I would love to have been in the meeting where someone pitched Guardians of the Galaxy. "We're going to take all the good will you've built up through the Marvel comic movie franchise, and then spend it on a space movie with characters that nobody really knows, one of whom is a heavily-armed raccoon." And then even weirder, it worked: Guardians is pretty good. Maybe it tells when it should show a little too often, but it never stopped me from enjoying myself. It's got a great soundtrack, good writing, well-done special effects, and most importantly, a really watchable cast.
Of course, this has been the case with most of the Marvel movies. I mean, let's be honest about, say, the Thor franchise, which have been a fun pair of movies considering that they're composed almost entirely of gibberish: Norse gods with British accents (who are actually aliens) fighting against elves and ice trolls (who are also aliens)! The whole thing is completely incoherent, but nobody cares because of the casting: everybody onscreen is good-looking, compulsively charming, and clearly having fun with a very silly premise.
But there's one thing that's been bugging me about the Marvel flicks, including Guardians, which is their endings. Namely, that they've all got the same one: the bad guys summon/control/take over a huge flying object, which immediately crashes headlong into a city.
Explosions follow, while the heroes rush to tackle the portal/controller/big bad at the wheel. Lots of buildings fall over in the process, and people run through the streets while looking up and behind them (oddly enough, hardly anyone ever trips). Lance Mannion refers to it as the "obligatory ad for the video game," and while that's harsh it's not inaccurate, because it does feel a little bit (between the overused CGI and the framing) like watching someone else play God of War. A lot of money went into it, and someone's clearly having a good time, but it's not necessarily you.
And to be clear, Marvel's not the only company writing screenplays this way. Star Trek: Into Darkness, for example, was a movie that committed every sin in the screenwriting book (and then added a few) but arguably the worst part was the meaningless and cruel spaceship crash at its climax. Over at Fox, X-Men: Days of Future Past has Magneto tossing an airborne baseball stadium at the White House. Huge flying objects are the new glass jail cell.
The problem with these pyrotechnics isn't just that they're repetitive and tasteless (although they are both), it's that they're ineffective: by destroying a huge chunk of a city, the writers are aiming for huge cinematic stakes, but by portraying it from a wide-angle lens (and, in PG-rated films, refusing to show any of the resulting bodies and carnage) there's no sense of drama. It's just computer-generated buildings falling over in the distance: who cares?
For a movie like Guardians, which has no real point other than to be a fun space adventure, it's bad enough that there's a good fifteen minutes of watching architecture instead of the characters that are the real draw. But it's more acutely frustrating for something like The Winter Soldier, which spends its first 90 minutes referencing the modern surveillance state, which is a tricky, subtle political problem. And nothing says "tricky" and "subtle" like sending three flying aircraft carriers through a building in Washington, DC.
Maybe that's expecting a bit much from a huge media property with a multi-year cinema domination plan. Marvel wants to put people into seats twice a year, and if that means making the same movie over and over again, that's fine. It's certainly never stopped anyone else (see also: Transformers and Harry Potter). If they're not even sure they can make a movie starring a woman, the chances they'll mess with the formular are pretty slim.
But look at it this way: now you know when you can take a bathroom break without missing anything. I figure you can stay away until the end of the credits, at which point you'll learn which comic-book movie will drop a giant metal object on Paris next year. If we're all very lucky, it'll be Squirrel Girl's turn eventually.
The difficulty in making a Sherlock Holmes adaption for American television is that we've already got three or four of them. Hyper-observant detectives are a dime a dozen, from The Mentalist to Monk. Arguably, Psych is just Holmes and his deductive skills with an added dose of arrested development (and I say that as someone who enjoys Psych at its fluffiest). Dule Hill's Gus even serves as a Watson, but reduced to a pharmeceutical rep instead of a doctor to match his detective friend's lack of ambition. The BBC's Sherlock owes Psych a debt for the visual style illustrating the deductive process, although I doubt they'd ever admit it.
