Dracula's story has been told and re-told so many times in so many different ways that the mere thought of having a "untold" Dracula tale
comes off as ironic. But there is potential, especially in the
historic roots of the character (as inspired by Vlad III "The Impaler,"
or "The Son of the Dragon," considered a hero of Wallachia, but also an
infamous butcher everywhere else). Regardless, very few films have
explored exactly how Dracula became such a cruel bloodsucking vampire.
The film kicks off with a prologue sequence that spells out who Vlad is
and what the Turks are doing to his kingdom, in a style that feels like a
moving graphic novel. From then on, the film wastes little time in
pitting the titular prince against the Turkish army. Naturally, the
prince resorts to fighting evil with evil, consorting with a vampire to
gain supernatural powers. From then on, Vlad goes on to crush waves of
Turks almost single-handedly. Most of the time, he's either
transforming into a swarm of bats that rushes through his enemies, or
he's slicing necks with expert swordplay. Scenes in between the action
rarely drag; there is a fair amount of drama involved between the
prince, his wife, his son, his followers - adding vampirism to these
relationships offers a few intriguing twists and implications worth
exploring.
However, the story is pretty standard fare; it's as if they took 300, took out the Spartans, replaced Leonidas with Dracula, and used Castlevania as
a backdrop. As cool as it is to see a medieval Transylvania in action,
the story is very simple and straightforward, and can be quite
predictable. Most of it feels like it could have used more refinement;
plot holes can undoubtedly be found, and more character development
would be quite welcome. The whole film breezes by in a formulaic
fashion, entwining bits of history with bits of vampire legend, but it
amounts to very little that feels fresh, new, or invoking.
The film generally looks okay, with mostly-good photography and editing.
Some of the action scenes have horrid camera work. Acting is okay: I
enjoyed watching Luke Evans as the main character, and other actors can
be a hit or a miss. Writing is quite simple and unrefined. This
production uses pretty fine-looking sets, props, and costumes. Special
effects offer some good-looking views of fantastic places, and are good
with some of the creature effects, but are rougher in the action scenes.
Music sounds like more of the same.
Dracula Untold is certainly action-packed and takes advantage of
some of the original lore of the character, but it also feels like just
another typical swords and sorcery flick. Fans of the character or
genre may find it worth renting.
3.5/5 (Entertainment: Good | Story: Average | Film: Average)
October 21, 2014
October 5, 2014
Novel Excerpt: Dark Fairy Chronicles
My latest project has been a rather bizarre and experimental idea. The novel I've started working on now has two plots: one in the past (1999) and one in the present (sorta: it's 2009). Together, they constitute the Dark Fairy Chronicles: the outlandish case of a fairy and her daughter from another world crossing over to modern America to escape persecution. In the past, the young daughter faces the hardships and pressure of high school, and begins to dabble with the lore and magic of her home world to overcome the challenges, and to perhaps seek vengeance against those who hurt her. Ten years later, the town has been consumed by the dark forces of magic, with the town in ruins and overrun by vicious monsters. In all that time, the military has been struggling to quarantine the corruption. To end it once and for all, they launch an operation to exterminate the Dark Fairy.
Much of this writing as been touch and go for me, but over the past several months it's been coming along smoothly. I find myself most comfortable in the 2009 scenes, where everything is pretty wicked and it's been playing out like a modern-day war story with a fantasy aesthetic. I have a pretty good idea as to how these scenes will roll. The 1999 plot is being laid out in a kind of flashback fashion, and I've always been weary that I may not be able to piece this together right (because high-school drama is something I never really wrote of before). It's been coming along little by little though. In a way, it's a bit like Stephen King's Carrie (or, cheesy as it may seem, the film The Craft), but coupled with an overarching quest plot; I don't even know how to describe the present-day story, except to say maybe it's what you get if the Shadow of Mordor video game was crossed with Saving Private Ryan. The Dark Fairy herself is heavily inspired by characters like Maleficent.
This is being written as an epistolary novel, patched together from faux journal entries and memoir excerpts from the different characters involved. Later on, I hope to include news reports and official documents as well. This style of writing is great for giving a book a more realistic texture, but I believe it's ideal for showing multiple viewpoints and insights on the characters, making things well-rounded.
Below is the first major segment of the book, told as an excerpt from the memoir of a sergeant in the National Guard (his name is currently Jake Gildenberry, but his name is subject to change, because it does seem a little silly to me). It jumps right into one of the major battles between the Guard and the Dark Fairy's forces; as such, it is a pretty grim and gnarly battle scene. I hope it captures the horror and inhumanity of the battle, while stimulating interest in the rest of the tale.
