But Not As We Know It

Life (Daniel Espinosa, 2017)

A year, maybe two years, ago there was viral footage of an octopus sliding around the deck of a ship and eventually escaping through a teeny weeny hole. Cute.

That wasn’t the only moment of déjà vu that I had watching this sf-horror hybrid — most obviously its DNA is infused with Ridley Didley’s Alien, with an alien inadvertantly being brought back on board a spaceship and killing the crew one by one until we’re left with the final girl. On a purely CGI level, you might well be able to make the case that the effects have improved in forty years and I do confess that the tension is satisfactorarily cranked up in the final third, but we will forget about this film before the next Star Wars release.

What was I writing about?

There is also no denying that there is an impressive single continuous take at the opening as we are introduced to a pleasingly international crew on the International Space Station, moving in and out of space and connecting corridors and so forth in a seeming cry of fuck you, Gravity, I can do this too. But this is presumably relatively easy in the motion capture and digital era — imagine what Hitchcock could do with Rope now.

So there’s a probe which has a soil sample (sans potatoes) from Mars that is going to be analysed on the ISS what with quaranteen and all, only it’s approaching too fast and is likely to collide with the ship or the astronaut playing catch. For the sake of the plot, the probe is snagged and, for the sake of no nausea, continuity editing is reestablished.

Ship’s biologist Hugh Derry (Ariyon Bakare) locates a cute little monocell critter, apparently dormant, so he plays around with the atmosphere in the lab vitrine and gives it some ECT and it yawns and says hello daddy. Before you can say that’s not a bleeding obvious subtext, school children have decided that the alien will be christened Alien McAlienface — sorry, no, Calvin. I mean, it’s not as if the crew is going to be divided into the damned and the elect, is it? I may have hallucinated a character saying “I have a bad feeling about this”, but Calvin is pissed at the electronic probing and fights back and escapes. It can squeeze through the tiniest spaces.

And so, eventually, we get a body count and the kind of random disaster plotting that has been played with most recently in The Martian and Passengers — being knocked out of stable orbit, using up too much fuel, losing radio contact with Earth… And having carefully established that each cell can do the same thing as all the other cells, it rapidly becomes apparent that there is more than one Calvin. And fewer crew.

There are further attempts at the Deep and Meaningful — one character is reading The Interpretation of Dreams (“Can you say, ‘Monster from the Id’*”) and a copy of Margaret Wise Brown and Clement Hurd’s Goodnight Moon is produced as a present for an astronaut who has just become a father (and that presumably has significance if you’ve read it).l

But the film cannot really recover from the sense that the characters are so shallow and lack sufficient back story to really make you care. There are some pretty deaths, and you do kind of root for the characters, but not with any enthusiasm. And even the almost obligatory genre ending can’t really redeem it.

* Anachronistic joke, obviously, as Interpretation is 1899, 1900, and The Ego and the Id (1923).

Disturbing the Dust on a Bowl of Rose-Leaves

Arrival (Denis Villeneuve, 2016)

I’ve tried to make this film review spoiler free, so I’ve been a little circumspect about some of its incipits. I am of course familiar with the Ted Chiang story, but I’m not here considering what has been changed between the two versions.

The last three films I have seen at the cinema have been sf — Passengers was predictably pants and I’m still processing Rogue One. It is one of Gareth Edward’s earlier films, Monsters (2010) that is most relevant here though, in which the US-Mexican border has been “infected” by sublime, incomprehensible aliens and the US is at war. Arrival’s heptapod aliens owe a debt to Edwards’s, as well as, perhaps Spielberg’s “Martians” in his War of the Worlds (2005). Aliens have arrived at twelve seemingly random if strategic points all over the world (which recalled Simak’s Visitors for me, but it must appear elsewhere) in giant, apparently rugby-ball shaped, ships. The race is on to find out why they are here and, more to the point, how we can exploit them. Dr Louise Banks (Amy Adams), hero linguist, is called in to help decode the alien language, alongside physicist Ian Donnelly (Jeremy Renner), who is there for less clear reasons.

The film opens with what appears to be a sidetrack — the birth, life and death of Louise’s daughter. This made me rather nervous — that precursor film Contact (Robert Zemeckis, 1997) features a female protagonist with a dead father, and a tragic loss is an easy character motivation. There’s a certain amount of frustration to the camera angles — odd zones of focus and unfocus, characters offframe or not quite heard, so that we don’t quite get to see what’s going on. There are also a series of shots that for me recall Tarkovsky, although probably Nostalgia (1983) or The Sacrifice (1986) rather than Solaris (1972), although thematically that is in the mix too. In retrospect, it turns out, Villeneuve is playing fair with us but he has a helluva get out of jail free card. But I was a little distracted by the photo that Banks doesn’t have on her desk.

