Showing posts with label post-apocalypse. Show all posts
Showing posts with label post-apocalypse. Show all posts

July 17, 2015

Film Review: Terminator: Genysis

"Old...not obsolete." - Arnold Schwarzenegger
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For over 30 years, James Cameron's The Terminator has relentlessly entertained with its punchy visual flair and its elegant narrative. It presented an iconic franchise, and it did so telling a great story with time travel that actually made sense. With three sequels of varying quality and substance, the series became rather convoluted. With Terminator: Genysis, filmmakers decided to "hit the reset button" and set a new direction for a potential new Terminator saga.

To be honest, I expected Genysis to be a horrid mess. There might be some who will label Genysis as such a mess, but personally, I was pleasantly surprised by the film's earnestness.  Make no mistake though, the film does have its share of humorous banter and over-the-top action. Chief among the action setpieces, there are a lot of Terminator brawling scenes, where machines fight each other and destroy just about everything in their wake. There are car chases, and there's even a helicopter chase. The firepower is more explosive, the fights are at their most hard-hitting, and the experience as an action film is satisfying.

As with any film, it's the story that will either make it or break it. Even with a cursory glance, viewers can nitpick about plot holes and contrivances with Genysis, given the fact that all Terminator movies mess up the timeline more and more. In this case, the film takes after the first film and neglects the rest, before presenting a number of twists that splinters the plot into an alternate timeline. This time, Kyle goes back in time to find Sarah is already protected by a T-8-800, and is armed to the teeth. There are already T-1000s lurking around 1984, and everything the characters thought they knew becomes irrelevant. In spite of this, the film does one thing that the other sequels never could: it liberates itself from the original formula of The Terminator and opens up the possibilities to any number of directions. Kyle and the Connors are no longer bound to a singular timeline and forced to fulfill their established destinies; as they journey through a new and uncertain future, they confront threats old and new, and once again prove that anything is possible. Because of the way the film remixes aspects of the original film, it slickly utilizes a few scenes from the first film, and is loaded with references and familiar lines. The film adheres closely to ideas and concepts introduced in the first two films. Thus, it feels like a natural extension of the first film, and in all respects, it's a pretty fun alternate sequel.

If there is anything that hampers the storytelling, it would be the characters. They aren't terrible by any means - Kyle Reese and Sarah Connor are as great to watch as ever - but their relationship takes on a totally different dynamic, and the way it turns out in the end could have been refined more (the romance felt forced; I actually question if it's even necessary in the alternate timeline). More screen time for "Pops," John Connor, and O'Brien would have helped tremendously. Danny Dyson appears in just one scene, but I wish he could have had a much bigger role in the film.

The film is made with decent, but rarely memorable or great, photography. The camera work can be a little shakey in a few scenes, but a lot of the imagery is solid. Editing is not bad. Acting is fine for what it is: Arnold Schwarzenegger returns as the iconic Terminator, and he's still a blast to watch. I felt that Emilia Clarke's performance as Sarah Connor was appropriate. I can't say I like Jai Courney as an actor, but I have to admit that him playing Kyle Reese wasn't terrible; he looked the part, and was appropriately stoic. Jason Clarke is decent. Writing is okay, but I felt it could have used a lot of refinement, especially in defining the villains' intentions and fleshing out character relationships. Plenty of exposition is delivered regarding the various plot twists, and even though it often feels forced, it helps make sense of what could have been a screwed-up plotline. This production has pretty good-looking sets, props, and costumes. Some special effects are great, others not so much. The music score reprises a few of the classic themes in an elegant manner, and it is really nice.

Terminator: Genysis is not nearly as bad as I expected; it won't top the first two films, but it's certainly superior to the last two. There are a few things I wish could have been better, but the film does promise a thrilling new direction for the series' future, and it promises to be quite the explosive ride.

3.5/5 (Experience: Good | Story: Okay | Film: Okay)

May 24, 2015

Gods Among Men: Excerpt Chapter 11

With the recent release of Mad Max:  Fury Road, I thought it would be fun to look back on a manuscript I've written and post this thrilling action scene, inspired by the original Road Warrior.

My novel, Gods Among Men, depicts a future in which superheroes started appearing around the world, and they fought a major war against the human race.  In the aftermath, they built a huge walled city, where heroes serve to protect men.  Outside of the walled city is a lawless wasteland.  In this setting, Troy Gaines is a man who wants to become a superhero, but has no special abilities; he relies on an invention to teleport himself, and to prove his worth, he goes on an investigation that leads him to the desert.  Inevitably, he and his partner are captured by a violent wasteland gang.  After surviving an arena fight, the two heroes hijack a vehicle and flee.  What follows is a sprawling chase scene with vehicular carnage.  Hope you enjoy it and have a lovely day!

