Babylon 5: Thirdspace (1998)
And yet more Babylon 5! This time it's a standalone TV movie set sometime in the middle of Season 4 that has a horror / alien invasion bent.
The story, which is focused on Captain Sheridan (Bruce Boxleitner), Susan Ivonova (Claudia Christian), Zack Allen (Jeff Conaway), and Lyta Alexander (Patricia Tallman) and features a few other regulars as well, revolves around the discovery of a colossal ancient artifact in hyperspace that is brought to B5 for investigation. A team from the organization Interplanetary Expeditions led by a scientist named Dr. Elizabeth Trent (Shari Bellafonte) arrives and negotiates a deal whereby they get access to the artifact as long as they share their findings. As they play around with the object, strange things begin to happen on the station as people start having strange dreams and becoming possessed, and Lyta Alexander finds herself the unwitting carrier of a warning from the Vorlons. It turns out that the object is an ancient jump-gate that opens not into hyperspace but into another type of space, a 'thirdspace', that harbours a deadly evil force.
'Babylon 5: Thirdspace' is a fairly entertaining addition to the B5 mythology. It feels a lot like an elaborate standalone episode that's part mystery and part horror. It's certainly larger in scale than a typical episode, and there are some impressive effects and visuals. There's a genuine sense of awe created by the discovery of the artifact, something sci-fi movies and TV quite often seems to lack so it's nice to see that aspect emphasized. The movie adds to the depth of the universe of B5, despite appearing to have very little impact on it. It's fun to see these familiar characters in this sort of scenario, but ultimately the whole thing feels a little bit hollow. It builds up like an epic alien invasion movie that feels, stylistically, like it doesn't quite fit in with the B5 universe. And some things irked me no end, like how the B5 security forces end up brawling repetitively with the 'possessed' hordes; don't they have Tazers in the 23rd century? Or any kind of effective riot control? The final solution to the problem also seemed mind bogglingly uninspired (hint: use nukes), especially since it was apparently one thought up by the Vorlons.
As a story in its own right 'Thirdspace' isn't worthy movie material, but it is cool seeing these characters in this kind of narrative. Though it isn't essential viewing it's still a worthwhile 90 minutes for a B5 fan. Non fans, however, will probably see it as just another cliched sci-fi flick.
Thursday, October 04, 2007
Wednesday, October 03, 2007
A good use for CAPTCHA!
You know those annoying CAPTCHA things that show up on websites in order to verify that you are a human being and not a spam bot? Well, a bunch of clever people have found an ingenious use for them. See, the CAPTCHA asks you to identify a distorted looking word or string of characters that the character recognition software of a computer can't. Book scanning projects have a problem where computer character recognition software can't always recognise text scanned in from books. By taking this unidentified scanned text and using it for CAPTCHAs, the folk at Carnegie Mellon have found an effective way for people everywhere to help identify the unrecognisable words, thereby facilitating the accurate digital archival of books!
While users of websites still have to go through the hassle of entering a CAPTCHA, at least now it's for a good cause!
While users of websites still have to go through the hassle of entering a CAPTCHA, at least now it's for a good cause!
Tuesday, October 02, 2007
Children of Men (2006)
(Image from IMP Awards)
Children of Men (2006)
'Children of Men' is magnificent film, the best film that I have seen so far from 2006. When I first saw the trailers I was intrigued and looked forward to it, but it didn't grab my attention as a must see. Then the reviews started coming in, and they were pretty much universally positive and many of them were effusive with their praise. My anticipation factor went up a few notches, to that point where you wonder whether you'll end up being disappointed regardless of the quality of the film. Fortunately, I was far from disappointed.
Set in England around 20 years in the future, 'Children of Men' depicts a world that has gone to hell. For some unknown reason women can no longer have children, and mankind is dying out. The realization that humanity's days are numbered has resulted in societies crumbling, and only Britain 'soldiers on' by maintaining a fascist police state to keep everyone in line. The rest of the world sees this police state as being better than the alternatives and as a result refugees arrive in England in droves, so much so that the authorities clamp down on them by conducting raids and rounding them up in camps. The story begins with the death of 'Baby Diego', an 18 year old who was a celebrity by virtue of being the youngest person on Earth. Theo Faron (Clive Owen) looks on in disgust as people all around him mourn the loss of Baby Diego. He skips work and hooks up with his old stoner friend Jasper (Michael Caine), a retired political cartoonist, and the two of them get stoned while discussing the state of the world.
Later, Theo is grabbed off the street by 'The Fishes', a so-called terrorist group that fights for the rights of migrants, that is led by his estranged ex-wife Julian (Julianne Moore) and her deputy, Luke (Chiwetel Ejiofor). They need his help to get transit papers for a refugee to move across the country; Theo's cousin is a well off member of the bureaucracy who can acquire such papers. Theo agrees to help them in exchange for money. His cynical world-view is soon shaken however when he discovers that the girl he has to help move, Kee (Clare-Hope Ashitey), is pregnant, the first known pregnancy in 18 years. What follows is a desperate journey as Theo and a midwife named Miriam (Pam Ferris) attempt to get Kee to the 'Human Project' - a near mythical group of scientists working on solving the fertility problem - while avoiding both the authorities as well as the Fishes, who want to use Kee's baby as a symbol for their cause.