Of course, the bulk of the film is taken up with Banks and Donnelly’s attempt to communicate with the aliens, whom the latter names Abbott and Costello. This is odd, since neither of the heptopod duo engage in slapstick or banter, and it seems a very odd fashioned reference. Why not Laurel and Hardy? Ren and Stimpy? Cannon and Ball? Banks makes progress when she uses a whiteboard and when she recalls her daughter learning to read with picture books. We have a child’s garden of linguistics, as she explains her thinking to Weber (Forrest Whitaker), her military handler. The aliens, who haven’t seen Close Encounters of the Third Kind (Steven Spielberg, 1977), communicate in mandala-like ink blots, characters that seem to be entire sentences rather than symbolic representations of phonemes. Time clearly passes, and you might think they get their Rosetta Stone moment rather too quickly, as Banks begins to forge a relationship with Abbott.

By then there’s a ticking clock — even though we are focused on the American translations the film never forgets that aliens don’t just invade London or New York. The Chinese and the Russians seem the quickest to get to the point of being militaristic, and risks making the film look like old fashioned Cold War propaganda. Banks has to solve the puzzle before the nuke from orbit option is exercised. And it is elements in the US military that she has to fear as much as overseas forces. We teeter on the edge of action adventure when the film is much more interested in sublime tableaux.

The film, largely, trusts us. As the prologue alerts us, we should distrust beginnings, middles and ends, and there is no character who properly sits down and tells us the bigger story that is unfolding. To my taste, there are three missteps: an insert of a post-encounter documentary (which refers to Banks as Louise), the Doctor Who tell-not-show tactic of news bulletins to narrate the story and a line of dialogue that is absolutely predictable and vomit-inducing from the mouth of a major character. But we’re sneakily told what non zero sum games and the Sapir Whorf hypothesis is, even if I’m not convinced that being immersed in a society where people only speak a foreign-to-you language is the same as thought being constructed by language. But pay attention or you’ve missed the key to the film. (There’s an early exchange between Banks and Weber, where she asks him to ask a question of another expert. The answer, “a desire for more cows”, presumably meaningful, is lost in the noise.)

Adams, low key, understandably nervous, is utterly convincing throughout. Renner looks somewhat bemused, presumably aware that his job is to be eye candy. Whitaker balances a difficult mix of potential threat and kindly go between. Meanwhile, almost every thing you take to be an idiot move has got a pay off. I don’t think that Solaris is that bad a model to bear in mind, stylistically and thematically. Put Stalker (1979) in the mix, too. This is sf for grown ups rather than frustrated teens, handling its big central idea much better than Nolan’s Interstellar (2014). It almost demands that you watch it again on a loop.

Villeneuve is set to film the sequel to Blade Runner (Ridley Scott, 1982). As directors of utterly pointless sequels go, the signs are good.

Stockholm from Home

Passengers (Morten Tyldum, 2016)

I have a memory of being taught by an alleged ex-nun who, when she was teaching film, apparently kept reaching for “it was all a dream”. Psycho, for example, didn’t happen, but was dreamt, presumably by Marion Crane in the hotel before Loomis arrived and before she stole the money and drove to a motel. Passengers could well be a dream — it certainly comes across as wish fulfilment.

Spoilers will follow. Continue reading →

My Heart Belongs To Dada

May contain spoilers

The Force Awakens (J. J. Abrams, 2015)

I was seven when Star Wars came out – and I’d swear it had the subtitle then, but I suspect it was a couple of months into the run. I’d not seen The Searchers, The Dam Busters, Hidden Fortress or even Triumph of the Will, so it felt original. I’d probably seen Flash Gordon and Buck Rogers serials, and at some point the Glen A Larson version showed up. I would have seen The Wizard of Oz, but didn’t make the link to Star Wars, but both were modern fairy tales and I knew them, albeit via panto and Disney and Ladybird Books. There was a novelisation, apparently by Lucas, which suggested earlier segments. I didn’t yet know The Lord of the Rings.

