Film Review: Kaze no Tani no Naushika (Nausicaä of the Valley of the Wind)

"Nausicaä:  Life is a winking light in the darkness." - Hayao Miyazaki, Nausicaä of the Valley of the Wind manga volume 8

Hayao Miyazaki's 1984 animated film stands as my personal favorite of his repertoire.  While he typically gives us worlds that are whimsical and magical, touching for both children and the inner child in all of us, Nausicaä stands as the man's bleakest and most sobering universe imaginable. The film journeys far into the distant future, where war and pollution has transformed the Earth in frightening ways. It's a world overrun with giant insects, and toxic forests that spew lethal spores, all threatening to smudge out humanity. As for the human race, little has changed.

With this setting, the film offers up a sci-fi/fantasy adventure that is evenly thrilling and quite unique. Miyazaki's perilous world is filled up with fantastic airships and gliders, and characters swash-buckle their way through with swords and muskets. They confront warring kingdoms, sporting tanks and planes, in addition to gargantuan insects and other odd creatures. Once the plot picks up, the action and peril becomes enthralling, without getting overly bloody or brutal about anything. The film is rarely funny or lighthearted the way other Studio Ghibli films are, but when the bullets aren't flying and the airships aren't blasting each other away, the film does take its time to breathe, and let a certain sense of wonder permeate through the characters and settings.

In addition to having such a strongly-developed setting, the film has a quality story. The plot is well-structured, with many layers of problems and conflicts heaped on in a coherent manner, which ultimately leads to a profound climax. Above all, the film has a very strong pathos; I've always found it very easy to relate to princess Nausicaä, who stands as the single most sensible and moral character in the film. It's especially inspiring to watch her take the pacifist stand, always willing to be selfless and sacrifice herself for a greater good. These characteristics prove to be the best way to handle the bigger issues that the film harps on: themes of war and the desolation of the environment. The film's ultimate message seems to be that rage and destruction doesn't solve anything, whereas compassion and understanding facilitates the healing process. With such profound and inspiring themes at work, additional themes of rebirth emerge as well.

This is an older anime film, so it does look a little rough around the edges. A few scenes clearly use cheap tricks to create the illusions of movement or action. Regardless, the film still boasts some quality artwork, especially with the settings and military hardware. Designs for all the settings, characters, vehicles, props, costumes, and everything else are pretty decent. Voice-acting has its cheesy moments, but there's nothing I found particularly cringe-worthy. Music is pretty weird.

While the film's fantastic aerial battles and frenetic fights captivated me initially, it was the imaginative world and the compelling characters that gives this film a deeper heart and significance.  Recommended!

5/5 (Entertainment:  Perfect | Story:  Perfect | Film:  Perfect)

This film appears on my Top 100 Favorite Asian Films at #2, and my Top 100 Favorite Films at #18.

Writing Prompt: Writer's Digest Your Story #50

For the next Writer's Digest Your Story competition, the following prompt is offered:

Prompt: Write the opening sentence (25 words or fewer) to a story based on the photo to the left.

Use the submission form OR email your submission directly to yourstorycontest@fwmedia.com.

It's a pretty straight-forward exercise.  The real trick is to try and convey something unique, funny, exciting, or all-around promising, in only 25 words.  Exercises like this could be useful for visualizing story openings, because starting a story is one of the hardest parts of story writing.

If you wish to submit to this competition, simply go to the web page for this exercise, and submit through Writer's Digest.   If you win, you could be published in their magazine.  No cash or prizes, but it is a fun thing to try, and it's a good exercise for the brain.

The first responses that come to my mind:
(keep in mind that these are purely fiction)

Watching the plane, Fox waited for the perfect moment to open his command console briefcase and send the transmission to detonate the bomb.

Watching the plane rising in the air, Matthew looked on in horror, knowing that there was a terrorist onboard.

Special agent Cole cursed himself for missing the flight, and wondered what would happen to the disguised extra-terrestrial when it reached Rio.

The higher the plane rose, the more Zachary’s heart sank, knowing that he’d never see Zhang again.

Frozen in terror, Kyle watched as the airplane roared past the lobby, just a few feet off the ground, desperately struggling to pitch up.

From the penthouse suite, ten thousand feet high, Gideon looked out the massive windows and watched a passenger airliner cruising in the atmosphere.

While he waited for the next meeting, Josh watched the holographic projection on the wall, which showed a passenger airliner taking off.

Watching the plane lift off, Jones realized that James had tricked him, leaving him behind in Dubai with the notes for Project Chimera.

As the airliner lifted off, Troy readied himself to teleport through the windows, across the tarmac, and onto the plane’s cabin with the briefcase.

Film Review: Pain and Gain

"You can't just kidnap a guy and take his things! That is so illegal!" - Dwayne "The Rock" Johnson

You know what you get with a Michael Bay film. For the past couple of decades, the man has delivered some of the biggest and most explosive action pictures of all time. All of his films have a hot, flashy, fast-paced appeal, usually with generous helpings of stupid comedy and gratuitous fan service.

Now off the hook from all the (arguably shallow) Transformers films, Bay turns to Pain and Gain, a personal side project. And for once, he's made a film totally stripped of fights, chases, battles, and explosions. There are just a few major action scenes, but they're kept short and to-the-point. That ultimately leaves the style and humor to drive the film, and if you're familiar with Bay's other films, you'll either find this really awesome or really awful. The most critical of audiences will find this tiresome after a while, but for established fans and audiences who can stand the crass, obnoxious directorial style, then the film is pure gold.

This film is based on a true story...in the same sense that Pearl Harbor is based on a true story.  The actual events behind Pain and Gain is a strange case, and a lot of is is translated on the big screen, but it has a lot of stylistic excess and exaggeration.  Some characters and events are flipped around to suit the film.  If you aren't already familiar with the story, this crime movie showcases a bunch of motivated bodybuilders kidnapping a guy and forcing him to give up everything he owns. The grim and violent torture scenes (which really aren't as bloody or brutal as most other films I've seen) are often offset with the comedy, and it can be a pretty odd mix. It's also a bit of a stretch to really root for these guys, given that they're essentially bullies with all brawn and no brain. However, there is a certain charm to the thing, in the same respect that there's a charm to the kidnappers in Fargo.  By the end, there's a certain "crime doesn't pay" theme that ensures that these fools got what they deserved. It ultimately supports an even larger theme concerning the American dream: the film gently harps on the notion that you must work hard to get to where you're at.

