Good morning, gentle readers, and welcome to -- yes, yes, and yes -- the rarest of days ... Leap Day ... otherwise known as February 29, 2024.

How's your Leap Day shaping up, hmm?  Here's hoping that you're taking this extra day in stride for that's precisely how our galactic overlord intended it ... it's a little 'something something' extra that you'll not see again for a few years.

Get it done, people.  Get it done.  Especially while you've got an extra day.

​As I mentioned yesterday, I'm very very very busy with some extra curriculars this week, helping to prepare some extraordinarily talented high schoolers for an incredible competition this weekend.  At this stage of the game, it's really all about fine tuning ... and anyone who has done a fair share of fine-tuning will tell you that it takes an extra bit of effort.  In fact, fine-tuning is the kind of thing that uses probably the greatest amount of muscles -- physical and creative -- so it can be very taxing.  As exhausted as I am from it, I just remind myself that they're working vastly harder than I am at all of this, so I'll happily persevere alongside them.

Still, I gotta be honest: because this is a day that comes along once in a Blue Moon, it has been an uphill struggle to get as many trivia citations as I'd love to have in there.  In fact, I just hit 50 citations this morning, meaning it's taken the better part of ten freaking years to come up with 50 that I felt deserving on the appropriate inclusion ... and that's saying something.  While I do have a few more in my archives, I'll likely spend the rest of my free time today hunting for a bit more.  I always like to have items on tap for next year, and -- as you might imagine -- that, too, takes some extra digging.  So after I finish this post, then I'm off ... until I have to race back to school later today.
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Now ... in all fairness, The Ninth Configuration isn't authentically Horror.

Don't get me wrong.  As a film -- one written and directed by William Peter Blatty (he of The Exorcist fame) -- it definitely veers into like-minded territory.  But on the face of it Configuration is far more of a dark, dark, dark drama that dabbles with some scenes and ideas that encroach upon Horror themes.  It ain't a scary picture, and yet it has a reasonably scary idea for those of us who appreciate genre efforts.

​While I'll not go into the full synopsis, the basic premise of the flick that there's this distant kinda/sorta insanity asylum wherein the military's true 'most disturbed' go for care and treatment.  The big and short of it is that there's a change in management at the same time that a new inmate or two are welcomed into the facility; and -- without spoiling it -- let's just say that they might've mixed up just who is who.  That's all I'll say, mostly because I think it would be entirely unfair to spoil such a significant twist to its ending; but for of us who've seen and were watching closely might've questioned what was transpiring anyway.

Yes, yes, and yes: you can check out the full synopsis on IMDB.com or elsewhere, and they might give you a bit of extra fluff involving why this dabbles with Horror.  My point in sidestepping that is I'm not entirely certain the Horror bits are strong enough to warrant the flick's inclusion as widely as it has been in the genre, but -- hey -- that's just my opinion.  The Ninth Configuration is still a damn good picture -- one exceedingly well-scripted and performed -- and it gets a solid thumbs up from me.  If you haven't seen it, then consider checking it out.

Just be forewarned: it's a bit ... different.

It was first released on this day back in 1980.
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There's more ... again, not as much as I'd like ... but that's not going to deter me from encouraging each and every one of you from heading on over to that space and checking it out.  I think you'll still be pleasantly surprised.
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As always, thank you for reading ... thank you for sharing ... thank you for being a fan ... and live long and prosper!

​-- EZ

Good afternoon, gentle readers, and welcome to February 28, 2024 ... or -- as I like to call it -- On This Day In Science Fiction History!

Yes, yes, and yes: I realize not every single citation on the Daily Citation Page for February 28th isn't exactly Science Fiction, but it goes without saying that without SciFi we might not have Fantasy ... and without Fantasy we might not have Horror ... so you take it or leave it, my good folks, that's what I'm sticking with!

​Otherwise ... how's your day shaping up?

Mine is going pretty good.  As I think I've mentioned, I'm a bit busy this week elsewhere, so these MainPage posts are going to be reasonably infrequent as compared to other times of year.  I'm wrapped up in helping some great talent achieve their own impossible dreams this season, and -- as a consequence -- I have to play a little 'give-and-take' with this space.  Mind you: SciFiHistory.Net is always on my mind.  That will likely never change.  But like each of you I have to come and go with the tide during parts of the year, and this is a busy time.  I know, I know, I know: you understand.  But I felt it necessary to add a few words for posterity's sake.
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Wowza!  That Ali Larter?  She's certainly a sight to behold, am I right?