The story structure is deceptively simple - it all boils down to an action road movie. And while it can be enjoyed as merely that, the film is anything but simple. 'Children of Men' presents an absolutely compelling and plausible future world, one that is fully realized down to the smallest detail. Technology has advanced (though only marginally given the downward spiral of civilization) yet the film doesn't dwell on technology, instead it depicts it in a matter of fact fashion and just lets it enrich the world on display. It's far more concerned with the themes it deals with, and as with all great science fiction these are themes that are universal and relevant to the real world. By means of extreme extrapolation the 'what if?' scenario is used to present a scary fictional world that acts as a commentary on the real one.
First and foremost is the omnipotent police state that has supreme authority over its people, controlling them to keep them 'free', ruling through fear and propaganda. Law enforcement officials have unchecked power and are able to exercise it callously, as Theo and Kee discover when an immigration officer toys with them without compunction. The state inculcates an extreme nationalist mentality, with refugees ('fugees') being demonized; noticeboards constantly remind people that hiding refugees is a serious crime, and slogans everywhere incite xenophobia. This regime has also fostered gross social inequality, with the masses eking out their living in a miserable, decrepit environment while those in power live in a surreal state of luxury, as depicted in one memorable sequence early on when Theo enters the 'elite' neighborhood to meet his cousin (who lives in palatial accommodations surrounded by original works of art). But it's not just the elite who are at fault; the so called rebels are selfish and agenda driven as well, and the end result is that the people both sides purportedly represent are the ones who suffer the most, being stuck in the middle as collateral damage.
Coming back to the believability of the world depicted, this is realized through all aspects of the film, from script through to production design and direction. The status quo is conveyed through strong dialogue that only occasionally veers into overly expository territory, a flaw that crops up in the early stages and one that is easily forgiven given its necessity. Throughout Theo and Kee's journey, the world and ideas of the film are reinforced and embellished via the places they pass through and the people they encounter. Details litter the screen, from digital billboards and graffiti to people and incidents in the background, and the stark visuals are often evocative of the type horrors we have become familiar with in the real world. The production design incorporates technology subtly - unobtrusive but noticeable if you pay attention - and also convincingly depicts a world that is slowly decaying through neglect. All of these elements coalesce, each reinforcing the other and selling the idea that what is happening is real.
This verisimilitude comes courtesy of director Alfonso Cuaron, the guy who directed the best of the Harry Potter series. The film is grounded in a realistic and bleak style, both visually and tonally, and is unrelenting with not a wasted scene in its 110 minute runtime. There are no false moments, and while the there is an overarching sense of doom and gloom the film actually runs the gamut of emotions; there are some funny moments and contemplative moments between characters, as well as some very poignant and profound ones. Amazingly, while this film is excellent as a sci-fi drama, it also features some of the best and most unique action sequences I've ever seen, ones that feel almost documentary-like in their unflinching realism. There's a thrilling assault on a car by a crazed horde, an insane single take sequence in the middle of an urban battlefield, and even a heart pounding scene in which Theo has to push start a car while being chased by a gang of Fishes. The sense of danger is genuine throughout, and some of the tensest moments actually occur in the smaller scale sequences. It's thrilling stuff, and the best thing is that the action doesn't feel like contrived set pieces, as it all flows organically from the story.
The biggest irony of the film, I think, is that while everything about it makes it sound depressing, it's ultimately a story about hope, hope against the odds, hope that is borne by a guy who at the outset appears more cynical than everyone else around him. 'Children of Men' is full of well written characters, all of whom have their own beliefs and points of view and none of whom can be easily categorized as absolutely good or bad, but Theo is the character who guides us through the movie and is easily the most important. Here I think most of the credit goes to Clive Owen, who is always terrific in everything but really shines in this role. Even when he is first presented as a world weary cynic he gives off the impression that there's much more to him, and as the story progresses we see him take charge and take responsibility for protecting Kee. His heroism is selfless and his personal rewakening is made completely believable through Owen's subtle changes in demeanour.
Owen aside, the rest of the cast does fantastic work as well. Michael Caine is a hoot as the lovable hermit-like hippie hiding out in the forest. Clare-Hope Ashitey doesn't have all that much to do but makes a strong impression as the snarky and very pregnant Kee, while Pam Ferris is appropriately fussy and concerned as midwife Miriam. Julianne Moore is terrific in a small but pivotal role as the leader of the Fishes, convincing as a tough revolutionary figurehead but also able to believably establish a history with Theo in a mere handful of scenes. Chiwetel Ejiofor rounds out the main cast and is great as the ambitious and overly idealistic second in command of the Fishes. Danny Huston and Peter Mullan make small but very memorable appearances as Theo's wealthy cousin Nigel and sadistic immigration cop Syd respectively, two people at opposite ends of the system who revel in their power.
This review wouldn't be complete without mentioning the special effects and soundtrack. The effects are, for the most part, completely seamless and flawless, never drawing attention to themselves. And as for the soundtrack, accompanying the excellent sound design is the haunting original score by John Tavener that is used sparingly and effectively. Equally good is the eclectic mix of songs that always feel appropriate to the visuals they accompany. The bottom line is it's a terrific looking and sounding film!
