Justice League Unlimited - Seasons 1 & 2 (2004-2005)
'Justice League Unlimited' is the follow up to the 'Justice League' animated series, which I saw and liked but got tired of pretty quickly. 'Unlimited' I found to be far more entertaining - it's more action packed and is much larger in scope, and incorporates a plethora of characters in the form of an expanded Justice League.
The Justice League revolves around a core team of senior superheroes - Batman, Superman, Wonder Woman, Green Lantern, Flash, Hawkgirl, and J'onn aka The Martian Manhunter - with each episode usually featuring several of them alongside several other, sometimes minor (and sometimes downright obscure) characters from the DC pantheon of heroes - like The Question, Huntress, Green Arrow, Supergirl, Aquaman, Captain Marvel, and the Atom, to name a few. It's an action adventure cartoon that naturally includes massive superhero battles, fantastical powers, and super-villains all rolled into fairly basic story structures. That doesn't mean poor stories mind you; in fact they're quite imaginative and entertaining. They are not devoid of substance either, with much of the second season story arc dealing with the power the Justice League wields and the potential that exists for them to abuse it.
'Unlimited's' character stuff is also well done, with our heroes dealing with personal demons, histories, and relationships in between bouts of smashing villains through buildings and lifting massive objects. One aspect that really makes things interesting is the tendency to incorporate more obscure characters into the stories, often making them the main characters for an episode, which nicely avoids the feeling of over-familiarity that comes from focusing on a small set of well known characters. There's good continuity between episodes and lots of references to things in DC comic lore littered throughout (of which I am only vaguely aware) that should be rewarding for fans. Although ostensibly a kids cartoon, it's perfectly enjoyable for adults as well (my kinda adults, at any rate), and there's some sharp writing and humour on offer that kids probably won't get.
The quality of animation is excellent, and the scale of events is larger than life. Way larger. The action sequences are amazing and in true comic book style feature over-the-top battles and mayhem, and I sometimes wonder how it's possible that the citizens of Earth never get pissed off at the amount of destruction these 'super battles' bring about. Last but not least, I need to mention the excellent voice work. The voice acting is absolutely perfect for the material and the sheer number of talented actors involved is mind boggling. Just take a look at the Wikipedia page for proof of the voice cast's diversity and quality.
No negatives? Not really - I can't really fault it, it's just about as good as I can imagine a 25 minute animated super-hero series being, truth be told. Sure, it's not for everyone, but for those who find this sort of thing appealing, 'Justice League Unlimited' is golden.
Thursday, June 28, 2007
Wednesday, June 27, 2007
Dead Like Me - Season 2 (2004)
Dead Like Me - Season 2 (2004)
Season 1 of drama / comedy 'Dead Like Me' was fairly enjoyable, but I had problems with it (which I didn't really make clear when I wrote about it a year ago), and most of those problems continued to bug me in its second season as well. Which is not to say that it's a poor show; that couldn't be further from the truth, because it's actually very original and well made.
In 'Dead Like Me', Georgia 'George' Lass (Ellen Muth) is a Grim Reaper. Reapers look like ordinary people, having once been ordinary people before death caught up with them. It turns out that certain individuals are picked to be reapers upon their death in order to replace a Reaper who has served his or her time and is ready to move on. In the pilot episode, George was chosen to replace another Reaper upon her somewhat comical death by way of 'flaming Mir toilet seat'. She now works with a team of Reapers, led by the stern, fatherly Rube (Mandy Patinkin) and including vain Daisy (Laura Harris), short-tempered Roxy (Jasmine Guy), and druggie screw-up Mason (Callum Blue). Each day, Rube hands out post-its to his team, each of which contains a person's name, location and time of death. The Reapers ensure that the souls of those people are freed just before death, and they then 'escort' the souls to the great beyond. The biggest twist in the concept is that Reapers live and work like ordinary folk - they have to maintain day jobs in order to support themselves and scrounge around for accommodation in between claiming souls.
The show can be broken up into three parts. One part revolves around the activities of the Reapers as they go about with their daily reaping. Another part deals with the Reapers' personal lives and problems, particularly George's; she was killed at the age of 18 and has trouble adjusting to her new lifestyle and letting go of her old one. The third part of the show is about George's family - mother Joy (Cynthia Stevenson), sister Reggie (Britt McKillip), and father Clancy (Greg Kean) - and how it is falling apart following her untimely death.
I actually kinda hate the fact that I don't love this show. When I look at it analytically, it's more than just good, it's great. There are terrific, complex characters who don't fit into any kind of mold and who often dare to be downright unlikable. The cast of actors playing these characters is excellent and perfectly in tune with the spirit of the show. The writing and directing balances outright slapstick comedy with macabre humour and violence, while also presenting compelling character based drama. Being a cable show, it pushes the envelope - the macabre stuff goes beyond normal TV, and the characters are unrelentingly profane. 'Dead Like Me' has a unique concept, a whimsical and imaginative mythology, and original stories. It's smart, funny, entertaining, and sometimes quite poignant, and deals with complex themes relating to life, death, family, friendship, happiness, and fate. And in terms of production values, it's top-notch.
So why don't I like it? Like I said, I have a few problems with it. As a whole, the show sometimes feels unfocused and meandering, like the writers weren't sure where they wanted to take things. This also results in an element of repetitiveness kicking in, with certain issues being addressed over and over, particularly with regard to George's family. Those are the only truly objective criticisms I have, as the rest are somewhat subjective. One thing that personally irritated me was that the mythology, while being imaginative, doesn't really hold up under close scrutiny - yeah I know it isn't meant to be taken seriously, but something about the flippantly shaky logic behind the way the whole 'Reaping' system works irks the part of my brain that likes things to make sense. The other thing is, I just don't like Ellen Muth in the lead role - and yeah, I realize this contradicts what I wrote last year, but hey, it's a different season. There's nothing wrong with her acting, she's great in the role, it's just that her idiosyncrasies eventually grow to be more annoying than endearing; the rest of the cast I loved in their respective roles (although I didn't much care for the character of Reggie as written, either), although I was somewhat disappointed to find that Mandy Patinkin is much more restrained due to his character's storyline.
'Dead Like Me' is a good show, possibly a very good show, that I ultimately don't care much for. I enjoyed watching it, and I admire the quality of storytelling, the imagination, and the originality on display, but it just didn't enrapture me in the way that, say, Wonderfalls (a less edgy but no less unique show by the same creator, Bryan Fuller) did. Definitely worth watching, especially for those looking for something just a little bit different.
Season 1 of drama / comedy 'Dead Like Me' was fairly enjoyable, but I had problems with it (which I didn't really make clear when I wrote about it a year ago), and most of those problems continued to bug me in its second season as well. Which is not to say that it's a poor show; that couldn't be further from the truth, because it's actually very original and well made.
In 'Dead Like Me', Georgia 'George' Lass (Ellen Muth) is a Grim Reaper. Reapers look like ordinary people, having once been ordinary people before death caught up with them. It turns out that certain individuals are picked to be reapers upon their death in order to replace a Reaper who has served his or her time and is ready to move on. In the pilot episode, George was chosen to replace another Reaper upon her somewhat comical death by way of 'flaming Mir toilet seat'. She now works with a team of Reapers, led by the stern, fatherly Rube (Mandy Patinkin) and including vain Daisy (Laura Harris), short-tempered Roxy (Jasmine Guy), and druggie screw-up Mason (Callum Blue). Each day, Rube hands out post-its to his team, each of which contains a person's name, location and time of death. The Reapers ensure that the souls of those people are freed just before death, and they then 'escort' the souls to the great beyond. The biggest twist in the concept is that Reapers live and work like ordinary folk - they have to maintain day jobs in order to support themselves and scrounge around for accommodation in between claiming souls.
The show can be broken up into three parts. One part revolves around the activities of the Reapers as they go about with their daily reaping. Another part deals with the Reapers' personal lives and problems, particularly George's; she was killed at the age of 18 and has trouble adjusting to her new lifestyle and letting go of her old one. The third part of the show is about George's family - mother Joy (Cynthia Stevenson), sister Reggie (Britt McKillip), and father Clancy (Greg Kean) - and how it is falling apart following her untimely death.
I actually kinda hate the fact that I don't love this show. When I look at it analytically, it's more than just good, it's great. There are terrific, complex characters who don't fit into any kind of mold and who often dare to be downright unlikable. The cast of actors playing these characters is excellent and perfectly in tune with the spirit of the show. The writing and directing balances outright slapstick comedy with macabre humour and violence, while also presenting compelling character based drama. Being a cable show, it pushes the envelope - the macabre stuff goes beyond normal TV, and the characters are unrelentingly profane. 'Dead Like Me' has a unique concept, a whimsical and imaginative mythology, and original stories. It's smart, funny, entertaining, and sometimes quite poignant, and deals with complex themes relating to life, death, family, friendship, happiness, and fate. And in terms of production values, it's top-notch.
So why don't I like it? Like I said, I have a few problems with it. As a whole, the show sometimes feels unfocused and meandering, like the writers weren't sure where they wanted to take things. This also results in an element of repetitiveness kicking in, with certain issues being addressed over and over, particularly with regard to George's family. Those are the only truly objective criticisms I have, as the rest are somewhat subjective. One thing that personally irritated me was that the mythology, while being imaginative, doesn't really hold up under close scrutiny - yeah I know it isn't meant to be taken seriously, but something about the flippantly shaky logic behind the way the whole 'Reaping' system works irks the part of my brain that likes things to make sense. The other thing is, I just don't like Ellen Muth in the lead role - and yeah, I realize this contradicts what I wrote last year, but hey, it's a different season. There's nothing wrong with her acting, she's great in the role, it's just that her idiosyncrasies eventually grow to be more annoying than endearing; the rest of the cast I loved in their respective roles (although I didn't much care for the character of Reggie as written, either), although I was somewhat disappointed to find that Mandy Patinkin is much more restrained due to his character's storyline.
'Dead Like Me' is a good show, possibly a very good show, that I ultimately don't care much for. I enjoyed watching it, and I admire the quality of storytelling, the imagination, and the originality on display, but it just didn't enrapture me in the way that, say, Wonderfalls (a less edgy but no less unique show by the same creator, Bryan Fuller) did. Definitely worth watching, especially for those looking for something just a little bit different.
Tuesday, June 26, 2007
Double Indemnity (1944)
Double Indemnity (1944)
This 1944 film is one that - despite having heard of it on many an occasion - I knew little about going in (I seem to use this intro A LOT). What I did know was that it is held in high regard, was directed by Billy Wilder and written by Wilder and Raymond Chandler, and is a noir thriller of some sort. Now that I've finally seen it, I can attest to its classic status; despite telling a story that is at face value fairly straightforward, the film weaves the sordid tale in a complex and engaging manner.