Well, she's definitely a lady who has some serious talent, and -- along her way through the entertainment business -- she's definitely made a lasting impression on those of us who worship at the altar of All Things Genre.  She burst onto the scene with a pretty commanding role aboard NBC's Heroes -- a weekly procedural that truly lost its way fairly quickly when it seemed like series' creator Tim Kring had no functioning game plan for how it could evolve beyond the first season.  But that's not her only contribution to the realms of the Fantastic, and the rough-and-tumble lady can be seen in some solid installments of the Resident Evil franchise of flicks.  (I know, I know, I know ... they're not all that great, but her contributions aren't predicated on whether or not there's a good script.  Rent still has to be paid, folks.)

​Since those happier days on screen big and small, Larter has largely settled into the acting gig pretty well.  While it's safe to suggest that she hasn't had a ton of genre work since, I, for one, am hoping that it's only a matter of time before we see her again going boldly where few have gone before.  Hers is the kind of presence that just makes things better, and we can always use a bit more of that when series and movies fill up the pipeline.

In the meantime ... Happy birthday, milady!
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Released on this day in 1992, John Carpenters' Comedy/Horror Memoirs Of An Invisible Man was an uneven effort, at best.  Though it seems to strike a positive chord with some in the entertainment press back in the day, I don't recall it exactly being a bit hit at the box office.  I do believe that it probably had a better life on home video -- so many of those late 80's and early 90's flicks that came-and-went pretty fast from theaters did come into the black once they were available on VHS -- but, frankly, I'll admit to being more than a tad disappointed with the effort.

​To be fair, I know that the feature did earn some really positive attention from the Saturn Awards (which are sponsored by the Academy Of Science Fiction, Fantasy, And Horror Films).  The picture was nominated in four categories -- 'Best Special Effects,' 'Best Supporting Actor,' 'Best Actor,' and 'Best Science Fiction Film' -- and, yet, I'd argue that such praise was more likely doled out because of Carpenters' participation of the entire project.  He still had a lot of sway in the industry at that time, and I'd argue a lot of goodwill rolled downhill onto those he put to good use in an otherwise middling affair.  Daryl Hannah -- as the love interest -- was good, but, again, I'd find it hard to point to any truly groundbreaking work from any of the onscreen talent.

​Some quick reading on Google.com suggests that Memoirs was neither a critical or commercial success, so I could be misremembering things slightly.  Again, I recall seeing it on the silver screen and being mostly unimpressed, but I've always admitted my taste in humor and what mainstream gravitates toward rarely coincide.  Whatever the case, let's be happy that the invisibility craze continues to ignite the imaginations of storytellers as that's fundamentally what always matters to genre enthusiasts.
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"Is that all there is?" you ask.

Why, at this point, folks, you should know that there's always more.  I've done the heavy lifting so that you can enjoy taking it easy and breezy, floating through the highs and lows of genre-specific trivia each day.  There's likely something in there for everyone, and this is where I encourage all of you to head on over and check it out ...
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As always, thank you for reading ... thank you for sharing ... thank you for being a fan ... and live long and prosper!

​-- EZ

Good afternoon, gentle readers, and welcome to February 27, 2024!

How's your Tuesday shaping up for you?

Mine?  Why, it's grand, I tell you!  Grand!

​Now, folks, a little behind-the-scenes info today: Weebly.com ain't exactly playing nice, if you know what I mean.  For the last two days, I've had some curious issues with the site hosting company, some of which points to technical issues with the user interface.  As an example, I find myself typing posts and properly saving them ... only, lo and behold, when I come back to actually activate the posts live on the MainPage they're showing up curiously empty of any text.  So ... disappearing ink?  As a consequence, I'm taking things a bit slowly today -- you won't believe the blood boiling in my veins yesterday as about twenty minutes of typing just vanished into the G.D. aether -- so updates might be slim and far between today.  I'm having to save content to Microsoft Word files for backup purposes, and -- as you can imagine as well -- that takes a bit of time and slows me down a wee bit.

​Thus far this morning, it would appear to be working properly ... but it was working "properly" yesterday until the point arrived wherein it wasn't.  Call me cynical, but it's downright frustrating.

However, don't let that information trouble you.  I just wanted to give an update for those who do show up each morning expecting some new content.  It'll all get up there ... I'm just taking some extra steps to insure that I'm covered in case the weblords eat it all on their own.
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I've been told that I don't feature enough individual actors and actors in this humble space, and -- while I might concede that's true -- I'd like to think I do call attention to those who've truly earned their stripes in the realms of Science Fiction and Fantasy.  Not every Tom, Dick, Harry, Marcia, Jan, and Cindy deserves (quite frankly) to get a bit of extra coverage, but I do make attempts to provide some balance when and if I think it's warranted.

That being the case ... how about that John Pyper-Ferguson, am I right?

