dirty over.
VICE begins with a commercial from cyber-industrialist Julian Michaels (played with smug acclaim from Bruce Willis). He’s built a modern day ‘vice’ empire (see how that works?) by cornering the synthetic human market with a single purpose: he offers customers for a high price the chance to play out any depraved impulse on these faux people arguing that they’re not victims since they get rebooted at the end of every business day. Enter the hero: tough, sarcastic, and embittered police detective Roy (Thomas Jane) thinks Vice is contributing to real societal decay, and he’ll stop at nothing to take down Michaels and his army of goons if it’s the last thing he does!
It might all sound clichéd, but that’s only because it is: anyone who has seen Michael Crichton’s Westworld (1973) knows how this is all going to end. (I have seen it, and – rest assured – I wasn’t surprised in the slightest.) Also, there are strong similarities between these concepts and themes that audiences have already been treated to in Ridley Scott’s Blade Runner (1982), Bicentennial Man (1999), Steven Spielberg’s A.I. Artificial Intelligence (2001), Caradog James’ The Machine (2013) Alex Garland’s Ex Machina (2015), or any number of episodes dealing with Commander Data aboard Star Trek: The Next Generation. VICE’s script from Andre Fabrizio and Jeremy Passmore even dumbs down the science – perhaps they didn’t have the budget? – using healthy bits of exposition (characters ‘explaining’ the premise) in lieu of ramping up anything remotely original much less interesting.
Because SciFi fans have grown accustomed to accepting less, industry suits are all too happy to finance budget schlock like VICE, the kind of thing that ceased being original in the mid-1970’s and instead tries to capture magic by blending up elements of every Artificial Intelligence story that’s come down the pike ever since. This isn’t to say that I didn’t have a little bit of fun watching it; I did, but it’s the kind of fun the ‘Adult Me’ can now comfortably admit feeling dirty over.
VICE begins with a commercial from cyber-industrialist Julian Michaels (played with smug acclaim from Bruce Willis). He’s built a modern day ‘vice’ empire (see how that works?) by cornering the synthetic human market with a single purpose: he offers customers for a high price the chance to play out any depraved impulse on these faux people arguing that they’re not victims since they get rebooted at the end of every business day. Enter the hero: tough, sarcastic, and embittered police detective Roy (Thomas Jane) thinks Vice is contributing to real societal decay, and he’ll stop at nothing to take down Michaels and his army of goons if it’s the last thing he does!
It might all sound clichéd, but that’s only because it is: anyone who has seen Michael Crichton’s Westworld (1973) knows how this is all going to end. (I have seen it, and – rest assured – I wasn’t surprised in the slightest.) Also, there are strong similarities between these concepts and themes that audiences have already been treated to in Ridley Scott’s Blade Runner (1982), Bicentennial Man (1999), Steven Spielberg’s A.I. Artificial Intelligence (2001), Caradog James’ The Machine (2013) Alex Garland’s Ex Machina (2015), or any number of episodes dealing with Commander Data aboard Star Trek: The Next Generation. VICE’s script from Andre Fabrizio and Jeremy Passmore even dumbs down the science – perhaps they didn’t have the budget? – using healthy bits of exposition (characters ‘explaining’ the premise) in lieu of ramping up anything remotely original much less interesting.
Now, take note: cliché-ridden scripts don’t necessarily mean the totality of the ideas are bad, as can be clearly evidenced by AMC TV’s recently Americanized remake of the Swedish original, Humans. In that television program, the characters – both human AND synthetic – are given a wealth of challenges they face, both domestic and (ahem) artificial. The writers there were able to take a tried-and-true concept – the use of robots to improve the quality of life – and elevate even the most mundane situation by exploring that fateful collision where intent meets results; everyday situations like grieving over the loss of loved ones were imagined from both human and synthetic perspectives, and audiences were (once again) captivated by what a real world we could find when Artificial Intelligence becomes a household commodity. In VICE, it’s all about … well … the vices.
How do we know?
Well, in the film’s conclusion, the synths are allowed to experience a kind of freedom, but it isn’t one that’s legitimately won and awarded to them by their own devices; instead, it’s the same old “let’s upload a virus” solution audiences have been asked to swallow ad naseum. The humans are given a dose of their own medicine, and it’s a cure best administered in fisticuffs. One sin answers another sin, and the cycle will inevitably begin again, assuming that there’s a sequel in the offing. (The flick closes with a subtle hint, but methinks the box office returns of this feature will probably keep a follow-up forever in development.)
None of this is to say that VICE is as awful as it could have been. Director Brian A. Miller certainly has some chops with camera trickery, and the performances – while all largely predictable – work only so well as they’re needed. No one in front of the camera or behind it really went the extra mile, and that’s why I’d honestly suggest that this is the kind of fare that plays just fine on Syfy Saturday night. But as a big budget feature? There just isn’t enough here.
VICE is the kind of film that gives Science Fiction its bad wrap. Were it the first flick of its kind to deal with artificial intelligence gone awry in the future just days beyond the present, then maybe – maybe – it would’ve had a chance to give audiences something to think about of substance. However, as the story suffers from a very heavy “been there done that” vibe, it all ends up exactly where one expected … mostly ‘cause that required no real input from anyone, screenwriters included.
How do we know?
Well, in the film’s conclusion, the synths are allowed to experience a kind of freedom, but it isn’t one that’s legitimately won and awarded to them by their own devices; instead, it’s the same old “let’s upload a virus” solution audiences have been asked to swallow ad naseum. The humans are given a dose of their own medicine, and it’s a cure best administered in fisticuffs. One sin answers another sin, and the cycle will inevitably begin again, assuming that there’s a sequel in the offing. (The flick closes with a subtle hint, but methinks the box office returns of this feature will probably keep a follow-up forever in development.)
None of this is to say that VICE is as awful as it could have been. Director Brian A. Miller certainly has some chops with camera trickery, and the performances – while all largely predictable – work only so well as they’re needed. No one in front of the camera or behind it really went the extra mile, and that’s why I’d honestly suggest that this is the kind of fare that plays just fine on Syfy Saturday night. But as a big budget feature? There just isn’t enough here.
VICE is the kind of film that gives Science Fiction its bad wrap. Were it the first flick of its kind to deal with artificial intelligence gone awry in the future just days beyond the present, then maybe – maybe – it would’ve had a chance to give audiences something to think about of substance. However, as the story suffers from a very heavy “been there done that” vibe, it all ends up exactly where one expected … mostly ‘cause that required no real input from anyone, screenwriters included.