WARNING: This story contains liberal amounts of blood and gore. Cursing is censored.
--------------------
July 10th 2009
The Dark
Zone: the place didn’t get its name for
being all flowers and sunshine. At one
point, maybe it was. All that changed
ten years ago, out of some crazy circumstance that nobody in the world truly understood. Somehow, the small, sleepy town of Clearmont had
turned into a Hell-on-Earth. And I was
standing right at the brink of it, along with several hundred other Guardsmen,
just waiting to slaughter whatever it was that was stirring deep in the
corrupted landscape.
I had always heard
stories about the DZ, but none of it could have prepared me for this. There was a definite line in the grass where
the world as we knew it ended and the corruption began: it was fresh and green where I stood, but
just a few feet away, it was all black as ink.
There was a line of dead trees in front of us; from the gnarled
branches, scores of bones and skulls hung from twisted ropes. Most of them weren’t human, but the ones that
were undoubtedly came from our own countrymen, who fought and died to contain
the corruption ever since it started.
God knows how many men died fighting in the DZ.
The sky above the
black land was always dark; gray clouds always swirled over the area ominously,
and sunlight hasn’t even touched the land in years. Several UAVs circled around the edges of the
perimeter, scanning the dense mass of twisted trees and thorny underbrush. They fed intel back to the forward operations
center; command made their final decision based on the drones’ readings. Moments later, the first stage of the attack
commenced.
From the distance,
five A-10 Thunderbolts appeared and zoomed over our heads, their twin engines
leaving behind a deafening roar. Soaring
over the DZ, the planes launched a myriad of air-to-surface missiles. Upon hitting the tainted land, the missiles
exploded in giant plumes of fire that ripped through the trees and set the
grass on fire.
Through the
roaring of the flames, we could hear shrieking:
hundreds of vicious, inhumane shouts.
We all became tense and alert, gripping our rifles and waiting for the
enemy to be flushed out. This was my
first engagement with the enemies of the DZ; I had always heard stories about
them, and I read the reports, but even when knowing what to expect, I couldn’t
stop the anxiety. I watched intensely as
the foliage ahead of us moved, and the enemy surged out of the woods with
renewed rage.
Suddenly, there
was one monstrous roar that drowned out all the other noise of the
battlefield. From the middle of the
forest, we all watched in awe as a huge monster rose up over the burning trees
and took flight. It was a black dragon,
well over a hundred feet long. Its
scaled, spiny body glistened like oil in the daylight; its huge leathery wings
flapped with enough force to produce a strong blast of air on the ground.
The A-10s circled
around the DZ and started another run.
Three of them continued to bombard the ground, but two trained their
cannons on the dragon. A constant stream
of bullets ripped into the beast. Some
of them tore holes in the beast’s wings, and some cut through its thick hide,
but most bounced uselessly off of the thing’s body. Thousands of rounds were pumped into it
within a matter of seconds, but the dragon showed no sign of being affected at
all.
Then, the beast
lunged at one of the planes. With a quick
flap of its wings, it zoomed into the aircraft with a swift burst of speed; its
talons clamped onto the fuselage, and it snapped at the cockpit with its
jaws. The plane’s canopy was crushed;
pieces of glass and metal flew from the crunched hull, and the pilots inside
were smashed to a bloody pulp. The
dragon swung its body before releasing the plane’s wreckage; the wreckage flew
toward one of the other planes, but it banked and narrowly avoided a collision. Falling into the woods, the destroyed A-10 slammed
into a cluster of trees, becoming nothing more than a twisted heap of
smoldering metal.
Ahead, the foliage
continued to move, as the enemy’s ground units drew closer. I could tell that we were all disturbed after
seeing the dragon; it was just a small taste of the madness that we were about
to see coming out of the corrupted land.
No level of training and experience could prepare us for the unnatural
things we were being asked to fight. The fear in all of us was so palpable, it
hung in the air around us like a dark veil.
Next to me, a
fellow guardsman couldn’t take it. In a
panic, he turned and fled. Our unit
commander shouted at him to fall back into formation, but he continued to run. Some of the other men exchanged looks,
clearly wondering if they should also take a chance and desert, rather than to
face the terror of the Dark Zone. The
bravest ones merely shook their heads in pity and kept their guns pointed
forward.
Finally, the enemy
broke through the line of trees and foliage in front of us. The first one we saw was set on fire from the
planes’ bombing run; the creature was nothing more than a short, black humanoid
shape with charred skin, and an unnatural shriek coming from its lips. Several of us opened fire immediately,
putting the thing out of its misery.