This is all still part of the rough draft, and may be subject to change.  I'm considering making one of the enemy vehicles an ice cream truck.
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    Pushing as fast and far as he could, Troy [teleported] himself and Victor to the other side of the camp.  They materialized in a penned area, where a number of motorized vehicles were kept.  Most of the cars were broken and run-down, left as rusty wrecks sitting in the dusty ground.
    Victor took the time to run by the vehicles, and he took in whatever electric energy he could from the batteries left in the cars.  Troy ran to a buggy at the far end of the pen; despite its crude construction, the vehicle looked rugged, durable, and more aerodynamic than most of the others.  Its wheels were well over two feet wide, with massive heavy treads.  The canopy was well-enclosed, and appeared to have a roll-cage installed.  Pleased with the vehicle, Troy jumped into it and regarded the dashboard.  It was fully-fueled and charged; all he was missing were keys.
    Then, a thug came up to the vehicle, dressed in filthy overalls.  Troy looked up at the enemy; he was surprised to see that the mechanic was a woman, but even more shocked to see a full beard on her face.
    Holding a wrench in her hands, the bearded lady demanded in a husky voice, “Where do you think you’re going, boy?”
    Troy smirked and said, “It’s been a charming carnival, but it’s time for us to leave.”
    “You’re going nowhere!” the enemy shouted, swinging her wrench at him.
    The wrench made contact with the car’s frame, making a loud reverberating clang.  Troy seized the mechanic’s hand and pulled on it, slamming her body into the vehicle’s side.  While she was close, he reached into her front pocket and pulled out a set of keys.  He then shoved her away, and she stumbled into the ground.
    Fumbling the keys into the ignition, Troy turned it and started the vehicle up.  After several seconds of sputtering, the car hummed to life.  Victor ran up to the buggy and exclaimed, “They’re coming, Troy!”
    “Get in,” Troy said. “I know I’ve had enough of this place.  I never liked the circus anyway.”
    Victor hopped into the passenger seat, and Troy rammed his foot into the gas pedal.  As the tires spun, they kicked up a huge puff of dust.  Jerking forward, the buggy raced through the camp.  Driving the car south, Troy ran down several smaller tents, their fabric crumpling beneath the buggy’s huge wheels.  Smashing through crates, tables, chairs, and chests full of junk, torrents of broken debris flew off of the buggy’s grille as it plowed forward.
    Finally, the buggy cleared the camp and raced toward open land.  A pair of towers made of crude scaffolding overlooked the southern border of the camp; snipers in each tower aimed carbines at the buggy as it rushed across the desert.  Their shots rang out in the open air, and their bullets ricocheted off of the car’s armor plating and steel framework.
    Driving forward for several seconds, the camp fell behind Troy and Victor and became a diminished cluster of specks in the distance.  Patting Troy on the back, Victor laughed and said, “Man, that was crazy! I never thought we would have survived that!”
    “That makes two of us,” Troy smirked. “How much electricity did you gather back there?”
    “Maybe five kilowatts.  It’s a little hard to draw power from vehicles that aren’t running.”
    “What can five kilowatts do?”
    “Aside from running a few cars? It could give a bad guy a good shock, or run a good-sized electric appliance.  It could fill up your teleporter’s power reserve a good ways.  Should I give you a charge?”
    “Sure,” Troy said. “But I plan on saving it for when we really need it.”
    Victor planted is hand on Troy’s chest, and transferred electricity into his vest.  With electricity gently leaking from Victor’s hands, Troy squirmed and said, “It tingles.”
    “So, do you have any idea where we’re going from here?” Victor asked.
    “Anywhere but the Carnival.  I’m hoping the Tierra de Muerta is ahead.”
    Suddenly, loud gunshots could be heard echoing through the air behind them.  Turning, Victor saw a narrow hovercraft gliding over the desert toward them.  As it zoomed over the flat land, it left a trail of dust in its wake.  The vehicle was as crudely-built as the other Carnival vehicles, and there were several gangsters lined up along its railings with guns in their hands.
    Looking in the rear-view mirror, Troy saw more dust trails in the distance behind them.  Even though they had a strong head start, the Carnival was relentlessly chasing them with their full fleet of vehicles.  It would only be a matter of time before they caught up to them.
    Pulling ahead, the hovercraft kept pace with the buggy, while the goons onboard started shooting at Troy.  A hail of bullets rushed at the buggy, ricocheting off of the metal plating and framework with loud snaps.  One shot came close to Troy’s head, whistling past his ear.
    Swerving away from the hovercraft, Troy gained distance from it.  The buggy suddenly rolled over a hill; the vehicle bounced heavily as it jumped from the hill and landed on the ground again.  Troy and Victor were roughly jostled in their seats.
    Watching the hovercraft, Victor said, “Take us closer.  That thing is producing a good amount of power.”
    Steering the buggy toward the hovercraft, Troy brought the vehicle side-by-side with the hovercraft.  As he came closer, one of the gangsters jumped over and landed on the buggy’s roof.  The enemy held on tightly to the frame, fighting against the rushing air and the buggy’s movements.
    Reaching out, Victor sensed the hovercraft’s battery and drained it of its power.  Electricity streamed from the vehicle’s hood and into his hands, blasting a smoldering hole in its chassis.  When the vehicle ran out of power, its motors stopped working, and it slammed into the ground.  Hitting the hard dry ground, the vehicle’s hood was crumpled in, before its body spiraled and spun in the air.  All of its passengers were flung off, to land roughly on the ground.
    Crawling on the buggy’s roof, the last goon appeared over the vehicle’s canopy.  Taking a grenade from his vest, the villain pulled out its pin and dropped it into the buggy’s seat.  It landed directly in Victor’s lap; he frantically grasped it and held onto its safety spoon tightly, to keep it from exploding.
    With his free hand, Victor pointed to the thug on the roof and released an arc of electricity at him.  With a short, high-voltage burst running through his body, the enemy shivered uncontrollably and lost control of his body.   Unable to hold onto the buggy, he slipped off and tumbled into the ground behind the vehicle.
    Still holding the grenade, Victor frantically cried, “Holy sh&t, what should I do with this?”
    “The longer you cook it, the less of a fuse you have,” Troy warned. “Whatever you do, don’t let go.”
    Ahead, there was a mesa that rose up sharply from the ground.  Troy angled the buggy to the right, hoping to loop around the giant stone mound.  As he curved and approached the stone, he saw that their pursuers were cutting across at an angle, trying to flank the buggy.  It took only a matter of minutes for the swarm of Carnival vehicles to gain up on the buggy.
    One enemy car bounced across the desert and cut in front of the buggy.  As the car straightened, it fishtailed erratically, throwing a plume of dust up in front of the buggy.  With the cloud stinging his eyes and filling his nostrils, Troy veered out of the car’s trail and pulled up beside it.  With the car driving in between the buggy and the mesa’s cliff face, the car was sandwiched.  Troy veered into the car and sideswiped it, sending it careening into the cliff side.  As its side scraped against the rock, its panels were crunched in, before the car flipped and landed on its roof.  The car skidded to a halt upside down.
    Looking into the mirror, Troy saw several other vehicles chasing him; they all rolled in line behind him and started driving parallel to the mesa’s side.  One of the trucks rammed into the crashed car, making it spin and throw shrapnel all around.
    As the enemy vehicles chased the buggy, a number of goons stood and leaned out of their vehicles and fired their guns at Troy.  Bullets zoomed past the buggy, occasionally ricocheting off of the buggy’s side and blasting holes in the side of the mesa.  Troy weaved the vehicle side-to-side to evade the gunfire.
    Still holding onto the grenade with one hand, Victor used his free hand to peel off a part of his rubber suit.  He carefully wrapped the piece of rubber around the grenade, so tight that it kept the safety spoon depressed.
    An enemy vehicle sped forward and pulled up beside the buggy:  a windowless car rigged with large wheels and heavy armor plates.  It veered over and rammed the buggy; the impact jerked the vehicle sideways toward the mesa wall.  The buggy came within inches of hitting the stone surface; the stone howled past Troy’s ear.
    Victor chucked the wrapped grenade at the vehicle; it bounced over the hood and landed directly in the driver’s lap.  Panicking, the driver took his hands off the wheel to handle the grenade; the vehicle drifted toward the mesa wall, until the corner of the hood scraped against the rock.  As the vehicle fell behind the buggy, the grenade went off, engulfing the entire chassis in fire.  Pieces of metal flew from the explosion, bouncing off the ground and landing in the dirt.  One metal plate spun into another vehicle, cleaving into the hood and rupturing the engine; the vehicle drifted away with smoke and liquid leaking from its ruptured front.
    The buggy continued to drive around the base of the mesa, looping around it until it headed south.  Pulling away from the rocky formation, Troy stamped on the gas pedal, and the buggy rocketed forward.  The vehicle bounced roughly as it tumbled over rough ground and small hills.  As all the enemy vehicles followed Troy in a line, they struggled against the uneven terrain to keep pace.  One enemy car launched itself off a small hill and landed on top of a boulder; its front grille flew off as the chassis crunched against the stone.
    One of the enemies pulled out a bazooka and aimed it at the buggy.  With the rough movements of the cars, the enemy’s aim was erratic.  When Troy saw the bazooka’s rocket pointing at him, he slammed on the brakes, and the buggy slid on the dirt.  The other cars sped past him, just as the goon fired his bazooka.  His rocket blasted away with a plume of smoke, and it struck the ground with a thunderous boom.  The projectile left behind a crater, with pieces of dirt and rock raining all around it.  One of the other enemy vehicles drove over the hole, causing its wheel to bounce up and send the car rolling onto its side.
    Pressing on the gas again, Troy tried to pick up speed again.  As the buggy started to roll forward, an enemy jeep rammed him in the rear, causing the buggy to lurch forward.  More gunfire erupted, rattling against the buggy’s chassis.
    Turning in his seat, Victor leaned his torso out of the window, and reached out toward the vehicle behind them.  An electric arc sizzled between his fingers and the jeep; with its power drained, the jeep’s engine died with a sputter.
