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Star Trek: Voyager – Hunters (Review)

Hunters is a weird episode of Star Trek:Voyager, perhaps most notable for the manner in which it flirts with serialisation.

More than any other episode of the fourth season, with the possible exception of The Gift, this mid-season episode seems to exist primarily in relation to the episodes around it. The script is very consciously a sequel to Message in a Bottle, with the crew discovering the ancient network of space stations is a two-way radio back to the Alpha Quadrant. It also introduces the Hirogen, an alien species that will recur in Prey, The Killing Game, Part I and The Killing Game, Part II. The story also sets up a narrative thread that will pay off in Hope and Fear, the season finale.

“Prey, tell.”

More than that, Hunters is an episode that is very consciously engaged with dangling threads of continuity. It resolves the relationship between Janeway and Mark that has haunted the lead character since Caretaker, offers Tom Paris some hint of reconciliation with the father who seemed so disappointed in Persistence of Vision, and even resolves the Maquis plot thread by tying back to Blaze of Glory. This is an episode that exists as something of a storytelling nexus point, a variety of intersecting threads all tied together as part of a single narrative.

Voyager had largely eschewed any attempt at long-form storytelling, perhaps in response to the trauma of the troublesome Kazon arc in the second season that led to ill-judged misfires like Alliances and Investigations. However, those early attempts at serialisation were heavily plot-driven, a series of stories building towards a number predetermined plot points. In contrast, the serialisation suggested by Hunters is looser; a collection of character beats, some earlier details that had largely been forgotten, some elements that might be useful in the future.

The farthest woman from home.

That said, Hunters seems just as cautious about long-form storytelling as The Gift was. As much as Hunters revives old story lines and character beats, it also makes a conscious effort to close many of them. Hunters makes it very clear that this level of serialisation will not be the default for the series going forward. The episode tidies away more loose threads than it unravels. The relationship between Kathryn Janeway and Mark Johnson is brought back purely so it can be ended. The Maquis are mentioned only to confirm they have been destroyed.

Still, there is something oddly intriguing about Hunters, a mostly quiet episode that exists primarily as both prelude and coda rather than a narrative in its own right. It is a quieter, stranger Voyager episode, even while introducing a race of giant space!hunters.

Gripping stuff.

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New Podcast! The X-Cast – Season 2, Episode 16 (“Colony”)

Just a quick link to a recent (unscheduled) guest appearance over on The X-Cast, a great X-Files podcast run by the prolific Tony Black.

In the first of a two-parter experience, I had the pleasure of an extended conversation with Tony about Colony. It was a huge honour, given the importance of Colony in the overall mythology of The X-Files. We got to talk about all sorts of fun things, from Chris Carter’s recurring fascination with Frankenstein to nineties television direction to how hard it must be for the Alien Bounty Hunter to shop for clothes. I will also be back next week to talk about End Game with Tony. Check it out the episode here, or click the link below.

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25. Gone Girl (#179)

You don’t know what you’ve got ’til it’s…

Hosted by Andrew Quinn and Darren Mooney, The 250 is a fortnightly trip through some of the best (and worst) movies ever made, as voted for by Internet Movie Database Users. New episodes are released every second Saturday at 6pm GMT, with the occasional bonus episode between them.

This time, David Fincher’s Gone Girl.

On their fifth wedding anniversary, Nick Dunne is shocked to discover that his wife Amy has disappeared. As local law enforcement begin their investigation, all clues seem to point towards Nick. But all is not as it appears to be.

At time of recording, it was ranked the 179th best movie of all time on the Internet Movie Database.

podcast-gonegirl

https://them0vieblog.com/wp-content/uploads/2016/11/podcast11.mp3%20itunes:duration=01:51:06%20itunes:explicit=no

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Non-Review Review: Handsome Devil

Handsome Devil is a charming coming of age tale set against the backdrop of a South Dublin Rugby School.

The film follows loner and outcast Ned, who finds himself shunned at boarding school because he lacks the ability and interest to play rugby. Ned keeps to himself, even isolated from the other boys via his private room. However, Ned’s world is thrown into upheaval when the school receives a new student. Suddenly, Ned finds himself sharing the space with Conor, a promising young rugby prospect who might have the capacity to lead the team into the finals.

Seaing red.

The plot beats and themes in Handsome Devil are fairly standard, keeping very much consistent with the genre of coming of age secondary school tales; the notion of self and identity play into, juxtaposed with the urge towards conformity. There are inspiring teachers and tough decisions, eroding cynicism and brutal betrayal. Handsome Devil is aware of these expectations, to the point that all of this is laid out in the exposition-driven framing device at the start of the film.

However, Handsome Devil is elevated by a sense of genuine warmth beneath this very familiar exterior. The script is well-observed, and the direction is light enough to let a charming cast play well off one another. Like Ned, Handsome Devil is nowhere near as cynical as it appears, and it plays best when it drops the wry irony in favour of an endearing humanism.

