Science Fiction

Was 1997 the Greatest Year for Science Fiction in Film?

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Most years have a few high-quality genre pieces to offer, some years see the release of a genre-defining film and a solid collection of supporting movies, and every now and then there are collisions where two absolute classics are released side-by-side (see:  1968, 1977, and 1982).  But, there’s nothing quite like what happened 20 years … Read more

“Guardians of the Galaxy Vol. 2” – Definitely a Chapter from the Same Book

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Guardians of the Galaxy was always the most overtly comedic franchise in the Marvel Cinematic Universe (MCU), and Vol. 2 follows in those footsteps.  Most films in the MCU employ humor, but none are governed by the success of references, call-backs, meta-humor, and jokes quite like Guardians.  As a result, one’s appreciation for this sequel … Read more

Why “The Terminator” (1984) is the Greatest Terminator Film

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The Terminator (1984) is a better film than Terminator 2: Judgment Day (1991).  The other movies in the franchise are utter garbage and will not be discussed further.  And, if you’ll lower your pitchforks for long enough, this piece will provide several arguments asserting the superiority of The Terminator.  I’ll compare three aspects of the … Read more

“The Discovery” Under Delivers on a Fascinating Concept

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The Discovery has all the markings of a potent science fiction parable, but none of the follow-through.  The central conceit, that a scientist has discovered irrefutable evidence that an afterlife exists, is simple yet wrought with fascinating consequences.  But, as the film attempts to explore its ideas, it is bogged down by poor characters, confusing … Read more

“Kong: Skull Island”: One Silly Film Without a Clear Tone

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Kong:  Skull Island is an unbalanced amalgamation of B-Movie schlock and hyper-budget  blockbuster special effects (est. $185M).  It teems with A-List stars searching vainly for a place to die so they don’t have to embarrass themselves any longer.  The plot makes some sense, but the specific beats that move it from scene to scene are … Read more

“Logan” Leverages Stellar Performances and Engaging Action To Deliver an Outstanding Wolverine Send-Off

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Logan, James Mangold’s conclusion to the Wolverine franchise, dispenses with a safe approach to the comic book genre in favor of careful characterization, genuine emotion, and tactful storytelling.  It is an unabashed hard-R action movie bursting with violence, gore, and harsh language.  But, Mangold and company employ the R-rating towards more than blood and F-bombs … Read more

A Pair of Afterlife Trailers: “The Discovery” and “The Void”

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A pair of off-the-radar film released trailers recently, and both of them appear to offer something interesting for the fan of genre film.  Each also, in their own way, use concepts revolving around the afterlife as major plot elements.  These films are The Discovery and The Void.  This will be a short piece introducing each of these films and their trailers, and offering a few stray observations about what we’re seeing (and what other people have been saying).  Here we go!

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“Rogue One: A Star Wars Story” is a Dour Mixture of Fan Service and Risk-Aversion

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It is a tricky thing to tell a good story when practically every audience member knows the ending.  It is trickier still when you pack your story with abject fan service, telegraphed plot choices lacking any inspiration, and under-developed characters delivering wooden dialogue.  Rogue One:  A Star Wars Story is guilty of all these failings and many more.  It is not a complete disaster, though it coasts off the strength of an exciting third act and a near-fatal dose of nostalgia.  As a result, though the initial hoopla will be to declare Rogue One:  A Star Wars Story as an utter triumph, extra consideration of the film (perhaps with your gender-neuter fanperson beer goggles off) will reveal its many disappointments.

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Despite “Out There” Visuals, Marvel’s “Doctor Strange” Is as Safe as They Come

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For a film meant to expand the Marvel Cinematic Universe (MCU) into the novel territory of alternate dimensions and mind-bending magic, Doctor Strange sure does play it safe.  Though many of the visuals are fascinating, some are overly show-offy, like an elaborate ornament on an otherwise bland facade.  The acting talent and the performances that they deliver are impressive, but they are relied upon to prop up a flimsy story that inadequately introduces us to this new facet of the MCU.  Similarly, most of the characters are unbalanced, uneven, and inconsistent – as though the filmmakers were afraid of allowing Dr. Strange to be too much of an asshole.  Finally, aside from an innovative and interesting climactic sequence, the plot is about as by-the-numbers as one can imagine.  Overall, this is the disquieting flaw of Doctor Strange:  the eye-popping visuals are in direct aesthetic conflict with the safeness of the narrative and thematic choices.  The result is a reasonable entry into the MCU, but a film which isn’t appreciably better than the average origin story.

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In “Arrival”, Denis Villeneuve Delivers a New Hard Science Fiction Touchstone

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In Denis Villeneuve’s high-concept science fiction film Arrival, the expert director deftly explores a profoundly different view of reality – all in the guise of an alien invasion story.  Based on the novella Story of Your Life by Ted Chiang, the story is hard science fiction at its greatest, and ponders the challenge and ramifications of communicating with an alien species during first contact.  In what has become a hallmark of Villeneuve’s style, the film boasts a fascinating non-linear storytelling technique that factors heavily into the plot.  Though there are really only four characters of note, each is ably performed by an outstanding actor, with Amy Adams’s performance shining through as something special.  This film takes advantage of its genre perfectly, altering a single idea about language and contemplating the potential ramifications.  It seems as though Denis Villeneuve has been working in science fiction for his entire career; his treatment of Arrival is a deft exploration of the nature of time, language, and communication – both between humans and aliens, and humans and each other.

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