    Still accelerating, Troy kept the gas pedal depressed as he swerved away from the main group of vehicles.  As he arced further south, the enemies curved with him; one truck came up beside the buggy, armed with a 50-calibur machine gun on its bed.  One of the goons manned the gun and started pummeling the buggy with gunfire; with each thumping of the weapon, giant holes appeared in the buggy’s metal armor plates.
    Victor kept his head slumped behind the door panel, but he snaked his arm out the window and discharged an electric bolt.  Lightning shot from his fingers and touched the machine gun; electricity curled around the weapon and ran through the gunman’s hands, making him shudder and convulse.  As he shook, he fell to his knees, and swung the machine gun forward.  As his finger muscles contracted, he gripped the gun’s trigger tighter, sending gunshots into the driver’s seat.  A splash of blood shot across the hood, before the truck drifted away from the buggy.  Rolling over a hump, the truck flew briefly in the air, before it came down into a ditch and landed hard on its side.  The sounds of crunching, twisting metal filled the sky.
    “That felt good,” Victor remarked. “I’m out of juice though.  I need to drain more.”
    “Don’t worry, I have some ‘juice’,” Troy winked. “Take the wheel for me.”
    “What?”
    In an instant, Troy grasped Victor by the shoulder, and they both teleported to trade spots.  Finding himself in the driver’s seat so suddenly, Victor swore and frantically grabbed the steering wheel.  While he kept the vehicle straight, Troy returned to a vaporous form, and floated out of the buggy.
    Flying backwards, Troy’s essence free-floated for an instant, drifting toward one of the pursuing vehicles.  He appeared on top of the car’s hood, and he promptly kicked the driver through the open window.  Grabbing the steering wheel, Troy jerked it hard, and sent the car veering sharply sideways.  He vanished just as the car smashed into another vehicle; both of them rolled and tumbled over the dirt, with metal debris and broken car parts spraying all over the place.
     Only two vehicles remained, driving in tandem behind the buggy.  One goon stuck his head out of the window of one of the cars and started shooting at Troy’s misty body with a pistol.  The bullets pierced the air and passed through Troy’s cloud of particles.  Swooping down toward the enemy, Troy appeared for a split-second just outside of the car.  In that instant, he grabbed the gun out of the goon’s hands, and vanished with it.
    Pushing himself ahead, Troy flew in front of the car and appeared on its hood.  No sooner did he appear than the driver swerved the car side-to-side, shaking Troy off of the vehicle.  He slid off the hood and teleported before he could hit the ground.
    Moving ahead, Troy returned to the buggy and returned to human shape on the roof.  With his legs firmly clenched around the vehicle’s frame, Troy aimed his stolen pistol and shot at the car.  Sparks flew off the car’s roof as the bullets ricocheted off of it.  One shot penetrated the car, passing through the driver’s head and killing him instantly.  The passenger frantically grabbed the wheel to keep the vehicle straight.
    At that moment, the other enemy car veered in between the two vehicles, directly in front of Troy. Its passenger threw something into the air at Troy; it looked to be a crude pipe bomb.  Troy shot it in mid-air; the bullet struck the detonator and it detonated in the air.  A puff of fire and smoke filled the air, and quickly fell behind them.
    Aiming at the enemy, Troy fired his pistol.  Gunshots sparked against the car’s roof with loud pings.  After just a few shots, all the bullets ran out, and the gun stopped firing.  Tossing the weapon away, Troy teleported himself into the car’s seat.
    Appearing in between the driver and the passenger, Troy grabbed both men by their heads and slammed them against the dashboard.  While the driver was stunned, Troy seized the passenger and heaved him over the dashboard; he skidded across the hood and fell over the grille.  The vehicle bounced as the wheels ran him over.
    Recovering from the attack, the driver swung his arm into Troy.  Blocking the punch, Troy threw his fist out into the enemy’s cheek.  His leg stamped on the driver’s foot, forcing him to depress the accelerator.  As the car sped up, Troy grabbed the steering wheel and pulled on it suddenly.
    The combination of speed and the sudden turn caused the car to drift across the desert; a trail of dust billowed from the car’s tracks.  Its tires struck a large rock, causing it to jump in the air and roll.  Even when the car landed, it continued to tumble along its side, its chassis becoming dented and wrecked.  One of its tires was flung off, to land fifty yards away.
    Teleporting out of the crashing car, Troy strolled on the cracked Earth and watched the vehicle come to a halt.  Its twisted hulk made one last groan before it slumped on the ground; the driver hung out of the window with blood dribbling from his mouth.
    Turning around, Victor drove the buggy back and pulled up beside Troy.  Out the window, Victor said, “You do have this habit of leaping before looking.”
    “Nonsense,” Troy smirked. “I do both at the same time.”
    “How much power do you have left?”
    Checking his wrist meter, Troy replied, “None.”
    “I figured as much.”
    “Don’t worry, it’s power well-spent.  How much gas does the buggy have left?”
    “About half a tank.  It’s a real gas-guzzler, and I doubt we’ll be able to find a usable gas pump anywhere.”
    “The nearest town I know of is Blood Gulch…probably a good five hundred miles to the east.  Do you think we can make it?”
    “Not in this beast,” Victor sighed. “No matter what we do, I think we will have no choice but to walk some of the way.  I don’t know about you, but my desert survivalist skills aren’t that great.”
    “Surviving in the wastelands isn’t hard, as long as you know what you’re doing,” Troy said, as he went around the vehicle and got in through the passenger door. “I grew up out here, so the desert doesn’t scare me.  If we want to preserve gas, I recommend putting this thing into neutral and letting it roll for a while.”
    As instructed, Victor drove the buggy a short distance before shutting off the engine and letting it run on neutral.  The vehicle traversed a good ten miles on its own momentum, treading on the flat landscape.  It rolled down a hill and gained substantial speed and distance.
    Crossing another flat stretch of empty wastes, Victor probed, “So, was gas rare in your home town?”
    “It’s rare everywhere.  Why else do you think all city vehicles run on hydrogen fuel cells?”
    “I mean, gas-powered cars are still used heavily out here, so you got to have a healthy supply of oil somewhere, right?”
    “It’s all mostly scavenged from pre-war reserves, ruined gas stations, or the occasional wrecked tanker.  Most of it is plundered by the various gangs and warlords all over the desert; another commodity they can control and sell to the various towns and settlements all over the place.  There was a community that once took control of a working oil pump, but it was overrun by a gang, and it fell under the control of a man named Gordon Thurgs.  He pumped the well completely dry, and that was the last of the oil that can ever be produced in this country.  Whatever is left to be found out there are likely hoarded by gangs, like these Carnival freaks, for their own pleasure.”
    “It makes me wonder what will happen when the very last of the oil in the wasteland is gone.”
    “You’d be surprised as to how well people can adapt in the wasteland.  Some of the cleverest people have already adopted electric vehicles.  There are plenty of talented inventors and engineers who have built solar-power or fuel-cell vehicles using only scavenged parts.”
    “Really?”
    “How do you think my teleporter was made?” Troy indicated. “Good old Nash, he could make something out of anything.  Some people called him the ‘Alchemist of the Wastes’ because of his skill.”
    “If this Nash guy was so smart, why didn’t he make your suit solar-powered or anything?”
    “This was the prototype, he said.  He wanted to develop this design further, to incorporate the possibility of alternate methods of power regeneration.  As it is, he said this thin, flimsy design only permitted dynamic motion generation.  At the time, I felt it was more than enough for me.”
    “You know, when I look back at what happened, I still feel a little p!ssed off that you led us all on,” Victor scorned. “If I knew that you were just another guy, we could have taken a Pantheon airship all the way out here.”
    “We probably could have taken one regardless,” Troy sighed. “I was a little overconfident in the integrity of my own equipment.  Understanding that none of us could have predicted what happened, I think it’s best to just forget about it, and focus on what we’re going to do now.”
    “What are we going to do? Even if we find this Tierra de Muerta, how will we ever get back to Theopolis?”
    “That is a question that is best left to fate, for we have no idea what we’ll find in the Tierra de Muerta.”
    “Things would be a lot easier if your teleporter got fixed,” Victor suggested. “Any ideas about that?”
    “We’d have to find Nash,” Troy explained. “I hope he’s still hanging around in Roswell.  Of course, that’s a good distance past Blood Gulch, probably a good six hundred miles away.”
    “There’s just nothing close, is there?” Victor sighed. “Alright, let’s just wait and see what comes up ahead here.”
     For the next few miles, Victor continued to let the buggy coast along the flat, arid desert.  When the vehicle slowed down too much, Troy and Victor both pushed in the buggy until it gained speed, and jumped into the seats.  They continued in this fashion for another ten miles.
    It was well after noon before they stopped the vehicle completely.  Coming up to a cluster of cacti, Victor pressed on the brakes, while Troy jumped out of the buggy.  He took the knife he had pocketed from the Carnival, and cut into one of the cactus.  Water spurted from the stem immediately; Troy gathered some of it in his hand and slurped it.  He then cut off a larger chunk of the stem and passed it to Victor, who sucked out its water and bit into its inside.
    While they rested and ate, Troy became aware of a noise from the distance.  It was the airy roar of a motorized vehicle, still far away from them.  Looking to the horizon behind them, Troy could see a small trail of dust rising from the horizon, coming from a large black speck.  The speck grew bigger as it came closer, and Troy realized with dread that it was another Carnival vehicle.  It was particularly large and fast, and grew more menacing in appearance as it came closer.
    Seeing the approaching vehicle, Victor immediately started up the buggy, and Troy jumped in.  They took off at full throttle, frantic and desperate.  Even after all the miles they had covered and all the enemies they eliminated, they were still being pursued.