I don't envy the people who decided, after the British version aired to wide acclaim, to make another Sherlock Holmes show. That's some tough competition. But I've been watching the first season of Elementary, and I have to say I'm enjoying it. The cast is growing on me, I like the lack of romantic angst, and the infrequent references to the original stories (inasmuch as I can catch them, not being a die-hard fan) are often worth a chuckle.
The biggest problem that Elementary faces is Watson — specifically, figuring out what she's supposed to bring to the team. As played by Lucy Liu, Joan Watson is an ex-surgeon who initially serves as Sherlock's live-in addiction counselor. With the terms of that job running out, partway through the first season, Sherlock offers her a position being groomed as a detective-in-training: someone who can take on his methods and become an equal part of the sleuthing consultancy.
Unfortunately, this is where the show's writers seem to have run out of steam. They know where they want this Watson to end up, and they've told us about it repeatedly, but they don't know how to get her there. She's not shown doing much studying, as such, and Holmes mentions that she doesn't read his research. As a result, Liu's Watson ends up either solving minor b-plot mysteries, dropping medical clues, or providing a convenient anchor toward which Sherlock can toss exposition. It's possible she's learning by osmosis, but this hardly provides a reason why we should care about her character arc.
It's interesting to see how the BBC Sherlock has taken a different tack with its version of the character. The British Watson, played by Martin Freeman, leans heavily on the actor's likeability and finely-tuned air of irritation to create a companion who partners with Sherlock for the adrenaline rush of it. Freeman's Watson is muscle and heart: he humanizes Sherlock and provides support. Ultimately, the relationship between the pair on the BBC show is one of friends. They enjoy going on adventures together. They have a similar restlessness. But Sherlock doesn't need Watson to solve crimes. When the show begins, he's doing relatively fine without him, although Watson's blogging certainly helps build Sherlock's reputation as a detective.
Joan Watson, on the other hand, is interested in being Sherlock — or, at least, being a consulting detective armed with his deductive methods. And in contrast to the Cumberbatch version, Jonny Lee Miller's Holmes is not nearly as self-sufficient. He's abrasive without being charming, dependent on his father for income, and recovering from a drug problem that destroyed his ability to work. Lance Mannion has commented that this weakens Holmes, but I'm not sure that I agree. Given that the original Holmes was a bit of a Mary Sue (a great observer, master of disguise, amateur boxer and stick-fighter, chemist, polyglot, and former spy) I don't miss seeing a version of the character that's less omni-capable.
Elementary wisely forgoes flashy zoom cuts to "show" how Sherlock examines a scene. They don't seem to have developed much of a substitute, unfortunately, so too often the show falls back on simply having characters explain the mystery to us. But I think this is in part because the mysteries are honestly second priority to where Elementary actually wants to focus: on the relationship between Holmes and Watson, with two possibilities for its ultimate outcome. On the one hand, it's hinted that this version of the great detective is really the result of two people working together — that Holmes and Watson together are the equivalent of the BBC Sherlock. Alternately, we're watching the origin story for a second Sherlock embodied in Joan Watson: one that can avoid the mistakes of drug abuse and arrogance, and benefit from her richer life experience as a surgeon.
The danger in speculating about a TV show this way, I've found, is the tendency to write about the show you wish you were watching, not the one that's actually onscreen. It's an easy mistake to make. I remember being mystified by John Rogers' glowing commentary on Jericho, which does not at all resemble the mediocre show that aired under that name, until I realized that really we weren't watching the same program — that the version Rogers was watching was being filtered through all the cool stuff he could have done with its premise.
And so it may be with Elementary. I'm only three-quarters through the first season, and even I will admit that it's uneven at best. It's possible I'm just a sucker for training montages. But the idea that Watson is not just a point of view character or a sounding post, but just the latest heir to a legacy of nigh-uncanny sleuthing... I have to admit, that's like catnip to me. I've got high hopes for it in the second season, and I'd put up with a lot of flexibility around the source material to watch it happen.