​This guy is an amazing, amazing talent that caught my eye back in the early 1990's when he turned up in a largely comic addition to Fox TV's single season serial The Adventures Of Brisco County Jr.  His 'Pistol Pete' Hutter was a wonderful recurring bandit, and the guy had a somewhat unhealthy attachment to his six shooter.  It was funny portrayal -- one that bordered on parody in just the right balance -- and it couldn't have been done by anyone other than Mr. Pyper-Ferguson.

Since those days, I think his work has been largely more dramatic in nature, and he's definitely turned up in an incredible number of shows, usually in small stints wherein a solid player had to do a bit more with the material given.  His turn as a die-hard patriot Tex Nolan was one of the best roles written for TNT's Apocalypse/Drama The Last Ship, and it was equally heartbreaking to see him return after his character's death in a touching finale to the action show.  For those of you who haven't seen that series?  I'd encourage you to check it out.  The last season kinda/sorta veers into questionable territory, but otherwise?  Great entertainment.
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There's more ... at 64 trivia items strong, there's a lot more ... and this is the point of the post wherein I encourage folks to head on over to the Daily Citation Page and perform your own deep dive.  While there's a movie or two celebrating anniversaries today that might deserve a bit of extra coverage, I'll leave that to each of you to explore all on your own.

Most importantly, here's the link ...
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As always, thank you for reading ... thank you for sharing ... thank you for being a fan ... and live long and prosper!

​-- EZ

Apologies, folks, to drop in here this afternoon with a late breaking announcement, but word has just reached the World Wide Web on the passing of actor Chris Gauthier.

​As can happen in the entertainment world, some light shines less brightly on some than it does other, but Gauthier -- despite not being one of the biggest names I've run across -- was definitely one who enjoyed a great run in the realms of Science Fiction and Fantasy.  In fact, a quick run down on his work listed on IMDB.com shows that he enjoyed over 100 different screen roles in properties very near and dear to many of us.

​For posterity's sake, let me name a few?  Since launching his career in entertainment, he booked time aboard such delightful enterprises as Dark Angel, Freddy Vs. Jason (2003), Earthsea, Stargate: Atlantis, Kyle XY, The Butterfly Effect 2 (2006), Bionic Woman, Reaper, Supernatural, Watchmen (2009), Sanctuary, Smallville, Continuum, Eureka, and much, much more.  His was a career that was definitely diverse, and no doubt many will remember him from some screen gig here or there.

Our warmest thoughts and prayers are extended to the family, friends, and fans of Mr. Gauthier.  May he forever rest in peace.

​-- EZ

We here at SciFiHistory.Net – well, I here at SciFiHistory.Net, anyway – have a fondness for samurai films.
 
Frankly, I shouldn’t have to explain why, but for those of you who may have missed it the wider universe of Star Wars films, books, and television shows owe a debt to samurai stories, a genre that even creator George Lucas has credited as a major inspiration.  I’ll admit that – to a degree – such association may not be apparent with the Original Trilogy, what with the Jedi Order having been desecrated and heroes being in short supply, but this was often the typical framework of the samurai feature as well: a lone warrior – characteristically one without a master or a legion of resources – would take a fateful stand against an overwhelming enemy.  Defying the odds, the hero would triumph but not without a great deal of fisticuffs, steely-eyed glares, and dynamic swordplay thrown in between the opening and the closing credits.
 
So … from time-to-time, I take a gander into the unique subset of action films, especially when they’re being newly released in the U.S. and I can get my hands on a copy reasonably priced or via a distributor relationship.  I’ve found a great many of them wildly entertaining for a whole host of different reasons, but, chiefly, it’s grand to see how these thrilling stories of yesteryear continue to resonate in Science Fiction, Fantasy, Mystery, and beyond.  While they’re in a class all of their own, I’d argue that anyone watching closely can still see the bits and pieces of their formula still put to great use across multiple genres today.
 
Today’s inspiration?
 
1969’s Killer’s Mission (aka Shokin kasegi) was produced by the Toei Company, a name recognized for its contributions to both anime and live-action productions.  (In fact, Britannica Online boasts that the company’s subsidiary – Toei Animation – is the largest distributor of anime in the world.)  Based on what I’ve read, the movers and shakers at Toei saw in the late 1960’s the emergence of the popular trend of spy pictures on the international scene.  As an article on Japan On Film states, the Japanese really had no foothold with which to weave such stories in the present, but they could make use of such elements in the past: the Shogunate was the military establishment of Japan from 1192 through 1867 (per Google.com), so storytellers sought to go back in time with thrillers featuring samurai warriors with gadgetry, dangerous women, and the requisite male-focused hedonism.
 
Move over, James Bond.  Make way for Shikoro Ichibei!
 
(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 page citation:
“A shogunate secret agent is sent to investigate a secret deal with a Dutch warship involving repeating rifles to be used in an uprising against the Shogun, but he finds there’s more going on than previously suspected.”
 