It doesn't take a genius to figure out that I absolutely love 'Children of Men'. Sure, it isn't without its flaws - an occasionally expository script and oddly placed humour, a slightly below par effect, and an arguably overearnest use of symbolism - but the good so heavily outweighs them that they are rendered negligible. It's part sci-fi, part drama, part thriller, part action movie, and all brilliant. Exciting, thoughtful, and moving, featuring excellent performances and stunning visuals; for me, it encapsulates all the best stuff the medium has to offer. It's fast becoming one of my favourites, and I think it's a must see for everyone.
Moffat to Launch Thundering Typhoons!
British screenwriter Steven Moffat will be penning the forthcoming Tintin trilogy of films, which I wrote about a few months ago. Apart from having two great directors in the form of Steven Spielberg and Peter Jackson, this project now has a great screenwriter as well.
Alright, so he doesn't have the pedigree of those two, but what I know of his work bodes well. Moffat created and wrote the hilarious and very sharply written BBC comedy series Coupling (which I'm watching right now), for one thing. For another, he also wrote some of the most acclaimed episodes of the new Doctor Who series, including one of my favourites from the first season, which I wrote about here; one of his episodes was the one I mentioned in my review, about the boy with the gas mask melded to his face! Also, Doctor Who has that meld of adventure, comedy and drama as well as that whimsical feel that is perfectly suited to Tintin, which makes a good writer from that show all the more fitting. Moffat was also involved in a new BBC series called Jekyll, based on the Dr. Jekyll and Mr. Hyde story, which I don't know much about but am now very interested in seeing.
So the Tintin movies now have a darn good writer behind them... This project suddenly looks even more exciting.
Alright, so he doesn't have the pedigree of those two, but what I know of his work bodes well. Moffat created and wrote the hilarious and very sharply written BBC comedy series Coupling (which I'm watching right now), for one thing. For another, he also wrote some of the most acclaimed episodes of the new Doctor Who series, including one of my favourites from the first season, which I wrote about here; one of his episodes was the one I mentioned in my review, about the boy with the gas mask melded to his face! Also, Doctor Who has that meld of adventure, comedy and drama as well as that whimsical feel that is perfectly suited to Tintin, which makes a good writer from that show all the more fitting. Moffat was also involved in a new BBC series called Jekyll, based on the Dr. Jekyll and Mr. Hyde story, which I don't know much about but am now very interested in seeing.
So the Tintin movies now have a darn good writer behind them... This project suddenly looks even more exciting.
Thursday, September 27, 2007
XO (OLPC) - Give one, get one
At one for the price of two, as reported by the BBC. I've written about this particular project several times now, as I think it's pretty cool and worthy of everyone's attention. I think I've also mentioned how I thought it would be a cool idea if they made it available for sale, and now it is in the US with the 'give one, get one' scheme that essentially allows you to buy one laptop and pay the cost of another laptop for a child in a developing country, making it effectively a charitable donation. The cost at present is considerably higher than initially envisaged (2x$100 < $399), but it's expected to come down eventually...
Tuesday, September 25, 2007
MST3K - Parts: The Clonus Horror
MST3K - Parts: The Clonus Horror
I wrote about Michael Bay's 'The Island' a while ago, and was referred to Parts: The Clonus Horror, the film that 'The Island' shamelessly cribbed from. A detailed description of the liberal thievery can be found here.
Parts: The Clonus Horror is a truly awful low budget film, but its ideas weren't all that bad despite the ham fisted way in which those ideas were developed. Thankfully I watched the MST3K version of the film, which is an utterly hilarious way to watch it and perhaps the only way to watch it without losing your sanity! It's a riotous ninety minutes that puts 'The Island' in context, and to shame in terms of sheer entertainment value!
I wrote about Michael Bay's 'The Island' a while ago, and was referred to Parts: The Clonus Horror, the film that 'The Island' shamelessly cribbed from. A detailed description of the liberal thievery can be found here.
Parts: The Clonus Horror is a truly awful low budget film, but its ideas weren't all that bad despite the ham fisted way in which those ideas were developed. Thankfully I watched the MST3K version of the film, which is an utterly hilarious way to watch it and perhaps the only way to watch it without losing your sanity! It's a riotous ninety minutes that puts 'The Island' in context, and to shame in terms of sheer entertainment value!
Babylon 5 - In the Beginning (1998)
Babylon 5 - In the Beginning (1998)
Ah, Babylon 5... watching it has become such a regular feature in my entertainment diet that entering the B5 universe is like hanging out with old friends. I've now finished all five seasons of the original series (I'll review season 5 soon), and just recently watched this TV movie prequel. It isn't mind blowing, but it stands as a nice companion piece to the series.