May 20, 2015

Film Review: Mad Max: Fury Road

"If you can't fix what's broken, you'll go insane." - Tom Hardy
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The world of Mad Max has progressively become madder and madder; 30 years after the third film, Fury Road presents a fresh, new tale in the mythos of the legendary road warrior. This time, the picture the film paints of the future is far more vivid than anything that's come before. Against the backdrop of harsh desolation and vicious tyranny, the stage is set for a new round of intense vehicular carnage: what follows is a relentless onslaught of bullets, fire, and bloodshed.

This film starts off fast and furious, and it keeps the pacing up all the way to its finale. It can be generalized as one two-hour chase scene, but that's not to say that the action ever becomes dull, or that the film never takes the time to breathe; like any great blockbuster experience, it's a rollercoaster ride so full of ups and downs that it keeps the audience exhilarated constantly. The film's chases are the biggest highlights; there are a plethora of incredibly well-designed vehicles that crash and burn in phenomenal ways, while the characters fight and struggle across the moving cars. The film is consistently loud, explosive, and intense. When the characters do manage to catch a break, the characters struggle against each other and against the elements, so there's hardly any drag at all.

Within and outside of the action scenes, the film tells the story it needs to, and it does so with minimal use of exposition, very effectively showing more than it tells. In the same vein as The Raid, Dredd, or Duel, which were simple stories centered around the situation, so too does Fury Road use its central chase scenes as a basic skeleton from which to add on more to the characters and story. The characters are a compelling bunch; Max is reintroduced to us as a broken man, still haunted by events of the past (which are shown in rapid-fire flashbacks, and differ vastly from what's shown in Mad Max). Max's journey becomes entwined with that of Furiosa, a tough and brave woman whose motivations are revealed as the plot moves on. Together, Max and Furiosa represent two characters who are broken in some way, and join forces to fight their way to liberation and freedom. Some audiences have said that Furiosa is more the main character than Max, but I find that both share screentime equally, to complement each other the same way Max had to share time with everybody else in The Road Warrior. What might throw people off is that Max doesn't speak much in this film; what little he says is gruff and crude, and he fills the rest of the space with a few grunts and noises. However, Max remains the narrative focus of the film, as it tracks his journey in and out of bondage, and finally to liberation, to become a legendary drifter once more.

Few people have taken offense to the way the film demonizes men and emphasizes the struggle of women characters to fight them and free themselves, to the point where they feel Max is a diminished character and the film actively pushes a feminist agenda. I am of the mind that such complaints are unwarranted; even though the film is certainly about women struggling for freedom, they do so with the help of certain male characters, against a whole society that's been conditioned by a mad tyrant. If you replaced the women with men, the story would still hold water (except for all the bits concerning Immortan Joe's heirs). The narrative's focus on liberation is universal. It just happens to revolve around tormented women because that's the condition of the world they live in: a brutal place where women are mistreated and abused, solely to reap the benefits of their bodies. It also just so happens that the War Boys are conditioned to be berserkers who just want to fight, pillage, and plunder; they are not that way just because they're male, but because they're controlled, and effectively enslaved in their own way. Max enters this world unwillingly, and he helps in the fight against it because he shares a common goal with Furiosa. She might match his machismo, but she never undermines it, and Max remains just as heroic here as he is in the older films. If the film is anything, it's purely anti-dictatorship and pro-freedom, and I find it compelling that way.

This film is captured with fantastic photography and punchy editing. Color schemes are very bright and vivid. Filling in the shoes that Mel Gibson left behind, Tom Hardy plays Max Rockatansky with a phenomenal presence, and with blunt, animalistic dialogue, which is fitting for the primal world he inhabits. Charlize Theron plays it tough as Furiosa, but with enough distress to elicit sympathy for her struggle, and make her character well-grounded and well-rounded. Nicholas Hoult is surprisingly lovable in his role, and Hugh Keays-Byrne exudes a phenomenal presence as Immortan Joe, who stands as one of the most chilling villains I've seen in a while. Writing is concise and it gets the job done. This production has loads of superbly detailed sets, props, and costumes, all of which brings the post-apocalyptic world to life fantastically. It all contributes to showing and illustrating the culture of the War Boys, which shows plenty of well thought-out ideas and concepts. Most stunts and crashes were done practically; what few special effects the film has are used precisely and effectively, and are great. JXL's music score adds to the experience admirably.

Mad Max: Fury Road is easily the best-looking film of the series, and it boasts the biggest and most brutal action scenes. It's a perfect example of how a simple premise can be used to tell an invoking story and craft an exhilarating experience. Best of all, it does so using the power of images and sound, just as cinema should.

5/5 (Experience: Perfect | Content: Perfect | Film: Perfect)

Film Review: Mad Max: Beyond Thunderdome

"Ladies and gentlemen, boys and girls... dyin' time's here..." - Edwin Hodgeman
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Max Rockatansky survived onslaughts of biker and motor gangs, becoming a fierce warrior of the desolate future. His journey now takes him to the humble beginnings of a new society, in a place called Bartertown, where disputes are settled in a deadly arena called the Thunderdome.

In this third entry in the Mad Max universe, we are thrown headlong into a more populated world, far more dense than before. This is not a simple matter of Max out-running or out-gunning enemies; he becomes entangled in a conspiracy that turns him into an outcast and a villain, forced to fight for his life, before wandering the wastes and finding the most unlikely resources to retaliate against his enemies. In the film's beginning half, there is some gladiatorial bloodsport, which is a wicked sight. In the film's last half, there is a grand chase scene involving even more of those crazy buggies that made The Road Warrior so memorable; only now, the chase involves a train and a plane as well.

Unfortunately, the experience of this film is nowhere near as intense or compelling as the last two in the series. Once Max winds up in the hands of a group of feral children who descended from plane crash survivors, the film becomes a bizarre post-apocalyptic version of Peter Pan, with Max leading the lost boys out of the desert to salvation. Not only does the pacing slow down during these scenes, but the film loses all sense of savagery and intensity that made Mad Max so poignant to begin with. A plethora of goofy antics makes the film light in tone and silly in execution, making the experience rather goofy.

However, the story has merit. This is a more complex tale that incorporates some of the tropes and archetypes of a western - complete with a corrupt sheriff-like villain, who seeks to control methane power the way they used to control railroads or oil in those old movies. Max walks into things as a rogue element, but leaves as a prophetic hero; his role as both fits comfortably in the two settings he's made to blend into, and his journey in and out of the Thunderdome proves to be a satisfying one in the end.

This film is crafted with decent photography and editing. Mel Gibson continues to play it tough as Max, although his performance seems much more playful in this than in the last two movies. Tina Turner hams it up as the villain, and every other performer does their part well. Writing is okay. This production uses a lot of great-looking sets, props, costumes, and locales. Music is not bad.

This film is usually considered the weakest of the Mad Max films, thanks largely to its goofier parts, but it is still an exciting adventure with plenty to behold.

3.5/5 (Entertainment: Pretty Good | Content: Okay | Film: Good)

May 19, 2015

Film Review: The Road Warrior (Mad Max 2)

"In this maelstrom of decay, ordinary men were battered and smashed... men like Max... the warrior Max. In the roar of an engine, he lost everything... and became a shell of a man... a burnt-out, desolate man, a man haunted by the demons of his past, a man who wandered out into the wasteland. And it was here, in this blighted place, that he learned to live again." - Harold Baigent
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In another time, Max Rockatansky was a cop who watched his wife and son brutally run down by violent bikers in a world that kept getting madder and madder. After crossing the threshold of sanity and becoming "Mad Max," the world has now become a desolate wasteland, taken over by motor gangs who pillage and plunder the innocent, forever searching for gasoline to keep them going. Once again, Max is forced to match their brutality with his own.

The Road Warrior is best remembered for painting a vivid and hard-edged vision of the future, where bandits are leather-bound psychopaths who drive around in inventively-scrappy buggies and bikes. These are just a few of the details that ordains the film; the picture is filled with an incredible amount of detail that makes the post-apocalyptic wasteland look real and threatening. In this setting, the film tracks the reluctant hero Max as he confronts bandits, struggles to gain trust, and ultimately gives into a frantic escape plan. The film builds up to a memorable and well-crafted chase scene, in which a whole group of crazy vehicles run after a fortified rig. There are explosive crashes, brutal lashes of violence, and plenty of imagination to behold in this adventurous film.

The film presents its story as a kind of myth, romanticizing Max as a heroic drifter who breezes through and does what he has to. Like so many other heroes of this type, he is a reluctant one, who starts off with selfish intentions, but circumstances cause him to risk everything for the greater good. Thus, Max transforms from an antihero to a more classic form of hero, and his journey makes the film most endearing. The story advances smoothly from beginning to end with minimal drag, culminating in a satisfying climax.
This film boasts decent photography and good editing. Mel Gibson exhibits decent machismo as Max, and everybody else provides decent performances. Writing is good. This production uses very detailed and very real-looking sets, props, costumes, and locales. Music is good too.

Although the first Mad Max film has its share of action and style, The Road Warrior is the film that paints the most definitive picture of a post-apocalyptic world - complete with fantastic chase scenes - and it defines Max as a hero we can root for.

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

April 26, 2015

Novel: Rider of the White Horse Now Available!

Rider of the White Horse was the first novel I've ever written.  It was published in 2002 by Authorhouse (formerly 1st Library), and is now being prepared in a new edition for CreateSpace.

It is now available and can be purchased on CreateSpace or Amazon.

Synopsis:
The Earth becomes a wasteland, following an onslaught of nuclear war and environmental disaster.  Most of the world is conquered by the mysterious Klokan Empire.  With advanced technology and an army of clone soldiers, they systematically exterminate all remaining human beings in a terrifying holocaust.