As a film, you can definitely expect an overdose of style: lots of crazy camera angles, fast cuts, some shakey cam for the action scenes, some visual asides, slow-motion...it's got the whole works here. Acting and writing are often amusing and exaggerated, for entertaining effect. This film features some really slick-looking sets, props, and costumes. Music is all kinds of awesome too.

This film pretty much delivered everything I expected: even though I find the story and the themes of the American dream pretty interesting, it's the style and silly comedy that keeps it running fast and fun. Regular Michael Bay haters will easily dismiss this, but fans will embrace it. If you aren't sure, just watch the trailer, and you'll see how it is.

4/5 (Entertainment: Good | Story: Good | Film: Good)

Writing Prompt: The Negative and the Positive

With one of my latest blog posts, I had to double-back and re-write the thing, because I feared that it was painting too negative of a light on recent events.  The newer post was done up to make things positive.  Then it reminded me of an exercise from high school.

Individual perspectives vary so much that different people can look at the same thing, or witness the same event, and write totally different pieces about it.  Such works will be inherently negative or positive.  Focusing on negative or positive traits will give an overall negative or positive perspective on a subject.  Focusing on both may allow for a more objective and well-rounded view of things, which may be important for journalism or essay writing.  In fiction, one-sidedness may help the narrative, especially if you want to make the readers understand the characters' perspectives.

For the purposes of this exercise, you'll want to stick with being one-sided.  The prompt today is:

1. Go to a place, physically, and stay there for a few minutes.  This can be anywhere, indoors or outdoors.
2. Observe your surroundings and write down the details and things you see.
3. Make two columns.  On one side, make a list of positive things you can observe.  On the other side, make a list of negative things.
4. Write two separate pieces based on what you've observed.  One piece will use the positive traits you've listed, and the other will use the negative.  When you're done, you should have two completely different pieces with two different viewpoints.  You'll find that both may be true, from your point of view, but they will read differently and project a different attitude overall.

When I did this, many years ago in school, everybody else went to obvious places like the gym, other classrooms, or the commons, but I went for the really odd place and planted myself in an emergency exit area.  For the positive details, I described the view outside as being beautiful and pristine; for the negative, I criticized the desolation of the area, the pollution, and other things I could derive.

This exercise could be useful in identifying positive and negative traits in your settings, description of details, and the overall narrative voice.  Handling details in this manner can help give your characters, or the narrator, the right-sounding voice.  There's nothing more embarrassing than to write something that's intended to be positive, but reads as a negative thing, or vice-versa.

Film Review: GI Joe: Retaliation

"Everybody wants to rule the world." - Jonathan Pryce

In 2009, GI Joe hit the big screen with Rise of the Cobra. It would come to be loathed by both established fans and common viewers, seeing it as an overloaded, cartoony mess of a movie with absolutely no good justice done to the GI Joe franchise. I personally always knew this movie was bad, but it came to be one of my top guilty pleasures, thanks to its fantastically explosive and ambitious action sequences, its high-speed pacing, and overall lightheartedness, which makes it every bit as fun and endearing of an adventure as Stephen Sommers' other films.

Now, like any other sequel, this new GI Joe film is released with the promise of making things "better." Jon Chau sets out to make GI Joe far less cartoony, far darker, and much more like an actual action movie, rather than whatever the heck Rise of the Cobra was. Retaliation still has some cool hardware; some of the most inventive scenes include an awesome morphing motorcycle, robotic fireflies, and a boat with tank treads. Some of the funnest action scenes include a high-flying pursuit along ziplines on a mountain, complete with ninjas, plus plenty of gunfights, swordfights, and explosive vehicular mayhem.

This may all sound like great stuff for action fans. The problem is, the action is spaced out a lot more than in the first film, so the pacing suffers. Plus, most of the action is strangely drab and uninspired; the gunfights throughout the first half play out with little ambition or distinction, looking no different than any other action or war movie on the market. The real magic of GI Joe, with all the gizmos and cool fights, didn't sink in until the last half.

Even with the action spread out, the story doesn't really take the time to breathe. It's strangely choppy; plot points are slapped together without any transition or sense of passage, so the logos of the whole thing is royally screwed up. Characters continue to make stupid decisions, and stupid events continue to take place (especially in the film's finale, which despite its ambition might be one of the most ridiculous things I've seen in a while). Characterization is mostly absent, and actually felt stronger in the first film. Overall, this is not the film to see if you want a quality story, much less one that makes sense or has actual depth or feeling.

This film is made with adequate photography; there are plenty of cool-looking shots, but most fights are shot really close and with some erratic shaking, making it a little annoying to watch half of the time. Editing is good on a shot-by-shot basis, but the cutting of the scenes is too screwy to make the film work.  Acting from the main cast is pretty bland, and I was especially mortified by the RZA's acting in his cameo appearance. Writing is awful, with really stupid dialogue and terrible plotting. The best that can be said is that this production uses okay-looking sets, props, costumes, and Henry Jackman's score is awesome at times.

GI Joe: Retaliation has its exciting parts, but it's brought down tremendously by its lackluster characters, its hole-ridden plot, and mediocre execution. I'd even go so far as to say that it lacks the ambition of Rise of the Cobra; I'll always go back to that first film, even with its own set of horrid issues, just to experience the awesome Paris car chase, the sub-glacial submarine battle, and every other awesome thing Stephen Sommers could come up with. By comparison, Jon Chau's film is far less fun, even when it tries so hard to be cool.

If I'd recommend this to anybody, it would probably be to younger PG-13 crowd, who would go to this for the action rather than the story anyway. Diehard franchise fans will probably dig it too. Most everybody else will probably find it disgusting.

3/5 (Entertainment: Good | Story: Marginal | Film: Marginal)

A Stranger in the Homeland

Last Friday, I successfully flew across the Atlantic, ending my tour in England and moving into a new tour in the state of Utah.  It has been approximately eleven years since I last lived in the United States; in that time, I was a mere high-schooler.  For the majority of my life, I've lived in England (approximately fourteen years), and I've spent some time in Germany (about seven years there, four of which as an adult).