When learning about samurai films, there’s this weird confluence that gets discussed again and again by film historians.
 
From what we know, these chanbara flicks – as they’ve been called – served chiefly as stimulus for Italian cinema when that nation’s visual storytellers got into the business of using them as inspiration for what ultimately became the Spaghetti Westerns.  Then – as fate would have it – these Spaghetti Westerns and their associated tropes (which, incidentally, included greater and greater uses of technology according to pop culture researcher Christopher Frayling) eventually made their way back to Japan.  Once there, these films began influencing the contemporary Japanese filmmakers to stir the pot up a little more, as they drew upon their Italian counterparts for equal inspiration in twisting the samurai formula when box office receipts began to dip.  The result was the ‘Samurai Spy’ story, a development that might be aptly brought to the screen with The Bounty Hunter Trilogy, a series that included 1969’s Killer’s Mission, 1969’s The Fort Of Death (aka Gonin no Shôkin Kasegi), and 1972’s Bounty Hunter 3: Eight Men To Kill (aka Shôkin kubi: Isshun hachi-nin giri).
 
As the debut theatrical outing for Shikoro Ichibei (as played by Tomisaburô Wakayama), Killer’s Mission is a bit uneven.  Audiences tuning in for a traditional samurai story were likely a bit confused with the warrior/spy’s arsenal of lethal goodies, but thankfully none of the devices ever really overshadows the plot to the point of being incredulous, though some might’ve asked why Ichibei didn’t make more use of such concealed weapons with greater frequency.  The truth there would probably be that the emphasis on action was always intended to revolve around crossed swords and not, say, ‘pistols at dawn’ as that’s what put ‘butts in the seats.’  In this respect, Ichibei is no slouch, and he makes the best of a quick blade especially when his adversaries needed to take extra time to reload.
 
As for the story?  Ichibei gets dispatched by the shogunate to a province that has curried favor with a Dutch seafaring captain who has promised to supply the Satsuma clan with rifles they can use to overthrow the ruling Tokugawa clan, a fact that the film claims is pulled from history (though they state the records have been destroyed).  On his journey – much like James Bond – Ichibei joins forces with men and women alike, including another ronin masquerading as a simpleton and a female assassin named Kagero (Yumiko Nogawa) who’s equally adept at killing and outfitted with spy devices all of her own.  Ultimately, the good guys have to work together to overcome those villainous Dutch, and even Ichibei and Kagero are allowed to find love in the final reel.
​

For what it’s worth, Wakayama clearly never won any awards for being a kinda/sorta stand-in for James Bond.  In fact, one might make the case that he looks more like a Bond villain or certainly one of the villain’s many henchmen than he does the commanding lead.  Despite operating under the cover of disguise or secret identity here and there, he’s a rather dour if not downright plump figure, hardly imposing except when characteristically crossing swords with a rival who isn’t about to last long.  While some could argue that he’s miscast as the lead, I can say having met two legitimate spies in my lifetime that he does possess that reasonably average appearance which might get overlooked in the whole ‘vetting one’s enemies’ process.   The script does grant him the – ahem – typical sexual prowess afforded only the world’s most deadly agents, so there’s once again something to be said for participating with any career perks.  Smoke ‘em if you got ‘em, ladies.  It’ll likely be the best you’ve ever had.
 
Still, I’ll admit to occasionally feeling disjointed in my enjoyment of Killer’s Mission.  The story never quite makes perfect sense, and I never quite got all that comfortable with samurais exchanging blades for bullets even when it happens sparingly.  Thankfully, there’s a hip coolness to the whole affair – one that benefits from Ichibei’s brute force when required – so it still manages to feel like a welcome trip home for those of us showing up and expecting more of the same.  It both is and isn’t a traditional samurai flick, and I suspect this is the greatest reason to invest the time to endure this mission.  It’s definitely something different.
 
Killer’s Mission (1969) was produced by Toei Company.  DVD distribution (for this particular release) is being handled by the good people at Radiance Films as part of their The Bounty Hunter Trilogy Collection.  As for the technical specifications?  While I’m no trained video expert, I found the sights-and-sounds to this all-new Blu-ray release – FYI: the first time anywhere in the world – to be good but imperfect: while the sound works just fine, I thought the colors were a bit muted here and there, giving the film a darkness at times that seemed a bit harsh.  Lastly, if you’re looking for special features?  As I’m provided only screener/copy discs, I can’t speak for the efficacy of all the materials, but the collection does boast an audio commentary by film historian Tom Mes (I found it a bit dry) along with a few other shorts and/or interviews.
 
Recommended.
 