One clone soldier becomes gifted with an insight and spirit that sets him apart from the others, and he sees the Klokan Empire for the evil it is.  He defects and becomes Kurt Stone, a deadly agent for the last human nation on Earth.  He turns the tide of every battle, pushing the Klokan Empire back while confronting political schemes and civil unrest.

As Kurt's battles take him across the world and beyond, he follows in the prophecy of the Rider of the White Horse:  a warrior who will defeat evil and save the human race.

This account of post-apocalyptic war features big-scale battles, explosive action, suspenseful drama, endearing romance, and gripping emotions.  This grand tale is now presented in an all-new edition, with improved quality and new notes on the creation of this epic adventure.

Background:
In the 8th grade, I came up with my first truly original novel idea.  It came to me when the class went on a field trip to the Anne Frank exhibit in York.  I was (am) interested in WWII history, and I knew all about the holocaust.  In fact, I had the sobering experience of listening to holocaust survivors speaking at our school.  But it wasn’t until this field trip that I learned of the term “Aryan,” and realized that Nazi Germany was basically a huge-scale (and very scary) eugenics program. 

The biggest lesson about the holocaust was that it happened once, and history can always repeat itself.  Next time, it could be worse yet.  I had a scary notion I had that I was compelled to explore:  if Hitler had cloning technology, then he could have abused it to create his “perfect” race, and he could have truly taken over the world.  The genocide, and the purposeful reshaping of the human race, would have been terrible.  I suddenly had scary visions of a post-nuclear-war landscape, where clone armies were marching around and slaughtering every living thing.

My first few drafts for this story were pretty awkward; it’s hard to find the right starting point and the right voice sometimes.  In those first attempts, I approached my ideas in a straightforward fashion, using literal Nazis as the villains.  I took a lesson from existing science fiction, and made an attempt to veil Nazism with other names and concepts.  Thus, I made them into the Klokan Empire.  The term Klokan was originally a name I designated for a race of aliens, who would have had boney claws and spikes sticking out of their skin.  Since I abandoned those story ideas, however, I cannibalized the name “Klokan” for this story.

Something was still missing, however.  A certain theme, and plot structure, was lacking, and it got to the point where I didn’t know how to proceed with this story.  One Easter, I was reading the Book of Revelation, just out of interest, and that’s when I came across the passage regarding the Rider of the White Horse.  Many of the passages in Revelations interested me, for their metaphorical ideas and intense imagery.  When I read this specific chapter, I realized that it could align perfectly with my story, and I sought to marry them together.  I found ways to connect characters and ideas from the book in with Revelations, to the best of my ability.

From then on, the book pretty much wrote itself.  I barely even remember putting that much effort into it; you know something is good if you have fun doing it, and it all flies by without much struggle or second-guessing. 
It took about a year or two to draft this entire story, and it was all finished shortly after I graduated high school.

Publishing this story was another animal entirely, and I had absolutely no clue as to get any kind of professional writing career started.  When it came to querying or submitting works for commercial publishing, I was totally lost, I didn’t know where to start, and I never found the motivation to invest much research or effort into it.  After some brief research, however, I did come across some new Print-On-Demand companies, and felt they were easy and fairly risk-free.  I was sold on the concept of it, I went through the process, and I got this book published by 2002.

I made very few sales; probably 100 or so altogether.  Publishing was easy through these companies, but promoting these books was entirely up to the authors, and I was terrible at self-promotion.  I tried to host a book signing at the local library, but only had one person stop by.  In the end, it was just friends and family who invested in this book, and maybe a few random strangers.

What few readers I had before enjoyed the book, regardless of its issues.  Now that I’ve taken the time to fix up the wording and grammar, I expect that I’ll be happy and proud of this creation again, and can present it to willing readers with confidence.

Redux Edition:
Starting in 2012, I went through the whole text line-by-line to fix numerous issues with the text.  Most of the wording was re-arranged and re-written for better readability.  The text is no longer so plain and flat.  Redundancy is reduced, grammar mistakes are fixed, and the dialogue is sharper and flows better.  A few chapters were merged together, one scene was cut out, some scenes were made longer, and a few really cheesy parts were rewritten so they work better.  The whole thing is revamped so that it reads better and is more creditable.

In preparing for a new print edition of the book, some new notes were made outlining the book's creation and history (most of which is in this post anyway), and new cover art was made by artist Keyvan Ebrahimi.

Inspirations:
I was inspired by the various stories and films I was exploring at the time:  L. Ron Hubbard’s Battlefield Earth, James Bond movies, and the film Soldier, have all inspired this story.  The name Kurt Stone was inspired by the actor Kurt Russell.  To help visualize and design the various forts and bases that are attacked throughout the book, I designed them with a level editor for the video game Star Wars:  Dark Forces II:  Jedi Knight; doing so allowed me to map out exactly where these characters go and what they experience when traversing through the high-tech Klokan facilities.

There was some music that helped inspire me during the drafting and designing process.  In those days, the film scores for 1997's The Saint and GoldenEye were the biggest things I listened to; they were both quite moody and had a mystique to them, and Eric Serra's music in particular was very appropriately modern.  I discovered that certain CD-ROM video games had music tracks on them, so I listened to the Mechwarrior 2 music all the time; a lot of that has been inspiring for finding the right tone and atmosphere.  As time went on, I acquired more James Bond soundtracks - Tomorrow Never Dies and The World is Not Enough - and select songs, including Rob Dougan's "Clubbed to Death," which I first heard on a Nissan commercial and might be the song that I associate the most with this book.  Other fine songs that have inspired me include Rob Dougan's "Furious Angels," Dave Matthew Band's "When the World Ends," Moby's "Everloving," Sting's "A Thousand Years," Apollo 440's cover of "(Don't Fear) The Reaper," Billy Joel's "Leningrad," Live's "Forever May Not Be Long Enough," PPK's "21st Century," and most recently, Imagine Dragon's "Radioactive." A collection of this music can be heard on 8tracks.

In Conclusion:
The first time I do most anything is usually the worst.  It feels like I've spent more time and effort on this book than any other, because it came out so flawed on the first try, and I had to go back and fix some things.  Now that I've cleaned the work up, I feel more confident in presenting it to readers as a grand piece of post-apocalyptic adventure.  If you do order my book, I hope you'll enjoy it as is.

October 22, 2014

Film Review: Snowpiercer

It may be a stretch, but just imagine a single train looping around a track, cutting through an Earth that's completely frozen over.  This train has been running for years, and it has its own microcosm of social classes, with the rich and powerful living in the front in luxury, and all the poor and wretched stuck in the back.  When those in the back of the train stage a revolution to take over the front, all hell breaks loose.

That's pretty much what this film entails:  the prologue is brief, setting the stage immediately for an all-out onslaught of bloody fighting, riveting peril, and startling revelations.  It's a rather grim and bleak film that doesn't shy away from the grisly details, but it's rarely trashy or distasteful.  The film is dark, fast-moving, and action-packed.  I personally couldn't ask for a more entertaining picture.

What's even more rewarding is the storytelling.  It's a bit of a weird and unbelievable yarn, thinking that a single train could run endlessly like this.  There are bound to be plot holes to uncover if you really analyze it on the surface level.  However, the film slowly unveils more and more details behind its concept that gives more background (whether it's plausible or not is probably debatable).  Above all, the film takes itself seriously, everything looks creditable, and it provides a self-contained world that's easy to take on its own merits.  In spite of all this, the plot moves fast and reaches an interesting climax (the likes of which would be on-par with the architect scene of The Matrix Reloaded, minus the mumbo-jumbo, but with the same level of plot twisting).  Characters aren't terribly deep or refined; they ultimately serve little more than voices for the issues, plot complications, and conflicts that erupt.

The biggest asset to this film are its themes.  Some folks won't like them, because it's a very blatant, in-your-face allegory concerning the state of the world we currently live in.  The film asserts that we are all headed toward disaster if we continue to run this "train" of ours the way we have been.  Whether you look at it as a criticism of the upper class exploiting the lower class, or the depletion of the environment and resources, the film paints a bleak picture to expose the ugly truths of our cold world.  I find the parallels compelling, although I'm sure there are those who will find them pretentious, obnoxious, stupid, or something else.

Regardless of how you grade the content, the film looks great with its dark and gritty photography.  Editing is top-notch.  Acting is great:  Chris Evans is surprisingly somber as the protagonist, and I enjoyed the performances by John Hurt, Ed Harris, Song Kang-ho, and Go Ah-sung.  Tilda Swinton is awesomely hammy in her role.  Every other actor pulls their weight really well.  Writing is pretty sharp and good.  This production has great-looking sets, props, and costumes.  Special effects tend to look fake, but it rarely detracts from the film's overall quality.  Music is decently somber too.

