So many movies ... so little time ...

Folks, it was on this day in the United Kingdom all the way back in the year 1963 that the good people of London, England were first treated to the exclusive theatrical premiere of The Mind Benders.  (For purists, I'll add that the full UK release apparently followed on March 25th.)

The film shows as directed by Basil Dearden (1911-1971), a somewhat celebrated talent according to his professional profile.  Previous to Benders, the man had directed such other genre entries as Dead Of Night (1945) and Man In The Moon (1960).  The script shows solely attributed to James Kennaway (1928-1968), and it's only one of seven projects his name shows attached to on IMDB.com.  The cast includes such names as Dirk Bogarde, Mary Ure, John Clements, Michael Bryant, Wendy Craig, Harold Goldblatt, Goeffrey Keen, Terry Palmer, Norman Bird, Terence Alexander, and others.  Here's the plot summary as provided by our friends at IMDB.com:

"Dedicated British scientist Dr. Henry Laidlaw Longman (Sir Dirk Bogarde) tests the possibility of brainwashing. If the experiment succeeds, he will stop loving his wife Oonagh (Mary Ure)."

I have found the original theatrical trailer on YouTube.com; so -- as is customery -- I'm posting the link below.  Those of you interested further know what to do about that.

As always, thanks for reading ... thanks for sharing ... thanks for being a fan ... and live long and prosper!

-- EZ
​

Editor's Note:
​
Folks, I've mentioned before that -- at one time -- I was one of those highly regarded Amazon.com Top 1,000 Reviewers.  Well, the short story is Amazon.com changed their rules and dumped a great deal of its original sinners, removing all of our content from the website.  As time permits, I've been combing my archives and reposting some of what I feel is entirely relevant here at SciFiHistory.Net; so here's another one I wanted to share with the readership today.  Enjoy!

​Parenting can be tough.  That’s for sure.  As a parent, you have no only the weight of the world on your shoulders but also you share in the burdens putting stress onto those of your significant other (assuming he or she’s in the picture) and the young child.  In those formative years, that little ‘bundle of joy’ will be looking to you for care, aid, nourishment, training, teaching, etc.  You name it.  Why, if I didn’t know better, one would think it could drive a sane person mad!
 
(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:
“In the last month of her pregnancy, Esther Woodhouse is savagely beaten in an alleyway by an unknown assailant and loses her baby.  To aid in her recovery, she attends a support group for grieving parents where she meets Melanie, who claims her son and husband were killed by a drunk driver.  Esther and Melanie develop a friendship, but soon it becomes clear that both are harboring much darker secrets than they initially let on …”
 
There’s more, but methinks you get the gist of it.  Proxy – or, more curiously, Zack Parker’s Proxy – is the baby genius which sprang from the fertile imagination of writer/director Zack Parker (the same one mentioned in the film’s title).  Oh, sure, Mr. Parker had some assistance in crafting this story (Kevin Donner), but when your name appears in the credits it’s pretty clear who’s expecting credit, eh?  Zack also chipped in with producing and, by the looks of it, probably edited the thing, too.  Therein lies the problem with any Progressive look at disturbed “parenting”: isn’t it the Progressives who told us “it takes a village” to raise a child?  If that’s the case, then where’s the village?
 
Parker’s film populates a story that’s right out of tabloid headlines; that alone gives it ample opportunity to peel back the layers of wholesome American veneer we societally have protected ourselves with and expose the crisp, calm, yet demented reality of suburban America.  Each character he introduces is just a bit more psychologically adrift than the last, inadvertently creating a false reality with which to make whatever statement he believes he made in telling this macabre story.  In fact, there are so many bizarre folks in here, I’m honestly not convinced there’s any sane point to it all.
 
That’s the real shame.  Proxy tries to tap into the works of other auteurs by creating something so dense it’d take the average viewer one semester of Film Criticism and a volume of Cliff Notes to figure it all out.  But as a viewer with a brain I tried to decipher it as best as I could, and I’m left unfulfilled.  The people reminded me of folks I’d met in other superior films – the first hour is vastly more cohesive than the second, and at times it smacks of the subversive genius of, say, the Wachowski Brothers’ Bound (1996) (even with lesbians thrown in for good measure).  Unlike that film, Proxy never quite metastasizes into anything meaningful, choosing instead to take over two hours to take us exactly where it had already delivered us in its first fifteen minutes.
 