As the burning
creature collapsed, with black blood gushing from its wounds, dozens of them
rushed out at us. They were orcs: a vicious and ugly rabble of gray, green, and
black-skinned monsters. They were the
size of normal men, but nearly twice as bulky in muscle. Their bodies and faces were strangely gnarled
and twisted, to the point where no two were alike. They are all clad in various forms of crude,
makeshift armor; some were made of wood, others pieced together from metal
scraps. They all had crude weapons in
their meaty hands; jagged swords, warhammers, and huge clubs.
In one huge wave,
the orcs rushed at us screaming their inhuman war cries. We fired on them, sending a volley of bullets
that cut through their entire front line.
The sounds of endless gunfire filled my ears, and orc bodies collapsed
in front of us on a pile. More of them
continued to come out of the forest, jumping over their fallen comrades and
rushing toward us in a blind rage.
From overhead, the
four remaining A-10s made another pass.
Their cannons pelted the battleground, with thousands of bullets
streaming into the creatures and ripping their bodies to pieces. Even the most heavily-armored orc became
riddled with holes; they all collapsed in front of us in a bloody heap. The planes continued to circle around, and
the black dragon followed.
There was a
short-lived boost in morale as we watched the monsters fall before us. More of them came out of the woods, and we
opened fire again. More of them were
shot down, but some slid and took cover behind the bodies of the others. From there, they brandished crossbows and
fired arrows at us. One of the men next
to me was hit in the face, an arrow sticking out of his eyeball. His body slumped to the ground; watching him,
I realized right away that there was nothing I could do for him.
More of us were
hit with the arrows. Our barricades and
body armor were able to repel a lot of them, but some men fell with arrows in
their arms, legs, and heads. Despite the
losses, we maintained the suppression, firing thousands more bullets into the
woods and slaying more of the orcs.
One group of orcs
rushed out, holding up a large metal shield.
Our bullets ricocheted off of the metal wall uselessly; the creatures
crept closer to us with while holding up the barrier. As they encroached, one guardsman tossed a
grenade, which landed at their feet. The
explosion ripped through the orcs; frags shredded their flesh, splattering
their blood all over the place. The
shield fell to the ground uselessly.
Our commander
shouted words of encouragement, and we continued to hold the line. The orcs seemed to continuously spawn out of
the woods, throwing themselves at us in a blind, animalistic rage. I started to wonder if there was more to
their strategy; even primitive brutes like these must know that we had the
upper-hand in sheer firepower. Even the
dumbest of enemies would know by now to spare their men in a senseless frontal
assault and seek an alternative, but the orcs just kept coming. They had to have been up to something, using
this attack and throwing away their most disposable soldiers as some kind of
distraction.
I wondered if
command would be considering the same thing.
Just as soon as I contemplated these things, our unit was ordered
ahead. There was a break in the enemy
waves, and we needed to push forward into the woods and start our incursion
into the DZ. All at once, we ran from
the cover of our barricades and charged forward. More orcs appeared in front of us, but were
quickly cut down in a barrage of bullets.
Pushing through
the first line of trees, we found ourselves treading across a gnarled landscape
of thorny bushes and dense underbrush.
Ahead, we could see the remains of the orc burrows, collapsed and set on
fire from the bombings. Dozens of burnt
bodies were strewn around the surrounding woods.
Our objective was
on the other side of the burning settlement: a glade that we could use to set up a base
camp. We traversed around the burrows, trudging
through a thicket of gray prickly bushes.
Just as we stepped through the tough foliage, an orc jumped out from
behind a tree and swung a warhammer. The
massive weapon smashed into the man in front of me; I could hear the brutal
crunching of bones. The soldier
collapsed, coughing up blood, and the orc raised his weapon up to deliver a
fatal blow. I didn’t even stop to think;
I squeezed the trigger and shot the enemy in the head. A hole exploded in the creature’s cheek,
gushing black ooze. He staggered and
fell, making grotesque gurgling sounds.
Somebody crouched
down by our fallen comrade, and started to deliver first aid. Then, we heard noises ahead of us: moving foliage and the grunting of orcs. Knowing that this was not the time or place
to help our man, two of us picked up the wounded soldier and hauled him back
out of the woods.
The rest of us
pushed forward. After just a few steps,
arrows started whizzing through the trees.
Some of them hit the men behind us, who were carrying out our wounded
comrade. If that man had a fighting
chance to live, that chance was obliterated, as an arrow struck him in the
gut. Men were falling all around me,
with arrows sticking out of their bodies. I took cover behind a tree; I heard a hard
thunk as an arrow wedged itself in the bark.
Several others
took cover, behind trees, hills, and rocks.
I peered cautiously from the side of the tree, to see if I could spot
the enemy. An arrow grazed the tree
close to my face, and I had to withdraw.