Snowpiercer is a rather odd tale, but one that is highly imaginative, consistently entertaining, and it's chock full of themes worth exploring (whether you want to or not).  Highly recommended!

5/5 (Entertainment:  Perfect | Content:  Good | Film:  Perfect)

October 1, 2014

Film Review: The Maze Runner

A kid wakes up in a cage that's climbing up an elevator shaft, with no memory of who he is and where he came from.  At the top, he finds himself stuck in the middle of a grassy plain, surrounded by trees, and giant metal walls beyond.  Beyond the walls is some kind of massive labyrinth, which closes itself off every night, and there are deadly cybernetic creatures that come out to slay anybody who's stuck inside.  This kid finds himself among a small society of other kids who have been stuck in this place for years, and could never find their way out of the maze...until now!

If nothing else, I think The Maze Runner starts off with a really cool concept and it remains enthralling all the way to its end.  Even if it does fall into the typical tropes, cliches, and formula set up by other adaptations of YA fiction novels (especially The Hunger Games), the film is very consistently thrilling.  It's not just the action scenes, of which there are plenty and they're never really overdone - it's the plot and the methodical way it unravels that captivated me the most.  It starts off so enigmatically, the film kept me glued to the action to see what the heck is going on and what the secret is behind the maze.  The maze lends itself easily to building suspense, as the characters have to maneuver through its winding corridors and evade death at every turn.  Outside of the maze, the film keeps the tension high thanks to an overarching sociological struggle that forces the characters to question whether they should risk their lives to escape or remain alive in their well-organized mini-society.  At times, this takes the characters to darker and savage territory.  The film can be pretty violent and nasty when it needs to be; it's not too distastefully graphic, but it is definitely not all that fluffy either.

The plot runs pretty evenly with minimal drag, thanks to the plethora of conflicts that emerge among the different characters and the events that unfold.  That being said, it's still not a perfect story; I personally found it odd that all it takes place in the course of three days (were it not for the dialogue, I would have assumed that months had passed).  There are moments in the film where you could question why certain things weren't tried to accomplished before the main character's timely arrival.  I found most plot holes easy enough to dismiss, but the film's success in the long run may depend on how the sequels do (and yes, the movie does end with a huge infodump that leaves more questions unanswered, and offers a lead-in for the next movie).  I found most of the characters likable, except for one major antagonist, who may be one of the most unreasonably jerky characters I've seen in a while.  I wanted to slap that Gally upside the head.  The story seems to dig up some very interesting sociological themes, thanks to its focus on the group, the system they built, and their ongoing struggle through the maze.  I have no idea how this movie compares to the original book, but it certainly has me interested enough to read it sometime.

The film looks mostly-good.  Photography is great in many scenes, but a few of the action scenes tend to be jittery and erratic at times.  Editing is decent.  I felt the cast was good, especially considering that so many of these actors are children.  Writing gets the job done; there is a lot of exposition, some of which dumps a lot of new terms on the audience, but it keeps things rolling well.  This production has decent-looking sets, props, and costumes.  Music is okay.

This film is a bit like what you get if you take the death-match scenes from The Hunger Games and crossed it with The Lord of the Flies.  It may look like just another YA adaptation, but I think The Maze Runner is decent sci-fi and it could be the start of a cool new film franchise.

Recommended!

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

July 15, 2014

Film Review: Dawn of the Planet of the Apes

After the apes rose up in rebellion and fled San Fransisco, a plague descended on mankind, setting the stage for the inevitable clash of two cultures.  With human civilization in decline and ape culture on the rise, it is a fragile and fearful time for all.  It would only take a few bad misunderstandings to set off an all-out war between men and apes.

That's pretty much what we get in this follow-up to Rise of the Planet of the Apes.  It starts off a bit slow, but builds momentum and tension as the two sides of the conflict rub together.  By the last act, it becomes a shooting war.  It's not quite as tight as the first film, especially since your enjoyment could hinge on whether or not you care for the human and ape characters.  However, the film doesn't linger too long on the drama, even though the film is attentive to all sides of the conflict.

What matters the most is the story.  Not only is is a sequel to Rise of POTA, but it also borrows the plot and ideas of Battle for POTA (which, ultimately, remains the weakest of the franchise thanks to its cheap and dated look, and poor execution of the story).  Dawn improves on Battle substantially, if for no other reason than it gives the characters a fresh new life and emotional anchor that audiences can latch onto (specifically, regarding Caesar and his ape tribe; the human characters have their moments, but never really take the spotlight enough to make us care).  The story proceeds to underscore the key themes behind the apes' civilization - the moral battle between taking action or enforcing pacifism - and it's a struggle that endures for the entire picture and drives the characters.  It all builds up to a moving tale of treachery; the ultimate turn of events mirror the takeovers and oppression of typical human dictators, and the film provides a stark reflection on how the rage of a few unchecked individuals could ruin peace for everyone.

This film is crafted with decent photography.  Acting is not bad; the ape characters easily steal the show, with Andy Serkis and Toby Kebbell bringing their characters to life marvelously.  Gary Oldman is as great as ever, although his role is pretty small.  Jason Clarke is okay.  Writing is good.  This production uses quality sets, props, costumes, and special effects.  Music seems quaint, but it works.

This sequel continues the chronicle of the new POTA saga sublimely, and for anybody who enjoyed Rise, Dawn should satisfy.

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

June 16, 2014

Film Review: X-Men: Days of Future Past

It's been fourteen years since the X-Men first hit the big screen, setting the trend for a whole monsoon of comic-book movies. Counting the two stand-alone Wolverine movies, Days of Future Past is the seventh in the series. The X-Men have had so many ups and downs over the years that it's easily become the most convoluted franchise since the original Planet of the Apes.  This film fulfills the same role as Escape from Planet of the Apes, redirecting the story arcs to rectify past mistakes and set the path for a bold, promising future.

Days of Future Past takes after First Class primarily, but there are vague connections to the other movies. Unlike the previous films, this one doesn't have the same light-spirited kick-butt feel. If anything, it starts off looking like The Terminator, swapping out T-800s for Sentinels, with Wolverine standing in for the T-101, Mystique fulfilling the role of Sarah Connor, and Trask standing in for Miles Dyson and Cyberdyne.  However, it never comes off as a rip-off; it's still X-Men to the core. The bleak future we see in the film's opening has always been in the cards, representing the apex of the ongoing conflict between men and mutants; the set-up is laid out very quickly, before launching a double-barreled narrative in both the past and the future with substantial stakes and suspense.

In lesser hands, this could have become a hokey affair (and chances are that the most critical of viewers could nitpick plot inconsistencies, especially when time travel is involved). However, this is easily the most mature film of the series, thanks not only to the complex plot dynamics that unfold with this unique premise, but also because of the characters. Their motivations and relationships are as strong as ever, and drives the story into different directions. Charles Xavier in particular emerges as the heart and soul of the whole film, driving numerous conflicts among other characters and within himself that underscores key themes concerning progress, destiny, and overcoming adversity of any kind. A lot of the lesser characters get sidelined, but Wolverine, Mystique, Magneto, and Beast get plenty of screen time.

Fortunately, as the plot unfolds, it does pull out a satisfying amount of action and spectacle. It's never overblown or overwhelming, and it's not just a bunch of things blowing up just because; it's nicely-balanced action that builds logically from the story. Scenes in the future show some pretty harrowing super-powered fights, while the rest of the film dishes out a lot of cool fights (including one crazy scene entirely in slow-motion, thanks to one super-fast mutant). It all builds up to a double-whammy climax, which not only ramps up the carnage, but also draws out the suspense.

This film features pretty good photography. Editing is fine, although it seemed like there were a lot of scenes in the beginning where a character starts to talk, but then the camera cuts away, and it came off as a little weird, as if the movie didn't want to show you who was talking. Acting is great across the board; James McAvoy and Patrick Stewart both excel as Charles Xavier, while Michael Fassbender continues to dominate as the younger Magneto (unfortunately, I felt Ian McKellen wasn't given enough to do here). It was also great to watch Jennifer Lawrence, Hugh Jackman, and Peter Dinklage. Writing is good, especially in the way it addresses the continuity of the series and bridges the gaps it needs to, while keeping things fresh and crafting a quality story with quality dialogue. This production has good-looking sets, props, costumes, and special effects. Music is alright (you can expect to hear a little bit of a reprise of the theme from the first two movies).