'Babylon 5: In the Beginning' tells the story of the Earth-Minbari War and takes place around 10 years before the events of the first season of the series. It is told from the points of view of both the Earth and Minbari and introduces major characters into the B5 timeline while also setting up the Shadow War. Earth forces, seeking to learn more about the Minbari, send out an expedition towards Minbari space. Londo Mollari (Peter Jurasik) is involved with Earth affairs as a Centauri liaison, and he tries to warn Earth's government to leave the Minbari alone; but his advice falls on deaf ears and a series of unfortunate events leads to the Earth forces inadvertently killing Minbari leader Dukhat (Reiner Schoene), which causes Delenn (Mira Furlan) and the Gray Council to declare a Holy War against Earth. G'Kar (Andreas Katsulas) becomes involved with Earth when he sells weapons to them to fight the Minbari. Commander John Sheridan (Bruce Boxleitner) plays a major role during the war when he takes command of the Lexington and destroys the Minbari flagship, a key moment of the conflict. Susan Ivanova (Claudia Christian) and Dr. Stephen Franklin (Richard Biggs) make brief appearances as well. The Minbari side of the story focuses on the coming of the Shadow War, the seeds of conflict within the Minbari castes, the role of the Rangers, and the emergence of the Vorlons to help guide the younger races in the battle against the Shadows.
The movie features a lot of characters from the show that would have been around and involved in events at the time, and for the most part their integration into the storyline is believable. Some, like Dr. Franklin's appearance, stretch plausibility and seem to contradict the series somewhat. The story doesn't really add anything new to what is established in the series, but it does flesh it out and fill in all the details and tie it all together very neatly. The integration is, as far as I can tell, spot on plot-wise, and there are even scenes taken from the series that are stitched together seamlessly with the newer footage. This movie is certainly not a standalone, and I find it hard to believe that it'll be enjoyable for those who haven't seen the show - it feels like a patchwork of events that have been alluded to in the show loosely strung together in a narrative framework. Bluntly put, it has very little value on its own and should only be watched after having seen the show even though it chronologically occurs before those events. To a newcomer it would appear interesting and conveys some of the depth of B5, but I imagine that it would also be unsatisfying and more than a little confusing.
The performances are fairly good, but again due to the mishmash nature of the various storylines no one really makes a strong impression, and really it's mostly plot with little in the way of character depth. The production values are pretty much on par with the show (it was filmed between seasons 4 and 5), while being higher budget with some impressive effects set pieces. It also has moments that feel more visually cinematic than anything in the show, but ultimately it feels like a very long episode (the series has multi part mini story arcs that easily trumps this in terms of scale and drama).
'In The Beginning' is one for the fans and a curiosity for everyone else. It may not have been wholly necessary for the B5 Universe, but it is a really cool addition that fleshes out the show's backstory and realizes things that were only hinted at. There are some very cool moments, such as Sheridan's battle with the Minbari in the asteroid field and his first meeting with Delenn, mankind's first encounter with the Minbari, and the final scenes with Londo asking for more alcohol (you have to know the story to understand that comment). An excellent movie for any B5 fan, and as far as prequels go it is rock solid in terms of continuity and far, far better than prequels from certain other sci-fi franchises (hint: their names begin with 'Star').
Ah, Babylon 5... watching it has become such a regular feature in my entertainment diet that entering the B5 universe is like hanging out with old friends. I've now finished all five seasons of the original series (I'll review season 5 soon), and just recently watched this TV movie prequel. It isn't mind blowing, but it stands as a nice companion piece to the series.
'Babylon 5: In the Beginning' tells the story of the Earth-Minbari War and takes place around 10 years before the events of the first season of the series. It is told from the points of view of both the Earth and Minbari and introduces major characters into the B5 timeline while also setting up the Shadow War. Earth forces, seeking to learn more about the Minbari, send out an expedition towards Minbari space. Londo Mollari (Peter Jurasik) is involved with Earth affairs as a Centauri liaison, and he tries to warn Earth's government to leave the Minbari alone; but his advice falls on deaf ears and a series of unfortunate events leads to the Earth forces inadvertently killing Minbari leader Dukhat (Reiner Schoene), which causes Delenn (Mira Furlan) and the Gray Council to declare a Holy War against Earth. G'Kar (Andreas Katsulas) becomes involved with Earth when he sells weapons to them to fight the Minbari. Commander John Sheridan (Bruce Boxleitner) plays a major role during the war when he takes command of the Lexington and destroys the Minbari flagship, a key moment of the conflict. Susan Ivanova (Claudia Christian) and Dr. Stephen Franklin (Richard Biggs) make brief appearances as well. The Minbari side of the story focuses on the coming of the Shadow War, the seeds of conflict within the Minbari castes, the role of the Rangers, and the emergence of the Vorlons to help guide the younger races in the battle against the Shadows.
The movie features a lot of characters from the show that would have been around and involved in events at the time, and for the most part their integration into the storyline is believable. Some, like Dr. Franklin's appearance, stretch plausibility and seem to contradict the series somewhat. The story doesn't really add anything new to what is established in the series, but it does flesh it out and fill in all the details and tie it all together very neatly. The integration is, as far as I can tell, spot on plot-wise, and there are even scenes taken from the series that are stitched together seamlessly with the newer footage. This movie is certainly not a standalone, and I find it hard to believe that it'll be enjoyable for those who haven't seen the show - it feels like a patchwork of events that have been alluded to in the show loosely strung together in a narrative framework. Bluntly put, it has very little value on its own and should only be watched after having seen the show even though it chronologically occurs before those events. To a newcomer it would appear interesting and conveys some of the depth of B5, but I imagine that it would also be unsatisfying and more than a little confusing.