Toward the end of my tour, I was looking forward to moving.  There were minor things I felt I would not be missing from living overseas, such as traffic.  There are language and culture barriers of varying levels.  I've met plenty of nice, friendly, wholesome English and European folk.  However, there was always a subtle unease:  it was in knowing that I was still a foreigner in their countries.

Upon returning to the United States, I've often speculated as to what manner of reverse cultural shock I might experience.  There are indeed some surprises:  roads, towns, and space overall is substantially bigger.  Urbanization and consumerism is rampant.  Traffic has its own level of craziness.  Everything seems new and slick.  It's thrilling to see such things after being absent for so long.  However, having grown accustomed to the different nuances of England and Europe, I've become a foreigner to the US.  It'll take some getting used to, living here.

Strange as it may seem, I actually take pride in being an outsider.  I've always been one, but to be outside of the US for so long, I got to see and experience things that many other folks may never get the chance to.  I had the chance to live in Yorkshire, among its lush green hills and beautiful fields.  There were dozens of ancient churches, abbeys, and ruins, so full of history.  I got to reside in the tranquil valley of the Rhein River, where I treaded through characteristic towns and castles of a different sort.  I've seen the distinguished cities of London, Paris, Rome, Amsterdam, and Prague, each offering their own shares of gorgeous architecture and intriguing history.  And in every place I've been, there have been interesting cuisines and impressive sights worth experiencing.

Such experiences have gifted me with fond memories and a working knowledge of a larger world.  I suspect that there will be a multitude of new memories and knowledge that will come in the next few years.  I do wonder if my experiences will make me a foreigner to my own country.  At the same time, I feel a little more at ease than before.  I feel as though I've returned home.

Film Review: The Place Beyond the Pines

"If you ride like lightning, you're going to crash like thunder." - Ben Mendelsohn

I didn’t really grasp the full extent of what to expect when I went into this film. Initially, it was the opening act, with Ryan Gosling on a motorbike robbing banks, that appealed to me the most. I half-expected this film to play out like Drive or something. I would come to find that The Place Beyond the Pines is not exactly an action-packed film; there’s really only a few major chases. The majority of this film is built on delicately-developed characters and their inevitable collisions.

This film is laid out in three distinct acts. The first third of the film is what appealed to me the most, showing a poor man resorting to crime to support a family that constantly eludes him. Then the film switches to the story of a cop who confronts this criminal. The final section concludes with the legacy left behind from these two characters. The whole film is successful at building emotional, believable characters that we can appreciate and relate to. Its triple-layered narrative is interesting, but loses steam by the finale, and is ultimately anticlimactic. Overall, the story is interesting and mostly well-structured, offering an interesting and heartfelt portrayal of corruption on both sides of the law, and how it all affects family lives.

This film uses some very rough and shakey photography. The action scenes tend to be overly-erratic, but the rest of the film is pretty well-framed. Editing is not bad. This film uses some very gently-nuanced performances, and all of the actors are all quite effective. This production uses some real-looking sets, props, and costumes. Music is especially moody.

It's worth watching at least once.

4/5 (Entertainment: Pretty Good | Story: Good | Film: Good)

Film Review: Olympus Has Fallen

This is that movie you can easily write off as “Die Hard in the White House.” In fact, this is probably what the last couple of Die Hard films should have been. Olympus Has Fallen follows the exact same plot formula established in the first Die Hard, and since used in numerous action flicks like Under Siege and Air Force One.

You know the story: you start off seeing how the main character gets to the lowly position he’s in, while everybody else goes about their daily business. Then, BAM! Bad guys create a huge crisis situation, and it’s up to the hero to save the day against all odds. Simple and formulaic. With the premise of a rogue Korean paramilitary group taking over the White House, the film is also highly exaggerated, and will likely push the boundaries of what’s believable and realistic. Chances are that you’ll read this, or see the trailer, and make up your own mind about whether this is awesome, or just derivative bull.

If nothing else, Olympus Has Fallen has a ton of action. Aside from the opening scenes, which establish some necessary character-building points, the action hits early in the film with sudden and explosive force. It’s actually pretty scary to watch all the mass carnage raining down on DC. Lots of explosions, lots of loud gunfights, lots of gnarly knife fights, and huge helpings of suspense ensue.

Most of the story is already described above. It may not be anything special, but I applaud it for sticking with the fundamentals. Characters are built up well enough by action movie standards. What makes the story worthwhile will be the sheer amount of conflict and stakes that are raised; absurd, perhaps, but definitely gripping. The film also tries hard to pull on some patriotic heartstrings; such overtones will be a hit-or-a-miss with audiences.

This film has okay photography; many shots will appear dark and hazed-out, while some of the fights use some annoying shaky-camera moves. Editing is not bad though. Acting is serviceable; Gerald Butler plays the role of a tough burdened hero really well, and is awesome to watch. Writing is serviceable as well. This production uses okay sets, props, and costumes, but also sports some weak special effects. Music has its moments.

I expect most audiences will find this film too absurd, overblown, derivative, shallow, and pushy. Regardless, I loved the film for tapping into all the same driving forces that makes my other favorite action movies so great. If you enjoy films like Air Force One, The Rock, the Die Hard series, either of the Under Siege movies, or anything like that, then this one should be right up your alley too.

4/5 (Entertainment: Very Good | Story: Average | Film: Pretty Good)

Film Review: Jack Reacher

"You think I'm a hero? I am not a hero. I'm a drifter with nothing to lose." - Tom Cruise

We’ve all seen these type of action-packed detective movies before; watching Jack Reacher reminded me so much of the typical action films of the 90s, such as The Fugitive or US Marshalls. Yes, there is action: Jack Reacher has quite a few cool fight scenes, some shooting, and one car chase scene (probably the most real-looking car chase I’ve seen since Bullit). However, the action never seems to take the front stage: it’s the characters and the mystery story that does.

The story for this film starts off looking like a standard, possibly predictable, affair: a crime happened, police catch a suspect, and you start to get the feeling that things won’t go all that simply. What really makes the story unique is that it throws in a totally random element: the Jack Reacher character, who’s not really involved with the law at all, but is sent in to investigate and deal with bad guys in his own lawless manner. It’s especially interesting that this character is basically a ghost, who can effectively disappear in a crowd and fall off the grid at a whim. The film itself seems to question, who the hell is Jack Reacher? but by the end, you get a good feeling for the answer. With a few major plot twists and good supporting characters, the film does rise a little above and beyond the average police-detective-movie fare.