It's been a beautiful summer, even by Seattle standards, and Belle and I have gotten at least some good out of it. We've been camping, traveling, and lately we even broke out the grill. Take that, state-wide burn ban!
Indoors, of course, a lot of the broadcast TV we watch takes the summer off. We've been picking up a few shows via Netflix and Amazon instead. I'm not quite ready to write off our TiVo yet, but I'm impressed with the choices we've had.
Surprisingly good. Shockingly good, even. There's none of the lazy writing and faux-transgressiveness that marked Jenji Kohan's previous show, Weeds. It's got a rich cast of characters without feeling contrived, it's funny without going broad, and it's comfortable mining a deep vein of dark humor from its setting. There have been a few comparisons between this and The Wire. Orange is the New Black isn't quite that good--what is?--but it's not an inapt pairing. Like its predecessor, Orange features a diverse cast filled with actors of color. Both shows also lack marquee names (but feature stellar performances from little-known actors). And of course, the subject material in both cases is fascinating in and of itself.
Beyond the confines of the show, it's interesting to see Netflix so clearly taking a page from HBO's book. Lots of networks have halo shows--it's only thanks to Mad Men that I can differentiate between AMC and A&E--but it was really HBO that realized shows were "stickier" than movies. And unlike HBO, Netflix doesn't force you to haggle with your local cable overlords. If they can put out more material at this quality level, their constant battles over licensing big film titles for streaming look a lot less troubling. I could definitely see keeping a Netflix subscription just for a couple of shows like this.
A show that never really found an audience on the SciFi channel, Alphas folded after a couple of seasons, and Amazon snagged it as one of their early exclusives. It's not groundbreaking television: the special effects are decidedly bargain-basement, the writers can't decide if they want to steal from Heroes or X-Men, and the direction ranges from competent to not terrible. It's a good summer show, though, with a more thoughtful core than either of its inspirations would lead you to believe.
Alphas has three things going for it. The first is David Strathairn, an actor who is way too good to be doing a superhero show on basic cable. The second is a genuine rapport between the actors, who really sell the workplace chemistry--especially between Gary, the autistic electro-telepath and Bill, the temperamental bruiser. Finally, Alphas does manage a single clever twist on its formula: the idea that its superpowers are basically neuroses, for which most of the cast are in therapy (if nothing else, this is a wry joke at the expense of the Xavier Academy for Gifted Youth). I'm not sure it ever really embraces that fully--there hasn't been a single hero-on-a-couch scene that I remember--but it does make me feel better about my own psychological tics.
The Fall doesn't try to hide its villain: you'll know whodunnit by the end of the first episode. Instead, it serves as a kind of character study for its chilly detective, Stella Gibson, played by Gillian Anderson. In many ways it reminds me of the BBC's prototypical female detective drama, Prime Suspect: Gibson spends as much time fighting a sexist bureaucracy as she does hunting the actual murderer.
When it's good, The Fall is very good, but it takes its time getting there. It's odd that, for a season that's only six episodes long, so much of it feels like padding. But I think part of that comes down to the delivery method. Streaming (and DVD, as well) makes it easy to burn through a show in a matter of hours. That's great for hook-driven puzzlers like Fringe or monster-of-the-week shows like Doctor Who, but it might not work so well for atmosphere-driven dramas.
It makes me wonder if we'll see a change in how people write narratives as streaming TV-on-demand becomes more common. Some people consider the non-Netflix Arrested Development to be designed for obsessive DVD rewatching. Is streaming different? More social? More portable?
I'm not entirely sure why you would make films based on a franchise that you never liked. I'm on record as believing that the first JJ Abrams Star Trek flick was a reasonable popcorn flick but it didn't share anything with the original product except some character names. That's not true for the second movie. Into Darkness (to use its weird, not-really-a-subtitle subtitle) isn't just bad Trek, it's loathesome filmmaking.