Excesses aren’t a bad thing in cinema.  When they’re managed well, they end up supporting the tale, deepening the characters, and giving those who are looking something to watch for.  But when they’re left to their own devices, they end up more like that old phrase – how’s it go? – just throw enough up on the wall until something sticks.  I say that not by proxy but in my own true voice.
 
Proxy (aka Zack Parker’s Proxy) (2013) is produced by Along The Tracks and FSC Productions.  DVD distribution is being handled by MPI Media Group under the IFC Midnight label.  As for the technical specifications?  While I’m no trained video expert, I can still see that this is a smartly shot production, and there’s some great sights and sounds to behold.  If you’re looking for special features, then you do have some behind-the-scenes materials along with a director’s featurette and the theatrical trailer, but after this two-plus-hour slog I really wasn’t that interested.
 
Alas … only Mildly Recommended.
 
Entirely too long to be either relevant or moderately entertaining, Proxy’s greatest flaw is that appears to have been written, directed, and edited by proxy, meaning everyone was apparently asleep at the wheel.  There’s only a hint at a dark drama or an even darker comedy that could’ve been wrapped up in these cinematic blankets, and it’s too bad someone didn’t recommend that Zack Parker show greater narrative restraint.  And Zack?  We get it already – parenting makes you crazy – so maybe there could’ve been greater depth to the scathing indictment of mankind.
 
In the interests of fairness, I’m pleased to disclose that the fine folks at MPI Media Group and IFC Midnight provided me with a DVD copy of Zack Parker’s Proxy (2013) by request for the expressed purposes of completing this review.  Their contribution to me in no way, shape, or form influenced my opinion of it.

-- EZ
​

Ach.  This one hurts, folks.

I had just mentioned on my Twitter/X account yesterday that I had attended an afternoon screening of Unforgiven (1992) -- one of my personal favorite films ever -- and then, overnight, I saw the reporting of Gene Hackman's passing.  I didn't want to mention anything until there were more details, and now -- sadly -- it's all looking a bit suspicious.  Initially, the word online suggested that it might've been a carbon monoxide leak, but I just read some statement that implies there could've been foul play as Hackman and his wife's body have been there for several days ... not to mention the fact that apparently their dog was also found among the deceased.

Ugh.

In any event, I wanted to get out a word regarding Hackman's passing.  The guy has always been one of my favorite actors.  While he isn't exactly well known in genre circles so much other than his work in the Superman series of films, it's nonetheless tragic when we lose someone of his magnitude.  Hollywood hasn't quite been the same since he hung up his acting shoes, anyway, but I hadn't quite expected to see him onscreen just yesterday only to have to mention his passing not even a day later.

Our warmest prayers are extended to the family, friends, and fans of Gene Hackman.

May he rest in peace ...

​-- EZ

Historically, one of the biggest complaints that casual audience members and even some of genre entertainment harshest critics hold against Science Fiction projects is that they just cannot relate to the stories.
 
Mind you, not every theatrical opus that comes to life involves an alien invasion, some storied first contact with another species, or harmful genetic tampering carried out to dangerous degrees.  Furthermore, not every SciFi oddity explores the theoretical treachery of Artificial Intelligence, nor does every flick involve hyperdimensional realities, time travel, or paradoxical conundrums.  Why, it isn’t as if there need be ray guns and jet packs and flying cars and robots populating every corner of a tentpole release.  Sometimes, the truly best Science Fiction films really only employ some fateful idea as a set-up – as a construct – and then the storytellers go off in a very human and very applicable direction.
 
For better or for worse, 2023’s Daddy pretty much fits into the category of latter films.
 
Co-writers and co-directors Neal Kelley and Jono Sherman basically craft the idea of a universe wherein the federal government has taken over the responsibility of determining who amongst the citizenry can and cannot be both ‘approved’ and ‘scheduled’ for becoming a parent … and that’s about as far and feverish as the SciFi framework goes.  Once that limited parameter is set in stone, their story grows as a Comedy and a light character study of four men – who couldn’t be further unalike – thrown together at a weekend retreat wherein they’re apparently under evaluation for prospective fatherhood roles in this brave new world.
 
Of course, there’s a fair degree of risk associated with such an undertaking.  Those showing up for Science Fiction might feel swindled as there really isn’t very much of it.  Similarly, those showing up for the Comedy may wonder why and if the Science Fiction was truly needed.  Hopefully, both will see the merits of such a union … because – as biology teaches us – it’s only with a merger that the two might bear fruit … a fitting metaphor for such a delightful glimpse into the never-ending possibilities of asking of ‘What If?’
 