Days of Future Past is a movie about saving the future, not only in the movie, but also for the franchise as a whole. Despite certain contrivances, it is a highly nuanced story that rectifies some of the low points of the series. It genuinely kept me interested to see where it was all going. Even after the movie, it kept me interested, leaving just enough questions wide open to leave me wanting more. Best of all, the film accomplishes all this using plot and character more than special effects. So long as you've freshened up on the events of First Class, this film is highly recommended.

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

March 22, 2014

Film: Al's Top Sci-Fi Films Honorable Mentions

For anybody who's read my list of Top 100 Sci-Fi films, you may notice that it's not really an all-inclusive list.  I've tried my best to include all the important classics, my favorites, and the ones I felt were most enlightening, but there are still a good bunch that I find enjoyable or noteworthy.  There simply wasn't enough room to include everything, so I cut out a lot of the genre cross-overs (sci-fi horror, sci-fi comedies, sci-fi fantasy), certain cult favorites, and many common blockbusters.  It was still a pretty hard thing to do, for there are still quite a lot of sci-fi films outside of the top 100 list that I thoroughly loved.

Therefore, I thought it would be proper to compile this list of honorable mentions.  Below are a bunch of sci-fi films that are still worth seeing, but for some reason or another couldn't quite make it on my final list.  I think other sci-fi fans should get a kick out of these, and would encourage you to give many of them a try.
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Alien:  The film boasts some phenomenal style and designs, and it is fairly realistic in its space travel.  It is a great horror movie, so I ranked it high on my Top 100 Horror movies list.  For sci-fi, I favored the sequel more.

Appleseed Series:  Consists of a short cell-animated film from 1988, and two CGI-animated films from the 00's.  The original 1988 film is pretty neat, but the 2003 film and Appleseed:  Ex Machina are fairly cool.  There is plenty style and action, but also some neat portrayals of utopic society and robotics. 
 
Armageddon: A phenomenally-entertaining disaster movie with impressive pyrotechnics, amusing comedy, and a lot of heart.  The science isn't really all that solid (because, let's face it, planting a nuke on an asteroid will only make things worse), but it is a fine piece of blockbuster escapism.

Back to the Future Trilogy:  An imaginative and hip spin on time travel.  Makes for a fun comedy experience and a sublime storytelling experience.  Just a bit too light on the science to make it on the big list.

The Blob (1958):  It's a rather cheesy monster movie, but a classic of the genre.  I would rank it pretty high on my list of monster movies, but for sci-fi specifically, it didn't quite make the cut.

The Blob (1988):  This updated version of the classic monster movie is pretty intense and gnarly.  It makes for a pretty fun horror flick, but still falls short a little as sci-fi.


A Boy and His Dog:  I came pretty close to putting this one on the Top 100 list, because it is a very unique and different type of post-apocalyptic sci-fi.  It's funny at times, thrilling, sensual, quirky...really, the only reason this one didn't make it on the list is because it is a bit of a cheap film, and I personally favored many other apocalypse movies (like The Road Warrior and Book of Eli) over this one.

The Chronicles of Riddick:   I really enjoyed this more than the original Pitch Black, for I think they expanded on the Riddick universe in bold and extravagant directions that makes it more akin to movies like Star Wars or Dune.  In the end though, I had to give more props to PB for introducing the character in the first place, and for being less fantasy-like.  The Riddick sequels all seem to be guilty pleasures of mine anyway.
 
The Cowboy Bebop:  The Movie:  I really love this film and franchise; it is a phenomenally stylish and entertaining blend of sci-fi, film noir, and westerns.  It's exciting, funny, light-hearted stuff.  The characters are great.  The worldbuilding is great.  But in the grand scheme of things, the movie is not quite as deep or invoking as the TV series.  Besides, I put Serenity in the Top 100; isn't that enough?


Death Race (2008):  A really bloody, adrenaline-inducing dystopian movie that can stand shoulder-to-shoulder with The Running Man or Rollerball.  I think Paul WS Anderson's take on the Death Race story is pretty awesome.  However, it is a guilty pleasure to the end (to the point of ranking very high on my Top 100 Guilty Pleasures list), so it felt inappropriate to place it on the Top 100 Sci-Fi.
 
Deep Impact:  This came out right at the same time as Armageddon, so comparisons are inevitable.  While Armageddon was a pure popcorn flick with massive special effects, Deep Impact has only one disaster scene (it is a pretty incredible one though), and the rest of it is a more heartfelt drama.  I always felt this one was a bit sappy, but it is still worth seeing for sci-fi enthusiasts.

Demolition ManPretty exciting and often hilarious, this sci-fi action flick takes place in a crazy satirical utopia where curse words are forbidden, every restaurant is Taco Bell, every radio tune is a commercial jingle, and so on.  When you plop a 20th century brute in the middle of it all, you get a fairly entertaining thrill ride.  Just not quite enough for the Top 100.

E.T.: A seminal childhood tale of alien encounters, so full of heart and style.  It is a well-made classic with iconic scenes.  The only problem is, I've always felt it was a bit on the sappy side, and its replay value is questionable.  Still a film that's worth seeing at least once in a lifetime.

Evangelion Saga:  From Japan, Neon Genesis Evangelion is one of the best and most popular anime shows made.  It is an epic saga that combines huge battles, coming-of-age drama, theology, science, politics, and the actual apocalypse in a package that's consistently captivating.  The original show ended with in a rather weird way, so the End of Evangelion film was made to provide a more satisfactory ending.  That film is an incredibly hard-hitting experience, so full of epic action, but also some of the most startling and awe-inspiring end-of-the-world imagery ever committed to film.  It is by far the one and only film that shows the rapture as it could happen in science fiction.  But wait, that's not all! The series has recently been rebooted, starting with Evangelion 1.10:  You Are (Not) Alone, which replicates the original show's first five episodes with fresher animation quality.  Then there's Evangelion 2.0:  You Can (Not) Advance, which takes off in an incredibly awesome direction with new characters, new plot twists, and some incredible action.  Evangelion 3.0:  You Can (Not) Redo is available already in Asia, but has yet to be released in North America.  The fourth and final film is still in production and is set to be released in 2015.  As it is, the whole franchise is a fantastic experience, and all the films I've seen should be worthy of my Top 100 list.  I omitted them purposefully, because they are already represented in my Top 100 Asian films list, and I wanted to free up space for other stuff.

Event Horizon:   The film has a few cool ideas regarding the use of a black hole to travel through space.  However, it is a horror movie first and foremost, shoving all the science aside to favor paranormal encounters and a heck of a style.  This film ranks high on my Top 100 Horror movies list, and that's where it belongs.

Fantastic Planet:  Pretty bizarre French animated film that has giant aliens treating tiny human beings as pets.  The film is stylish and incredibly unique, even if its plot is a little dry.
 
Galaxy QuestA brilliant play on reality and fantasy that lampoons off of the Star Trek franchise to delivery equal amounts of laughter and thrills.  Galaxy Quest makes for a great comedy.  As far as sci-fi goes, it's a little far-fetched (although that's probably the point).

Ghostbusters:   A phenomenally classic hybrid of comedy and horror, but it all wouldn't really work without a few sci-fi tropes, such as the idea of a proton pack or containment unit.  A few good sci-fi ideas make the story workable, but it is a comedy to the core, with a little too much paranormal activity to really make this great on the sci-fi scale.

Gojirra:  In its original 1954 incarnation, Godzilla is one of the most original monster movies.  The titular monster has starred in more than 20 films since, always representing the danger and terror of the abuse of nuclear power.  It's a classic of the genre, but in the sci-fi perspective, it comes up a little dry.
 
Heavy Metal:  What's not to like? It's got hot babes, blood and gore, aliens on drugs, erotic robots, zombies, spaceships, weird glowing orbs, and more! It is a bit of a gaudy, trashy, juvenile film, but enjoyable for young dudes like myself.  It (and its follow-up, Heavy Metal 2000) made it on my guilty pleasures list, and I think it's the stuff pulp sci-fi and fantasy is made of.  But really, the original magazines are better yet.
 
The Hunger Games and The Hunger Games:  Catching FireThese films, based on Suzanne Collins' novels, represent the source material pretty well, and Jennifer Lawrence brings the main character to life phenomenally.  The films tap into the same dystopian ideas that make Battle Royale and The Running Man so hard-hitting, but for younger audiences.  The first film gets a lot of flack, mostly because the plot and characters won't make much sense to anybody who's not familiar with the books, and it's been accused of watering down the violence too much.  Catching Fire improves on most of these shortcomings, and is a consistently pleasing picture.  I think the franchise is a fine bit of sci-fi, but I'm kinda holding out to see how the Mockingjay films will turn out.