The performances are fairly good, but again due to the mishmash nature of the various storylines no one really makes a strong impression, and really it's mostly plot with little in the way of character depth. The production values are pretty much on par with the show (it was filmed between seasons 4 and 5), while being higher budget with some impressive effects set pieces. It also has moments that feel more visually cinematic than anything in the show, but ultimately it feels like a very long episode (the series has multi part mini story arcs that easily trumps this in terms of scale and drama).
'In The Beginning' is one for the fans and a curiosity for everyone else. It may not have been wholly necessary for the B5 Universe, but it is a really cool addition that fleshes out the show's backstory and realizes things that were only hinted at. There are some very cool moments, such as Sheridan's battle with the Minbari in the asteroid field and his first meeting with Delenn, mankind's first encounter with the Minbari, and the final scenes with Londo asking for more alcohol (you have to know the story to understand that comment). An excellent movie for any B5 fan, and as far as prequels go it is rock solid in terms of continuity and far, far better than prequels from certain other sci-fi franchises (hint: their names begin with 'Star').
Monday, September 24, 2007
Sleep the sleep of the dead!
Good news for me, I think! The BBC reports that new research by the University of Warwick and University College London suggests that both increasing or decreasing from seven hours of sleep is bad for one's health. Alright, this kind of research always seems neither here nor there and the conclusions regarding too much sleep are, by the researchers' own admission, not very clear. Too little sleep is always bad -
...the result of sleep curtailment to create more time for leisure and shift-work, has meant that reports of fatigue, tiredness and excessive daytime sleepiness are more common...I feel that way even though I get seven hours (usually), so my personal sleep requirement must be higher than that! DAMMIT! I barely manage seven as it is! And according to the research, changing from seven could be risky... heh heh, so it looks like it's safest to stick to seven. Which is all I have time for anyway, so I guess in the end it's good news for me. Sort of.
Nausicaa of the Valley of the Wind (1984)
Nausicaa of the Valley of the Wind (1984)
I've praised the works of Hayao Miyazaki before, and it looks like I'll be doing it again in this review. Last time I was writing about his most recent film, 'Howl's Moving Castle'. This time I'm writing about one of his earliest feature films, one that appears to be the first to have embodied all of the traits that are now hallmarks of his work.
'Nausicaa of the Valley of the Wind' takes place in Earth's distant future and tells the story of a girl named Nausicaa. The world was ravaged by a disaster a thousand years ago and has degenerated into an agrarian society with rudimentary technologies. The planet is being covered in a poisonous forest called the 'Sea of Decay' where deadly giant insects and creatures called 'Ohmu' roam, and the growth of the forest is encroaching on the remaining scattered human settlements. Nausicaa is the Princess of a small, peaceful settlement - the Valley of the Wind - which has managed to live in relative harmony along the border of the Sea of Decay.
Trouble hits the Valley when they get caught in the middle of a conflict between two warring nations, Pejite and Tolmekia. Pejite unearths an ancient biological weapon which is stolen by Tolmekia and inadvertently ends up in the Valley; the Valley is then invaded by Tolmekian Princess Kushana and her army and used as a staging point for unleashing the weapon (it becomes too dangerous to move). Both sides seek to use the weapon, first against each other and then against the 'Sea of Decay' to prevent it from covering the whole planet and wiping out mankind. Nausicaa, who is peace loving and who is studying the Sea of Decay to try and understand it, is naturally resistant to their plans and becomes entwined in events as she tries to prevent and violence from taking place.
That's only a broad summary, and the actual events and range of characters is far more complex. There are multiple storylines that occur concurrently and that all come together in a very satisfying and spectacular conclusion. There are other supporting characters in the mix, such as the mentor figure Lord Yupa, a young Pejitean (?) named Asbel, a man from the Valley named Mito, and an ambitious but smart Tolmekian soldier named Kurotowa. The wonderful thing about these supporting characters is that they are all fully realized and memorable in their own right, each with his or her own idiosyncrasies. And then there's Nausicaa herself, who is a headstrong and noble protagonist trying to make sense of a fantastical and dangerous world while being caught in the middle of various factions and their interests. She is an empathetic, charismatic, and inspiring leader with an adventurous spirit, and becoming invested in her story is simply inevitable.
The film is a mix of large scale events and smaller, more intimate ones that are layered with spiritual undertones. As can be gathered from the story description, the Miyazaki themes of environmental destruction and nature's unsympathetic retaliation, supernatural / mutant anthropomorphised creatures, and war and militaristic arrogance are all in there front and centre, and are as compelling as always. Nature is portrayed as being beautiful but also deadly; there's no overly cutesy stuff in here, with even the cute animals being capable of viciousness while, ironically, the hideous and scary beasts are sometimes docile. This sincere approach to depicting a complex world that is less black and white and more shades of gray is another of the film's attributes that raises it head and shoulders above its less accomplished brethren.
While the animation is obviously not as refined as in more recent films, 'Nausicaa' is still a joy to behold and full of the visual splendour you would expect from Miyazaki There's no computer assisted imagery and the details are not as fine, but it's still a spectacular film. The designs are distinctive and wonderful and the vistas are breathtaking, with the flying sequences where Nausicaa rides a glider being particularly captivating and memorable. The film is full of little details and quirks that breathe life into the world and characters on display, with movements and expressions that speak volumes in ways that even many live action films fail to approach. The design on all of Miyazaki's films embraces a stylized reality - the world is full of beauty and wonder, but it can also be unattractive as well and at times horrifying. As I said, there's nothing cutesy, and not all people are good looking idealized paragons of humanity. Again, a more complex and realistic world view. This is also apparent in the action and violence in the film, where people get hurt and die and where there are consequences, which in turn makes those moments far more exciting and involving.