Walter Neff (Fred Mac Murray) is an insurance salesman, and the film starts with him recording a confession. He lays out the circumstances of his crime from top to bottom, and it's all revealed in a voice-over accompanied flashback told from his point of view. During a routine visit to a client's home to renew an insurance contract, Neff meets the client's wife, Mrs. Phyllis Dietrichson (Barbara Stanwyck), and is immediately smitten. Phyllis takes an interest in him as well, and during a subsequent visit inquires about the possibility of secretly getting insurance for her husband (Tom Powers). Neff is suspicious of her motives and rebuffs her, but the idea plays on his mind. When Phyllis later visits him and pleads her case - her husband is uncaring and domineering - he decides to help her murder him for the insurance money, and concocts and executes a complex plan using his knowledge of the inner workings of the insurance business. Unfortunately for Neff, a colleague of his, Barton Keyes (Edward G. Robinson), is an expert at sniffing out suspicious insurance claims, and immediately gets on the case and starts asking questions. Neff's woes are compounded when he becomes acquainted with Mr. Dietrichson's daughter (Phyllis's step-daughter) and begins to learn that Phyllis may not be what she appears.
While there aren't any real surprises in the story, it's brilliantly executed and enthralling from start to finish. The plot is meticulous and seems to cover every conceivable angle. The writing and dialogue are fantastic; it's a dialogue-rich film, and the banter between the characters is always entertaining and full of wit. The characters are, in film-noir fashion, cynical, cold, and generally unemotional, and are all obsessed with personal gain one way or the other; they're hardly sympathetic (with the exception of the daughter Lola), but are fascinating to watch. The atmosphere is in tune with the characters - dark and moody, with black and white imagery full of shadows and stark lighting. There is an overwhelming sense of inevitability to the story given that it's told in a flashback, but it is still gripping from scene to scene nonetheless.
The most memorable performance was, for me, Edward Robinson as the tenacious Keyes - his turn as the grouchy friend and shrewd investigator determined to get to the bottom of things is excellent and lends some levity to counterbalance the inherent dourness of the story. Also fantastic is Barbara Stanwyck as Phyllis Dietrich - she's clearly manipulative and scheming, but is absolutely convincing in her seduction of the hapless Neff. Fred Mac Murray's Neff is in many ways a man who just can't help himself; he's a bit smug and arrogant, but is not entirely without conscience despite his greed, and Mac Murray portrays that conflict quite well. He's also convincing as a man in a tight spot, being ultra careful and trying to hide his guilt when under pressure. I didn't really like the guy in the role - he's not particularly charismatic - but have to admit he did a pretty good job. When brought together Stanwyck and Mac Murray play their lines off each other perfectly and are a perfectly duplicitous couple. The rest of the cast don't leave much of an impression, but do a sufficient job in their respective minor roles.
In short, it's an excellent thriller that is still eminently watchable today, a good 60 plus years after it was made. The lack of any real 'action' compared to modern thrillers doesn't hurt the film one bit because the writing, directing and central performances are so strong that you barely notice. A classic, and yet another film to add to the growing list of great noir films that I've seen recently.
This 1944 film is one that - despite having heard of it on many an occasion - I knew little about going in (I seem to use this intro A LOT). What I did know was that it is held in high regard, was directed by Billy Wilder and written by Wilder and Raymond Chandler, and is a noir thriller of some sort. Now that I've finally seen it, I can attest to its classic status; despite telling a story that is at face value fairly straightforward, the film weaves the sordid tale in a complex and engaging manner.
Walter Neff (Fred Mac Murray) is an insurance salesman, and the film starts with him recording a confession. He lays out the circumstances of his crime from top to bottom, and it's all revealed in a voice-over accompanied flashback told from his point of view. During a routine visit to a client's home to renew an insurance contract, Neff meets the client's wife, Mrs. Phyllis Dietrichson (Barbara Stanwyck), and is immediately smitten. Phyllis takes an interest in him as well, and during a subsequent visit inquires about the possibility of secretly getting insurance for her husband (Tom Powers). Neff is suspicious of her motives and rebuffs her, but the idea plays on his mind. When Phyllis later visits him and pleads her case - her husband is uncaring and domineering - he decides to help her murder him for the insurance money, and concocts and executes a complex plan using his knowledge of the inner workings of the insurance business. Unfortunately for Neff, a colleague of his, Barton Keyes (Edward G. Robinson), is an expert at sniffing out suspicious insurance claims, and immediately gets on the case and starts asking questions. Neff's woes are compounded when he becomes acquainted with Mr. Dietrichson's daughter (Phyllis's step-daughter) and begins to learn that Phyllis may not be what she appears.
While there aren't any real surprises in the story, it's brilliantly executed and enthralling from start to finish. The plot is meticulous and seems to cover every conceivable angle. The writing and dialogue are fantastic; it's a dialogue-rich film, and the banter between the characters is always entertaining and full of wit. The characters are, in film-noir fashion, cynical, cold, and generally unemotional, and are all obsessed with personal gain one way or the other; they're hardly sympathetic (with the exception of the daughter Lola), but are fascinating to watch. The atmosphere is in tune with the characters - dark and moody, with black and white imagery full of shadows and stark lighting. There is an overwhelming sense of inevitability to the story given that it's told in a flashback, but it is still gripping from scene to scene nonetheless.
The most memorable performance was, for me, Edward Robinson as the tenacious Keyes - his turn as the grouchy friend and shrewd investigator determined to get to the bottom of things is excellent and lends some levity to counterbalance the inherent dourness of the story. Also fantastic is Barbara Stanwyck as Phyllis Dietrich - she's clearly manipulative and scheming, but is absolutely convincing in her seduction of the hapless Neff. Fred Mac Murray's Neff is in many ways a man who just can't help himself; he's a bit smug and arrogant, but is not entirely without conscience despite his greed, and Mac Murray portrays that conflict quite well. He's also convincing as a man in a tight spot, being ultra careful and trying to hide his guilt when under pressure. I didn't really like the guy in the role - he's not particularly charismatic - but have to admit he did a pretty good job. When brought together Stanwyck and Mac Murray play their lines off each other perfectly and are a perfectly duplicitous couple. The rest of the cast don't leave much of an impression, but do a sufficient job in their respective minor roles.
In short, it's an excellent thriller that is still eminently watchable today, a good 60 plus years after it was made. The lack of any real 'action' compared to modern thrillers doesn't hurt the film one bit because the writing, directing and central performances are so strong that you barely notice. A classic, and yet another film to add to the growing list of great noir films that I've seen recently.
Friday, June 22, 2007
Foundation & Empire (1952) by Isaac Asimov
Foundation & Empire (1952) by Isaac Asimov
Having recently read the first part of Asimov's original 'Foundation' Trilogy, I was eagerly anticipating reading the next two books. I've just finished the second book, 'Foundation and Empire', and I was not disappointed in the slightest. The second and third books appear to be one continuous story, so I'll be reading 'Second Foundation' shortly. 'Foundation and Empire' does what every great sequel should - it continues in the same vein as the first, but with the universe already well established it ups the ante by introducing an element of danger and unpredictability to proceedings.
In the first book, it was established that the Galactic Empire was falling apart and mankind was entering an age of barbarism. A man name Hari Seldon and his team of 'psychohistorians' scientifically predicted the future of human society and realized that by carefully (and precisely) establishing a small colony in the outer reaches of the galaxy they could speed up the development of a new empire and reduce the period of barbarism from 30,000 years to just one millennium. This colony was called the 'Foundation', and by the end of the first book the Foundation had survived several threats to its existence, threats that were foreseen by Hari Seldon and thus dubbed 'Seldon Crises'. 'Foundation and Empire' is divided into two parts. In the first part, a new threat, a 'Seldon Crisis', is on the horizon in the form of an ambitious general from the remnants of the old Empire. This general, Rios, learns of the existence of the Foundation just outside the bounds of the Empire and sets his eyes on conquest, but fails despite the lack of any real effort on the part of the Foundation.
This first story actually establishes two things - one is the apparent inevitability of the Foundation's survival given the predictions of psychohistory, and the other is the gradual degradation and complacency of the Foundation itself that has come about as a result of this sense of inevitability. In the second story, a new threat arises that may disrupt the predictions of Seldon - a mutant known as the 'Mule', who has some sort of power that allows him to win battles against all odds, wages war on the Foundation. Psychohistory works by modeling society as a whole and assuming that no single individual can overcome larger socio-economic forces; the Mule's powers allow him to run counter to this notion, and his existence and actions thereby threaten the Foundation and the Seldon plan. A young couple who are part of the resistance against the oppressive Foundation government (a resistance that eventually joins forces with the government to counter the threat of the Mule), a Captain in the Foundation military, and a Foundation scientist attempt to stop the Mule from taking over the Galaxy and possibly causing the downfall of mankind.
'Foundation' was an excellent book that introduced an amazing and complex universe via a series of several short stories. It worked at a macro level, conveying larger goings on via characters who were essentially pieces on a board. 'Foundation and Empire' works in the same way; it is an engaging pair of stories that again present a thoughtful analysis of the broad workings of societies. What's different is that it takes what was established and finds a way to twist things around, and manages to instill a sense of uncertainty where there was once one of invincibility. It also ends on something of a cliffhanger, having introduced a story element that tantalizingly sets up the third book. There is also a twist in the tale, one that isn't all that surprising - it's telegraphed and becomes obvious as events unfold - but works perfectly given the context of the story. Overall, less actually happens in this book, but what does happen is more significant than anything that happened in the first one, and certainly far more dramatic. It takes ideas that are established and then tries to break them by asking 'what if this happened?', which seems to be the natural (and welcome) progression for a story like this, which is built mostly on ideas.
Asimov's writing style is slightly different this time round - it's less broad and maintains more of a sustained narrative with a fixed set of characters. It reminded me a lot of 'The Empire Strikes Back', with its motley crew in a single ship on the run from the 'evil empire' (OK, what I should say is that The Empire Strikes Back is similar to 'Foundation and Empire', but hey, I saw Empire before reading this book!). One result of this change is stronger characterization. The individuals still play second fiddle to the larger events occurring around them, but despite this there is more depth to them than the characters in the previous book, and this brings a more human aspect to the story. There are more individual acts and events depicted, in contrast to the almost purely 'talky' exposition of the first. The downside to this approach is that there are fewer 'Seldon Crises' and, consequently, less analysis of socio-economic forces. I don't think the first book's style would have been as interesting for this story though - focusing on individuals seems more appropriate given the major theme of an individual upsetting the balance of the Seldon Plan. Also, I personally prefer stronger characterization and depth to the short story style, which means I'm more than happy with the approach!