There was a space race of blockbusters — Close Encounters of the Third Kind, Empire Strikes Back, Superman — and at some point there was Star Trek the movie, nicknamed The Slow Motion Picture or The Motion Sickness and boy was it dull. But we saw the gang coming together for One More Mission and there’s that extraordinary ten minute sequence when Kirk and Scottie check out the old girl on the big screen. Talk about your male gaze.

And years passed and puberty hit and Empire was clearly the best of the three and the three prequels happened. Oddly the BBC paid me a lot of money to write something about sf for their website and to review the novelisation. I went into The Phantom Menace knowing the plot. But then (spoilers) we knew the ending — Little Orphan Annie Kin is going to go wrong. The poster told us. There were call backs — more westerns, an attack like the one on the Death Star, but only C3PO, R2D2 and x to link us to the trilogy. There was Obi Wan Kenobi, but in an odd non-Guinness style by Ewan McGregor. The prequels were pants.

And years passed and that seemed to be that — although there was an odd Star Trek reboot that felt more like Star Wars, and director J.J. Abrams clearly preferred that franchise.

And then Disney bought Lucas (not Lucas Entertainment) in a no-brained multi billion deal that would pay in terms of merchandising alone, even without a third trilogy and spin offs. Our friend would be back.

So what happens next? Well, Han and Leia retire to the suburbs and Uncle Luke bounces their kids above his knee. Although Han did turn into seventies dad in the original.

Well, Abrams only has one one thing to do — to not kill the golden goose. Because, frankly, the magic bean counters at Gold Mouse Central will have calculated that the deal is repaid by merchandising alone — and endless iterations in Lego.

So we shake the magic eight ball of plot and we find an orphan with exceptional abilities, the finest pilot in the galaxy, a cute robot, a wise cracking sidekick, the finest pilot in the galaxy and a new evil man in black to recreate the original plot, and bring back the older versions of the old gang. This is somewhere between fan service and prick tease — we know from the poster that Han, Leia, R2D2, C3PO, Chewbacca and the Millennium Falcon are back, and can make a few shrewd deductions about Skywalker’s absence from the poster but Hamill’s name on it. There’s a balance to be struck between delayed gratification and seeing what we want.

In a sense the original films were reruns — variations on Buck Rogers and the Flash Gordon Lucas had wanted to make. Both the later films in the trilogy and then the later we-shall-not-speak-of-it trilogy ape that, albeit with diminishing returns. The secret plans of The Death Star (which presumably are on file at the local council offices) are the secret map to Luke, entrusted to the faintly double entendred BB8, the cat to R2D2’s puppy, and inevitably this ends up on the not Tattooine desert planet which is home to this film’s orphan du jour, the kick ass Rey. BB8 is antenna in hand with ex-stormtrooper Finn, whose conversion to the light side is as easily and convincingly accomplished as Annie Kin’s was to the dark.

Incidentally, the crapness of this generation of storm troopers — shuffling embarrassedly out of shot at one point — could be used as a racist argument against diversity… Ooops.

And through such frail travelling coincidences we assemble the old team and the old set pieces — scavengers, trips across deserts, scrap dealers, strangulation by the Force, a cantina, hologram chess… Fan service. Give us what we want.

A character is killed off. Oh yes — although apparently the director was so enamoured with the actor that he is completely unexpectedly brought back. Because the thing we know about popular culture — I’m looking at you, Doctor Who — is that death is simply a matter of contractual obligations. But then, death didn’t slow Ben or Yoda down. So that death that comes later is clearly a wrench but there are two more films to play out.

And so we come to the new Big Bad, so evil he has to kill someone à la Vader, Kylo Ren, who hero worships a Vader he plainly doesn’t know. He appears to have a helmet fetish, which cramps in his impossibly bouffant hair style. Incidentally, his looks seem to be be more like an Alan Rickman than his putative father, suggesting his mother has the same kind of morals as Annie Kin’s mother with her “I got knocked up by the Force” cover story. This is a man, nay a boy, with anger management issues, who would throw his toys out of the pram with or without the Force, as witnessed in his really stupid light sabre attacks on consoles. Quite what the even Bigger Bad, Gollum Snope, sees in him remains a mystery.

It turns out that all the films are about relationships between fathers and sons — from Annie Kin’s anonymous trick to Darth Emo’s petulance. If we compare it to perhaps the only other multi-chaptered, anachronous saga — Shakespeare’s War of the Roses plays — we can see how the quasi-patricide of Richard II by Henry IV is still playing out in the relations of (spoilers) Hal and Falstaff and even Henry VI. We have divided good and evil fathers, fathers who can’t measure up, sons who can’t measure up (and as far as I recall, the spoiler of Luke-I-am-your-father, supposedly not known about when Star Wars was filmed and Leigh Brackett’s contribution to the saga, was there in the comic book adaptation released before Empire). Annie Kin’s missing father (and thus under developed superego if you buy Freud) is played out in Darth Emo’s over compensation.