This film uses some good photography, which features some interesting camera angles, but is mostly pretty plain and straightforward, like most other movies of this type. Editing is good. Acting is generally good, although I still see Tom Cruise as being just more of the same in this. Writing is good. This production uses fine-looking sets, props, and costumes. Music sounded good at times too.

Recommended for fans of the genre.

4/5 (Entertainment: Good | Story: Pretty Good | Film: Good)

Film Review: Zero Dark Thirty

This is as real as it gets, for a Hollywood picture anyway. This film chronicles the decade-long search for the notorious Osama Bin Laden, and his ultimate demise, thanks to the dedicated actions of U.S. intelligence and soldiers. Most of this film is built on a realistic portrayal of intel gathering and the actual operation; if such things interest you, then this film should be right up your alley. Most of it is a grim, brooding, realistic drama that emphasizes the danger, the political nuances, and the moral ambiguity of the entire operation. There is action toward the end, but it’s pretty straightforward, with little shock and awe. There are a few ugly scenes as well: the torture scenes in the film’s beginning won’t sit well with everybody, and it has caused some controversy. Whether you condone or condemn everything in the film, these are things that actually happened, and the film presents them without condoning or condemning.

All of this is shown through the vantage point of a character named Maya, who serves to fulfill multiple roles in multiple levels of the operation, allowing us to see the whole thing unfold from the bottom up. It’s a bit of a stretch to believe that Maya could act in all the roles she’s given, but as a composite character, she serves the narrative’s purpose really well. What really helps will be the film’s pathos; it’s hard not to admire Maya as a character, who shows decent development, and proves to be a thrill to watch with her aggressive dedication and shrewdness. As far as the plot itself goes, it’s a straightforward affair, but it seems to adhere to real-life events really well. Some specific scenes might deviate from reality (the actual raid was much shorter and quieter than what's on film).

This film uses some rough-around-the-edges photography. Editing is good; the way it manipulates sound recordings reminded me a lot of a George Lucas film. Acting is generally good, but Jessica Chastain steals the show throughout with her perfectly nuanced performance. Writing is okay. This production uses real-looking sets, props, and costumes. Music is pretty moody.

Recommended.

4.5/5 (Entertainment: Good | Story: Good | Film: Perfect)

Film Review: Cloud Atlas

"Our lives are not our own. From womb to tomb, we are bound to others. Past and present. And by each crime and every kindness, we birth our future." - Doona Bae

The name says it all: this film, like its respective novel, features a nebulous high-flying narrative that drifts from one era of human history to the next. The film covers six different narratives in six different settings with six different main characters. These narratives may seem totally unrelated, but there are very subtle connections that imply a cosmic unity.

The original novel had all these stories nested, but the film lays it out as a long-running montage, which will come off as seeming totally random, and maybe even “messy” to many viewers. Each story offers a little bit of everything: there’s drama, romance, comedy, and action to be had. The most visually impressive scenes will likely be the Sonmi-451 segments, which depict a dark dystopian future where corporations become a ruling power, and they produce mindless clones to serve consumers. This story will come the closest to being Matrix-esque, thanks to some impressive special effects and thrilling chases and shoot-outs. Sci-fi fans may also dig the Sloosha’s Crossin’ sections, set in a post-apocalypse Hawaii, showcasing the encounters between natives and stellar explorers (and some bad run-ins with mean and nasty natives). I never was a fan of the Adam Ewing section of the book, but the film brings it to life vividly: this is a section that focuses on a pre-20th-century explorer going to Hawaii and back. The Letters from Zedelghem section offers the most drama: a story about a young man moving in with a famous composer, hoping to make it big. Half-Lives offers the most intrigue, as it follows a reporter investigating a conspiracy, and ultimately a death, surrounding the invention of a super-duper power reactor. Then there’s the Ghastly Ordeal of Timothy Cavendish, easily the funniest part of the whole thing, which tells the story of a publisher on the run who winds up incarcerated in an oppressive retirement home.

Like I said, it all seems random, but in truth, each story is interconnected. Scenes from all six stories are cut together, but the film attends to all six and gives them each the right amount of attention to make them complete. Certain things get altered or dropped from the book; the film definitely loses some of the background detail and information surrounding the characters and events (chief among them, understanding the world of Neo Seoul, the story behind Louisa Rey’s father, and understanding the rivalry between Frobischer and Ayrs). Such changes are necessary to squeeze everything into the film’s roomy 171-minute runtime, but the film does cut out some of the pathos and logos of each story in doing so.

However, the film does excel with the themes of the book. Thanks to the way it’s put together, and the ensemble cast, the film underscores all the connections between the six stories, emphasizing the themes of past lives and the perseverance of the human spirit. Part of this is pretty dark and bleak, with elements of cannibalism present in all stories; the point of all six is that the strong will always prey on the weak, and at least three of these stories hint at a literal cannibalism to emphasize this. At the same time, the film has a brighter side, which actively asserts that love is a binding force that transcends all of space and time. Key themes of death (and possibly rebirth) emerge as well.

This entire piece of work is neatly established with superb photography and editing. The editing can be especially inspiring, since there are quite a few scenes where characters will give a profound monologue during a montage of scenes from all the stories. Acting is great, and it’s especially ingenious how each cast member plays multiple roles across all the stories to further emphasize the connections of each story. Writing is good; a lot of it is the exact same as the book, with just a few necessary changes and bits of exposition to make the best possible adaptation. This production uses some very interesting sets, props, costumes, and special effects. What music is used is not bad.

The randomness of this film may throw off a lot of viewers, but there is a certain method to the madness. I almost wish the stories were presented as a straightforward one-after-another or nested fashion, ala Sin City, but the film has merit as it is. I personally favor the film for bringing the book to vivid life and making a lot of its ideas and subtleties more visible. Above all, it is evenly-paced, entertaining, and well-made. I’d recommend checking it out at least once.