It's longer than the average cartoon, and one could argue that it is very deliberately paced; there are a lot of character moments in the film that break up the action sequences. This in no way means that the film is boring, though, as almost everything that happens is absolutely compelling from start to finish, and when action takes place it is well staged and exciting. Apart from the slightly dated animation, the only real weak spot in this film is the synthesized music, which is fairly good but lacks the grandness and beauty of the orchestral scores heard in newer Miyazaki films. One could also argue that Princess Mononoke is akin to a technically superior remake of this film, though to me they feel like different entities with some plot similarities; in any case, 'Nausicaa' is in no way made obsolete by the existence of 'Mononoke'.
I've now seen yet another amazing film from Hayao Miyazaki. It seems improbable that he has been on a continuous winning streak that has spanned over two decades, but it's true. I still have a handful of his films to see, and will be doing so ASAP, but have little doubt that they'll be brilliant, or at the very least just plain good. 'Nausicaa of the Valley of the Wind' is a magnificent epic film that is up there with my favourite Miyazaki films and is well worth watching.
I've praised the works of Hayao Miyazaki before, and it looks like I'll be doing it again in this review. Last time I was writing about his most recent film, 'Howl's Moving Castle'. This time I'm writing about one of his earliest feature films, one that appears to be the first to have embodied all of the traits that are now hallmarks of his work.
'Nausicaa of the Valley of the Wind' takes place in Earth's distant future and tells the story of a girl named Nausicaa. The world was ravaged by a disaster a thousand years ago and has degenerated into an agrarian society with rudimentary technologies. The planet is being covered in a poisonous forest called the 'Sea of Decay' where deadly giant insects and creatures called 'Ohmu' roam, and the growth of the forest is encroaching on the remaining scattered human settlements. Nausicaa is the Princess of a small, peaceful settlement - the Valley of the Wind - which has managed to live in relative harmony along the border of the Sea of Decay.
Trouble hits the Valley when they get caught in the middle of a conflict between two warring nations, Pejite and Tolmekia. Pejite unearths an ancient biological weapon which is stolen by Tolmekia and inadvertently ends up in the Valley; the Valley is then invaded by Tolmekian Princess Kushana and her army and used as a staging point for unleashing the weapon (it becomes too dangerous to move). Both sides seek to use the weapon, first against each other and then against the 'Sea of Decay' to prevent it from covering the whole planet and wiping out mankind. Nausicaa, who is peace loving and who is studying the Sea of Decay to try and understand it, is naturally resistant to their plans and becomes entwined in events as she tries to prevent and violence from taking place.
That's only a broad summary, and the actual events and range of characters is far more complex. There are multiple storylines that occur concurrently and that all come together in a very satisfying and spectacular conclusion. There are other supporting characters in the mix, such as the mentor figure Lord Yupa, a young Pejitean (?) named Asbel, a man from the Valley named Mito, and an ambitious but smart Tolmekian soldier named Kurotowa. The wonderful thing about these supporting characters is that they are all fully realized and memorable in their own right, each with his or her own idiosyncrasies. And then there's Nausicaa herself, who is a headstrong and noble protagonist trying to make sense of a fantastical and dangerous world while being caught in the middle of various factions and their interests. She is an empathetic, charismatic, and inspiring leader with an adventurous spirit, and becoming invested in her story is simply inevitable.
The film is a mix of large scale events and smaller, more intimate ones that are layered with spiritual undertones. As can be gathered from the story description, the Miyazaki themes of environmental destruction and nature's unsympathetic retaliation, supernatural / mutant anthropomorphised creatures, and war and militaristic arrogance are all in there front and centre, and are as compelling as always. Nature is portrayed as being beautiful but also deadly; there's no overly cutesy stuff in here, with even the cute animals being capable of viciousness while, ironically, the hideous and scary beasts are sometimes docile. This sincere approach to depicting a complex world that is less black and white and more shades of gray is another of the film's attributes that raises it head and shoulders above its less accomplished brethren.
While the animation is obviously not as refined as in more recent films, 'Nausicaa' is still a joy to behold and full of the visual splendour you would expect from Miyazaki There's no computer assisted imagery and the details are not as fine, but it's still a spectacular film. The designs are distinctive and wonderful and the vistas are breathtaking, with the flying sequences where Nausicaa rides a glider being particularly captivating and memorable. The film is full of little details and quirks that breathe life into the world and characters on display, with movements and expressions that speak volumes in ways that even many live action films fail to approach. The design on all of Miyazaki's films embraces a stylized reality - the world is full of beauty and wonder, but it can also be unattractive as well and at times horrifying. As I said, there's nothing cutesy, and not all people are good looking idealized paragons of humanity. Again, a more complex and realistic world view. This is also apparent in the action and violence in the film, where people get hurt and die and where there are consequences, which in turn makes those moments far more exciting and involving.