The low-hanging fruit is that the plot doesn't even try to make sense for more than five minutes at a time, but since the original series was hardly airtight, I have a number of other bones to pick, including:
Sure, much of this probably seems like nitpicks and nerd rage. I've watched a lot of Star Trek, probably more than most people, and so there are a lot of things that to me are instinctively not right but aren't necessarily invalid. I think it's a shame to lose those parts of the Trek canon (and I tend to think that Abrams' alterations are worse than the material he's replacing), but I'm hardly objective. Lance believes that he's just trolling us, and I'm not sure that's wrong.
I find the movie's general incoherence to be frustrating. But that's not what actually makes me angry.
At the end of Star Trek Into Grim Serious Incoherence, Khan crashes his spaceship into San Francisco. Hundreds of thousands, if not millions, of people are killed, but that's okay because they're not the protagonists and presumably their psychological issues were less attractive. This is, to put it lightly, not really what Gene Roddenberry had in mind when he pitched "wagon train in space" to some bored Desilu executives.
Speaking personally, I'm getting a little sick of the whole "it's been a decade since 9/11, so let's crash a flying vehicle into a city and call it emotional resonance" thing that every hack director with a render farm has been on lately. Abrams is doing it, apparently the new Superman movie does it, The Avengers did it. It's a cheap, transparent ploy to make otherwise airy summer entertainment seem important, so that critics can write that your otherwise incoherent summer tentpole flick has "real-world allusions" in it. Blowing up a planet in the first reboot movie wasn't enough, I guess.
Nowhere is that more true than in Star Trek No Subtitles Just Darkness. Khan doesn't really have a good reason to crash his ship into a major city. It doesn't particularly help him achieve his goals. He just does it because, as with every other reason that anyone does anything in a JJ Abrams movie, it's part of the story checklist they wrote before actually getting to outmoded concerns like "dialogue" or "motivation" or "character." City destroyed: tragedy achieved. On to the next setpiece!
Reboot or not, there are some things that a Star Trek movie shouldn't do, and mass murder is one of them. I'm under no illusions about the ideological purity of Star Trek, especially under Paramount's management, but I like to think that Roddenberry's vision should mean something regardless. As it is, there must be a little whirlwind somewhere around the ionosphere where his ashes are spinning. If JJ Abrams wants to participate in a little cinematic disaster porn, he's welcome to do so, but I wish he'd restrict it to some other, less established franchise. It's probably just as well that he's moving on to Star Wars: this kind of bankrupt cheesiness will fit right in there.
I've been watching more than my fair share of BBC shows on DVD lately--Extras, Torchwood, and Life on Mars in particular. These range in quality from brilliant, decent enough if you ignore the first season, and thoroughly enjoyable, respectively. The 2000s were clearly a good decade for television on both sides of the Atlantic. That said, there's one crucial difference between the best shows in the US and the UK, as far as I can tell. The kinds of people who get starring roles in British television are markedly different from the people who star in American shows: they look like real people.
Watch, for example, Ashley Jensen's brilliant work as dim-witted actress Maggie Jacobs on Extras. Jensen's deft touch keeps Maggie from being the kind of stock "village idiot" sitcom character that the show itself lampoons, and adds a particular sting to the awkward humor. It's the kind of role that very few people could pull off with such charm, and really should have led to a wealth of future lead roles for Jensen. Maybe on British TV it will, but here it got her a bit part on Ugly Betty, perhaps because she's neither outrageously thin or glamour-model pretty.