4.5/5 (Entertainment: Very Good | Stories: Very Good | Film: Very Good)

Film Review: Oblivion

I was initially drawn into this film for its post-apocalyptic landscapes and the promise of plenty of eye candy. Overall, the film delivers tremendously; the whole film is really slick-looking, with a modest array of high-tech vehicles, weapons, and gadgets on display, as the main character explores a ruined Earth and confronts aliens, robots, bad guys, and more. There are some really cool chases, fights, and shootouts throughout the film, which are satisfying without getting overblown. Pacing is not terribly fast, but not really that slow either; it finds an ample comfort zone somewhere between being action-packed and letting the story breathe.

Even though there is a lot of style and spectacle involved, most of Oblivion is driven by a certain mystery revolving around the characters and events, which keep you glued to the story to see where the character goes and what he discovers. The twists that pop up are somewhat predictable (especially since some things may have been spoiled in the trailer already), and the story overall takes on a familiar formula seen in plenty of other films. However, the big twists and all their subtle nuances make good sense and stimulate enough brain cells to make it a satisfying storytelling venture. Characters are developed just enough to make them stand out, and the film overall has just enough of an emotional touch to make it feel important. If there’s anything to complain about, it would be a few minor nitpicks (chief among them, the ending looks so much like the ending for Independence Day).

This film has very solid photography and editing. Acting is pretty decent; I’m not that much of a Tom Cruise fan, but I felt he did this role good justice, while the leading ladies offered the best performances. Writing is pretty good. This production has some excellent sets, props, and costumes. A few special effects seems weak, but most are great. Music is quite impressive and appropriate as well (bears much in common with the Tron: Legacy score).

The most critical of audiences might just write this one off as more style over substance, but it is a darn good style. It’s not high-brow sci-fi, but the story is clever enough to rise above most other gloopy Hollywood blockbusters. And for a sci-fi fan like myself, I felt it was perfectly entertaining and interesting.

Recommended!

4.5/5 (Entertainment: Good | Story: Very Good | Film: Very Good)

Writing: Writer's Digest Your Story #49

At the Writer's Digest website, there is a heck of a weird My Story competition going on.  These competitions run every other month or so, offering a simple prompt to finish for the opportunity to get a story published in their magazine.  There's no real cash or major award involved with this, but it's a good brain-teasing exercise worth checking out now and then.

This season, WD's contest calls for the following prompt:

Prompt: You’re stranded on a desert island with three items: a coconut, a mask and a dictionary. Write a story of 750 words or fewer that explains how you use these items to help you get off the island.

Holy crap.  A coconut...a mask...a dictionary...really?! If you have any ideas, feel free to try it out.  Also feel free to visit the website and submit or check out the rules through them.  This story is due by April 15th 2013 (yeah, time is short, and I was slacking).

My attempts to make a rational story out of this manifested into the following prose.  It's already been submitted, so copying and pasting my spiel here would be futile.  Enjoy!

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           One week passed since the crash. It kept replaying in my head over and over again, like a never-ending nightmare. It was meant to be a short, simple vacation, but as we crossed the Sargasso Sea, the charter plane’s instruments shorted out without any reason. With a mechanical whine, the engines stopped, and the aircraft began its lethal nosedive into the blue ocean. I leapt out of the craft and parachuted into the sea, but the plane’s pilot failed to make it out in time. I still remember watching the plane smacking into the sea like an egg hitting a stone wall.
           Endless hours passed, as I drifted on a piece of flotsam from the destroyed plane. My body turned cold, as the salty water constantly washed over me.
           Then, I saw the island, as if it materialized out of nowhere. It must have been a mere mile in diameter, with nothing but rocky mounds, beaches, and a few sparse palm trees. Taking it as a sign, I grudgingly paddled myself toward the island. A swift current and rough surf, brought me to the island’s bronze beach.
           For a week, I kept my body and mind busy. I found a crude shelter in a cave. I made fire with the few pieces of wood I could find; rubbing sticks together to produce a flame was far harder and more time consuming than I ever imagined. I caught fish and crabs from the surrounding tidepools to feed myself. For one week, I was surviving adequately.
           In time, I resolved to explore deeper inland. I wrapped a single coconut in my shirt, and slung it around my waist, so I could eat it as I explored. Moving away from the comfortable beach, I treaded across the rocky slopes. At the top of the slope, I beheld a giant basin with sloped walls, overgrown with vines and grass. When I saw the thing in the middle of the basin, I realized that this was no natural formation, but an impact crater.
           There was a silver saucer-shaped vessel in the middle of the crater. It was standing upright, with half of it embedded in the ground; it had clearly crash-landed that way countless years ago. As smooth, sleek, and pristine as it looked, it had to be extraterrestrial in nature. Curious and enthralled, I dashed toward the vessel.
           Walking around the saucer’s perimeter, I eventually happened across a set of bones lying among the grass. The skeleton was small and frail, with a head far too large to be human. Plants and animals had cleaned away the flesh and muscle from the bones long ago. As old as the alien was, I wondered if its ship was responsible for the phenomenon that caused the plane to crash. I wondered how many other planes and ships suffered the same fate.
           A silver mask covered the skull. Picking it up, I curiously brought it close to my head. It fit over my face adequately; its cool smooth surface caressed mine and adhered the mask to my face.
           Turning to face the flying saucer, I watched in awe its surface became illuminated with glowing blue lights and runes. I realized that the mask was the key to using and operating the craft. I just needed to find a way inside.
           The lights formed a square outline of a hatch along the hull. Using my coconut, I bashed against the surface just once. As the coconut’s hard surface hit the side of the ship, the hatch gave in, and I crawled inside.
           The insides of the ship were a total mystery to me; there were components and objects scattered all around the gleaming interior that I couldn’t identify or understand. One artifact would help me: a book-like object that translated my English to the aliens’ native language. It would take me weeks more to learn every nuance of the alien’s language, but with diligent research, I mastered the language enough to understand the ship’s computer outputs. Once I knew how to fly the ship, it was a simple matter to lift it off and fly home.

Video Game Review: Bioshock: Infinite

"Are you afraid of God?"

"No, but I am afraid of you." - Troy Baker and Courtnee Draper

The first two BioShock games offered a phenomenal setting - the underwater city of Rapture - in which you fight your way through a ruined utopia with guns and superpowers, and flex some moral decision-making muscle, to experience some kind of fresh and unpredictable story.  For years since, BioShock: Infinite has remained in development, offering a new and promising experience.  This time, you're elevated to the city of Columbia, which floats in the sky.  This time, you don't just crawl through the ruins of a utopia; you get to witness utopia ripping itself apart.