It's longer than the average cartoon, and one could argue that it is very deliberately paced; there are a lot of character moments in the film that break up the action sequences. This in no way means that the film is boring, though, as almost everything that happens is absolutely compelling from start to finish, and when action takes place it is well staged and exciting. Apart from the slightly dated animation, the only real weak spot in this film is the synthesized music, which is fairly good but lacks the grandness and beauty of the orchestral scores heard in newer Miyazaki films. One could also argue that Princess Mononoke is akin to a technically superior remake of this film, though to me they feel like different entities with some plot similarities; in any case, 'Nausicaa' is in no way made obsolete by the existence of 'Mononoke'.
I've now seen yet another amazing film from Hayao Miyazaki. It seems improbable that he has been on a continuous winning streak that has spanned over two decades, but it's true. I still have a handful of his films to see, and will be doing so ASAP, but have little doubt that they'll be brilliant, or at the very least just plain good. 'Nausicaa of the Valley of the Wind' is a magnificent epic film that is up there with my favourite Miyazaki films and is well worth watching.
Thursday, September 20, 2007
The Mummy (1999)
The Mummy (1999)
In the summer of 'The Phantom Menace', there were some other excellent 'event' films playing that managed to dampen the pain of the punch to the solar plexus that was George Lucas' highly anticipated prequel. 'The Matrix', of course, is the obvious one that comes to mind. Stephen Sommers' 'The Mummy' is another that still holds up today as a fun adventure film that hasn't been eclipsed by newer effects extravaganzas or tarnished by its inferior sequels (though I've only seen 'The Mummy Returns' once and remember it being an overblown sequel, I'll be checking it out again soon just to make sure I was right the first time).
'The Mummy' begins with a prologue that introduces us to Imhotep (Arnold Vosloo), high priest of the Ancient Egyptian Pharaoh Seti I, who has an illicit affair with the Pharaoh's queen Anck Su Namun (naked & painted Patricia Velasquez). The two kill the Pharaoh but are caught, and Imhotep is mummified alive in the most horrific, and hitherto unused, punishment known to the Egyptians. Several millennia later, in the 1930s, Rick O'Connell (Brendan Fraser) discovers the location of the ancient Egyptian city of Hamunaptra, which coincidentally is where Imhotep was entombed. Librarian / archaeologist Evey Carnahan (Rachel Weisz) and her fortune seeking brother Jonathan (John Hannah) hire him as a guide to take them there. The journey is fraught with danger as they are attacked by a mysterious group who are dedicated to keeping people out of Hamunaptra; it seems that Imhotep's punishment was a curse so horrific that if he were ever to be awakened from his tomb he would have unspeakable powers (yeah I know, I'd love to be punished like that too), and so the guardians of Hamunaptra keep strangers out to prevent a catastrophe.
Naturally, after our heroes get to Hamunaptra they awaken Imhotep, aka 'The Mummy', who begins to acquire powers at an alarming rate that will allow him to take over the world if left unchecked! It's left to our heroes to use their wits, courage, and physical prowess to bring the mad mummy priest's grand plans crashing down!
Alright so it's a fairly cheesy film, that goes without saying. But it isn't one that has lofty ambitions for artistic greatness, it's a film that's meant to be a fun adventure, and considering what it's aiming for it succeeds brilliantly. The story itself is not too bad and holds together well in its own sketchy way. It has a very balanced structure that sets up its world and characters well in the first act, builds up to the unleashing of the Mummy (an event that happens around halfway into the film), and continues to raise the stakes until the action filled finale. It's worth noting that this isn't a horror film but more a light adventure, and there are no scares present despite the subject matter. This fact is evident in the visual approach to the Mummy and the other creatures, which are computer generated and are portrayed in a slightly wacky style.
Speaking of the CGI, it hasn't aged all that well, but it isn't bad and sits comfortably with the goofy tone of the film. The overall production values are satisfying even if they are not particularly impressive. There's plenty of action and adventuring throughout and it's all well handled by director Stephen Sommers, with the scenes being a blend of action and comedy where the characters' personalities contribute immensely to the proceedings. And while this is an effects heavy film, compared to his subsequent films Sommers' use of effects here seems downright restrained (which is a good thing, as Van Helsing proved).
The script is basically exposition interspersed with jokes, and while the characterization is pretty sketchy the cast more than makes up for it. These guys know what kind of movie they're in, and they play their roles in the requisite exaggerated manner. They're all stereotypes without depth, and they play it up for all it's worth. Brendan Fraser is hardly one's idea of action man material, but he's convincing in this, goofy grin and all; sure, the fight scenes between him and a bunch of mummies look bizarre and it's obvious that he's just swinging wildly against thin air, but it all adds to the film's charm. And Rachel Weisz is just plain adorable as the effervescent and tenacious Evie. John Hannah rounds out the central trio with his comical turn as the avaricious brother. Arnold Vosloo doesn't do much as the Mummy apart from glaring and smirking, and most of the time he's covered in special effects anyway, but the guy still makes an impression. Oded Fehr makes a memorable appearance as the leader of the protectors of Hamunaptra, and his character is a badass despite being a complete failure in the context of the story (seriously, the character contributes virtually nothing apart from one scene). And then there's Sommers' regular Kevin J O'Connor as the annoying villainous sidekick. He has a few funny moments, but I just can't stand the guy and thus I thoroughly enjoyed his final scene in which he gets his comeuppance!