Or compare the casts of the UK and US versions of The Office. The remake features a lot more variety in casting than most American television (and kudos for that), but the leads have still been assigned to thin, conventionally-attractive people. John Krasinski is a great, funny actor, but it's still hard sometimes not to see him as a bizarro-world Martin Freeman, and just as difficult to picture someone who looks like John Krasinski being stuck in a dead-end paper company job. Slate's Seth Stevenson gets to the heart of this when reviewing the remake of Life on Mars, noting that the cast in general is better-looking and better-known than the original--and that the new casting completely undermines the show's interpersonal dynamic. Even within genres, this holds true: there's not a single person on the entire cast of Torchwood who's as sexy as the least-attractive Galactica crew member, and while the latter is a better show, it's still kind of hard to understand how the ragtag fleet maintains such flawless fitness and perfect skin on a diet of algae and moonshine.
Why the difference? Is it that the larger pool of American talent makes it easier to find people who are both talented and blandly good-looking? Is it some kind of institutional mandate brought on by publicly-funded media? Ultimately, who cares? Diverse casting isn't a magic bullet, and there are still plenty of BBC programs I find unwatchable (confession: The IT Crowd bores the crap out of me). But there are certainly a lot of cases where it makes a show better (including many American shows: The Office, The Wire, and 30 Rock come to mind), and it's got to be healthier for the viewing audience.
'I can't believe that!' said Alice.
'Can't you?' the Queen said in a pitying tone. 'Try again: draw a long breath, and shut your eyes.'
Alice laughed. 'There's no use trying,' she said `one can't believe impossible things.'
'I daresay you haven't had much practice,' said the Queen. 'When I was your age, I always did it for half-an-hour a day. Why, sometimes I've believed as many as six impossible things before breakfast.'"
--Through the Looking Glass, by Lewis Carroll
Everything you've heard about Avatar is true. As a visual
experience, it's lush and seamless. At the same time, the dialog is
ludicrous, the plot is flimsy, and the message is sledgehammer blunt. It
shamelessly fetishizes native cultures while perpetuating the lame White
Brown Blue People From Themselves plot. And
for a director known for his strong female leads (Sarah Connor, Ripley,
Lindsey Brigman), it largely relegates its women to background or
supporting roles only. And long--oh, is it long. They could have chopped
it in half, easily, and while it would have still been awful, they would
at least significantly lower the audience's risk of deep vein
But these have all been discussed by countless people elsewhere (here's a good take). What struck me about Avatar, while watching a particularly leaden chunk of monologue, was the realization: not only did someone write this, they then paid someone else to deliver the lines, then threw further cash at a crew of animators to painstakingly render it--in 3D, no less. That's Avatar in a nutshell: vast, unfathomable amounts of money deployed in the service of incredible mediocrity.
The general viewpoint, by those who enjoyed the movie anyway, seems to be that these elaborate visuals compensate for the flaws in the writing, editing, and direction. Disagreeing with this makes me feel like something of a Grinch, since words like "wonder" tend to get thrown around when discussing its landscapes and weird alien horses, and I do hate being accused of a lack of wonder. We're supposed to applaud the extensive craft that went into Cameron's project, according to this view.
But from my perspective, we're a bit like the White Queen these days, in a state of constant suspended disbelief. We're surrounded by amazing images. During my lifetime, I've seen the state of the art go from the NES to the PS3, from stop-motion to Up. A few years ago they made Fred Astaire dance with a vaccuum cleaner in a commercial, an act which at the time was an arresting (if necromantic) idea, and is now pretty much unremarkable. My phone can superimpose directions to the nearest Waffle House on the view in front of me, for heaven's sakes. I see six impossible things before breakfast. Games or movies or whatever, it ought to take a bit more than a well-rendered forest scene to impress us, or pull us in emotionally.
So instead of applauding, I think about the stories that could have been told with this kind of technology if it were given to more playful or inventive directors--Jean-Pierre Jeunet, Chris Nolan, or Guillermo del Toro, for example. It's hard not to feel a profound sense of waste, because these are directors that have accomplished what Cameron is supposed to have done: show us something that we've never seen before. Even the Wachowskis (and there's something I thought I'd never say again): think about what a mind-blowing experience The Matrix was the first time you saw it. Now there was a movie that used novel, elaborate special effects to actively mess with your sense of reality, as well as to tell a story that--if not completely original--at least aspired to more than surface depth.