BioShock: Infinite offers a gameplay experience that BioShock fans can recognize; once again, you'll have access to your choice of weapons, and superpowers in the forms of "vigors" (not too different from plasmids).  You'll have opportunities to explore, to scavenge for useful weapons, ammo, money, collectables, and gear that can enhance your effectiveness.  You can't dual-wield superpowers like you could in BioShock 2, but you barely need to; it's pretty easy to switch from guns to vigors, and with the sheer destructive force of both, you can cause some serious destruction (which will be necessary for fights later in the game, which can be ridiculously big and challenging).  The biggest and most unique feature in this game, however, will be a gizmo called the Skyhook, which allows you to leap onto freight hooks and onto hanging rail lines to give you an immediate tactical advantage.  Additionally, your character will be accompanied by Elizabeth, who possesses a unique ability that will also serve a tactical advantage.

That brings me to the story, which will be the biggest and most redeeming value to this game.  It plays out pretty similarly to the first BioShock game; you play a guy going to a place, get caught in the middle of a political conflict, and certain truths become unearthed that puts everything into a clearer perspective.  The worldbuilding involved with this third game is phenomenal:  the city of Columbia is like a piece of idyllic early 20th century America, with stark racial, political, and religious overtones that serve to offset an otherwise gorgeous-looking utopia (such overtones will not sit well with certain audiences; the game has caused some controversy among the far sides of the political and religious spectrums).  But it's the characters who remain the most endearing; Brooker and Elizabeth both show decent development, and I grew to love both of them by the game's end.

When you do reach the ending, the game suddenly pulls out the biggest, boldest, most awe-inspiring mind-bending twist imaginable.  The ending is not only a visually wondrous thing, but it also answers all of the unanswered questions throughout the game, and makes many great profound connections.  The game was solid to start with, but the ending puts the whole thing into a new perspective, and makes you want to play through the whole thing again to understand every nuance.  It has to be played to be believed and understood.

The game plays smoothly and sublimely, with great-looking graphics.  Even though you have to switch from weapons to vigors to Skyhook travel every so often, the game makes it easy with a simple and sublime control scheme.  Characters and settings look very cartoony, which contrasts very heavily with the bloody violence and darker aspects of the story.  The violence is another factor that some gamers have harped on, claiming that it's too self-indulgent, and the story should have stood on its own without the FPS elements.  As it is, I don't think it's any better or worse than the other two games in the series.  Voice-acting is great, and the game's overall sound design is good.  This game uses ingenious designs for all the settings, props, characters, costumes, weapons, and everything else.  Music is not bad either.

The game not only gives the player power, but also immerses the player in a fantastic environment with fantastic characters and a fantastic story.  Unless you're particularly sensitive to the game's exploration of politics, religion, racism, and violence, the game comes highly recommended!

5/5 (Entertainment:  Very Good | Story:  Perfect | Game:  Very Good)

Film Review: Star Trek VI: The Undiscovered Country

"This is the final cruise of the Starship Enterprise under my command. This ship and her history will shortly become the care of another crew. To them and their posterity will we commit our future. They will continue the voyages we have begun, and journey to all the undiscovered countries, boldly going where no man... where no one has gone before." - William Shatner

After 25 years of success, the Star Trek franchise released its sixth feature film, once again uniting the original cast of the series with director Nicholas Meyer.  This is the final film with the original Enterprise crew, and it remains one of the best.

The film literally starts off with a bang; the explosion of Praxis is still one of the most awe-inspiring special effects I have seen, showcasing a pair of giant subspace shockwaves ripping across space.  The film immediately delves into moody, dramatic political tension, before the shockingly violent events that hurl the Enterprise crew into a frantic struggle to rescue their own members and discover the truth.  It all culminates to a thrilling climax.  A few bits of quirky humor, and an endearing farewell, round off what must be the darkest and most intense Trek movie of the lot.

The story for this is an interesting one:  it mirrors the Cold War in many ways, but also incorporates Shakespearean lines (as seen in the film's title) to dig up strong themes of the future.  Fear and uncertainty of the future drive the villains through the treachery, which contrasts heavily with the Enterprise crew's valor, and ultimately drives an excellent mystery-ridden plot.  Characters remain endearing and well-rounded in this film, and the events they go through are harrowing enough to make you care for them.

This film features quality photography and editing.  Acting and writing are strong; even at their age, the original Star Trek cast members' performances still hold up, while Christopher Plummer plays the most deliciously fun and distinctive villain since The Wrath of Khan.  This production has good-looking sets, props, costumes, and special effects.  Music is extremely moody and intense, with a few upbeat parts, and I love it that way.

A few cuts of this film exist now.  The original theatrical cut is respectable as it is, but I've always been fond of the various home video cuts, which extend a number of scenes and bring more insight on the particulars of the story's conspiracy.

The Undiscovered Country has always been a favorite of mine for its intensity and impressive action, but it's also full of heart and intelligence.  Recommended!

4.5/5 (Entertainment:  Very Good | Story:  Very Good | Film:  Very Good)

This film is on my Top 100 Favorite Films list at #66.

Film Review: Star Trek V: The Final Frontier

"What does God need with a starship?" - William Shatner

After a good, successful run of four films, William Shatner himself steps in to direct the fifth Star Trek feature film.  With the title of The Final Frontier, and with the premise of a God-seeking adventure, you'd think this would be the most epic and profound Trek movie of the lot.  Sadly, as of the time of this writing, it's considered the worst Trek movie of the series, and for some viewers, it might even be ranked as one of the worst movies of all time.

Even I won't deny that the film has its issues.  The special effects are strangely gaudy in this film, lacking in refinement or quality.  The acting is at its cheesiest, with jokes and anecdotes thrown out profusely throughout the picture.  Most viewers will also take issue with Sybok's character - you'll find out why about halfway through the picture - and the overall plot, which comes off as messy and directionless.

The film is not without charm, however.  I personally always enjoyed the comedic antics of the three main characters, especially during the opening mountain climbing scenes and during their madcap pursuits in the Enterprise's interior.  Action is frequent and will be pleasing for non-discerning Trek fans.