So in short, 'Foundation and Empire' is fantastic, a great read that expands on what was established in the first book by taking the story in an interesting new direction, while also utilizing a more engaging narrative style. The cliffhanger ending means I need to sink my teeth into the last book, 'Second Foundation', ASAP.
Having recently read the first part of Asimov's original 'Foundation' Trilogy, I was eagerly anticipating reading the next two books. I've just finished the second book, 'Foundation and Empire', and I was not disappointed in the slightest. The second and third books appear to be one continuous story, so I'll be reading 'Second Foundation' shortly. 'Foundation and Empire' does what every great sequel should - it continues in the same vein as the first, but with the universe already well established it ups the ante by introducing an element of danger and unpredictability to proceedings.
In the first book, it was established that the Galactic Empire was falling apart and mankind was entering an age of barbarism. A man name Hari Seldon and his team of 'psychohistorians' scientifically predicted the future of human society and realized that by carefully (and precisely) establishing a small colony in the outer reaches of the galaxy they could speed up the development of a new empire and reduce the period of barbarism from 30,000 years to just one millennium. This colony was called the 'Foundation', and by the end of the first book the Foundation had survived several threats to its existence, threats that were foreseen by Hari Seldon and thus dubbed 'Seldon Crises'. 'Foundation and Empire' is divided into two parts. In the first part, a new threat, a 'Seldon Crisis', is on the horizon in the form of an ambitious general from the remnants of the old Empire. This general, Rios, learns of the existence of the Foundation just outside the bounds of the Empire and sets his eyes on conquest, but fails despite the lack of any real effort on the part of the Foundation.
This first story actually establishes two things - one is the apparent inevitability of the Foundation's survival given the predictions of psychohistory, and the other is the gradual degradation and complacency of the Foundation itself that has come about as a result of this sense of inevitability. In the second story, a new threat arises that may disrupt the predictions of Seldon - a mutant known as the 'Mule', who has some sort of power that allows him to win battles against all odds, wages war on the Foundation. Psychohistory works by modeling society as a whole and assuming that no single individual can overcome larger socio-economic forces; the Mule's powers allow him to run counter to this notion, and his existence and actions thereby threaten the Foundation and the Seldon plan. A young couple who are part of the resistance against the oppressive Foundation government (a resistance that eventually joins forces with the government to counter the threat of the Mule), a Captain in the Foundation military, and a Foundation scientist attempt to stop the Mule from taking over the Galaxy and possibly causing the downfall of mankind.
'Foundation' was an excellent book that introduced an amazing and complex universe via a series of several short stories. It worked at a macro level, conveying larger goings on via characters who were essentially pieces on a board. 'Foundation and Empire' works in the same way; it is an engaging pair of stories that again present a thoughtful analysis of the broad workings of societies. What's different is that it takes what was established and finds a way to twist things around, and manages to instill a sense of uncertainty where there was once one of invincibility. It also ends on something of a cliffhanger, having introduced a story element that tantalizingly sets up the third book. There is also a twist in the tale, one that isn't all that surprising - it's telegraphed and becomes obvious as events unfold - but works perfectly given the context of the story. Overall, less actually happens in this book, but what does happen is more significant than anything that happened in the first one, and certainly far more dramatic. It takes ideas that are established and then tries to break them by asking 'what if this happened?', which seems to be the natural (and welcome) progression for a story like this, which is built mostly on ideas.
Asimov's writing style is slightly different this time round - it's less broad and maintains more of a sustained narrative with a fixed set of characters. It reminded me a lot of 'The Empire Strikes Back', with its motley crew in a single ship on the run from the 'evil empire' (OK, what I should say is that The Empire Strikes Back is similar to 'Foundation and Empire', but hey, I saw Empire before reading this book!). One result of this change is stronger characterization. The individuals still play second fiddle to the larger events occurring around them, but despite this there is more depth to them than the characters in the previous book, and this brings a more human aspect to the story. There are more individual acts and events depicted, in contrast to the almost purely 'talky' exposition of the first. The downside to this approach is that there are fewer 'Seldon Crises' and, consequently, less analysis of socio-economic forces. I don't think the first book's style would have been as interesting for this story though - focusing on individuals seems more appropriate given the major theme of an individual upsetting the balance of the Seldon Plan. Also, I personally prefer stronger characterization and depth to the short story style, which means I'm more than happy with the approach!
So in short, 'Foundation and Empire' is fantastic, a great read that expands on what was established in the first book by taking the story in an interesting new direction, while also utilizing a more engaging narrative style. The cliffhanger ending means I need to sink my teeth into the last book, 'Second Foundation', ASAP.
Tuesday, June 19, 2007
The 4400 - Season 2 (2005)
The 4400 - Season 2 (2005)
I watched the first short (five episode) season of this sci-fi series (created by René Echevarria and Scott Peters) and enjoyed it but wasn't overly impressed. It had an intriguing concept but there were aspects of the execution I wasn't particularly fond of. There was a sort of superficiality to proceedings, particularly with the government bureaucracy elements, which felt 'off' and lacking in believability. The overall vibe of the show was that of something safe and familiar. It was, however, well made and had some memorable characters, and I'm glad I stuck with it to check out the second season because while some of my complaints haven't been addressed, the story develops in interesting ways that were only hinted at in the first season, and the lengthier 13 episode season allows for far more character development.
'The 4400' tells the story of 4400 people who disappeared from various times during the mid to late 20th century, only to be returned together in mysterious ball of light, with some of them having gained enhanced 'powers'. It turned out that they were taken by humans from the future, modified, and sent back to a point in time from which they could prevent an impending, as yet unknown, catastrophe from taking place. The series revolves around agents Tom Baldwin (Joel Gretsch) and Diana Skouris (Jacqueline McKenzie), who work for a government agency called NTAC that deals with the 4400. Baldwin's nephew Shawn (Patrick Flueger) is one of the 4400 who has the power to heal people, and his son Kyle (Chad Faust) was affected during Shawn's abduction and now has strange blackouts. Shawn and several other 4400s have moved to the 4400 centre, a cult-like organization founded by wealthy 4400 Jordan Collier (Billy Campbell) that is dedicated to both helping the 4400 and also developing similar powers in normal people. Diana Skouris meanwhile adopts a 4400 girl, Maia (Conchita Campbell), who has precognitive powers. 4400s Lily and Richard Tyler (Laura Allen & Mahershalalhashbaz Ali) and their newborn daughter Isabelle are on the run from Collier, who wants Isabelle because he believes her to be important to the 4400.
There's an overarching story about the continued growth of the 4400 Centre, the emerging powers of the returnees and their purpose in the grand scheme of things, and a sinister conspiracy within NTAC. The typical episode deals with these elements as well as the ongoing personal stories and relationships of the main characters, but usually also has a one-off story about a 4400 exhibiting new powers. The thematic elements in play this season are more interesting - in season one it was mostly about the 'mystery' behind the 4400, but in season two it's about their integration back into and impact on society (they are accepted by some and reviled by others), the development of a cult-like group with charismatic public-figureheads that promise salvation for mankind, and the personal problems unique to the 4400 and those around them. These elements were present in the first season, but were less fleshed out.
The focus has shifted more to sci-fi drama from sci-fi mystery / thriller, and there's a sense that it's all building up to much bigger things. This change in focus is apt because the storytelling style of the show definitely favours drama. There's still a complete lack of edginess to the show, but at least now it now feels less 'X-Files-lite' and is all the better as a result. I feel that it ought to be a bit more daring with some of the story elements it brings up (I'm guessing it might do that in season 3, judging how things end in this season). The character aspects of the show are its main strength, with fairly well developed characters and relationships. The '4400 of the week' elements are not as good, but are still interesting in that they go for the approach of 'what would people with these powers try to do, and how would it impact the people around them' instead of the 'chase down the freak' approach; there's also a tendency for each 4400's purpose being examined in the grand scheme of things, which ties into the overall story quite nicely.
Production values aren't particularly memorable in 'The 4400'; visually much of it looks very generic and bland, which is one of the show's shortcomings. There isn't much special in it's storytelling style either - it feels somewhat detached and uninvolved with its subject matter. On the plus side is the cast, which is quite good across the board. It's a real ensemble effort, and while no one really stands out they all gel together quite well. My only complaint is the lack of a strong team dynamic between Baldwin and Skouris, but I guess after 'The X-Files' other special agent duos have a hard time competing.
While it doesn't hold up against the best sci-fi dramas on TV (Lost, Battlestar Galactica, and (so far) Heroes), it fills a niche for more sedate and safe sci-fi; it is entertaining even if it isn't always that thought provoking. I'm anticipating watching the third season, which promises increased friction between the 4400, the government, and the general population, which could result in some of that edginess the subject matter is ripe for.
I watched the first short (five episode) season of this sci-fi series (created by René Echevarria and Scott Peters) and enjoyed it but wasn't overly impressed. It had an intriguing concept but there were aspects of the execution I wasn't particularly fond of. There was a sort of superficiality to proceedings, particularly with the government bureaucracy elements, which felt 'off' and lacking in believability. The overall vibe of the show was that of something safe and familiar. It was, however, well made and had some memorable characters, and I'm glad I stuck with it to check out the second season because while some of my complaints haven't been addressed, the story develops in interesting ways that were only hinted at in the first season, and the lengthier 13 episode season allows for far more character development.
'The 4400' tells the story of 4400 people who disappeared from various times during the mid to late 20th century, only to be returned together in mysterious ball of light, with some of them having gained enhanced 'powers'. It turned out that they were taken by humans from the future, modified, and sent back to a point in time from which they could prevent an impending, as yet unknown, catastrophe from taking place. The series revolves around agents Tom Baldwin (Joel Gretsch) and Diana Skouris (Jacqueline McKenzie), who work for a government agency called NTAC that deals with the 4400. Baldwin's nephew Shawn (Patrick Flueger) is one of the 4400 who has the power to heal people, and his son Kyle (Chad Faust) was affected during Shawn's abduction and now has strange blackouts. Shawn and several other 4400s have moved to the 4400 centre, a cult-like organization founded by wealthy 4400 Jordan Collier (Billy Campbell) that is dedicated to both helping the 4400 and also developing similar powers in normal people. Diana Skouris meanwhile adopts a 4400 girl, Maia (Conchita Campbell), who has precognitive powers. 4400s Lily and Richard Tyler (Laura Allen & Mahershalalhashbaz Ali) and their newborn daughter Isabelle are on the run from Collier, who wants Isabelle because he believes her to be important to the 4400.