But fathers are there to be obeyed. Well, the good ones.

When Star Wars was released in the late 1970s we had had a run of adult themed, grown up sf movies and were desperately in search of heroes in the post-Vietnam, post-Watergate disillusionments. It made us children again — even those of us who were children. Arguably, Lucas and then Spielberg infantilised the sf genre with their fort da sagas. Again, again! And made shit loads of money. Fathers and sons, sons and fathers (but Indy was the dog).

The Force Awakens is a cosy old set of clothes and slippers and presses the buttons expertly. The question the remaining two films will have to answer is the nature of mothers and sons, but more importantly daughters and mothers. It is to be hoped that Rey gets to stay kick ass, rather than face the domestication Leia endured from agent to slave.

Out Damned Scott

The Martian (Ridley Scott, 2015)

I hate this. I really hate this. I really don’t have the words to begin to describe how much I hate this. I mean, everyone else loved The Martian.

For a decade or so, I’ve wrestled with two dilemmas:

a) is Tony Scott a better director than his brother?
b) is Ben Affleck a better actor than his old mucker Matt Damon?

I’d think I’d have it resolved and that it was Tony and Ben and then I’d see a film directed by Tony or Ben and suspect I was wrong. I realise that Tony died in tragic circumstances and his oeuvre is complete, but he gave us The Hunger and (the best Tarantino film) True Romance. On the other hand, Ridley has two genuine masterpieces: Alien and Legend (not, obviously, to be confused with the recent remake). Tony rarely seemed to hint that his films were anything more than vacuous tosh (although with an African American protagonist surprisingly often), whereas Ridley seems to try for the Meaningful and miss, whilst white washing all too often.

Then there’s Matt and Ben. Meh. I’m a fan of Kevin Smith films. What can I say?

Everyone else has done the jokes already — if you want a character who gets left behind and needs to be rescued, Damon’s your man. You’d think he’d get the message. So, as in the book, Matt Watney (Watt Damon), has been left behind in a sandstorm on Mars and begins to work out how he can survive until the next mission survives. There’s rather more of the crew than there is in the book, softening us up so we actually care when one of them dies.

And then, otherwise, there’s a fidelity to the book. Damon might strike you as being more buff than normal, but that allows for the malnutrition of later sequences and film is much better at given you a tabula rasa onto whom the audience can project emotions than a book in which the author has to tell you what they are thinking. The mission log can be used to justify voiceover, but it isn’t overwhelming.

The fidelity is a problem. Just as it is a bit of a wrench when we cut away from Watney to Earth for the first time, so it is here. The parallel editing is surprisingly clunky as characters wonder “I wonder what he is up to right now?” or “Do you think he’ll work this out?” out loud. For a Ridley film, the cast is surprisingly more multiethnic than of late, although there are a couple of whitewashing. And there’s also, spoilers, some additional sequences at the end to Get All Meaningful. To turn it into a recruitment ad for NASA.

And somehow Damon can pull that odd combination of nothing-special and resourceful man. The NASA team balance that concern and bureaucracy. This is a film — like the book — where the only enemies are the cold equations. The lone astrogating genius perhaps needed to have his performance dialed back a bit, and I was uncomfortably reminded of the Random Pot Smoking Rastafarian in Thelma and Louise. There’s a geeky Lord of the Rings reference in the novel which gets repeated here, with added nuance that Sean Bean is in the scene.

And of course, we know that Sean Bean has to be killed off. It’s what he does well.

So, unbelievably, and I hate this, Scott has produced a reasonable film. I think Moon and Gravity pull off similar situations of isolation with more aplomb, and there are similar moments of massive disbelief suspension, but this might be the first non-crap Scott film since well… well… his Hovis ads.

I’ll Buy That For A Dollar

RoboCop 3 (Ted Dekker, 1993)

The third film of a franchise comes with low expectations – by then none of the original cast are in it, or the protagonist faces an evil double, or everything is shot in 3D, or the original premise is junked. Diminishing returns doesn’t come into it.