(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:
“In a dystopian society where the state has the power to determine who can and cannot father children, four men attend a government-sanctioned retreat in the remote mountains of California. When they show up at the site, only to find no guide or instructions, they are left to their own devices and must prove to themselves - and each other - that they have what it takes to become fathers.”
 
One of the greatest tricks in telling a superb story often boils down to two critical elements: (A) knowing exactly where to begin and (B) knowing precisely when it should end.  It should go without saying that there are clearly other ingredients to any great concoction – a great cast, some noticeable circumstances, plot development, etc. – but those pale in consideration if they’re improperly framed.  While all of the stuff in-between can be jiggled around for good measure, the poles – the start and the finish – must stay firmly cemented in place so that the assembly possesses the requisite meaning and the measurable impact.  This is how we determine its ultimate effectiveness.
 
This is where I have my only substantive complaint with Daddy, a rather enjoyable and interesting ‘dystopian comedy’ if there ever was such a thing.   While the beginning is damned exquisite – which I’ll get to in a moment – its denouement was a letdown, dialing down the whole affair to little more than a joke’s punchline.  If a film leaves audience members wanting clarification, then it’s reasonable to conclude that something was awry … and I firmly believe a more fitting conclusion – one that kinda/sorta mirrored the prescient introduction – was needed for proper closure.  Given this isn’t the kind of picture that requires a sequel, I would’ve preferred having a few of my questions answered.
 
Jeremy (played by Jono Sherman) has reached a crossroads in his life.  He’s made the decision that he wants to be a father.  Granted, he may or may not have found the right woman to aid him on this journey – even in the near future it takes two to tango – but the current political structure requires that he undergo an evaluation as part of the application process.  This is where Daddy’s opening soars as the audience is introduced to this somewhat oafish young man being classically interrogated by F.R.A.N.N., an Alexa-style Artificial Intelligence wannabe who is little more than a glowing mechanical orb on an executive conference table.
 
As I said above, the film’s launch is brilliant.  One couldn’t ask for a simpler or more effective outline for this universe, a place wherein men are no longer allowed to wildly sow their oats – as it were – without an institutional stamp of approval.  To make matters even more satirical, it isn’t even another human being who makes that initial determination but instead a hyper-functional A.I. with no eyes, no lips, and (presumably) no vagina (another necessary component eventually).  Only with F.R.A.N.N.’s positronic agreement does Jeremy advance to Round Two, a three-day retreat wherein his skills as a potential father are assessed.
​

At an airBNB located in the California mountains, Jeremy meets three other prospective dads: Mo (Pomme Koch), Sebastian (Yuriy Sardarov), and Andrew (Neal Kelley) are also hoping for their respective shots to ‘get one past the goalie’ and start a family, though it remains unclear just who and how many of them have settled on a mate.  (There are discussions, of course, but it’s mostly idle chitchat shared between nervous casual acquaintances and doesn’t amount to all that much.)  Gathered around the dinner table, they’re awaiting the arrival of what they assume to be a government inspector (or sorts), and therein lies they’re shared dilemma: what do they do when no one shows?
 
Uncertainty abounds; and, yes, it’s the stuff of comedy.  Eventually, they decide that the failure of their assessor to arrive must be part of the process, so they go about trying to impress one another and a possibly faceless Big Brother watching in every way they can.  The men begin trying to impress one another with their skills and social status, believing that somehow they’re still under the proverbial microscope.  They share, they bond, and they even entertain one another, hoping that minimally they’re passing time while earning their government’s approval.  Just about the time wherein they begin to crack from putting their best feet forward, a woman does come knocking on their door: Ally (Jacqueline Toboni) insists that she’s merely lost in the woods after her automobile broke down nearby, but our four fathers-to-be are suspecting that that’s just what a secret inspector would say … wouldn’t she?
 
As one can see, Daddy functions largely on the humor of these four oddballs equally trying to come to terms with themselves as well as they can each other.  It’s a constant battle to both match wits and best one’s fellow man all in pursuit of a goal they’re not entirely certain any of them are suited to achieve.  Along the way, they do discover bits and pieces about themselves – often comically as opposed to anything matching seriousness – while trying to make the best of their bad circumstances.  They’re a great ensemble together, and it's the kind of cast that feels like they had a helluva lot of fun whipping this story into shape.
 