As I stated above, I think the biggest and best reason to visit Killer’s Mission (1969) is the fact that it both is and isn’t a samurai flick.  The narrative takes something old and finds a way to make it damn near entirely new but only in places.  History buffs might be able to poke holes in what was available in the time and place, but – like any spy yarn – the fantastic elements can be easily reconciled for entertainment value.  Wakayama doesn’t emerge as any Sean Connery, but he isn’t any Roger Moore (in the actor’s later efforts, anyway); instead, he bridges the divide between samurai and spy quite nicely, even aping it up for laughs when the script calls for it.  Nicely done.
 
In the interests of fairness, I’m pleased to disclose that the fine folks at Radiance Films provided me with a complimentary screener of 1969’s Killer’s Moon – as part of their The Bounty Hunter Trilogy – by request for the expressed purpose of creating this review.  Their contribution to me in no way, shape, or form influenced my opinion of it.

​-- EZ

The real trick to successfully achieving escape velocity – that being the speed necessary to break the bonds of gravity holding one to the Earth’s surface – is the technically precise task of weight management.
 
To put it simply, once your rocket engines ignite you need to be assured that you’ve loaded aboard only that which you need to both make the journey as well as the return voyage.  There can be nothing extra.  There should be no excess baggage.  To risk taking something extra along – something just go for the ride – will practically guarantee failure for the thrust to achieve the maximum velocity necessary to propel you into orbit and beyond.
 
Now … the same could be said for hit movie scripts.
 
The screenwriter only wants to pack the adventure with exactly what it needs.  There should be no room for extra characters who don’t fully serve the narrative.  Scenes or footage gratuitous to this particular story are found extraneous, and they should be excised to give only the core requisites the best chance of survival against the elements.  Space within this unique capsule is at a minimum, so anything that could siphon off the energy required to reach forward momentum must be sacrificed.  The goal here is to soar, not to come crashing back to Earth in a fiery husk.
 
This lack of delicate balance is what mostly keeps The Moon (2023) from going boldly where some have gone before but make no mistake: writer/director Yong-hwa Kim tried very, very, very hard to keep the film reaching for stakes higher and higher when – in reality – it could’ve easily trimmed a bit of surplus and landed in theaters to wider acclaim.  As it is, it’s a capable diversion, but it’s also one that can’t escape its own weaknesses long enough to accomplish more than a single orbit.
 
(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 page citation:
“A man is left in space due to an unfortunate accident while another man on Earth struggles to bring him back safely.”
 
In all seriousness, whoever crafted that synopsis for IMDB.com should probably be jettisoned as garbage as it doesn’t even get close to conveying the depth (and bloat) of story within Yong-hwa Kim’s serviceable space thriller.  But having watching the film, I can also accept that trimming down the narrative from its fat might have seemed as daunting a challenge as putting a man on the moon … so there.
 
The Moon’s chief problem – despite having one of the blandest titles ever – is the fact that it’s presented heavily as a docudrama – similar to Ron Howard’s Apollo 13 (1995) – despite the fact that none of it has ever happened.  Set in the near future, The Moon recounts the near-tragedy (that also never happened … yet) when astronaut Sergeant Hwang Seon-woo (played by K-pop sensation Do Kyung-soo) finds himself stranded in space after his teammates are killed in an accident whilst attempting to repair their fragile capsule.  In a gesture of national pride since this is Korea’s first solo attempt to reach the moon (also something that never happened … yet), Hwang decides to complete the mission solo, defying the wishes of the Korean space agency.
​

But for reasons that I’ll not pretend to understand, storyteller Kim chooses to set-up all of these particulars in documentary-style approach, a tactic that implies that the film is entirely factual (which it isn’t).  I’ve seen this done elsewhere (National Geographic participated in a fictional Mars adventure that lasted two seasons, I believe), and – quite frankly – I hated it there as well because the imagined events were predicated largely on expert opinions and didn’t always feel authentic to the lives these characters led or what they experienced in an obviously made-up story.  Remember: biographies aren’t always interesting because they tend to get lost in psychological minutiae attempting to explain a person’s motivations.  Giving The Moon such ‘expert set-up’ by fictitious characters is, tonally, just plain weird, so much so that I feel the flick would have a vastly better cut removing that baggage from the entire flight.
 
Further complicating matters is the fact that The Moon’s script incorporates a heavy amount of personal melodrama with its many overlapping relationships – a disgraced former mission commander, his ex-wife who just happens to be the head of NASA only a few years later, a young female sidekick who serves no narrative purpose other than to be a young female sidekick, a team of American NASA administrators who look and act more like heavies from any Korean crime thriller, etc.  There’s so much that gets introduced into the main plotline that there’s very little room left over for any authentic subplots to find their own legroom in this delicate capsule, and the preponderance of useless or unnecessary distraction kills the picture’s forward progress at every opportunity.  I don’t doubt that Kim felt these tributaries were helpful; and I wish someone in the editing booth would’ve assured him otherwise.
 