Others took a chance to fire their guns from behind cover; our bullets
cut through the foliage and hit a few of the enemy.
While the
guardsmen continued to fire, I realized that they were drawing the orcs’ attention
away from me. I took a chance to run
from cover, moving deeper into the woods.
I dived into a cluster of bushes, just as an enemy spotted me and let
loose an arrow. It flew over my head, as
I took cover in a shallow ditch. I
remained prone and flush against the soil, well out of sight from the enemy.
We heard the A-10s
overhead again. One of them made a pass
over the forest, and launched ground missiles into the enemy lines. The forest ahead of me became engulfed in
flames; a dozen orcs were incinerated, and they shrieked in pain.
As the planes
passed by, the dragon continued to chase them.
The beast closed in on one of them and snapped its jaws at the plane’s
rear wings. Its teeth crunched the
metal, and the dragon yanked away a huge chunk of the fuselage. Out of control, the A-10 spiraled and
plummeted to the ground some miles away.
As the fire and
smoke cleared, the land ahead of us was scorched, and parts of the woods were
still ablaze. All of the guardsmen
regrouped and pressed forward, cautiously treading over the charred land and
passing by the burning woods. I tailed
behind the main group; we moved for another fifty yards, before reaching the
clearing.
The glade was
circular and flat. There were some
wrecked cars along the edge of the woods, but were completely covered in vines
and overgrowth. As we stepped on the
grass, our unit commander started giving orders to secure the perimeter.
Suddenly, an arrow
flew into his back. Its shaft pierced
through his body, and the arrowhead poked out of his chest. He didn’t even stand a chance, as the arrow
punctured his heart; he collapsed, with blood spilling on the grass.
We all ran
retreated to the woods, but it was too late; in the clearing, there was no
cover, and no time to find cover. Arrows
criss-crossed each other in the air and landed all over the glade, turning it
into a confined killzone. Dozens of us
were caught in the cross-fire, with arrows cutting through our bodies. We all fired back into the woods, but it was
impossible to see where the enemy archers were.
They had us surrounded and outnumbered; we had stepped heedlessly into a
trap.
None of the arrows
hit me, and I considered myself lucky.
The enemy stopped their attack briefly, before they came out of the
woods all around us. There were maybe
twenty of us left in the glade, and the orcs formed a circle around us. They closed in, wielding bows, blades, and
clubs menacingly. We held up our guns,
but hesitated. It was a brief and
uncertain break in the fighting, and nobody wanted to make the first move that
could get us all killed. After all, they
had us outnumbered now, and it looked like they wanted us alive.
One of the orcs
stepped closer to us, cocking his ugly brown head at us and sizing us up with
his blood-red eyes. He barked at us, “Stupid
humans! You dare trespass on tainted soil.
Don’t you know that corrupted lands belong to us? You will all pay for
your insolence!”
In the heat of the
moment, one of the guardsmen shouted back, “F#&k that! This is American soil!”
He held up his gun and was about to shoot the orc in the face.
In one swift move,
the orc closed in on the soldier thrashed his arms out, pushing the soldier’s
rifle to the side. He then slashed down
with his sword, cutting the guardsman’s hands off. As the man’s hands and rifle fell to the
ground, he screamed in agony, regarding his bleeding stumps in disbelief.
“Anybody else want
to be a hero?” the orc seethed. “I eat heroes for breakfast!”
With the orc
formation closing in on us, there was little more choice. Fighting back would only get us killed; one
by one, we all surrendered, dropping our weapons. Regarding the ugly faces that closed in, I
asked, “What are you going to do to us?”
“That depends on
what the Dark Fairy says,” the orc spat.
Turning to the others, he shouted a phrase in the strange, foreign orc
language.
In the next
instant, the orcs were upon us, pushing into us harshly and clubbing us with
their weapons. A mace came down on the
back of my neck; I felt a sudden stab of pain, before everything went dark.
![]() |
| Yep, I drew this from the above scene. |
UPDATE:
I recently received some feedback from a friend, who was formerly in the National Guard. He informed me that it is highly unlikely that an A-10 can be taken down by a dragon; the planes' guns would likely rip the beast to shreds. However, the A-10s are not the fastest and most maneuverable, so it is still possible for a dragon to latch onto one, possibly from behind and over the dorsal side so it's out of range of its guns. The issue also came up concerning radar, but there are ways for a dragon to evade detection. It will either be the case that the dragon is cold-blooded and doesn't emit enough heat to be picked up. More than likely though, I will need to explain that the entire DZ dampens and disrupts radar and other scanners due to the presence of magic (although that will mean that the UAVs at the beginning will also be affected). Also, the A-10s should deploy countermeasures (probably flares) to ward off the dragon; I imagine that a flare could cause some harm to the creature.