As ambitious as the story is, it runs through a rather formulaic plot, with little room for quality character development.  Themes should be present, but generally aren't.  It's as straightforward and simple as a Trek movie can be.

This film is captured with okay, never great, photography and editing.  Acting and writing in this picture is never a serious affair; the script gets the job done, but after so many revisions, it has undoubtedly lost something along the way.  The cast members do the best they can with their material.  Similarly, the sets, props, costumes, and special effects do their best to make the picture work, but are not without weaknesses.  Music might be the biggest standout here.

The fifth Star Trek film never struck me as being a terrible film, for I have found it enjoyable.  However, it is a haphazardly-constructed film with issues that most viewers will find distasteful.  Trek fans might want to check this out once, but for everybody else, not recommended.

3.5/5 (Entertainment:  Good | Story:  Average | Film:  Average)

Film Review: Star Trek IV: The Voyage Home

"Admiral, we have found the nuclear wessel.  And Admiral...it's the Enterprise!"  - Walter Koenig

In Star Trek II, the Enterprise crew confronted Khan at a great expense. In Star Trek III, they confronted Klingons in a frantic bid to bring back Spock, at great expense. So naturally, in the fourth film of the classic Trek saga, with the Enterprise crew hanging around planet Vulcan in a captured Klingon Bird of Prey, they had to find their way back home. This film turns the voyage home into an adventure all on its own.

The film starts off pretty straight-faced, immediately tossing the Federation and Earth into peril to prompt the Enterprise crew to deal with it. The crew's solution - to travel back and time and save the whales - proves to be utterly ridiculous, but the film plays with so much tongue-in-cheek humor that it becomes a comedy classic. There are a few visually impressive moments, as the Klingon Bird of Prey skirts along Earth's oceans, but most of the fun in this film is the lighthearted fish-out-of-water comedy. What could be more hilarious than watching 24th century space explorers slumming around 20th century San Francisco, struggling against a seemingly-primitive society to solve high-tech problems? Some of the funniest and most endearing jokes include seeing Chekov roaming with with his Russian accent, asking where the "nuclear wessels" are. It's always a blast to watch Spock trying to get the hang of cursing, and ultimately using his nerve pinch on an annoying punk. And one of my favorite scenes is Scotty visiting an industrial plant, trying to use a 20th century computer by speaking to it.

The comedy makes the film entertaining throughout, but there's still enough problems and peril to make it roll evenly and effectively. It's a little derivative, but still a well-structured plot with quality characters. The film gets a little pushy with the whole "save the whales" theme, but it fits in the light and fluffy context of the overall picture.

The film looks good, with solid photography and editing. Acting is still great from the classic Trek cast: William Shatner, Leonard Nimoy, DeForest Kelley, and the rest get even amounts of screen time to express their tongue-in-cheek humor with phenomenal results. Writing is quite witty. This production has some fine-looking sets, props, costumes, locales, and special effects. Music is really boisterous and happy-sounding, but strangely catchy.

4.5/5 (Entertainment: Very Good | Story: Good | Film: Very Good)

Film Review: Star Trek III: The Search for Spock

"My God, Bones...what have I done?"

"What you had to do. What you always do: turn death into a fighting chance to live." - William Shatner and DeForest Kelley

With the rip-roaring success of The Wrath of Khan, the studios greenlit the third classic Trek film with Spock himself as the director. The problem is, with the way the last film ended, Spock couldn't be in the actual film. It was only natural that the next step in the series was to bring Spock back; hence, the search.

The Search for Spock starts off a bit brooding, but quickly taps into the right adventurous spirit as the Enterprise crew becomes renegades and gives the Federation a hilarious slip. From then on, with bad run-ins with Klingons, the stakes are raised very high, and the struggle becomes quite epic. A few scenes stand out as being fairly epic and jaw-dropping. It is an entertaining thrill ride overall.

My only beef with the film is that it still feels very small-scale. A lot of it might be because pitting the Enterprise crew against one small greedy band of Klingon rogues, led by a rather flat one-dimensional villain, just doesn't compare to everything we've already seen in The Wrath of Khan. Let's face it, Khan was too good of a villain, and nothing Captain Kruge does can outstage that. Not even the constant raising of the stakes, and confrontations with death, are able to elevate the film above and beyond the limited confines of its own plot.

Despite those quibbles, the film still does the best it can to one-up most things, and still deliver the best story it can. The classic Trek crew remains a fun, endearing, and well-rounded group of characters, and their adventure follows a solid plot structure. Themes of rebirth, initially introduced in the last film, are reinforced here.

This film boasts solid, steady photography and editing. Acting is not bad: William Shatner, Leonard Nimoy, DeForest Kelley, and the other classic Trek cast members reprise their roles with good nuance, and with a little more tongue-in-cheek attitude. Christopher Lloyd plays the villain quite memorably, even if the character is a two-bit scumbag. This production has some really good-looking sets, props, costumes, and special effects. The music score has more of the same from the last film, and that's not bad.

On its own, this film is fun and satisfying, but understanding its story may rely pretty heavily on seeing The Wrath of Khan first. As such, it's best recommended as an immediate follow-up.

4/5 (Entertainment: Very Good | Story: Pretty Good | Film: Very Good)

Film Review: Star Trek II: The Wrath of Khan

"Do you know the Klingon proverb that tells us revenge is a dish that is best served cold? It is very  cold...in space!" -  Ricardo Montalbán

The Star Trek feature film debut had its fair share of ambition and spectacle, but was a lumbering beast of a film that proved bewildering and somewhat dull. It makes for a decent space opera, but in their wisdom, the filmmakers realized that they needed to spice things up for the inevitable sequel. Even at the expense of kicking Gene Roddenberry - the revered creator of the franchise - to the curb.

Thus, Star Trek II: The Wrath of Khan came into fruition. Coming after the classic Trek episode Space Seed, this film brings back Khan Noonien Singh as the story's nemesis, and the whole thing becomes a rocketing thrill ride from then on. Space battles are fairly simple and short, but they are still quite spectacular to watch, especially with the colorful backgrounds of the Mutara Nebula. The pacing is even throughout, and the film boasts some remarkable iconic moments that all audiences can recognize and relate to.