Yet RoboCop 3 is better than it has any right to be. RoboCop (Paul Verhoeven, 1987) was the director’s now trademark hyper violent satire on the corporate world, in which an almost fatally wounded cop (Alex Murphy (Peter Weller)) is made into a cyborg and forced to fight crime. He/it is the property of OCP (Omni Consumer Products) who clearly have an eye on the privatisation of the state for profit. In the sequel – directed by Irvin Kershner who directed the best (and second) instalment of a certain other trilogy – OCP are foreclosing on Detroit for non-payment. Detroit, by then, is a criminal warzone, by OCP envisaging a new gleamy city, which they will fund and profit from.

That city is still the Promised Land in the third film, but Detroit residents are being evicted supposedly to make way for the development. Functions of the state are clearly privatised and outsourced, with a new villain in the shape of Paul McDaggett (John Castle) and a new CEO in the shape of Rip Torn from The Larry Sanders Show. The Detroit police become increasingly wary of McDaggett’s plans, as rebels fight back in Old Detroit. When RoboCop’s (now Robert Burke) partner Anne Lewis (Nancy Allen) is killed – she really ought to wear that armour she has – he sides with them against OCP, erasing the fourth directive which should prevent such things. OCP, meanwhile, are facing financial ruin and a corporate takeover from Japan. Head office send in an agent, Otomo (Bruce Locke), to try and reassert control.

It is satisfying if ironic, of course, to see the skewering of a corporation in a Hollywood movie – although of course Orion went belly up in 1999. One character tells us “There is no silver lining, only corporate scumbags who want to line their pockets” and McDaggett snarls at the CEO “If you’re just now figuring out the line between big business and war is a little blurry, then you’re further over the hill than they say you are.” OCP’s ownership of people and land is reasserted again and again – memories are property, ideas are property. The media colludes in corporate brainwashing.

Detroit was, of course, the powerhouse of the American economy, the centre of the car industry – and it is telling that RoboCop is compared to a Chevy when he needs repairs. It appears that, albeit for a brief period, the tension lines of race could be ignored in the face of working class solidarity in industrial capitalism. But outsourcing and rationalisation led to the almost complete destruction of the industry and Detroit was indeed to declare bankruptcy. African American ghettoes surrounded by declining white suburbs was the result. Motown moved to Hollywood.

The trilogy has a range of African American characters, albeit their race is not commented on at all – Johnson (Felton Perry) is a Vice President throughout, surviving when many others don’t, a visible success story. Sgt Warren Reed (Robert DoQui) is the grizzled police sergeant, who becomes the moral heart of the film. Meanwhile, the new character Bertha (C. C. H. Pounder) is a smart and charismatic leader of the rebels. (There’s another character, a pimp (Ron Leggett), who feels rather more stereotypical of Hollywood film, an echo of the mayor from the second film and a criminal from the first.)

Age has not been kind to some of the special effects – whilst the stop motion animation of the police robot was always clearly a model, flying RoboCop is clearly blue screened in. Alongside the ultraviolence and a rather awkward use of the word “slag”, we also have a child protagonist, Nikko (Remy Ryan), of mixed ethnicity and, surprisingly, less cute than you’d fear. She is a computer genius – echoes of from Lex (“Oh – a UNIX!”) Murphy Jurassic Park. Indeed, RoboCop’s feminist credentials are stronger than Jurassic World.

Of course, what doesn’t sit well is the final climactic shoot out which leaves the Detroit Police as heroes. We are clearly meant to punch the air: “It’s time to show how real cops kick ass”. But news stories about the police have been problematic of late. Here, the Repressive State Apparatus wins out over corporatism – and that is perhaps a hollow victory for the citizen.

Meanwhile, the CEO of OCP – an anagram of COP, of course, even if I kept hearing it as OCD – has visions of corporate rebirth: “I realize that it looks bad but, I mean, maybe our plans were overambitious. Let’s start a skoshy bit smaller. Let’s gentrify this neighbourhood, build strip malls, fast food chains, lots of popular entertainment. Whadda you think?”

Regeneration as land grab. Still so familiar.

Inheritance Rites

TRON: Legacy (Joseph Kosinski, 2010)

tronSo, I accidentally saw TRON: Legacy.

I’d planned to watch it, but I wanted to rewatch TRON (Steven Lisberger, 1982) first, but it turned out that the bar code was slapped across the word Legacy in a somewhat misleading manner.

So I’m coming to this without having seen TRON since 1999 or 2000, whenever it is I wrote the Pocket Essentials Cyberpunk volume.

There will be spoilers.

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