I will plan on revising this scene with the above considerations in the rewriting phase, to improve creditability.
I recently received some feedback from a friend, who was formerly in the National Guard. He informed me that it is highly unlikely that an A-10 can be taken down by a dragon; the planes' guns would likely rip the beast to shreds. However, the A-10s are not the fastest and most maneuverable, so it is still possible for a dragon to latch onto one, possibly from behind and over the dorsal side so it's out of range of its guns. The issue also came up concerning radar, but there are ways for a dragon to evade detection. It will either be the case that the dragon is cold-blooded and doesn't emit enough heat to be picked up. More than likely though, I will need to explain that the entire DZ dampens and disrupts radar and other scanners due to the presence of magic (although that will mean that the UAVs at the beginning will also be affected). Also, the A-10s should deploy countermeasures (probably flares) to ward off the dragon; I imagine that a flare could cause some harm to the creature.
I will plan on revising this scene with the above considerations in the rewriting phase, to improve creditability.
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)
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)
September 30, 2014
Book Review: Naked Lunch (William S Burroughs)
Naked Lunch might be the most challenging book I've encountered. Part of it is because of the book's namesake, which asks the reader to take a good long look at the end of the fork and see the lunch they're eating, fully exposed, for what it is. Or, perhaps this is more accurately Burroughs himself looking at his own lunch, which had become defiled after ingesting massive quantities of opiates throughout his life. Ultimately, that's really what this book is: it's every random thing he jotted down while under the influence, and none of it is particularly pretty.
The other part of the challenge is that the book makes absolutely no sense whatsoever. I couldn't tell you what the plot actually is; it's a haphazard concoction of many short pieces strung together continuously. Most of the characters are nameless, identified only by vague designators like "The Mark," "The Vigilante," "The Exterminator," and so forth. None of them stand out as anybody with definition or depth. They all exist in a strange foreign place called the Interzone, which is home to both men and some weird creatures called Mugwumps. Nearly every episode in this book involves extreme amounts of perverse sex, sadistic violence, and a rather distasteful penchant for endless discharges (or even consumption) of bodily wastes. Sometimes all of these things are rolled together in one disturbing scene after another. The sickening details seep through every line of the book, offering tales that are mean-spirited and vulgar. Beyond the sheer shock value, I really couldn't tell what was going on with this book. Especially during all its digressions, such as when the book repeatedly breaks into some kind of random courtroom scene, or turns into a movie set or something. Seriously, what the f*!k is this bull$@&t?
The prose, however, is surprisingly lucid in its own right. This is one of those books (perhaps one of the first even) that manages to combine words and phrases that shouldn't go together in ingenious ways to deliver abstract scenes with a remarkable level of texture. The sentences flow well and are hardly ever dull. Much of what's said may not make sense, but given the way it is said, it's hard to tell if Burroughs was a madman or a genius.
There was a South Park episode, where one of the kids wrote a book that was about nothing but defecation, and it became a renowned smash hit that everybody praised as a masterpiece. I kinda wonder if that show was meant to parody the success of Naked Lunch, because it certainly feels like the book uses so much disgusting content to shock and repulse the reader, but it's hard to tell if there's really anything worth saying. I got to admit that it's written in an interesting way, like a form of literary freestyling, which could push it into levels of artistic merit, but I feel the content is not only horrid, but also convoluted and messy. Thus, I don't know if I should call it good or terrible literature, but its definitely distasteful. I think I prefer David Cronenberg's film adaptation over this; at least it had a plot.
3/5 (Experience: Extreme | Content: Awful | Book: Mixed)
The other part of the challenge is that the book makes absolutely no sense whatsoever. I couldn't tell you what the plot actually is; it's a haphazard concoction of many short pieces strung together continuously. Most of the characters are nameless, identified only by vague designators like "The Mark," "The Vigilante," "The Exterminator," and so forth. None of them stand out as anybody with definition or depth. They all exist in a strange foreign place called the Interzone, which is home to both men and some weird creatures called Mugwumps. Nearly every episode in this book involves extreme amounts of perverse sex, sadistic violence, and a rather distasteful penchant for endless discharges (or even consumption) of bodily wastes. Sometimes all of these things are rolled together in one disturbing scene after another. The sickening details seep through every line of the book, offering tales that are mean-spirited and vulgar. Beyond the sheer shock value, I really couldn't tell what was going on with this book. Especially during all its digressions, such as when the book repeatedly breaks into some kind of random courtroom scene, or turns into a movie set or something. Seriously, what the f*!k is this bull$@&t?