There's an overarching story about the continued growth of the 4400 Centre, the emerging powers of the returnees and their purpose in the grand scheme of things, and a sinister conspiracy within NTAC. The typical episode deals with these elements as well as the ongoing personal stories and relationships of the main characters, but usually also has a one-off story about a 4400 exhibiting new powers. The thematic elements in play this season are more interesting - in season one it was mostly about the 'mystery' behind the 4400, but in season two it's about their integration back into and impact on society (they are accepted by some and reviled by others), the development of a cult-like group with charismatic public-figureheads that promise salvation for mankind, and the personal problems unique to the 4400 and those around them. These elements were present in the first season, but were less fleshed out.
The focus has shifted more to sci-fi drama from sci-fi mystery / thriller, and there's a sense that it's all building up to much bigger things. This change in focus is apt because the storytelling style of the show definitely favours drama. There's still a complete lack of edginess to the show, but at least now it now feels less 'X-Files-lite' and is all the better as a result. I feel that it ought to be a bit more daring with some of the story elements it brings up (I'm guessing it might do that in season 3, judging how things end in this season). The character aspects of the show are its main strength, with fairly well developed characters and relationships. The '4400 of the week' elements are not as good, but are still interesting in that they go for the approach of 'what would people with these powers try to do, and how would it impact the people around them' instead of the 'chase down the freak' approach; there's also a tendency for each 4400's purpose being examined in the grand scheme of things, which ties into the overall story quite nicely.
Production values aren't particularly memorable in 'The 4400'; visually much of it looks very generic and bland, which is one of the show's shortcomings. There isn't much special in it's storytelling style either - it feels somewhat detached and uninvolved with its subject matter. On the plus side is the cast, which is quite good across the board. It's a real ensemble effort, and while no one really stands out they all gel together quite well. My only complaint is the lack of a strong team dynamic between Baldwin and Skouris, but I guess after 'The X-Files' other special agent duos have a hard time competing.
While it doesn't hold up against the best sci-fi dramas on TV (Lost, Battlestar Galactica, and (so far) Heroes), it fills a niche for more sedate and safe sci-fi; it is entertaining even if it isn't always that thought provoking. I'm anticipating watching the third season, which promises increased friction between the 4400, the government, and the general population, which could result in some of that edginess the subject matter is ripe for.
Friday, June 15, 2007
Space, The Final Frontier
European aerospace corporation EADS has joined the space tourism party alongside Virgin Galactic. The estimated cost for a stunning view of Terra and a few minutes of weightlessness? Around $250,000 from EADS and $200,000 from VG. VG anticipates starting in 2009, while EADS is scheduling their operation for 2012. VG definitely has the early advantage, but I imagine there are enough rich people willing to go into space for both players to be successful in this niche market. And I encourage all these rich people to go out there and make it a success, so that in a few decades or so the price may come down to something viable for those below the top 1% of income earners. I for one hope it will become more accessible during my lifetime, and I will be willing to put down a sizable amount of moolah to get as far away from this godforsaken rock as possible, if only for a few minutes before I fall back down.
Brick (2005)
Brick (2005)
According to the IMDB, this movie cost less than half a million USDs to make. In the context of movie-making that's low budget. Really low budget. You can't tell from watching the film though, because it looks and feels like it cost at least ten times that amount (I'm basing my mathematics on what other 'low budget' films look and feel like). 'Brick', the debut feature film from writer / director Rian Johnson, is a noir detective story with a twist - it takes place in a high school setting and virtually all the characters are teenagers.
The opening scene of the film finds Brendan (Joseph Gorden-Levitt) staring pensively at the body of a girl (Emilie de Ravin) lying dead in front of the opening into a sewage tunnel. The film then flashes back to two days earlier, where the girl, whose name is Emily, calls Brendan and tells him she's in trouble and needs help but hangs up in a hurry without explaining any further. It turns out that she's an ex-girlfriend who left him because of his reluctance to play nice with the social elite at school, a crowd she wanted to be a part of. Brendan is something of a detective as well as a tough guy loner - he's a 'hard-boiled' protagonist - and he immediately sets to work trying to figure out how to help Emily. He contacts an associate, 'Brain' (Matt O'Leary), who is a wealth of information and resources, and with his help he manages to track down Emily's current dimwit boyfriend Dode (Noah Segan) and through him he sets up a meeting with Emily. She tells him she doesn't want his help and to leave her alone.
The next day Brendan discovers her body, and we're back to the opening scene of the film. He hides the body (to prevent the cops from getting involved) and sets out on a self destructive crusade to figure out who killed her and why, and he begins by shaking up the upper echelons of his high school's social circles. His investigation causes him to cross paths with a crafty ex named Kara (Meagan Good) and to take a beating from a belligerent, 'popular crowd' football player (though he wins the fight!) before he manages to get wind of a drug ring run by the mysterious 'Pin' (Lukas Haas) and his henchman Tugger (Noah Fleiss). He's also offered help from an alluring socialite girl named Laura (Nora Zehetner) who knew Emily, but he keeps her at a distance and remains suspicious of her motives. As Brendan begins to learn more about what type of trouble Emily was involved in, tensions within the different groups he's investigating begin to erupt.
I don't know much about hard-boiled noir fiction, but 'Brick' is an enthralling mystery story in its own right. The thing that sets it apart from other detective films is the unusual marriage of style and setting, which is decidedly unconventional. The key to appreciating the film is accepting the glaring incongruity - despite being set in a high school, the storyline, the dialogue, and the characters are ripped out of a different era and genre entirely. Everyone talks and behaves like they're in a detective movie, and this approach is initially jarring; it's perhaps too jarring for some, but after a while I really got into it. I think it works because the stylistic approach doesn't feel like something tacked on and is a fundamental aspect of the story being told. Actually, you could probably argue that the school setting is the thing that's tacked on, but the storyline plays out somewhat believably in the context of high school social circles. The setting is occasionally used for humourous effect as well, as when these 'tough guys' eat cookies and drink milk, or talk about Tolkien. The characters are all cold and cynical, which I believe is in line with the genre, but they always hold your interest.
The storytelling in general is first rate; the vernacular can be a bit difficult to follow at times, but the writing is terrific and really flows once you get the hang of it. The film is visually very impressive, with a (surprisingly) bright and harsh look and with some very cool camera-work on display. All of the visual elements of the film are well designed, from the desolate outdoor locations to the spartan indoors, the vehicles, and the costumes, all of which contribute to the film's character and atmosphere. There's drama, suspense, intrigue, and even some raw action and Johnson handles all of these aspects with aplomb and without ever even remotely compromising the seriousness of the story. Also worth mentioning is the excellent and highly distinctive score by Nathan Johnson (Ryan's brother), which has a very melancholy feel to it.
Worthy of great praise is the cast, who are mostly lesser known actors. The entire group commit completely to the approach and play it straight and without the slightest hint of self-consciousness. Given the stoic characterization there isn't much emoting to be done, but the dialogue and its delivery could easily have come across as ludicrous were it not executed in a very particular manner. I was initially skeptical about Joseph Gorden-Levitt (of '3rd Rock From the Sun' fame), but he had me completely sold on his gritty gumshoe act after the first few scenes. The rest of the cast is equally good, particularly Nora Zehetner as the seductive Laura who is equal parts sweet and dangerous. Noah Fleiss's portrayal of Tugger with his apoplectic rage reminded me a bit of Russel Crowe in L.A. Confidential (probably because I saw it recently), and Lukas Haas was enigmatic and strangely sympathetic (for a drug lord!) as the Pin.
It ought to be apparent from the preceding paragraphs that I dug 'Brick' quite a bit. As just an exercise in style it's terrific, but it works overall as a film despite the ostensibly gimmicky setting. A film that's well worth watching, and one that stands as testimony to how far determined and talented filmmakers can go on a shoestring budget. I look forward to Johnson's next film, The Brothers Bloom, for which he has secured a mighty impressive cast. I'm also tempted to watch as many noir classics as I can (I haven't seen enough) to experience more of this particular style of storytelling.
According to the IMDB, this movie cost less than half a million USDs to make. In the context of movie-making that's low budget. Really low budget. You can't tell from watching the film though, because it looks and feels like it cost at least ten times that amount (I'm basing my mathematics on what other 'low budget' films look and feel like). 'Brick', the debut feature film from writer / director Rian Johnson, is a noir detective story with a twist - it takes place in a high school setting and virtually all the characters are teenagers.
The opening scene of the film finds Brendan (Joseph Gorden-Levitt) staring pensively at the body of a girl (Emilie de Ravin) lying dead in front of the opening into a sewage tunnel. The film then flashes back to two days earlier, where the girl, whose name is Emily, calls Brendan and tells him she's in trouble and needs help but hangs up in a hurry without explaining any further. It turns out that she's an ex-girlfriend who left him because of his reluctance to play nice with the social elite at school, a crowd she wanted to be a part of. Brendan is something of a detective as well as a tough guy loner - he's a 'hard-boiled' protagonist - and he immediately sets to work trying to figure out how to help Emily. He contacts an associate, 'Brain' (Matt O'Leary), who is a wealth of information and resources, and with his help he manages to track down Emily's current dimwit boyfriend Dode (Noah Segan) and through him he sets up a meeting with Emily. She tells him she doesn't want his help and to leave her alone.
The next day Brendan discovers her body, and we're back to the opening scene of the film. He hides the body (to prevent the cops from getting involved) and sets out on a self destructive crusade to figure out who killed her and why, and he begins by shaking up the upper echelons of his high school's social circles. His investigation causes him to cross paths with a crafty ex named Kara (Meagan Good) and to take a beating from a belligerent, 'popular crowd' football player (though he wins the fight!) before he manages to get wind of a drug ring run by the mysterious 'Pin' (Lukas Haas) and his henchman Tugger (Noah Fleiss). He's also offered help from an alluring socialite girl named Laura (Nora Zehetner) who knew Emily, but he keeps her at a distance and remains suspicious of her motives. As Brendan begins to learn more about what type of trouble Emily was involved in, tensions within the different groups he's investigating begin to erupt.