The story is appealing; even though there is plenty of action and peril in the movie, it has enough breathing space for quality characterization and theme development. A good chunk of room is left for Kirk contemplating his old age and mortality, and thanks to the parallels of the Genesis torpedo and the film's ultimate solution, strong themes of death and rebirth emerge very subtly. Even without such elements, the characters come off as being well-rounded and enjoyable. The story covers some fascinating concepts, and is well-structured.

This film is shot and edited with quality precision. Acting is phenomenal: while it is always a joy to see William Shatner, Leonard Nimoy, DeForest Kelley, and the rest of the crew in action, Ricardo Montalbán steals the show as the villain, with a powerful and iconic performance. Writing is great, featuring plenty of great memorable lines. The production has a fine array of solid sets, props, costumes, and special effects (costumes in particular are much improved from the last Trek picture). Music, despite deviating from the classic Trek themes, has a catchy melodic charm of its own.

Of this film, I can say this. Of all the Trek films I have known, this still the most...endearing.

4.5/5 (Entertainment: Very Good | Story: Very Good | Film: Very Good)

This film appears on my Top 100 Favorite Movies list at #40.

Film Review: Star Trek: The Motion Picture

"Each of us... at some time in our lives, turns to someone - a father, a brother, a God... and asks...'Why am I here? What was I meant to be?'" - Leonard Nimoy

It took a good ten years to adapt Star Trek, one of the best and most famous sci-fi TV shows of all time, for the big screen.  When they finally did, Star Trek:  The Motion Picture premiered to showcase a big, bold, extravagant spectacle, and a story that promised to be the end-all be-all Trek adventure.

The problem is, watching this film has always been a weird experience.  Despite the gorgeous model work and special effects, there really isn't much action to this, and the pacing overall is rather slow.  Even at its smartest, the Star Trek series and all its future incarnations always had an adventurous spirit embedded with its stories; this movie strips away the adventure in favor of a strict and somewhat cold piece of hard sci-fi.  There's little warmth, and certainly no real bang, to this picture.

That being said, it still has its merits.  The interstellar odyssey through the V'Ger cloud could be seen as something wondrous and awe-inspiring.  The biggest draw to this film will be its story, which showcases a very clever high-concept premise with strong overarching philosophical themes of existence, purpose, and the human spirit.

The plot holding these concepts up is a pretty standard affair, but is stretched rather thinly due to a number of lengthy scenes that could have easily been cut from the film.  A lot of screen time is devoted to endless beauty shots of the Enterprise, there's a weird and silly scene where everybody's trapped in a wormhole for some odd reason, and there's a seemingly-pointless scene involving a transporter accident.  What really throws me off, however, are the characters.  The original cast is all here - Captain Kirk, Commander Spock, Dr. McCoy, Uhura, Checkov, Sulu, Scotty - but Spock is the only one of the lot who actually feels like a main character.  In this movie, it's Decker and Ilia who take the center stage, and they go through a romantic spiel that borders on being sappy.

Photography and editing are generally good in this film.  Acting is disappointingly dry from the classic Trek crew, possibly because they're not given much to do as they are in the sequels.  Leonard Nimoy is easily the biggest standout here; William Shatner does the best he can to make Captain Kirk cool again, and DeForest Kelley throws out some occasionally crass and witty lines.  As the true main character, Stephen Collins comes off as rather dull.  Persis Khambatta might be the best and most interesting performance here.  Writing is not bad, especially regarding the high-brow aspects of the film, but it lacks a certain personality overall.  This production has some rather gaudy costumes, but most sets, props, and special effects are great.  Music is great too.

In the same fashion as 2001:  A Space Odyssey, I have to really be in the right mood to watch this film.  Both 2001 and Star Trek:  The Motion Picture are space operas with very big special effects and very big ideas, but aren't that big on character building.  As a Trek film, this first feature can be a rather dry and bewildering experience, especially if you're looking to see the original Enterprise crew in action.  As a piece of intelligent sci-fi, with a pair of entirely strange new characters in the lead, it can be an interesting and rewarding experience.  Especially for the Director's Cut of this film, which is a little more evenly-paced, and features some smashing new special effects.

It's worth a look for interested sci-fi fans and most Star Trek fans.

3.5/5 (Entertainment:  Average | Story:  Pretty Good | Film:  Good)

Writing Prompt: Starting With Someone Else's Sentence

In my last writing group session, we had an exercise that was simple enough and probably could be done at any time.  However, it does have challenges of its own.  Basically, we flipped one of a few possible different books, picked a random short story or chapter, and read the very first sentence in that section.  Then, using that sentence, we make our own story.  It doesn't have to be the same content as what's in the book; we just needed to use that one sentence as a starting point, and make it our own.

Flipping open one book, I came across a story that started off with this:


Like heat-seeking missiles, they’re always the first to find you, even in the thickest throng of partygoers.

This story went on to describe how a bunch of guys honed in on the narrator to leech off of his screenwriting skills.  I wound up turning it into a story about a bunch of drunk guys honing in on a hacker to make him hook them up to a virtual reality dreamland.  I couldn't finish that story in time, and am still working on it, but I hope to post it here when it's ready.  That's basically all there is to it.

Do be aware that this is meant as an exercise only.  If you do make a full-blown story out of this prompt, using someone else's opening sentence,  you really must change the first sentence so as not to plagiarize or steal that sentence.  Especially if you're considering publishing your finished story commercially.

So, find a book of any kind, open to the start of a story, and use the first sentence as a starting point for your own story.

If you're having trouble finding a good starting point on your own, here are a few openers in my own collection of books that might help you:

• The assassin slung the bag concealing his weapon over his shoulder and walked down the steps to the rickety wooden jetty.
• Being fat had its obvious rewards.
• Beyond the Indian hamlet, upon a forlorn strand, I happened on a trail of recent footprints.
• I dressed a bit more speedily than normal on that snowy, windy, bitter night. 
• Everything was the fault of the damned acrobat.
• It was a dark and stormy night.
• It was a hard jolt for me, one of the most bitterest I ever had to face.
• A long time ago, nearly thirty years now, I had a friend who was waiting to be discovered.
• The most important things are the hardest to say.
• The naked man who lay splayed out on his face beside the swimming pool might have been dead.
• There's a guy like me in every state and federal prison in America, I guess.
• The stones moved.
• I wasn't surprised to learn that my father had died.