The prose, however, is surprisingly lucid in its own right. This is one of those books (perhaps one of the first even) that manages to combine words and phrases that shouldn't go together in ingenious ways to deliver abstract scenes with a remarkable level of texture. The sentences flow well and are hardly ever dull. Much of what's said may not make sense, but given the way it is said, it's hard to tell if Burroughs was a madman or a genius.
There was a South Park episode, where one of the kids wrote a book that was about nothing but defecation, and it became a renowned smash hit that everybody praised as a masterpiece. I kinda wonder if that show was meant to parody the success of Naked Lunch, because it certainly feels like the book uses so much disgusting content to shock and repulse the reader, but it's hard to tell if there's really anything worth saying. I got to admit that it's written in an interesting way, like a form of literary freestyling, which could push it into levels of artistic merit, but I feel the content is not only horrid, but also convoluted and messy. Thus, I don't know if I should call it good or terrible literature, but its definitely distasteful. I think I prefer David Cronenberg's film adaptation over this; at least it had a plot.
3/5 (Experience: Extreme | Content: Awful | Book: Mixed)
September 28, 2014
Book Review: A Matter of Time (Glen Cook)
This book looked like it could be cool, promising a mystery that spans multiple eras of time, with characters tracking down somebody threatening to murder someone in the past.
As simple and interesting as that may sound, I found the book to be a total bore. I personally could not connect to the characters at any level; even though the dialogue is colorful enough, I never got a good sense of who these people were, what their motivations were, and what they were even doing. Considering that there are multiple characters being tracked in multiple eras, between the late 1800s to the distant 2050s, I found the story to be (perhaps unnecessarily) convoluted and disjointed. Unable to draw the connections between the past, present, and future, I found myself not really caring for the book overall, and going through it became a chore.
In addition to being unable to connect to the bland characters and mixed-up plot, I also found the language and settings lacking. Very little of each era is actually described, so I never felt immersed in the different places these characters went (which included historic Europe, the Vietnam war, and the future). A little more detail would have definitely been welcome, to help us understand where the characters were at any given time. The only thing that really constitutes this book is the dialogue, which may dig up enough to help readers understand where the characters are. Context, and the information in the chapter headings, prove to be frustrating at times, making the book even less readable to me personally.
The actual writing is okay: I think the author captures the language well, even if he doesn't spend much time on setting. Exposition can be heavy at times, and it makes for a really dry read. It is a trim and to-the-point book, even if the point seems elusive.
I really didn't like this book much, as I found the characters and plot uninteresting. Chances are that other sci-fi fans may enjoy it more, but there are certainly better titles out there to pick from.
2/5 (Entertainment: Awful | Story: Marginal | Book: Average)
As simple and interesting as that may sound, I found the book to be a total bore. I personally could not connect to the characters at any level; even though the dialogue is colorful enough, I never got a good sense of who these people were, what their motivations were, and what they were even doing. Considering that there are multiple characters being tracked in multiple eras, between the late 1800s to the distant 2050s, I found the story to be (perhaps unnecessarily) convoluted and disjointed. Unable to draw the connections between the past, present, and future, I found myself not really caring for the book overall, and going through it became a chore.
In addition to being unable to connect to the bland characters and mixed-up plot, I also found the language and settings lacking. Very little of each era is actually described, so I never felt immersed in the different places these characters went (which included historic Europe, the Vietnam war, and the future). A little more detail would have definitely been welcome, to help us understand where the characters were at any given time. The only thing that really constitutes this book is the dialogue, which may dig up enough to help readers understand where the characters are. Context, and the information in the chapter headings, prove to be frustrating at times, making the book even less readable to me personally.
The actual writing is okay: I think the author captures the language well, even if he doesn't spend much time on setting. Exposition can be heavy at times, and it makes for a really dry read. It is a trim and to-the-point book, even if the point seems elusive.
I really didn't like this book much, as I found the characters and plot uninteresting. Chances are that other sci-fi fans may enjoy it more, but there are certainly better titles out there to pick from.
2/5 (Entertainment: Awful | Story: Marginal | Book: Average)
Film Review: Sky Captain and the World of Tomorrow
It took ten years for Kerry Conran to get this film off the ground. By
the time it finally did, it was one of the first-ever to be shot almost
entirely on blue-screen soundstages, leading some to say that this film
is a glimpse at tomorrow's world of filmmaking.
As far as the end result goes, the film tries its best to capture that certain charm and magic of retro pulp adventure and sci-fi. The spirit and imagination is definitely there, as giant robots pummel cities with ray guns, and entire wings of planes and flying machines clash in midair. The film rolls along at an even and steady pace, with plentiful amounts of action, peril, visual wonder, and loads of homages to genre classics.