I don't know much about hard-boiled noir fiction, but 'Brick' is an enthralling mystery story in its own right. The thing that sets it apart from other detective films is the unusual marriage of style and setting, which is decidedly unconventional. The key to appreciating the film is accepting the glaring incongruity - despite being set in a high school, the storyline, the dialogue, and the characters are ripped out of a different era and genre entirely. Everyone talks and behaves like they're in a detective movie, and this approach is initially jarring; it's perhaps too jarring for some, but after a while I really got into it. I think it works because the stylistic approach doesn't feel like something tacked on and is a fundamental aspect of the story being told. Actually, you could probably argue that the school setting is the thing that's tacked on, but the storyline plays out somewhat believably in the context of high school social circles. The setting is occasionally used for humourous effect as well, as when these 'tough guys' eat cookies and drink milk, or talk about Tolkien. The characters are all cold and cynical, which I believe is in line with the genre, but they always hold your interest.
The storytelling in general is first rate; the vernacular can be a bit difficult to follow at times, but the writing is terrific and really flows once you get the hang of it. The film is visually very impressive, with a (surprisingly) bright and harsh look and with some very cool camera-work on display. All of the visual elements of the film are well designed, from the desolate outdoor locations to the spartan indoors, the vehicles, and the costumes, all of which contribute to the film's character and atmosphere. There's drama, suspense, intrigue, and even some raw action and Johnson handles all of these aspects with aplomb and without ever even remotely compromising the seriousness of the story. Also worth mentioning is the excellent and highly distinctive score by Nathan Johnson (Ryan's brother), which has a very melancholy feel to it.
Worthy of great praise is the cast, who are mostly lesser known actors. The entire group commit completely to the approach and play it straight and without the slightest hint of self-consciousness. Given the stoic characterization there isn't much emoting to be done, but the dialogue and its delivery could easily have come across as ludicrous were it not executed in a very particular manner. I was initially skeptical about Joseph Gorden-Levitt (of '3rd Rock From the Sun' fame), but he had me completely sold on his gritty gumshoe act after the first few scenes. The rest of the cast is equally good, particularly Nora Zehetner as the seductive Laura who is equal parts sweet and dangerous. Noah Fleiss's portrayal of Tugger with his apoplectic rage reminded me a bit of Russel Crowe in L.A. Confidential (probably because I saw it recently), and Lukas Haas was enigmatic and strangely sympathetic (for a drug lord!) as the Pin.
It ought to be apparent from the preceding paragraphs that I dug 'Brick' quite a bit. As just an exercise in style it's terrific, but it works overall as a film despite the ostensibly gimmicky setting. A film that's well worth watching, and one that stands as testimony to how far determined and talented filmmakers can go on a shoestring budget. I look forward to Johnson's next film, The Brothers Bloom, for which he has secured a mighty impressive cast. I'm also tempted to watch as many noir classics as I can (I haven't seen enough) to experience more of this particular style of storytelling.
Wednesday, June 13, 2007
Escape From New York (1981)
Escape From New York (1981)
Director John Carpenter and actor Kurt Russell teamed up to make three memorable movies during the eighties, one of which I wrote about not too long ago. Another is the action comedy classic 'Big Trouble in Little China'. 'Escape From New York' was the first of that particular collaborative 'trilogy' to be made (Carpenter and Russell also collaborated on an Elvis TV biopic a few years prior), and while I find it to be the weakest of the bunch, it still made an impression and is noteworthy for having created an iconic antihero in the form of Snake Plissken.
The story is deliriously over the top. In the future (1997!), New York's Manhattan Island has been walled off and converted into a maximum security penitentiary for the entire U.S. There are no guards and no rules, just convicts who have been thrown together and who have created their own violent and lawless community. Disaster strikes when the U.S. President's (Donald Pleasance) plane is hijacked and he's forced to eject into... the middle of Manhattan! He's promptly taken prisoner by a group of inmates who threaten to kill him if the police attempt a rescue. Police Commissioner Hauk (Lee Van Cleef) realises that he has an ace up his sleeve in the form of an ex-soldier about to be incarcerated - one Snake Plissken (Kurt Russell). Hauk informs Snake that the President is carrying vital secret information regarding nuclear technology that must be delivered to a summit that takes place in 24 hours; he offers Snake a full pardon if he can conduct a covert operation to go in and bring the President out within that time. Snake agrees, but as insurance Hauk injects mini explosives into Snake that will go off in 22 hours; they will only be diffused if he brings back the President in time.
Snake enters the 'prison' via stealth glider and begins his race against time to locate the President. He encounters the strange and hostile inmates of the prison, but also obtains the assistance of several allies - Cabbie (Ernest Borgnine), Brain (Harry Dean Stanton), and Maggie (Adrienne Barbeau) - as he works to free the President from the clutches of the 'Duke' (Isaac Hayes), the leader of the inmates.
The overall concept is ridiculous and yet compelling at the same time. It sounds like it shouldn't work, but it does because the world of the film is bizarre and unhinged from reality as we know it. The Manhattan on display reminds me a bit of the bizarreness of the New York depicted in 'The Warriors'. The people that populate Manhattan prison are strange and surreal (though they aren't as colourful as the street gangs of 'The Warriors'). There's a gritty and run down quality to the whole place and the low budget aesthetic lends the whole thing an air of verisimilitude. The plot though is ho-hum and relatively disappointing despite the kooky concept, and the only originality in the screenplay comes in the form of an overarching bleak cynicism, with hints of an oppressive government and selfish, untrustworthy people in positions of power (hang on, isn't that reality?). The other major disappointment is the lack of genuine excitement or thrills, with little suspense or tension and action sequences that feel a bit dull. Having said that, Carpenter does deliver a few sudden and capricious deaths that catch you off guard completely.
Its milieu and characters make the whole thing fascinating to watch, and there is a darkly humourous streak to proceedings. The characters are really more caricatures than characters, because there's no real depth to any of them, but this fact doesn't make them any less watchable or entertaining. Towering above all others is the protagonist, Snake Plissken, played brilliantly by Kurt Russell. Snake Plissken really makes the movie and is the single most memorable thing about it. There's nothing complex or layered about the character, but he's magnetic, and watching him race against time in this nightmarish Manhattan is like watching a dangerous wild animal trying to survive in the harsh wilderness. Snake's far from being a nice guy and he only gives a damn about himself, but he's still cool and a complete badass and Kurt Russell is incredibly charismatic in the role. The supporting players do a fair job, but none of them comes close to upstaging Russell.
'Escape From New York' is an entertaining film that is good but not great. I don't think it's as well made as some of Carpenter's other films from the eighties, but I can see why it has a cult following. It has a memorable and original concept and a terrific anti-hero protagonist that together make the film worth watching. I didn't love it, but I did enjoy it and think it's worth checking out.
Director John Carpenter and actor Kurt Russell teamed up to make three memorable movies during the eighties, one of which I wrote about not too long ago. Another is the action comedy classic 'Big Trouble in Little China'. 'Escape From New York' was the first of that particular collaborative 'trilogy' to be made (Carpenter and Russell also collaborated on an Elvis TV biopic a few years prior), and while I find it to be the weakest of the bunch, it still made an impression and is noteworthy for having created an iconic antihero in the form of Snake Plissken.
The story is deliriously over the top. In the future (1997!), New York's Manhattan Island has been walled off and converted into a maximum security penitentiary for the entire U.S. There are no guards and no rules, just convicts who have been thrown together and who have created their own violent and lawless community. Disaster strikes when the U.S. President's (Donald Pleasance) plane is hijacked and he's forced to eject into... the middle of Manhattan! He's promptly taken prisoner by a group of inmates who threaten to kill him if the police attempt a rescue. Police Commissioner Hauk (Lee Van Cleef) realises that he has an ace up his sleeve in the form of an ex-soldier about to be incarcerated - one Snake Plissken (Kurt Russell). Hauk informs Snake that the President is carrying vital secret information regarding nuclear technology that must be delivered to a summit that takes place in 24 hours; he offers Snake a full pardon if he can conduct a covert operation to go in and bring the President out within that time. Snake agrees, but as insurance Hauk injects mini explosives into Snake that will go off in 22 hours; they will only be diffused if he brings back the President in time.
Snake enters the 'prison' via stealth glider and begins his race against time to locate the President. He encounters the strange and hostile inmates of the prison, but also obtains the assistance of several allies - Cabbie (Ernest Borgnine), Brain (Harry Dean Stanton), and Maggie (Adrienne Barbeau) - as he works to free the President from the clutches of the 'Duke' (Isaac Hayes), the leader of the inmates.
The overall concept is ridiculous and yet compelling at the same time. It sounds like it shouldn't work, but it does because the world of the film is bizarre and unhinged from reality as we know it. The Manhattan on display reminds me a bit of the bizarreness of the New York depicted in 'The Warriors'. The people that populate Manhattan prison are strange and surreal (though they aren't as colourful as the street gangs of 'The Warriors'). There's a gritty and run down quality to the whole place and the low budget aesthetic lends the whole thing an air of verisimilitude. The plot though is ho-hum and relatively disappointing despite the kooky concept, and the only originality in the screenplay comes in the form of an overarching bleak cynicism, with hints of an oppressive government and selfish, untrustworthy people in positions of power (hang on, isn't that reality?). The other major disappointment is the lack of genuine excitement or thrills, with little suspense or tension and action sequences that feel a bit dull. Having said that, Carpenter does deliver a few sudden and capricious deaths that catch you off guard completely.
Its milieu and characters make the whole thing fascinating to watch, and there is a darkly humourous streak to proceedings. The characters are really more caricatures than characters, because there's no real depth to any of them, but this fact doesn't make them any less watchable or entertaining. Towering above all others is the protagonist, Snake Plissken, played brilliantly by Kurt Russell. Snake Plissken really makes the movie and is the single most memorable thing about it. There's nothing complex or layered about the character, but he's magnetic, and watching him race against time in this nightmarish Manhattan is like watching a dangerous wild animal trying to survive in the harsh wilderness. Snake's far from being a nice guy and he only gives a damn about himself, but he's still cool and a complete badass and Kurt Russell is incredibly charismatic in the role. The supporting players do a fair job, but none of them comes close to upstaging Russell.
'Escape From New York' is an entertaining film that is good but not great. I don't think it's as well made as some of Carpenter's other films from the eighties, but I can see why it has a cult following. It has a memorable and original concept and a terrific anti-hero protagonist that together make the film worth watching. I didn't love it, but I did enjoy it and think it's worth checking out.
Tuesday, June 12, 2007
L.A. Confidential (1997)
L.A. Confidential (1997)
Wow, this film's already 10 years old! I can remember seeing it a couple of years after its release, and I was blown away at the time. 'L.A. Confidential', directed by Curtis Hanson (who seemingly hasn't made anything nearly as good since) and based on the book by James Ellroy, is a modern classic that doesn't diminish one bit on subsequent viewings.