In ways, it’s almost like Korean cinema felt it had to produce something on par with 2015’s The Martian or 2019’s Ad Astra, both respectable human dramas set against the backdrop of space exploration.  To a degree, Kim’s The Moon stands toe-to-toe with them – at least, so far as I’m concerned – because it incorporates the same disadvantages – a wealth of bloat all held together by good performances, movie science, and some truly awe-inspiring special effects – so I guess I can say, “Well done.”  Going beyond has never looked better, but stories like this shouldn’t feel so ephemeral and vacuous, either.  It diminishes real achievements for the sake of bolstering faux space heroes into the lexicon, and – dare I say? – some of us still find that a bit cheap.
 
The Moon (2023) was produced by CJ ENM Co., CJ Entertainment, and Vlad Studio.  DVD distribution (for this particular release) has been coordinated by the fine folks at Well Go USA Entertainment.  As for the technical specifications?  While I’m no trained video expert, I thought that the sights-and-sounds to this big screen extravaganza looked pretty damn spiffy all along the way.  Mind you, there are some special effects sequences that look just a bit better than what you get in most big budget game franchises these days, but I suppose that’s to be expected.  Lastly, if you’re looking for special features?  There’s a brief behind-the-scenes bit along with the theatrical trailer to keep you happy.
 
Recommended.
 
Because I have an obvious affection for All Things Science Fiction, I’m perfectly comfortable with saying that, sure, The Moon (2023) is worth a view … but honestly?  That’s about it.  Sadly, it has no rewatchability as its story is tonally kinda/sorta all over the place, and it falls rather quickly into the same-old-same-old sink-then-swim formula whenever a new obstacle presents itself.  If it hadn’t descended into predictability so lazily, then it might be the kind of picture worth experiencing again and again – the benchmark to the best SciFi has to offer.  As is?  Well, it’s just too long with far too much contrivance to make this ‘star trek’ one for the cinema ages.
 
In the interests of fairness, I’m pleased to disclose that the fine folks at Well Go USA Entertainment provided me with a complimentary Blu-ray of The Moon (2023) by request for the expressed purpose of completing this review.  Their contribution to me in no way, shape, or form influenced my opinion of it.

​-- EZ

Folks, news reached the SciFiHistory.Net News Desk late yesterday regarding the passing of actor Kenneth Mitchell (1974-2024) from ALS.

While the actor may not be as well known for his work in genre as are others, I do recall him first coming onto my radar with his work aboard CBS's pretty interesting Apocalypse/Drama Jericho (2006-2008).  For those of you who missed it (and, based on ratings alone, that may've been a good many of you), Jericho featured the residents of a small town in the heartland of America surviving against what appears to have been a near extinction-level event.  When society begins to tatter and fray, these folks banded together to protect one another from the lawlessness and chaos.  It lasted for thirty episodes -- it may've even had some life beyond the screen in a book or graphic novel format, though I'm unsure on that point -- and Mitchell was one of the talented players amongst the cast.

Thankfully, the man had other adventures in the realms of the Fantastic.  His IMDB.com profile lists such projects as Odyssey 5, Meteor, Ghost Whisperer, Grimm, Tasmanian Devils (2013), Haven, Minority Report, Frequency, Captain Marvel (2019), Star Trek: Lower Decks, and Star Trek: Discovery amongst his resume ... and that's a very impressive run.
​
Our thoughts and prayers are extended to the family, friends, and fans of Kenneth Mitchell.  May he forever rest in peace.

​-- EZ

Good morning, gentle readers, and welcome to Monday, February 26, 2024!

I know, I know, I know ... not so loud, am I right?  It's Monday, for Pete's sake!  Take it down a notch.

Well, yes, it is Monday, but it's yet one more great day to be alive, folks, and I think that's cause for celebration.  Get up.  Get out of bed.  Get to it.  Get to work.  Buckle down.  Make the most of it.  You'll be a better person for it, no matter if you think otherwise.

Now, not a lot to report on the homefront this morning.  It was a reasonably quiet weekend, so far as activities are concerned, but that doesn't mean I left anything out.  I'm on the tail end of a sinus bug -- pretty much the same thing that seems to be going around out there -- and it definitely slowed me down just a tick.  Meds helped -- along with a bit of extra sleep here and there -- so let's be thankful for that as well.  I did manage to squeeze in a small handful of video screenings over the weekend, and I'm going to make my best attempt to get a few reviews up today.  Keep your fingers crossed and your eyes on this space as I'll have plenty to say about them when the time is right.