Unfortunately, the experience is marred by a few things. Even though there are a lot of nifty vehicles, weapons, and ideas on display, the special effects are pretty bad, even by 2004 standards. They tend to look hazy and soft, and backgrounds don't seem to merge well with the actors. For a film that must be 90% special effects, it makes the whole film look gaudy. All the action scenes whiz by without leaving much of an impact, and the whole lot of them are underwhelming in the end.
The most disappointing aspect is the storytelling. Weak exposition is used to string the characters from one big event to the next on a thin thread of a plot. I never even understood who the villain was and what the evil plot was, but it was some kind of excuse to send giant robots and flying bird-like machines out into the world, and launch a rocket from some lost island populated by prehistoric animals. What makes the plot most underwhelming, however, are the characters. The titular Sky Captain has no charisma or presence; he's pretty much just a fighter pilot with a vague history that garners respect from everybody else. He tries his best to match up with other action heroes like Indiana Jones, but at least Indy had personality, charm, charisma, and a tough struggle - Sky Captain does not. As far as the side characters go, the love interest (named Polly Perkins, who ironically is played by the same gal who would go on to play Pepper Potts) is rather bland and borderline unlikable. Really, Angelina Jolie's brief appearance might be the only character I found intriguing (and that might just be because the eyepatch is cool). Altogether, it adds up to a bland and shallow experience.
Using all-digital photography and all-digital effects, the film looks soft, fake, and low-budget. Editing is okay; there is an over-abundance of transitions and overlays in the beginning, but the rest of the film is fine. Acting is rather weak and bland from the whole cast: Jude Law and Gwyneth Paltrow come off as a rather uninteresting duo. Angelina Jolie seems to be the only one who looks like she's having fun, with Giovanni Ribisi in close second as an on-again off-again sidekick character. Writing could have been much better; I suspect that more fine-tuning on the script could have produced a better story. Even though this film uses some imaginative and well-designed dieselpunk sets, props, and costumes, the weak special effects do little to make me really care for them. What few real-looking objects the film has are pretty decent, but the film overall looks almost too slick and too clean for its own good. Music didn't do much for me either.
I wanted to like this film, but I can't help but to regard it as a bland misfire, thanks to its gaudy all-digital production, the wooden acting, and the weak story. It is worth seeing once for the gee-whiz factor; some people will love it, some won't. Unfortunately, I do not.
2/5 (Entertainment: Marginal | Story: Poor | Film: Poor)
As far as the end result goes, the film tries its best to capture that certain charm and magic of retro pulp adventure and sci-fi. The spirit and imagination is definitely there, as giant robots pummel cities with ray guns, and entire wings of planes and flying machines clash in midair. The film rolls along at an even and steady pace, with plentiful amounts of action, peril, visual wonder, and loads of homages to genre classics.
Unfortunately, the experience is marred by a few things. Even though there are a lot of nifty vehicles, weapons, and ideas on display, the special effects are pretty bad, even by 2004 standards. They tend to look hazy and soft, and backgrounds don't seem to merge well with the actors. For a film that must be 90% special effects, it makes the whole film look gaudy. All the action scenes whiz by without leaving much of an impact, and the whole lot of them are underwhelming in the end.
The most disappointing aspect is the storytelling. Weak exposition is used to string the characters from one big event to the next on a thin thread of a plot. I never even understood who the villain was and what the evil plot was, but it was some kind of excuse to send giant robots and flying bird-like machines out into the world, and launch a rocket from some lost island populated by prehistoric animals. What makes the plot most underwhelming, however, are the characters. The titular Sky Captain has no charisma or presence; he's pretty much just a fighter pilot with a vague history that garners respect from everybody else. He tries his best to match up with other action heroes like Indiana Jones, but at least Indy had personality, charm, charisma, and a tough struggle - Sky Captain does not. As far as the side characters go, the love interest (named Polly Perkins, who ironically is played by the same gal who would go on to play Pepper Potts) is rather bland and borderline unlikable. Really, Angelina Jolie's brief appearance might be the only character I found intriguing (and that might just be because the eyepatch is cool). Altogether, it adds up to a bland and shallow experience.
Using all-digital photography and all-digital effects, the film looks soft, fake, and low-budget. Editing is okay; there is an over-abundance of transitions and overlays in the beginning, but the rest of the film is fine. Acting is rather weak and bland from the whole cast: Jude Law and Gwyneth Paltrow come off as a rather uninteresting duo. Angelina Jolie seems to be the only one who looks like she's having fun, with Giovanni Ribisi in close second as an on-again off-again sidekick character. Writing could have been much better; I suspect that more fine-tuning on the script could have produced a better story. Even though this film uses some imaginative and well-designed dieselpunk sets, props, and costumes, the weak special effects do little to make me really care for them. What few real-looking objects the film has are pretty decent, but the film overall looks almost too slick and too clean for its own good. Music didn't do much for me either.