Set in 1950s Los Angeles, the story revolves around three police officers (who aren't exactly buddies) - Ed Exley (Guy Pearce), an ambitious, political up and comer in the department who strictly abides by the rules, Bud White (Russel Crowe), a hulking brute of a man known for his penchant for violence and who harbours a desire to become a detective, and Jack Vincennes (Kevin Spacey), a suave attention seeking narcotics officer known for his affiliation with a popular TV police drama. These three officers' paths begin to cross following a massacre at a diner which each of them investigates in his own capacity, together with several smaller investigations that appear to be tangentially connected to the massacre. The investigation, led by the stern police captain Dudley Smith (James Cromwell), leads our heroes into the seedy, lascivious, corrupt, violent, and racist dark alleys of society. They cross paths with Sid Hudgens (Danny DeVito), the editor of a sleazy tabloid, Pierce Patchett (David Strathairn), proprietor of a call girl agency and possibly involved in something far more sinister, and Lynn Bracken (Kim Basinger), one of Patchett's call girls who gets caught up in the investigation. Alliances are formed, fists and bullets fly, and the body count piles up as the mysteries are resolved.
I haven't really even attempted to explain the complex, twisty turny plot of the film; that little introduction will have to suffice, as explaining it in detail would require several more paragraphs and / or a better writer than me (or is it I?). The plot is quite labyrinthine and the story comes at you thick and fast with barely a moment to draw breath, but despite this Brian Helgeland's script never feels overly confusing. It also manages to layer in many of the tawdrier aspects of 1950s LA as well as build up some fairly rich and rounded characters, and both of these elements are not only well integrated into the story but are in many ways essential aspects of it. Exley, White, and Vincennes are all men who, at some level, are unhappy with the status quo and the way they've conducted themselves thus far; all three seek to prove their worth and perhaps gain a little redemption along the way. Their styles clash with each other's and their approaches are completely different but their ultimate goals remain the same - to solve the crime and bring justice to the victims, even if that involves butting heads along the way.
Being a period piece, atmosphere and detail are essential elements, and 'L.A. Confidential' doesn't drop the ball in those departments. It's steeped in atmosphere and the look and feel of every element of the film rings true (how true I can't say for sure, but from what I've read the filmmakers got most things right). The costumes, sets, locations, and character mannerisms all seem to fit together perfectly to re-create a bygone era. The aggressive musical score is also perfectly appropriate and serves to enhance the atmosphere as well as to punctuate storytelling beats. Director Curtis Hanson did a fantastic job in not only realizing all the excellent elements of the film, but in combining them all together so compellingly into the storyline without ever overpowering it.
Hanson also did a great job in assembling such an amazing cast for the film, which is excellent from top to bottom - even the most minor of roles is well played. DeVito is conniving and reprehensible but entertaining as Hudgens, proprietor of 'Hush Hush' magazine. James Cromwell played against type (at least at the time) as the tough, cool and calculating Captain Smith, and he's full of menace in the role. David Strathairn only has a few scenes as the aloof Patchett, but he makes an impression. Kim Basinger, an actress not generally associated with great acting, is fantastic in the role of Lynn Bracken, the call girl with a softer side hidden beneath a poised and seductive facade.
Which brings us to the central trio, who are simply brilliant. Pearce and Crowe were relative unknowns when this film was made and they really made an impression, while Spacey solidified his reputation after the success of 'The Usual Suspects'. Pearce is initially almost detestable as the smart-aleck cop Ed Exley, but his innate sense of honour and his dogged determination to learn the truth come across such that by the film's end he's well and truly the hero. Crowe is like a raging tempest in the role of Bud White, a man who's ready to explode into violence at a moment's notice; despite his brutish nature he also has a far more sympathetic side and a streak of intelligence, both of which are brought across with subtlety. Spacey's Vincennes is the character you can get behind from the get go, as he's simply cool and full of charisma right throughout despite the morally dubious activities he engages in, and his ultimate sense of regret and sincerity in his efforts later on make him that much more memorable.
Many have likened 'L.A. Confidential' to 'Chinatown', which I wrote about here. There are indeed many similarities in terms of setting, tone, character types and even plot, but this feels like a different film altogether despite those similarities. I enjoyed it more because of its more sympathetic protagonists and its less bleak ending. Both films are excellent and like 'Chinatown', 'L.A. Confidential' is a classic and a must see.
Wow, this film's already 10 years old! I can remember seeing it a couple of years after its release, and I was blown away at the time. 'L.A. Confidential', directed by Curtis Hanson (who seemingly hasn't made anything nearly as good since) and based on the book by James Ellroy, is a modern classic that doesn't diminish one bit on subsequent viewings.
Set in 1950s Los Angeles, the story revolves around three police officers (who aren't exactly buddies) - Ed Exley (Guy Pearce), an ambitious, political up and comer in the department who strictly abides by the rules, Bud White (Russel Crowe), a hulking brute of a man known for his penchant for violence and who harbours a desire to become a detective, and Jack Vincennes (Kevin Spacey), a suave attention seeking narcotics officer known for his affiliation with a popular TV police drama. These three officers' paths begin to cross following a massacre at a diner which each of them investigates in his own capacity, together with several smaller investigations that appear to be tangentially connected to the massacre. The investigation, led by the stern police captain Dudley Smith (James Cromwell), leads our heroes into the seedy, lascivious, corrupt, violent, and racist dark alleys of society. They cross paths with Sid Hudgens (Danny DeVito), the editor of a sleazy tabloid, Pierce Patchett (David Strathairn), proprietor of a call girl agency and possibly involved in something far more sinister, and Lynn Bracken (Kim Basinger), one of Patchett's call girls who gets caught up in the investigation. Alliances are formed, fists and bullets fly, and the body count piles up as the mysteries are resolved.
I haven't really even attempted to explain the complex, twisty turny plot of the film; that little introduction will have to suffice, as explaining it in detail would require several more paragraphs and / or a better writer than me (or is it I?). The plot is quite labyrinthine and the story comes at you thick and fast with barely a moment to draw breath, but despite this Brian Helgeland's script never feels overly confusing. It also manages to layer in many of the tawdrier aspects of 1950s LA as well as build up some fairly rich and rounded characters, and both of these elements are not only well integrated into the story but are in many ways essential aspects of it. Exley, White, and Vincennes are all men who, at some level, are unhappy with the status quo and the way they've conducted themselves thus far; all three seek to prove their worth and perhaps gain a little redemption along the way. Their styles clash with each other's and their approaches are completely different but their ultimate goals remain the same - to solve the crime and bring justice to the victims, even if that involves butting heads along the way.
Being a period piece, atmosphere and detail are essential elements, and 'L.A. Confidential' doesn't drop the ball in those departments. It's steeped in atmosphere and the look and feel of every element of the film rings true (how true I can't say for sure, but from what I've read the filmmakers got most things right). The costumes, sets, locations, and character mannerisms all seem to fit together perfectly to re-create a bygone era. The aggressive musical score is also perfectly appropriate and serves to enhance the atmosphere as well as to punctuate storytelling beats. Director Curtis Hanson did a fantastic job in not only realizing all the excellent elements of the film, but in combining them all together so compellingly into the storyline without ever overpowering it.
Hanson also did a great job in assembling such an amazing cast for the film, which is excellent from top to bottom - even the most minor of roles is well played. DeVito is conniving and reprehensible but entertaining as Hudgens, proprietor of 'Hush Hush' magazine. James Cromwell played against type (at least at the time) as the tough, cool and calculating Captain Smith, and he's full of menace in the role. David Strathairn only has a few scenes as the aloof Patchett, but he makes an impression. Kim Basinger, an actress not generally associated with great acting, is fantastic in the role of Lynn Bracken, the call girl with a softer side hidden beneath a poised and seductive facade.
Which brings us to the central trio, who are simply brilliant. Pearce and Crowe were relative unknowns when this film was made and they really made an impression, while Spacey solidified his reputation after the success of 'The Usual Suspects'. Pearce is initially almost detestable as the smart-aleck cop Ed Exley, but his innate sense of honour and his dogged determination to learn the truth come across such that by the film's end he's well and truly the hero. Crowe is like a raging tempest in the role of Bud White, a man who's ready to explode into violence at a moment's notice; despite his brutish nature he also has a far more sympathetic side and a streak of intelligence, both of which are brought across with subtlety. Spacey's Vincennes is the character you can get behind from the get go, as he's simply cool and full of charisma right throughout despite the morally dubious activities he engages in, and his ultimate sense of regret and sincerity in his efforts later on make him that much more memorable.
Many have likened 'L.A. Confidential' to 'Chinatown', which I wrote about here. There are indeed many similarities in terms of setting, tone, character types and even plot, but this feels like a different film altogether despite those similarities. I enjoyed it more because of its more sympathetic protagonists and its less bleak ending. Both films are excellent and like 'Chinatown', 'L.A. Confidential' is a classic and a must see.
Thursday, June 07, 2007
The Tripods - Season 1 & 2
The Tripods - Season 1 & 2
I first saw 'The Tripods' around 20 years ago (bloody hell!) and loved it as a kid; I would re-watch episodes recorded on VHS tape over and over to such an extent that lots of stuff was indelibly imprinted in my mind and still incredibly familiar years later! I mentioned the show favourably in an earlier post about TV shows from the past. Now that I've finished watching it, I can say that it is a fine albeit flawed work of children's science fiction that doesn't hold up all that well, but is still impressive for its time.
'The Tripods', which is based on a trilogy of novels by author John Christopher, takes place around a century in the future. Mankind has been taken over by three-legged metallic machines called 'Tripods', and civilisation has rolled back to a pre-industrial age, with the great cities of the world lying in ruins. People are content, however, because the Tripods have subjugated their minds by way of a device called a cap that is implanted into every individual's brain at a certain age; the cap makes them docile and subservient and also robs them of their creativity and spirit.
Enter Will Parker (John Shackley), a young boy close to capping age living in a southern English village. Will meets a man named Ozymandius (Roderick Horn), who recognises in Will an independent spirit and a mistrust of the Tripods. He tells Will of 'uncapped' free men living in the European mainland in a place called the White Mountains (the Alps) who are fighting the Tripods, and convinces him to set out to join them. Will leaves together with his plucky cousin Henry (Jim Baker), and in France they are joined by an intelligent young man whom they call Beanpole (Ceri Seel). The first season follows the adventures of this trio as they make their way through France, avoiding Tripods, making new friends and enemies, and drawing ever closer to the White Mountains.