Otherwise ... I think that's the most of the personal bits.  Let's get down to the real business On This Day In Science Fiction History, shall we?
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As the saying goes, sometimes you have to take the good with the bad, and you couldn't get any worse than the Walt Disney Company's adaptation of the much revered Fantasy Classic A Wrinkle In Time, a real piece of cinematic stinkery that was first unveiled on this day back in 2018.

This big budget miscalculation from the Mouse House gave an entire roster of A-list talent to have egg on their faces, and maybe -- just maybe -- such failures are needed from time-to-time to remind both the makers and the would-be watchers that it ain't as easy as pie assembling the usual fare.  From what I can recall in the press, it might be safe to suggest that this was the first true D.E.I. attempt behind-the-scenes, and perhaps critical darling Ava DuVernay shouldn't have been the first choice to helm such a daunting adventure.  Google.com estimates that the film lost Disney somewheres upwards of $130 million while tarnishing the screen reputations of Oprah Winfrey, Reese Witherspoon, Mindy Kaling, and Chris Pine along the way ... and one might think someone would've noticed what a disaster this was before it hit screens.

No, no, and no: yours truly has not seen it, so I cannot attest to any of the film's highs and lows, but I'll also admit I've no real desire to see it.  Perhaps on some rainy day down the road I'll take it in for giggles' sake ... should I ever get that brave.  If I do, then I'll be happy to share my thoughts on it.  For now, these humble words will have to do.
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Often, I have to remind readers that I don't often agree with the general consensus.  No, no, and no: I don't disagree out of spite or any such tactic.  But if I disagree, then I'm willing to back up my position with my impression of any certain project just to show my take is my own.

That said, 1984's Repo Man is another project that I don't quite understand the praise.  While its story is an interesting idea and the film boasts an occasional good scene or a bit of good work, I just found it so plain that I couldn't quite get into its subversive vibe.  I will admit that I haven't seen this one since the 1980's so maybe it's one I might reconsider at some point.  I do recall thinking at the time that the concept was very cool and yet the film didn't quite seem to do much with it.  I suppose some of my disappointment could be owed to my expecting something different -- especially with the premise of finding a dead alien body in a trunk -- but what do I know?

Also, I know it's a bit of SciFi satire, and I've personally found that doesn't always ring true for me.  But it did have a solid cast, including Emilio Estevez, Harry Dean Stanton, and Tracey Walter in prime shape, so let's always be thankful for small miracles.  If it tickled your fancy, then that's great to hear!  That's sometimes the best we can get in return to our time spent with any flick.
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And here we are once again, kiddies, wherein we reach that part of the daily blog wherein I inform you that there's more -- there's a lot more, in fact -- awaiting your discovery.  Each and every one of you are encouraged to head on over to the Daily Citation Page and search for that which warms your heart individually, as no one should ever be expected to settle just for my two cents.  I'll give them anyway -- 'cause that's kinda/sorta my gig -- but to each his own when it comes to finding the good, the bad, and the ugly in each and every day of our shared existence.

With that, here it is ...
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As always, thank you for reading ... thank you for sharing ... thank you for being a fan ... and live long and prosper!

​-- EZ

Good morning, gentle readers, and welcome me back from a brief respite from the daily responsibilities that are the maintenance of SciFiHistory.Net!

Did you miss me?

Did you even notice I was gone?

Ahhhh.  The trials and tribulations of a daily blogger.  I know, I know, I know ... "If you were a vlogger, we would've noticed, but you old school types who still insist on slinging words just don't get all the glory ..."  I know.  Such is the case.  But I had a medical test this week that wiped me out (nothing serious, so don't fret), and then I had a lot of volunteer stuff that tied me up on Friday.  This is the first I'm actually even getting to the blog in about two days, but I'm thrilled to be back in the saddle, as they say.  I've missed it.

Nothing all that much to report from the last few days, though, that's true.  I haven't had the time to even check into The Archives to see if I had anything of substance I needed to add for today, so this post is going out there onto the Information Superhighway exactly as I type it right now.  So lemme take a quick gander and see what ruckus I was muster.
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The name of Ray Liotta isn't one that's even remotely associated with the worlds of Science Fiction and Fantasy, but for those of who not following quite so closely as I am the talented actor did step into its confines: on this day back in 1994 -- an astonishing thirty years ago today -- he graced the silver screen in a little something-something called No Escape.

Now, I'm not sure how much of a wide release this film got.  It seems to me that it, largely, was a small feature that came and went pretty quickly.  It didn't muster up a whole lot of fanfare.  I suppose there are multiple reasons for such a fate, but -- for my two cents -- it's the kind of thing that SciFi and Fantasy does over and over again.  Basically, it's a yarn about the descent of civilization into chaos -- all given a largely Apocalyptic backdrop -- and sometimes it's hard to even get the most ardent fans riled up to see more of the same.  I know that I didn't get the chance to see this one in theaters, and I hadn't seen it in its entirety until I received a complimentary new release of it back in 2022.  Once I had, I was very glad to have seen it, as it's honestly the kind of thing that -- despite having enduring such circumstances before -- I honestly almost always enjoy.