But then, maybe that's the problem. Set out to tell an interesting story that requires some new effects, and you get The Matrix or Dark City. Aim to blow people's minds solely through the power of your budget, and you get The Matrix Reloaded--or Avatar.
Shorter District 9:
Sure, we could have done something thought-provoking with our premise, but it was that or the giant robot shootout. The choice was clear.
Nobody doubts director Neill Blomkamp's technical chops, or his gift for visually juxtaposing science fiction elements (robot policemen, aliens, mecha) over footage of his native South Africa. It is, however, unclear that he knows what it actually means when he does so. District 9 betrays a lack of insight--but just as much, a lack of interest--in the implications of his special effects.
Arturo R. Garcia raises several valid questions at Racialicious, in the brilliantly-titled post Shrimpin' Ain't Easy:
Why is [head alien] Christopher so much smarter than his fellow refugees? How could he be the only one trying to find a way out, or to know/care enough to clothe himself in a 'human' manner? And, if humans and Prawn are able to understand each other by the time the 'footage' is released, why did the documentarians - because that's how the first half of this film is framed - exclude interviews with any of the aliens in favor of black South Africans telling us how threatened they feel, and white South Africans denigrating the species as a whole?
And fellow commentator Nicole Stamp is more blunt about the film's use of stereotypes:
Why can't the Nigerians just be people with logical motives like money and weapons? Why do they have to go out of their way to be ooga-booga savages? The film would still have held up without the narrative elements of cannibalism and interspecies sex. Why do the blacks have to be sexual degenerates who will eat filth and violate the oldest human taboo by committing cannibalism? The only reason I see is to shoehorn some cheap visceral thrills into the movie. It's lazy, sensationalist writing, and it diminishes the potential for intelligent, nuanced allegory. And it doesn't even make sense.
The portrayal of the gangsters bothered me for another reason. As I was sitting in the theater, when one of the "documentary" interviews comments on the Nigerian crime syndicates, a chuckle went around the audience. The implication was pretty clear: for Americans, Nigeria means spammers and criminals. Three cheers for international stereotyping!
But ultimately, I found District 9's problems to be rooted less in racism and more in a reluctance to engage. Despite being set in South Africa, it's not really an apartheid movie. Despite dealing conspicuously with refugees from outer space, it's not a post-war movie. Nor is it a first-contact movie, or a film about immigration and cross-cultural boundaries. Its goals are modest: to be an action movie, and a showcase for an admittedly impressive set of special effects.
To some extent, this might be preferable to higher ambitions but less success. Executed badly, movies in many of these subgenres are lucky to be hackneyed, if they're not even more offensive than what they decry. From that perspective, it's tempting to absolve Blomkamp for his film's toothlessness--although I think no-one can realistically argue that we live in a post-racist society, it's also hard to say that we need to be told, once again, that apartheid was a bad idea.
Then again, to give him that pass is to treat science fiction simply as a way to rehash simple object lessons from history--a failing often embodied by Star Trek's well-meaning aliens-as-minority trope, which is rarely flattering to anyone involved. In the last few years, we've seen some great sci-fi that uses artistic license to examine political questions (both new and old) from interesting directions: BSG, Torchwood, Pan's Labrynth, Children of Men, The Dark Knight--although they range widely in subtlety, intelligence, and complexity, these movies are undeniably engaged.
District 9 is not. While social redemption might be asking too much, the film is notable in that it hardly ever, in the first half-hour or so--and never after that--bothers to draw a comparison between its South African setting and the alien segregation that theoretically drives its alien-buddy-cop plotline. Nor does it consider the other parallels--colonialism, technological exploitation, literal class warfare--that might be drawn. In fact, by the end of the movie, the status quo has been largely upheld. The resulting experience feels like a bit of a let-down. Given such a compelling setup, you want to say, this is the best you could do?