Season two (Spoiler Alert, unwary reader) tells the story of the infiltration of one of the Tripod's domed cities by Will and another boy named Fritz (Robin Hayter). The early episodes focus on their journey to the 'Games', an athletic tournament where the winners are taken to serve the Tripods in their domed city. Will and Fritz come out victorious in their events, and in the city they discover that humans are used as slaves by the aliens who drive the Tripods, who call themselves 'The Masters'. The two of them learn as much as they can while keeping the fact that they are not capped a secret. Will and Fritz are different in their approaches and are often at odds, but each is also resourceful in his own way and together they manage to learn a great deal about the Masters and their technology, information that is vital to the resistance.
Unfortunately, the story doesn't end with the final episode; the third and final season was never produced. The second season ends on a bleak cliffhanger, which is a shame, because I found it immensely entertaining despite all of its flaws. Since I liked it, I'm going to start with my criticisms and end with the plus points.
The biggest problem is the clunky story structure, which stops and starts and drags for certain periods. This is especially strange given that each episode is at most 25 minutes long, and there are only 25 episodes in total across both seasons - three full episodes of the fourth season are based at a Chateau in France where the story essentially grinds to a halt. The same can be said of the second season where time is wasted during the boys' journey to the games. Some of the 'travel' episodes in the second season come across as silly and fail to progress the characters or the story in any meaningful way. In the first season, the journey served a purpose; it helped depict what the world was like under the Tripods.
There are many plot points that stretch suspension of disbelief, such as the Tripods seeming inability to easily detect if someone is capped or not, and the way their Tripod machines can't see people standing literally right below them. The alien Masters also have a rather ludicrous weak-point that they leave exposed, a contrivance that beggars belief - one punch and they're dead! Some of the dialogue is also weak in places, coming across as unnatural and expository. There is an undeniably cheesy feel to certain elements, like the costumes worn by the slaves in the Tripod city and the slave disco. The cheese factor is also a bit high in the acting department - not the leads, but many of the supporting actors seemed to have shown up for a laugh. The directing is quite weak throughout, with scenes often unconvincingly executed and action coming across as comical at times. And finally, a lot of the sets and effects haven't aged too well, though this aspect is forgivable given the sheer ambition of the project for its time.
Now for what works in 'The Tripods'. I think there's a terrific story being told featuring engaging characters, with the four teenage protagonists in particular having genuine personality and often goofing around as real teenagers might. The concept of an occupying force and rebels fighting them never grows old (and is always relevant, it seems), and the incorporation of aliens, Tripod machines, non-corporeal beings of consciousness acting as computers for an entire city, and devices used to subjugate the mind are elements that give it a few new dimensions. Interestingly, the story even touches on the idea that accepting the capping process and living in blissful ignorance is an appealing choice; life under the Tripods isn't all that bad really, and the heroes are at some points tempted into following the path of least resistance. That wasn't something I was expecting.
The show is also edgy in some ways - these kids are forced to do immoral things and even kill at one point, and Fritz embodies a cold and pragmatic attitude that is at odds with Will's humane behaviour; this initially makes him appear to be a bit of a dick, but as the story progresses his character is the one who is ultimately vindicated. One aspect unique for its time is the epic multi season spanning storyline which genuinely progresses (albeit in a stop start manner), something which is difficult to appreciate today where seemingly every new series embraces long-form story telling.
Both seasons are distinctly different in terms of story and style. The first is a road trip adventure with the three boys facing various challenges and temptations along the way, while the second is more sci-fi. Both seasons are very atmospheric, with the first incorporating bucolic lifestyles and beautiful locations - its all very quaint and charming - and the second featuring a futuristic alien city with awesome technology on display. Despite the iffy production values, the alien and technological parts of the show hold up surprisingly well, thanks in no small part to the strong designs on display. The Tripod design is really iconic, and the sight of them towering over farmhouses and patrolling open landscapes is a truly memorable visual. The 'Masters' are also well done, having a non-humanoid creature design that looks truly alien.
The performances are a mixed bag, with some being horrendous and none being truly great. The leads are quite natural in their roles however, which is the key in keeping the whole thing not just watchable but quite enjoyable. They may not be great actors, but they exhibit a genuine adventurous spirit and fierce sense of independence and loyalty, which are essential elements given the nature of the story and their roles within it.
On a final note, I love the incredibly cool synthesized theme music and funky animated opening and closing credits.
So overall, it's quite mixed. Watching it with the mindset of it being a product of its time is the key to enjoying 'The Tripods'. On most objective merits it doesn't hold up too well, but it is a rewarding experience for those who can forgive those weaknesses and embrace the story and characters. I certainly enjoyed it, and found myself tempted to watch the next episode each time the credits began to roll, which is not something I can often say of older TV shows.
I first saw 'The Tripods' around 20 years ago (bloody hell!) and loved it as a kid; I would re-watch episodes recorded on VHS tape over and over to such an extent that lots of stuff was indelibly imprinted in my mind and still incredibly familiar years later! I mentioned the show favourably in an earlier post about TV shows from the past. Now that I've finished watching it, I can say that it is a fine albeit flawed work of children's science fiction that doesn't hold up all that well, but is still impressive for its time.
'The Tripods', which is based on a trilogy of novels by author John Christopher, takes place around a century in the future. Mankind has been taken over by three-legged metallic machines called 'Tripods', and civilisation has rolled back to a pre-industrial age, with the great cities of the world lying in ruins. People are content, however, because the Tripods have subjugated their minds by way of a device called a cap that is implanted into every individual's brain at a certain age; the cap makes them docile and subservient and also robs them of their creativity and spirit.
Enter Will Parker (John Shackley), a young boy close to capping age living in a southern English village. Will meets a man named Ozymandius (Roderick Horn), who recognises in Will an independent spirit and a mistrust of the Tripods. He tells Will of 'uncapped' free men living in the European mainland in a place called the White Mountains (the Alps) who are fighting the Tripods, and convinces him to set out to join them. Will leaves together with his plucky cousin Henry (Jim Baker), and in France they are joined by an intelligent young man whom they call Beanpole (Ceri Seel). The first season follows the adventures of this trio as they make their way through France, avoiding Tripods, making new friends and enemies, and drawing ever closer to the White Mountains.
Season two (Spoiler Alert, unwary reader) tells the story of the infiltration of one of the Tripod's domed cities by Will and another boy named Fritz (Robin Hayter). The early episodes focus on their journey to the 'Games', an athletic tournament where the winners are taken to serve the Tripods in their domed city. Will and Fritz come out victorious in their events, and in the city they discover that humans are used as slaves by the aliens who drive the Tripods, who call themselves 'The Masters'. The two of them learn as much as they can while keeping the fact that they are not capped a secret. Will and Fritz are different in their approaches and are often at odds, but each is also resourceful in his own way and together they manage to learn a great deal about the Masters and their technology, information that is vital to the resistance.
Unfortunately, the story doesn't end with the final episode; the third and final season was never produced. The second season ends on a bleak cliffhanger, which is a shame, because I found it immensely entertaining despite all of its flaws. Since I liked it, I'm going to start with my criticisms and end with the plus points.
The biggest problem is the clunky story structure, which stops and starts and drags for certain periods. This is especially strange given that each episode is at most 25 minutes long, and there are only 25 episodes in total across both seasons - three full episodes of the fourth season are based at a Chateau in France where the story essentially grinds to a halt. The same can be said of the second season where time is wasted during the boys' journey to the games. Some of the 'travel' episodes in the second season come across as silly and fail to progress the characters or the story in any meaningful way. In the first season, the journey served a purpose; it helped depict what the world was like under the Tripods.
There are many plot points that stretch suspension of disbelief, such as the Tripods seeming inability to easily detect if someone is capped or not, and the way their Tripod machines can't see people standing literally right below them. The alien Masters also have a rather ludicrous weak-point that they leave exposed, a contrivance that beggars belief - one punch and they're dead! Some of the dialogue is also weak in places, coming across as unnatural and expository. There is an undeniably cheesy feel to certain elements, like the costumes worn by the slaves in the Tripod city and the slave disco. The cheese factor is also a bit high in the acting department - not the leads, but many of the supporting actors seemed to have shown up for a laugh. The directing is quite weak throughout, with scenes often unconvincingly executed and action coming across as comical at times. And finally, a lot of the sets and effects haven't aged too well, though this aspect is forgivable given the sheer ambition of the project for its time.
Now for what works in 'The Tripods'. I think there's a terrific story being told featuring engaging characters, with the four teenage protagonists in particular having genuine personality and often goofing around as real teenagers might. The concept of an occupying force and rebels fighting them never grows old (and is always relevant, it seems), and the incorporation of aliens, Tripod machines, non-corporeal beings of consciousness acting as computers for an entire city, and devices used to subjugate the mind are elements that give it a few new dimensions. Interestingly, the story even touches on the idea that accepting the capping process and living in blissful ignorance is an appealing choice; life under the Tripods isn't all that bad really, and the heroes are at some points tempted into following the path of least resistance. That wasn't something I was expecting.
The show is also edgy in some ways - these kids are forced to do immoral things and even kill at one point, and Fritz embodies a cold and pragmatic attitude that is at odds with Will's humane behaviour; this initially makes him appear to be a bit of a dick, but as the story progresses his character is the one who is ultimately vindicated. One aspect unique for its time is the epic multi season spanning storyline which genuinely progresses (albeit in a stop start manner), something which is difficult to appreciate today where seemingly every new series embraces long-form story telling.
Both seasons are distinctly different in terms of story and style. The first is a road trip adventure with the three boys facing various challenges and temptations along the way, while the second is more sci-fi. Both seasons are very atmospheric, with the first incorporating bucolic lifestyles and beautiful locations - its all very quaint and charming - and the second featuring a futuristic alien city with awesome technology on display. Despite the iffy production values, the alien and technological parts of the show hold up surprisingly well, thanks in no small part to the strong designs on display. The Tripod design is really iconic, and the sight of them towering over farmhouses and patrolling open landscapes is a truly memorable visual. The 'Masters' are also well done, having a non-humanoid creature design that looks truly alien.
The performances are a mixed bag, with some being horrendous and none being truly great. The leads are quite natural in their roles however, which is the key in keeping the whole thing not just watchable but quite enjoyable. They may not be great actors, but they exhibit a genuine adventurous spirit and fierce sense of independence and loyalty, which are essential elements given the nature of the story and their roles within it.
On a final note, I love the incredibly cool synthesized theme music and funky animated opening and closing credits.