Having Ray Liotta in it?

Well, the actor did very well in it.  I don't think it was much of a stretch for him, exactly, but he still showed up, hit his marks, and made the picture better for being in it.

But, yes, I think it's safe to suggest that genre -- from time-to-time -- overdoes it, repeats an awful lot of the same ideas and stories -- so a bit of, say, Apocalypse fatigue probably sets in on occasion and hurts the forward progress of a smaller feature.

If you haven't seen this one, then you're still encouraged to check it out.
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One other significant reason for genre fans to celebrate February 24th is that the day is the birthday of Edward James Olmos, who appeared aboard Ridley Scott's Blade Runner and pretty much was one of the big headliners for the Syfy-produced re-imagination of the classic Battlestar Galactica.

Olmos as Adama was a great casting choice.  While I've admitted time and time again that I wasn't a big fan of this particular reincarnation (I didn't hate it, it just didn't do as much for me as did the original), I've always thought that it had, arguably, one of the best casts in TV SciFi/Dramas of record, and that's saying something considering the wealth of talent that comes our way.  Olmos had this measure of gravitas that blessed the production with the level of respectability I think it deserved, and, yes, it was great to see what he could do with some pretty dynamic material.

And don't hate me because I'm an old dog, kiddies, just like Olmos was in this show: I happen to prefer the younger version -- the one who had far more nuance in Blade Runner -- to the elder.  Not putting him down in any respect.  As I said above, the newfangled BSG just went a bit too obviously political in ways I didn't think really advanced any of its core ideas, but I'm going to leave it at that.

Happy birthday, Mr. Olmos!
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As always, there's more ... in fact, there's a lot more ... over on the Daily Citation Page for February 24th, 2024, and this is the point wherein I encourage everyone to go and check it out ... but I'm always going to take this small opportunity to encourage readers to help me out ... if you know of any other event (birthdays, movie releases, TV airings, etc.) that could be added to this space, don't ever hesitate to drop me a line, eh?  I bring this up because someone did so recently but did so rather ... erm ... quietly ... unsure of whether or not he felt it was the right thing to do.  Folks, I'm always on the lookout for stuff to add to the space, but mine are only two eyes.  If you see something or you know something or even if you're an actor, director, producer, whatever, etc., and would like to see something added to the appropriate page, then I'm always listening.  Never hesitate to drop me a line.  It never hurts to ask, no matter the topic.
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Lastly ... as always, thank you for reading ... thank you for sharing ... thank you for being a fan ... and live long and prosper!

​-- EZ

Good morning, gentle readers, and welcome to February 21, 2024.

How's the day shaping up for you thus far?

Yes, yes, and yes: I, of course, realize that it's very early, and I don't want to jinx the day, as they say.  I'm simply asking how it's going thus far with the sincere hopes that you'll find it going swimmingly.  I truly wish for nothing best from my readers here at SciFiHistory.Net, and that's why I do what I do each and every day, hoping that some little nugget in this space brings you even the smallest bit of joy.  It's these shared remembrances that unite fandom around the world, and I'm glad you're chosen to be as much a part of it as I have ... well, frankly, I am doing a bit more than you folks are -- what with building and maintaining this whole space, you know -- but that's by choice.  I'll never hold that against you.

​In a quick review of the day this morning, I realized that I'd watched and reviewed 1936's Things To Come -- the theatrical adaptation of the H.G. Wells novel -- so I went searching and found it in my personal archives.  I did a quick once-over on the piece, cleaned it up a bit, and now it's available for a quick read on the site.  It's one of those pieces that I had penned for my gig as an Amazon.com Top 1,000 Reviewer (but Bezos and his ilk removed once they changed their rules), and I wanted to preserve it for the ages in my own space.  It's up, and you can find it with a look on the MainPage.  Check it out, if you're so inclined.
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Because I do like to 'mix things up a bit' from time-to-time, I think that's where I'll leave you this morning.  I don't feel it's always necessary to highlight something extra in this daily blurb: in all honesty, some days do blend together just a bit, and I'm never convinced that what I see as a highlight is something that you'd all agree with.  In those cases, I'll simply show up, present the link, and leave you to the business of performing your own deep dive into the cornucopia of delight that is the Daily Citation Page for February 21.

So without further ado, here's the link ...
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As always, thank you for reading ... thank you for sharing ... thank you for being a fan ... and live long and prosper!

​-- EZ