I wanted to like this film, but I can't help but to regard it as a bland misfire, thanks to its gaudy all-digital production, the wooden acting, and the weak story. It is worth seeing once for the gee-whiz factor; some people will love it, some won't. Unfortunately, I do not.
2/5 (Entertainment: Marginal | Story: Poor | Film: Poor)
September 27, 2014
Film Review: Eraserhead
When it comes to cinema as an art form, very few films, if any, are as abstract and bizarre as David Lynch's first-ever feature-length film: Eraserhead.
Like any piece of art, some people will embrace it, others will shun
it. Most are content to give it a shot and never see it again.
It truly is an experience unlike any other. The film takes place in its own little world: a dark, grungy, industrial nightmare laden with stark patterns, shadows, and odd details. Characters don't have much to say, leaving their odd actions and reactions to tell most of the story. There are numerous expressionist images that will truly challenge one's understanding of what's going on: I seriously can't say why this film has a scene with a man on another planet, or why there's an ugly lady dancing inside a radiator, or why there are worm-like things everywhere. The film has its share of grotesqueness, from the crying of a strange mutant baby to the bizarre nightmare where the guy loses his head and it literally becomes a pencil eraser...the film packs in so much weirdness, but it runs evenly and hypnotically, to the point where it's all effortless and natural for the strange world Lynch has created.
The film's content doesn't really follow a standard narrative, so interpreting its plot will depend entirely on the viewer and what he or she makes of the images. The most obvious thing is that this is about some dude having to put up with the horrors and fears of parenthood. You could probably watch the film and extrapolate psychological and sexual subtexts as well. Characters don't have much to them, but it's easy to relate to the protagonist through all his surreal visions, no matter how harrowing they become.
The film uses some very strong, vivid, and stark imagery, all shot with fantastic black-and-white photography. Editing is really precise and good. All of the actors fulfill their parts well. Dialogue tends to be pretty short, blunt, and weird. This was never really an expensive or elaborate production, so considering the film's limitations, it really made the most of what it had. Sound design is very punchy, while the music is extremely airy and surreal, giving the film the perfect atmosphere.
Eraserhead is a strange, surreal, gaudy piece of work that may not make much sense to a casual viewer. As a work of art, it is phenomenal, and all mature audiences should give it a try at least once.
5/5 (Experience: Extreme | Content: Extreme | Film: Perfect)
It truly is an experience unlike any other. The film takes place in its own little world: a dark, grungy, industrial nightmare laden with stark patterns, shadows, and odd details. Characters don't have much to say, leaving their odd actions and reactions to tell most of the story. There are numerous expressionist images that will truly challenge one's understanding of what's going on: I seriously can't say why this film has a scene with a man on another planet, or why there's an ugly lady dancing inside a radiator, or why there are worm-like things everywhere. The film has its share of grotesqueness, from the crying of a strange mutant baby to the bizarre nightmare where the guy loses his head and it literally becomes a pencil eraser...the film packs in so much weirdness, but it runs evenly and hypnotically, to the point where it's all effortless and natural for the strange world Lynch has created.
The film's content doesn't really follow a standard narrative, so interpreting its plot will depend entirely on the viewer and what he or she makes of the images. The most obvious thing is that this is about some dude having to put up with the horrors and fears of parenthood. You could probably watch the film and extrapolate psychological and sexual subtexts as well. Characters don't have much to them, but it's easy to relate to the protagonist through all his surreal visions, no matter how harrowing they become.
The film uses some very strong, vivid, and stark imagery, all shot with fantastic black-and-white photography. Editing is really precise and good. All of the actors fulfill their parts well. Dialogue tends to be pretty short, blunt, and weird. This was never really an expensive or elaborate production, so considering the film's limitations, it really made the most of what it had. Sound design is very punchy, while the music is extremely airy and surreal, giving the film the perfect atmosphere.
Eraserhead is a strange, surreal, gaudy piece of work that may not make much sense to a casual viewer. As a work of art, it is phenomenal, and all mature audiences should give it a try at least once.
5/5 (Experience: Extreme | Content: Extreme | Film: Perfect)
Labels:
arthouse,
drama,
dream,
Eraserhead,
experimental,
film,
gore,
horror,
movie,
review,
surreal,
weird
Subscribe to:
Posts (Atom)