I love this movie; I've seen it many times now and never grow tired of it. And while I may be a little biased here, I think that objectively it is well made and succeeds as being a modernized old fashioned fun adventure. It has a decent story, an epic scope coupled with a light hearted tone, crowd pleasing and well executed action sequences, and a terrific cast that holds everything together. And the rousing score by Jerry Goldsmith is the icing on the cake! 'The Mummy' is, simply put, a wonderful piece of entertainment.
In the summer of 'The Phantom Menace', there were some other excellent 'event' films playing that managed to dampen the pain of the punch to the solar plexus that was George Lucas' highly anticipated prequel. 'The Matrix', of course, is the obvious one that comes to mind. Stephen Sommers' 'The Mummy' is another that still holds up today as a fun adventure film that hasn't been eclipsed by newer effects extravaganzas or tarnished by its inferior sequels (though I've only seen 'The Mummy Returns' once and remember it being an overblown sequel, I'll be checking it out again soon just to make sure I was right the first time).
'The Mummy' begins with a prologue that introduces us to Imhotep (Arnold Vosloo), high priest of the Ancient Egyptian Pharaoh Seti I, who has an illicit affair with the Pharaoh's queen Anck Su Namun (naked & painted Patricia Velasquez). The two kill the Pharaoh but are caught, and Imhotep is mummified alive in the most horrific, and hitherto unused, punishment known to the Egyptians. Several millennia later, in the 1930s, Rick O'Connell (Brendan Fraser) discovers the location of the ancient Egyptian city of Hamunaptra, which coincidentally is where Imhotep was entombed. Librarian / archaeologist Evey Carnahan (Rachel Weisz) and her fortune seeking brother Jonathan (John Hannah) hire him as a guide to take them there. The journey is fraught with danger as they are attacked by a mysterious group who are dedicated to keeping people out of Hamunaptra; it seems that Imhotep's punishment was a curse so horrific that if he were ever to be awakened from his tomb he would have unspeakable powers (yeah I know, I'd love to be punished like that too), and so the guardians of Hamunaptra keep strangers out to prevent a catastrophe.
Naturally, after our heroes get to Hamunaptra they awaken Imhotep, aka 'The Mummy', who begins to acquire powers at an alarming rate that will allow him to take over the world if left unchecked! It's left to our heroes to use their wits, courage, and physical prowess to bring the mad mummy priest's grand plans crashing down!
Alright so it's a fairly cheesy film, that goes without saying. But it isn't one that has lofty ambitions for artistic greatness, it's a film that's meant to be a fun adventure, and considering what it's aiming for it succeeds brilliantly. The story itself is not too bad and holds together well in its own sketchy way. It has a very balanced structure that sets up its world and characters well in the first act, builds up to the unleashing of the Mummy (an event that happens around halfway into the film), and continues to raise the stakes until the action filled finale. It's worth noting that this isn't a horror film but more a light adventure, and there are no scares present despite the subject matter. This fact is evident in the visual approach to the Mummy and the other creatures, which are computer generated and are portrayed in a slightly wacky style.
Speaking of the CGI, it hasn't aged all that well, but it isn't bad and sits comfortably with the goofy tone of the film. The overall production values are satisfying even if they are not particularly impressive. There's plenty of action and adventuring throughout and it's all well handled by director Stephen Sommers, with the scenes being a blend of action and comedy where the characters' personalities contribute immensely to the proceedings. And while this is an effects heavy film, compared to his subsequent films Sommers' use of effects here seems downright restrained (which is a good thing, as Van Helsing proved).
The script is basically exposition interspersed with jokes, and while the characterization is pretty sketchy the cast more than makes up for it. These guys know what kind of movie they're in, and they play their roles in the requisite exaggerated manner. They're all stereotypes without depth, and they play it up for all it's worth. Brendan Fraser is hardly one's idea of action man material, but he's convincing in this, goofy grin and all; sure, the fight scenes between him and a bunch of mummies look bizarre and it's obvious that he's just swinging wildly against thin air, but it all adds to the film's charm. And Rachel Weisz is just plain adorable as the effervescent and tenacious Evie. John Hannah rounds out the central trio with his comical turn as the avaricious brother. Arnold Vosloo doesn't do much as the Mummy apart from glaring and smirking, and most of the time he's covered in special effects anyway, but the guy still makes an impression. Oded Fehr makes a memorable appearance as the leader of the protectors of Hamunaptra, and his character is a badass despite being a complete failure in the context of the story (seriously, the character contributes virtually nothing apart from one scene). And then there's Sommers' regular Kevin J O'Connor as the annoying villainous sidekick. He has a few funny moments, but I just can't stand the guy and thus I thoroughly enjoyed his final scene in which he gets his comeuppance!
I love this movie; I've seen it many times now and never grow tired of it. And while I may be a little biased here, I think that objectively it is well made and succeeds as being a modernized old fashioned fun adventure. It has a decent story, an epic scope coupled with a light hearted tone, crowd pleasing and well executed action sequences, and a terrific cast that holds everything together. And the rousing score by Jerry Goldsmith is the icing on the cake! 'The Mummy' is, simply put, a wonderful piece of entertainment.
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