Still …
 
Being a father means making certain sacrifices, often times for the benefit of the child or even one’s chosen mate/spouse.  There’s always a give and take in life, but I suspect many parents would privately concede that – oft times – there’s far more give than anything else.  “It’s what you sign up for,” they say.  Without spoiling some of the film’s particulars, the tale really only goes so far, never quite definitively explaining everything about their time in isolation.  Yes, someone does eventually arrive – it may or may not be who you expect – but there’s a pervasive ambiguity to the culmination of their shared journey that, frankly, needed a suitable wrap-up.
 
In some ways, the finish reminds me of what director Mike Nichols reached for in the last scene of The Graduate (1967): the film’s two lovers – Ben Braddock (Dustin Hoffman) and Elaine Robinson (Katharine Ross) – escape the clutches of family and are left riding off into the sunset seated quietly in the back seat of a bus.  Over several seconds, Nichols zooms in on their expressions, and yet we’re never assured by either Hoffman or Ross’ faces precisely what they’re feeling.  Are they happy?  Are they sad?  Are they elated?  Did they achieve what they set out to?  There’s just an existential meaninglessness to the scene – an underlying uncertainty surrounding what might lie ahead – but the audience was minimally given greater context for the stakes, giving us enough to process its intent however we may.
​

Sadly, Daddy just … well … ends.
 
There are no answers as to what the retreat was all about, what fundamental purpose it could possibly have served in the way it took place, nor why none of these men had ever heard stories surrounding such experiences that one would believe might be commonplace in this particular universe.  Because we’re never afforded the context with which to rank the closing frame, it winds down with aloofness, a bit of a narrative misstep to an affair that, otherwise, found a great deal to say about not only the human condition but also some insight into why we do what we do.  The ambiguity might work for some, but I thought it reduced the whole experience to little more than a lazy, bad joke.
 
I – and these characters – deserved better.
 
Daddy (2023) was produced by Enhanced Media, The Kalin Company, and Twnshp Pictures.  DVD distribution (for this particular release) has been coordinated by the fine folks at Anchor Bay Entertainment.  As for the technical specifications?  While I’m no trained video expert, I found the provided sights-and-sounds to be exceptional from start-to-finish.  As for the special features?  The disc boasts a commentary track along with some extras by way of cut and/or extended scenes along with the cast’s improvisation reel.  It’s a nice collection.
 
Strongly Recommended.
 
Clever but incomplete, Daddy (2023) both matures and gets a bit immature after its clever set-up, one that shows just how invasive one faceless government can still truly be in the era of modern technology.  Who knew surrendering one’s rights could produce so many laughs?  Still, excellent performances can’t quite escape the fact that a bit more context might’ve given its curious ending better legs to stand on – maybe even stronger baby steps toward a real resolution – as some might feel cheated with its all-too-easy punchline.  Definitely worth a watch for those who like a few chuckles with their SciFi … and there’s barely any SciFi in here for those who show up for the Comedy.
 
In the interests of fairness, I’m pleased to disclose that the fine folks at Anchor Bay Entertainment provided me with a complimentary Blu-ray of Daddy (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
​

Sorry, folks, but I was never a fan of the whole Buffy thing.

In fairness, I did give it a few tries.  I remember catching the pilot episode along with a few of its earliest episodes.  It didn't quite hook me, so I tuned it out ... only to be told to jump on board again somewhere around maybe Season 4 or so.  Well, I did, and it really seemed like what I saw in it up front, so I tuned it out again.  I did catch the series' finale -- part of it -- but it just wasn't for me.

In any event, I have kept my eyes on its talent, and I just heard on a podcast of the passing of Michelle Trachtenberg at the all-too-soon age of 39.  The news is apparently just breaking, and the early indications suggest this was of -- ahem -- "natural causes."  That seems a bit suspect to me -- who dies of natural causes at such a young age? -- but I'm really just here to pass along the word.  I'll leave it at that.

It bears mentioning that the actress earned an incredible three Saturn Awards nominations -- 'Best Supporting Actress On Television' -- for her work in the vampiric program; and that is no easy task, indeed.

Our warmest prayers are extended to the family, fans, and friends of Michelle Trachtenberg.

May she rest in peace ...

​-- EZ

Ouch.