Torie Atkinson at Tor notes that the new Star Trek movie is a pretty good action flick, but it's really bad Trek:
Nero's just seen his entire planet destroyed, yet when he goes back in time he utterly wastes the chance to change things. Why on earth does he not get his ass straight to Romulus, tell them about that supernova thingawhatsit that's gonna happen in the future, and give them some of his technology to plan for the eventuality? No, he's a boilerplate villain hellbent on a boilerplate revenge plot.Atkinson also, as you'd expect from a geeky sci-fi blog, points out a whole host of science-related plot holes. And although it's tempting to dismiss that kind of complaint as nerd nitpicking, particularly given Trek's non-reputation for scientific accuracy, there is a deeper point to be found there. Here's the thing: when the writers in the original series threw another minute of 'technobabble' onto the page to cover up a blatant last-minute deus ex, it was entirely in keeping with the earnestness of the show as a whole. It sprang from the same source as the preachiness that sometimes overwhelmed it. Fans mock its silliness, but there's also fondness there, since it meant the writers were still trying to say something.
...There are Big Issues tossed around, but they're not explored in any meaningful way. The destruction of Vulcan is only there to make Spock emote--there's no hint as to what this means for anyone else, including humanity, the Federation, or the future. Nero annihilates his cousin race. The implications are astounding and interesting and never engaged with at all. We're talking about full-scale genocide. If you can't address that idea beyond 'It makes someone sad,' then you shouldn't be using it in your film.
Star Trek could be a painfully sincere program, a tendency that only got worse with TNG. It had faith in people, in progress, in technology, and it wore its heart on its sleeve. The technobabble was a part of that sincerity--sure, it said, we're just papering over the cracks in this episode's premise, but we refuse to let it slip by. We'll even draw attention to it with a jarring, pseudotechnical expository speech, that's how deeply and awkwardly we've bought into Roddenberry's vision of the future: one that might still have contemporary problems--racism, the Cold War, William Shatner--but can overcome them with a little human ingenuity and logic.
In the new Star Trek movie, they don't bother with the
plot black holes created with
'red matter?' Scotty's transporter formula that can somehow hit a
spaceship in warp from light-years away? (One wonders why anyone bothers
with the ship in the first place, then.) Time travel that's a paradox
only when the script demands it? Taming the franchise's runaway
explanation habit was probably a good idea, but Abrams takes it too far
in the other direction. It's just lazy: trying to get to the next action
scene while avoiding any of the pesky social commentary (no matter how
outdated) or sincere moralizing of the original. It's thrown away the
heart and soul of the show for the sake of streamlining.
It's a pretty good movie. But it's not really Star Trek.
Noburo Igichi's The Machine Girl is basically what you'd get if Peter Jackson had sat down with revenge-epics Oldboy and Kill Bill instead of a bunch of slasher flicks before making Dead Alive. Like Jackson's classic gross-out horror comedy, The Machine Girl is low-budget, outrageously gory, and perfectly cast. And if it never reaches quite the same heights ("I kick ass for the Lord!"), it's also far more consistent and doesn't suffer from the dragging pace of its predecessor.
Warning: trailer may contain both spoilers and awesomeness.
Without spoiling things too much, The Machine Girl is about a student named Ami whose brother is killed by the son of a local Yakuza boss. Ami tries to take revenge, but loses an arm in the process. She's taken in by the parents of her brother's friend (also murdered), who join her in her quest for vengeance by constructing a prosthetic chaingun arm. Ultraviolence, and no small amount of stupidity, ensues.