In Time:  I thought this film has a pretty unique idea (using actual life expectancy as currency), and it explored the implications pretty well.  But, I seem to be in the minority; the film has gotten mostly negative reviews.
 
The Incredible Hulk:  It's sci-fi in the sense that there's a bit of mad science involved.  The lore of the Hulk has always harkened back to the classic tale of Dr. Jekyll and Mr. Hyde, for these are both stories where man and monster inhabit the same body and are at odds with each other.  The Incredible Hulk is a superhero movie first and foremost though; the science aspects as there, but it gets smashed up once the Hulk starts his rampage.

Invaders From Mars (1953):  This old-school thriller channels the same fears and paranoia of the McCarthy age, much in the same way movies like Invasion of the Body Snatchers and The Day the Earth Stood Still didThis film tells its tale through the perspective of a little boy, making the events all the more freaky.  It is a classic, but it is also a bit cheap.
 
Iron Man:  I've heard that the military are already experimenting with creating suits of armor just like what we see in the Iron Man movies.  It is a concept that's been around for a while though; mechanical suits can be seen in video games, anime, and plenty of other movies.  Iron Man specifically takes the time to explore the suit's genesis and implications.  But once the suit's complete and Tony Stark takes off to the wild blue yonder, it becomes a classic superhero film to the core.  In sci-fi terms, it's a bit fluffy.

Lost in Space:  The film has lots of flash and style, but is brought down quite a bit by its overall campiness and silliness.  The film digs up an interesting time-twisting plot with some intriguing implications.  This one made it on my guilty pleasures list, but it's just a little too silly for the sci-fi list.
 
Man of Steel:  I love this movie.  Not only is it a rip-roaring onslaught of mass destruction, but it also depicts how the world could react to the presence of superpowered extraterrestrials.  In the end, it comes close to a War of the Worlds type of alien invasion.  I came close to posting this film on the sci-fi list, but in the end, its qualities as a superhero film totally eclipse the sci-fi aspects.

The Mist:  It's sci-fi in the sense that it's premise hinges on the idea that a military experiment went awry, and creatures from another dimension start invading.  It's HP Lovecraft influences are pretty blatant (in both the movie and novella).  However, I do believe it's best as a horror movie first and foremost, and it is my #3 pick in my Top 100 Horror movies list.  

NeoTokyo:   A pretty slick collection of anime shorts, two of which are definite sci-fi features that are well worth watching.  As cool as it is to see a futuristic death-race and a guy trying to convince a robot to stop building things, the feature overall falls just a little short of making it on the final list.
 
Omega Man:  The second adaptation of I Am Legend, featuring the ever-cool Charlton Hesten.  I've always enjoyed this film, watching the guy roaming around and confronting The Family, but it is a heavily-dated film, and the Will Smith film has taken over as the most earnest version of the tale.  Omega Man is better described as one of my guilty pleasures.
  
Robinson Crusoe on Mars:  A fundamental survivalist story on Mars.  Considering the time the film was made, it actually boasts some surprisingly realistic settings, to emphasize the harsh desolation that scientists of the time would have positively identified.  It still gets a bit far-out though.

A Scanner Darkly:  Probably the straightest adaptation of a PKD novel to date; it is pretty much scene-by-scene the same as the original book.  It is a funny tale at times with plenty to contemplate, but understanding the source material may help in appreciating the film, for it is a bit dry and weird.

SignsOne of the better films by M. Night Shyamalan, Signs presents a more unique alien invasion story that focuses on the mystery of crop circles.  It's quite a slick and emotional thriller, but I didn't feel it had enough strength as a sci-fi film to make it on the list.

Solaris (2002):  I didn't actually like Steven Soderbergh's remake at first, but after seeing the original Russian film, I had to admit that the 2002 remake was tighter, slicker, and a different experience that's worthwhile in its own right.  While the Russian film focuses on more intellectual issues, this version handles the emotion and romance much better.  I think both films are worth seeing for their own merits; this one was just edged off the list by everything else.

 
Sphere:  A pretty straightforward adaptation of Michael Crichton's novel, which is a pretty neat story.  It is one of the very very few movies that takes place at the bottom of the ocean, and Sphere offers a fairly solid experience as a sci-fi thriller.  It just falls a little short of the Top 100; The Abyss is better yet.

Starman:  A fine and dandy tale of alien encounter, with earnest character-building and plenty of amusing comedy.  Unfortunately, I've always felt this film dragged a bit, and can get a bit sappy.

Star Wars Episodes I, II, III, V, and VI:  I love Star Wars like a fiend, but I had to make the hard decision as to whether or not I can really consider the Star Wars franchise be be sci-fi in its purest form.  Really, it's a fantasy series with a sci-fi aesthetic; all the characters fulfill fantasy archetypes, the Force is a fantasy trope with no real science behind it (not counting the midichlorian thing that fans really hated), and the main focus of Star Wars is more on the overarching character developments and the good-vs-evil struggle...which has nothing to do with science.  Star Wars is great fantasy and very soft sci-fi; if I had to list one, I picked #4 because it was more original, it had the Death Star, and its vision was the most groundbreaking.  I felt it would be frivolous to include all six movies, regardless of how much I love them.
 
Super 8:  Pretty much the same caliber film and same type of child-like innocence as E.T., and it is an evenly-entertaining picture.  As much fun as the film is, it's not one that's stuck with me personally; I find its replay value limited, and I don't think the film offered much new to the genre.  I came close to posting it on the Top 100 list, but it fell just a little short.

Superman: The MovieThe 1978 incarnation of Superman is an incredibly epic film.  Most of it is superhero fare, which is what held me back the most from posting it on the Top 100 list.  I do think the opening half-hour or so is great sci-fi stuff though, showing planet Krypton in its final days.  It is worth seeing, but the film is pretty dated and campy, and I found it hard to justify the entire film for a Top 100 Sci-Fi list specifically.

The Thing From Another World:  A solidly-made classic thriller with a chilling premise.  However, I always felt it was a little slow and dry.  I found John Carpenter's remake to be the best version of the tale, and I was compelled to favor that film for the Top 100 list (in addition to making it really high on my Top 100 Horror list).  Can't say that I'm as big of a fan of this original film though.
 
Things to Come:  A pretty unique snapshot of what futurists like HG Welles would have thought of human progress back in the 1930s.  The film boasts some unique images futurist visions, but it is rather dated with a generic story.  Would be worth a look for really die-hard sci-fi fans, but I don't think I'd call it essential.

Transformers:  All these films totally rock! But let's be real:  it's all style over substance, with incredibly weak science involved, and the plotlines are pretty weak.  These films are best seen for their nonstop action and 'splosions, but many of the most intelligent viewers are not so easily swayed by all this visual trickery.  I rightfully can't insult anyone's intelligence by including these shallow films on the Top 100 Sci-Fi list.  Would be more fitting on a Top 100 popcorn movies list of some kind.
 
A Trip to the Moon:  This is it:  the very first sci-fi film ever made, from way back in 1916.  It's extremely old-school, but the film dishes out some impressive images for its time, which harkens to the classic view of space travel before we really knew anything about space or the moon.  It's a fine, short piece of speculative fantasy, and an integral piece of cinema history.  

Upstream Color:  A very abstract film, with ideas that are somewhat sci-fi-ish, but still a bit dubious.  Too dubious to make it in my Top 100 list.  But it is a well-crafted film with extraordinary images and emotional power.  It's hard to tell what the film's trying to say, given its bizarre plot, but some online articles I've read indicate that there may be a science-vs-faith argument buried in there.  If nothing else though, it is a unique tale of brainwashing.

Vampire Hunter D:  Bloodlust:  This anime flick is easily one of the most entertaining films ever made, and it is one heck of an adventure.  It's an imaginative post-apocalyptic world full of strange creatures.  The setting may be sci-fi in nature, but this is still mostly a horror franchise.  I ranked this film high on my list of Top 100 Asian films, but it got edged out of the Top 100 Sci-Fi.

Westworld:  You know, I meant to put this one on the Top 100 list, but totally forgot to.  Do'h! It is a neat, original concept, and the film definitely has its moments.  But in the end, it is a bit of a dry picture, so I don't feel that bad about not listing it.  I think Jurassic Park took Crichton's original ideas and expanded on them in a more sublime manner.

World on a Wire:  An extremely long made-for-TV film from Germany, which includes some very sharp and smart ideas concerning information technology that would become an influence on the cyberpunk genre in general.  The film is quite a bit ahead of its time and it digs up some impressive in-depth ideas.  Unfortunately, I also found it to be a bit of a bore.