Roberto Orci -- a screenwriter who once rather famously told longtime Star Trek fans to f#ck off -- has passed away.  Sadly.

Of course, I mention none of that in any attempt to celebrate.  It's been said that any man's passing is a cause for reflection; and I've always thought that true.  I do hope that perhaps he found some peace with fandom in his final days -- not that life revolves around fandom or one's perception of it -- because Orci did work so fervently in a great many franchises that so many people around the world hold near and dear.  It isn't always about the writing.  It isn't always about the characters.  It isn't always about the production.  It ultimately is how all of this stuff works together -- in unison -- that has heroes establishing legacies that mean so much to fans.  While I can respect that maybe he took it as a job, I'll still salute him for works good and bad in this space.

... and work the man did!

Just a quick look at his IMDB.com profile shows -- as I said -- a fascinating portrait of where he came and went.  While not all of them are genre-related, a great number of them are.  Hercules: The Legendary Journeys.  Xena: Warrior Princess.  Jack Of All Trades.  Alias.  Locke & Key.  Cowboys & Aliens (2011).  Fringe.  Ender's Game (2013).  Wow.  I hadn't realized just how many enterprises he had dabbled in; there are even more, and that's a testament to the fact that he stuck to his guns and made things happen.  Good for him.

Alas, none of us lasts forever, and word reached the Information Superhighway of his passing owed to kidney disease recently.

Our warmest prayers are extended to the family, friends, and fans of Roberto Orci.

May he rest in peace ...

​-- EZ

So many films ... so little time ...

It was on this day in the great nation of Germany that the good people of Berlin were treated to an exclusive theatrical premiere of The Cabinet Of Dr. Caligari.  From what I've been able to ascertain, the picture opened widely across the country on the very next day, but this was its very first public exhibition ... and I think that serves as Today's High Point In Horror History.

​Directed by Robert Wiene, the story sprang from the minds of Carl Mayer and Hans Janowitz.  The film starred Werner Krauss, Conrad Veidt, Friedrich Feher, Lil Dagover, Hans Heinrich von Twardowski, Rudolf Lettinger, Rudolf Klein-Rogge among others.  Here's the plot summary as provided by IMDB.com:

"Francis, a young man, recalls in his memory the horrible experiences he and his fiancée Jane recently went through. It is the annual fair in Holstenwall. Francis and his friend Alan visit The Cabinet of Dr. Caligari, an exhibit where the mysterious doctor shows the somnambulist Cesare, and awakens him for some moments from his death-like sleep. When Alan asks Cesare about his future, Cesare answers that he will die before dawn. The next morning Alan is found dead. Francis suspects Cesare of being the murderer, and starts spying on him and Dr. Caligari. The following night Cesare is going to stab Jane in her bed, but softens when he sees the beautiful woman, and instead of committing another murder, he abducts her. Jane's father awakens because of the noise, and he and some servants follow the fleeing Cesare. When Cesare cannot outrun his pursuers anymore, he gently places Jane down on the ground, and runs away. Francis and the police investigate the caravan of Dr. Caligari, but the doctor succeeds in slipping away. Francis pursues the fleeing Dr. Caligari, and sees him disappear into a madhouse. Francis enters the madhouse, where he is sure he will find the truth behind all these mysterious events."

While I've only seen bits and pieces of Caligari, I can attest to the strength of its visuals, mostly, in weaving its arresting story.  But rather than have me stumble and jumble my way trying to explain why it's a stand-out picture, I've done the noble copy-and-paste from Google.com below.  Take a gander -- and check out the flick in its entirety if you wish -- and celebrate its horrific goodness.

As always, thanks for reading ... thanks for sharing ... thanks for being a fan ... and live long and prosper!

-- EZ
​

[Source: Google.com]

The Cabinet of Dr. Caligari (1920) is considered a landmark in film history because it: 

Influenced other filmmakers
It influenced many filmmakers, including Alfred Hitchcock, Terry Gilliam, Guillermo del Toro, and Tim Burton. 

Helped launch a German film golden age
It helped launch a period of German film that included Nosferatu (1922), Metropolis (1926), and M (1931). 

Influenced modern film
Its emphasis on psychological tension, surrealism, and atmospheric storytelling continue to impact movies today. 

Influenced Twin Peaks, Lost Highway, and Mulholland Drive
These films had disturbing plot twists and a duality of tone that were inspired by The Cabinet of Dr. Caligari. 