So overall, it's quite mixed. Watching it with the mindset of it being a product of its time is the key to enjoying 'The Tripods'. On most objective merits it doesn't hold up too well, but it is a rewarding experience for those who can forgive those weaknesses and embrace the story and characters. I certainly enjoyed it, and found myself tempted to watch the next episode each time the credits began to roll, which is not something I can often say of older TV shows.
Tuesday, June 05, 2007
Culture of Fear
This story on the BBC site is indicative of the insane level of paranoia and fear out there in the world today. The statistics show that there's not really much to be worried about, and yet kids are being tucked away to keep them safe from the evil bogeymen and other horrors of society. Admittedly, the current stats themselves could be influenced by the state of things, but the odds of horrible things happening have never been all that bad. Why is everyone so damned afraid? At this rate, the next generation will be composed of overweight, video game addicted weaklings who've never climbed a tree. Oh, wait...
Monday, June 04, 2007
The Lost Room (2006)
The Lost Room (2006)
'The Lost Room' is one of the most intriguing sci-fi shows I've seen in a long while. A mini-series produced by Sci-Fi, a channel that has a reputation for showing middle of the road fare (with the most notable exception being the brilliant Battlestar Galactica), isn't exactly a television event that sets pulses racing. Surprisingly however, the reviews were almost universally positive and so I gave it a shot on DVD.
'The Lost Room' is a mysterious motel room that exists outside of normal space. The motel room can only be accessed via its key, a key that when used with any door (which has a regular key based lock) opens a portal to the room. From within the room, the door can be opened to any doorway, not just the one from which the room was entered, effectively creating a teleport system to virtually every door on the planet. That's not all though, there are approximately 100 other 'objects' from the room loose in the real world, each of which exhibits strange and unique powers - a comb that can freeze time for a few seconds, a pen that can literally cook people, a bus ticket that can teleport people to a particular place (but only that place!), and so on.
The story revolves around Detective Joe Miller (Peter Krause), who acquires the key and has his world turned upside down when his daughter Anna (Elle Fanning) disappears in the room - when an item or person (except an 'object' originally from the room) is placed in the room and the door is closed and opened again with the key, the room 'resets' to its original state and the item disappears. As he tries desperately to get his daughter back, Joe is thrust into a bizarre subculture that exists and revolves around the room and its objects. He learns of a fanatical religious cabal, 'The Order of the Reunification', who believe that bringing all of the objects together will allow mankind to speak to God; another group, called 'The Legion' and represented by a woman named Jennifer Bloom (Julianna Marguiles), collect the objects to hide them away, believing them to be dangerous. Karl Kreutzfeld (Kevin Pollak) is a millionaire who collects objects for his own mysterious reasons, as does a criminal called 'The Weasel' (Roger Bart). Joe gains an unlikely ally in the form of Wally (Peter Jacobson), an object owner with a lot of information about the room and the objects. Joe walks a tight line as he works with and against the various factions to gain information and objects to help him recover his daughter, while also being hunted by his own police force for a crime he didn't commit.
The first thing that 'The Lost Room' has going for it is the overall concept, which is as original and intriguing a concept as anything out there at the moment. The second is in the way it builds on the concept in an interesting and plausible manner. The development of factions, collectors and a market for objects together with decades worth of history involving the room and the objects is one aspect of it. The other aspect is the objects themselves; they are all imaginatively and (humourously) thought up, with powers ranging from bizarre and useless to incredibly powerful. The effect the objects have on their users is also an element that is touched upon throughout the series, with many exploiting the objects for personal gain but ultimately becoming dependent on them and unwilling to let go despite the dangers associated with possessing one (the various factions are willing to kill to get their hands on them). All of these disparate elements hang together surprisingly well and none feel superficial or poorly thought out.
This sci-fi concept is entwined around the more traditional story of a resourceful cop on the run and out of his depth attempting to save his daughter. It's a conventional hook, but it is successful in giving the resourceful detective a believable reason for diving in with reckless abandon and going to extremes to learn as much as he can about the room and the objects. He becomes the audience's window into this strange world as he takes a crash course in the fundamentals of object lore. The relationship between Joe and his daughter is lightly but convincingly written, and well acted by Krause and Fanning; it's a strong enough relationship to make Joe's relentless journey feel justifiable. Wrap all of these story elements together in a lean, fast paced package laced with humour throughout and the end result is an enjoyable show. My only complaint is the sketchy characterization on display, with the plot being paramount at all times. The drama aspects definitely play second fiddle. There are also some very clunky and forced moments along the way, like a ham-fisted romance that springs out of nowhere.
On technical merits 'The Lost Room' is fairly strong, with good production values, special effects, and visuals. It definitely doesn't feel cheap. The music is also quite nice and fits in with the tone of the show. Peter Krause is excellent as Joe Miller. He has an everyman quality to him but he is also smart, resourceful, and tenacious. Additionally, Joe comes across as an innately decent sort of fellow, which makes him that much easier to sympathize with. Roger Bart is quite convincing as the duplicitous and ultimately pathetic 'Weasel' , while Peter Jacobson shines as the frazzled and irritable Wally. Kevin Pollak and Julianna Marguiles are just OK in their respective roles, with Marguiles being fairly emotionless throughout. Elle Fanning manages to be charming and doesn't have any obnoxious 'precocious child' moments as Miller's daughter.
At the end of the day, 'The Lost Room' is an entertaining, intriguing, and generally satisfying mini series. There are a lot of both character and plot elements that are just touched on but not fully developed, and plenty of unanswered questions and backstory to be addressed, which leads one to believe that the mini is a set up for a full blown series. That could be interesting, as long as it doesn't adhere too strongly to some lame 'object of the week' type formula. Regardless of what eventually happens, the mini is a successful piece of storytelling in its own right. It may not be mind blowing stuff, but it is very, very good and well worth a shot for jaded sci-fi aficionados.
'The Lost Room' is one of the most intriguing sci-fi shows I've seen in a long while. A mini-series produced by Sci-Fi, a channel that has a reputation for showing middle of the road fare (with the most notable exception being the brilliant Battlestar Galactica), isn't exactly a television event that sets pulses racing. Surprisingly however, the reviews were almost universally positive and so I gave it a shot on DVD.
'The Lost Room' is a mysterious motel room that exists outside of normal space. The motel room can only be accessed via its key, a key that when used with any door (which has a regular key based lock) opens a portal to the room. From within the room, the door can be opened to any doorway, not just the one from which the room was entered, effectively creating a teleport system to virtually every door on the planet. That's not all though, there are approximately 100 other 'objects' from the room loose in the real world, each of which exhibits strange and unique powers - a comb that can freeze time for a few seconds, a pen that can literally cook people, a bus ticket that can teleport people to a particular place (but only that place!), and so on.
The story revolves around Detective Joe Miller (Peter Krause), who acquires the key and has his world turned upside down when his daughter Anna (Elle Fanning) disappears in the room - when an item or person (except an 'object' originally from the room) is placed in the room and the door is closed and opened again with the key, the room 'resets' to its original state and the item disappears. As he tries desperately to get his daughter back, Joe is thrust into a bizarre subculture that exists and revolves around the room and its objects. He learns of a fanatical religious cabal, 'The Order of the Reunification', who believe that bringing all of the objects together will allow mankind to speak to God; another group, called 'The Legion' and represented by a woman named Jennifer Bloom (Julianna Marguiles), collect the objects to hide them away, believing them to be dangerous. Karl Kreutzfeld (Kevin Pollak) is a millionaire who collects objects for his own mysterious reasons, as does a criminal called 'The Weasel' (Roger Bart). Joe gains an unlikely ally in the form of Wally (Peter Jacobson), an object owner with a lot of information about the room and the objects. Joe walks a tight line as he works with and against the various factions to gain information and objects to help him recover his daughter, while also being hunted by his own police force for a crime he didn't commit.
The first thing that 'The Lost Room' has going for it is the overall concept, which is as original and intriguing a concept as anything out there at the moment. The second is in the way it builds on the concept in an interesting and plausible manner. The development of factions, collectors and a market for objects together with decades worth of history involving the room and the objects is one aspect of it. The other aspect is the objects themselves; they are all imaginatively and (humourously) thought up, with powers ranging from bizarre and useless to incredibly powerful. The effect the objects have on their users is also an element that is touched upon throughout the series, with many exploiting the objects for personal gain but ultimately becoming dependent on them and unwilling to let go despite the dangers associated with possessing one (the various factions are willing to kill to get their hands on them). All of these disparate elements hang together surprisingly well and none feel superficial or poorly thought out.
This sci-fi concept is entwined around the more traditional story of a resourceful cop on the run and out of his depth attempting to save his daughter. It's a conventional hook, but it is successful in giving the resourceful detective a believable reason for diving in with reckless abandon and going to extremes to learn as much as he can about the room and the objects. He becomes the audience's window into this strange world as he takes a crash course in the fundamentals of object lore. The relationship between Joe and his daughter is lightly but convincingly written, and well acted by Krause and Fanning; it's a strong enough relationship to make Joe's relentless journey feel justifiable. Wrap all of these story elements together in a lean, fast paced package laced with humour throughout and the end result is an enjoyable show. My only complaint is the sketchy characterization on display, with the plot being paramount at all times. The drama aspects definitely play second fiddle. There are also some very clunky and forced moments along the way, like a ham-fisted romance that springs out of nowhere.
On technical merits 'The Lost Room' is fairly strong, with good production values, special effects, and visuals. It definitely doesn't feel cheap. The music is also quite nice and fits in with the tone of the show. Peter Krause is excellent as Joe Miller. He has an everyman quality to him but he is also smart, resourceful, and tenacious. Additionally, Joe comes across as an innately decent sort of fellow, which makes him that much easier to sympathize with. Roger Bart is quite convincing as the duplicitous and ultimately pathetic 'Weasel' , while Peter Jacobson shines as the frazzled and irritable Wally. Kevin Pollak and Julianna Marguiles are just OK in their respective roles, with Marguiles being fairly emotionless throughout. Elle Fanning manages to be charming and doesn't have any obnoxious 'precocious child' moments as Miller's daughter.
At the end of the day, 'The Lost Room' is an entertaining, intriguing, and generally satisfying mini series. There are a lot of both character and plot elements that are just touched on but not fully developed, and plenty of unanswered questions and backstory to be addressed, which leads one to believe that the mini is a set up for a full blown series. That could be interesting, as long as it doesn't adhere too strongly to some lame 'object of the week' type formula. Regardless of what eventually happens, the mini is a successful piece of storytelling in its own right. It may not be mind blowing stuff, but it is very, very good and well worth a shot for jaded sci-fi aficionados.
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