I hesitate to say that it's a good movie. But then, to call something like The Machine Girl "good" is to miss the point. This is gleefully juvenile, not high cinema: it's Takashi Miike without the class, early Sam Raimi without the playfulness. At one point, someone is stabbed in the neck so hard that they spit out their intestines. If you can handle that, and if you finished the trailer with a stupid grin on your face, you'll probably enjoy it. But like Dead Alive or Miike's less artful outings (Gozu, for example), it's definitely not for everyone.
Tonight the very last episode of Battlestar Galactica will run its course, closing out what may have been one of the greatest science fiction shows ever to run on television--dark, unpredictable, and surprisingly well-acted. I'll miss it, but I'm glad it's going out on its own terms.
BSG has always been driven by twin engines of character and crisis. It is, as I wrote once, a show about constantly ratcheting up the pressure on its protagonists in new and interesting ways. Eventually, everyone either cracks or is compressed into their core, like Saul Tigh standing up to declare that "Whatever else I am, whatever else it means, that's the man I want to be. And if I die today, that's the man I'll be." The writers have not always been successful at this dynamic--Lee Adama's fat suit period, for example--but they've hit the mark more often than not, with devastating results.
Along the way, they've also managed some impressive social commentary. The show has addressed both sides of insurgency, talked about waterboarding and torture, discussed abortion, been called chauvinist and defended as feminist. There have been episodes about vengeance, abuse of power, and reconciliation. And surprisingly, few of them have tried to wrap the issues up in a bow for the viewer. BSG is comfortable with moral ambiguity in a way that most television sci-fi has never achieved. The UN even held a panel this week about the show, albeit using it as a way to introduce the students in attendance to the important issues that international government faces.
I have to note one of my favorite parts of that panel, when Eddie Olmos channels Admiral Adama for a passionate rant on racism and human rights:
...I detest what we've done to ourselves. Out of a need to make ourselves different from one another, we've made the word 'race' a way of expressing culture. There's no such thing--and all you high school students, bless your heart for being here. You're a hundred champions right now that are gonna go out understanding this. The adults in the room will never understand it. Even though they'll nod their heads and say 'you're right,' they'll never be able to stop using the word 'race' as a cultural determinant.At that point, the gallery literally erupts with people shouting "So say we all!" It's a tremendous moment. And it is impressive that any television show, much less a show on the (temporarily) Sci Fi channel, could inspire that kind of discussion and passion for social justice.
I just heard one of the most prolific statements, done by one of the great humanitarians [gestures to Craig Mokhiber, Deputy Director for the Office of the High Commissioner for Human Rights], he's really trying to organize and bring us together, and he used the word race as if there is ... an Asian race, an indigenous race, a caucasian race, or a Latino race. There's no such thing as a Latino race. There never has been. There never will be. There's only one race, and that's what the show brought out. That is the human race. Period.
Now, the pressure comes, why did we start to use the word race as a cultural determinant? The truth is that over 600 years ago, the caucasian 'race' decided to use it as a cultural determinant so it'd be easier for them to kill another culture. That was the total understanding. To kill one culture from another culture. You couldn't kill your own race, so you had to make them the Other. And to this day, I spent 37 years of my adult life trying to get this word out, and now I end up well-prepared, as the admiral of the Battlestar Galactica, to say it to all of you:
There is but one race, and that is it. So say we all!
Leading up to this final episode, the pace may have lagged a little. Personally, I've always enjoyed BSG's willingness to mess with its audience by killing off characters or radically rearranging the setting. There was talk at one point, during the writing strike, that the show might have ended with the episode that became the middle of this season: humans and cylons landing on Earth together, only to find an uninhabitable, radioactive wasteland. I still kind of wish they'd done that.
But I'm glad they're getting a chance to wrap things up, and also that they're quitting while they're ahead, relatively speaking. With a show like this, the worst thing that could happen would be to drag it on for another four or five seasons. It's definitely better to go out with some kind of plan, instead of a whimper and a cancellation notice. So grab your gun and bring in the cat.
Boom boom boom.