Pioneered German Expressionism
It was the first film in the German Expressionist movement, which broke from realism to prioritize the artist's subjective experience. 

Influenced horror film
It's considered by some to be the first true horror film. 
​
Influenced film noir
Its use of design and lighting to convey emotion influenced the Hollywood style of film noir. 
​​

So many films ... so little time ...

It was on this day back in 2020 (in the great nation state of Germany) that Sleep (aka Schlaf) was first screened for audiences of the Berlin International Film Festival.

Written (in part) and directed by Michael Venus, the simmering Horror feature starred Gro Swantje Kohlhof, Sandra Hüller, August Schmölzer, Marion Kracht, Agata Buzek, Martina Schöne-Radunski, Max Hubacher, Andreas Anke, Katharina Behrens, and others.  Here's the plot summary as provided by our friends at IMDB.com:

"The idyllic village of Stainbach is being haunted by a mysterious demon. It turns out that the nightmares of Marlene (Sandra Hüller) are responsible for the dark events. She is driving some of the inhabitants of the village insane during her terrible dreams. When she discovers her nightmares are about a real place, she tracks down the village of Stainbach to get to the bottom of the mystery. There, she learns about the consequence of her dreams and suffers a nervous breakdown. Soon after, she is admitted to a psychiatric ward. Her daughter, Mona (Gro Swantje Kohlhof), journeys to Stainbach to find out the reason for her mother's breakdown and the demonic nightmares she suffered from. She comes into contact with the peculiar villagers and discovers the dark history hidden within the quiet village. Perhaps the nightmare isn't the demon that threatens the town after all, but rather - the past."

I've seen Sleep, and I can give it a solid endorsement.  From what I recall, it was an interesting Horror-style Chiller, one that reminded folks to never forget their history.  Folks wanting to know a bit more are encouraged to check out my review right here.

The trailer is below for those of you who want to take a gander.

​As always, thanks for reading ... thanks for sharing ... thanks for being a fan ... and live long and prosper!

-- EZ
​

So many movies ... so little time ...

On this day in 2010 (in the United States of America), audiences of the Sedona Film Festival were treated to a work-in-progress edit of Radio Free Albemuth; and this looks to be the very first time the picture enjoyed any theatrical engagement ever.

Based on a story from Philip K. Dick, John Alan Simon both adapted the work and directed the flick.  The production starred Jonathan Scarfe, Shea Whigham, Michael Rothhaar, Alanis Morisette, Kathryn Winnick, Scott Wilson, Julie Warner, Hanna Hall, Rosemary Harris, Kelly Hare, and others.  Here's the plot summary as provided by our friends at IMDB.com:

"Berkeley record store clerk Nick Brady (Jonathan Scarfe) begins to experience strange visions from an entity he calls VALIS that cause him to uproot his family and move to Los Angeles where he becomes a successful music company executive. With the help of best friend, science fiction writer Philip K. Dick himself (Shea Whigam) and a mysterious woman named Silvia (Alanis Morissette), Nick finds himself drawn into a dangerous political-mystical conspiracy of cosmic proportions. The story is set in an alternate reality America circa 1985 under the authoritarian control of President Fremont, a Nixon-like clone (Scott Wilson)."

As always, thanks for reading ... thanks for sharing ... thanks for being a fan ... and live long and prosper!

-- EZ
​

So many movies ... so little time ...

On this day in 2020 (in the great nation state of Germany), audiences of the Berlin International Film Festival were treated to the very first theatrical exhibition of Last And First Men.

The film was directed by Jóhann Jóhannsson who also wrote the screenplay along with Olay Stapledon and José Enrique Macián.  The feature's only acting talent was its narrator, actress Tilda Swinton.

For those curious, I have seen this film: back in 2023, I was provided a complimentary Blu-ray of it from a distributor in exchange for review coverage on SciFiHistory.Net.  Interested readers can find my thoughts on it right here.  Frankly, I don't recall being all that enamored with the project -- it smacked of an experimental feature and little else -- but to each his own, as they say.

Here's the plot summary as provided by IMDB.com:

"Two billion years ahead of us, a future race of humans finds itself on the verge of extinction. Almost all that is left in the world are lone and surreal monuments, beaming their message into the wilderness."

As always, thanks for reading ... thanks for sharing ... thanks for being a fan ... and live long and prosper!

-- EZ
​