That’s grass.

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Non-Review Review: Ghost in the Shell

Ghost in the Shell is a fascinating, deeply flawed, film.

The movie is vibrant and vivid, rich both textually and texturally. Its style, as much riffing on American films inspired by Japanese cyberpunk as by Japanese cyberpunk itself, is simply breathtaking. The hypersaturated colours leap off the screen, which is somewhat ironic given that the 3D rendering mutes them ever-so-slightly. Those bright blues, those glowing greens, those rich reds, they combine to create a sensation that might be described as “bubblegum noir”, a reworking of the noir trappings of cyberpunk with the colour turned way up.

Putting the pieces together.

It is almost too much handle. There is an appealing aura of sensory overload to the world of Ghost in the Shell, as if the film might best be experienced by passively allowing the world to wash over the audience, to sink into the movie in the same way that several members of the cast threaten to sink into virtual networks. Ever frame is saturated with detail, creating a sense that the audience might drown in all the little touches that suggest this neon fantasia dystopia. Ghost in the Shell works best as a mood, a visual lava lamp of shapes in motion.

The problems only really emerge when the story and characters come into focus, the film struggling to grapple with its themes through dialogue and exposition as readily as it does through steadicam tracking shots and computer-generated establishing sequences. Every character in Ghost in the Shell speaks as if preparing for a freshman philosophy tutorial, ruminating on the threads that bind identity and memory together. Characters have little time for metaphor, often bluntly over-explaining their world and their emotional state.

Neural network.

Ghost in the Shell feels at once too smart and too dumb for its own good. This is perhaps most obvious in the allegations of whitewashing that hang over the film, the wry irony of casting Scarlett Johansson as the central character in a big-screen adaptation of a beloved piece of Japanese culture. Johansson’s presence has sparked debate about cultural appropriation and representation. To its credit, Ghost in the Shell makes an earnest attempt to engage with this idea, turning audience frustration into theme. It is a very clever way of dealing with the issue.

The only problem is that Ghost in the Shell simply cannot talk its way around this core concern. Ghost in the Shell tries to recast itself as a narrative that is fundamentally about cultural appropriation, but in doing so it cannot escape the fact that it is also an example of cultural appropriation. Like those circular debates about identity and memory, these is a sense that Ghost in the Shell is attempting to trap the audience in echoes and reflections, a glitch that betrays a fundamental flaw.

Manufactured.

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Iron Fist – Dragon Plays With Fire (Review)

With Dragon Plays With Fire, it is almost as though Iron Fist remembered that it had its own story to wrap up and that it was not simply a lead-in to The Defenders.

The bulk of Iron Fist has been dedicated to setting up characters and concepts for use in The Defenders. Most notably, the series has devoted a lot of attention to developing the Hand, even repurposing large parts of the Iron Fist mythos to set Danny up as a key part of The Defenders by aligning him against the Hand. Shadow Hawk Takes Flight revealed that the Iron Fist was “sworn enemy of the Hand”, while The Blessing of Many Fractures suggested that the Hand played a role in the death of Danny’s parents.

“This makes me so angry that I might flash back to my parents’ death again!”

Iron Fist spent so long playing into The Defenders that it would easy to forget that the series has own narrative arc to fulfil. Indeed, it even seems like Iron Fist itself forgot about those obligations, to the point that Bar the Big Boss played almost like a season finale with Danny vanquishing Bakuto and the Hand before heading home with Colleen for some funky Tai Chi action. However, at the last minute, Bar the Big Boss seems to remember that Iron Fist still has to resolve the whole Harold Meachum business, and possibly set up a second season.

The result is that Dragon Plays With Fire is an incredibly rushed piece of television, covering what feels like multiple episodes worth story in the space of fifty minutes while also cramming in a bunch of sequel hooks to both The Defenders and a hypothetical second season of Iron Fist. The finale is deeply disappointing, much like the season before it. More than that, it is a constant reminder of how little of its own identity was afforded to Iron Fist.

“Oh hey, it’s the ending of Star Trek: Nemesis, everyone’s favourite Star Trek movie!”

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Iron Fist – Bar the Big Boss (Review)

It’s impossible to talk about Iron Fist without talking about cultural appropriation.

There are multiple reasons for this. The most obvious are baked into the character himself, from his origin all the way back in Marvel Premiere as a white guy who travels to a mystical Asian city and becomes better at kung fu than any of the inhabitants before returning to America. There’s also very much the conversation that has been happening around the television series, which has prompted larger debates about the role of Asian performers and culture in Hollywood. Finally, there’s the fact that show so expertly puts its foot in its mouth.

Shaping up…

Bar the Big Boss is the perfect point at which to address this. Again, for multiple reasons. The most obvious is that it represents the last point at which the most obvious aspects of Asian exoticism are in play; barring the closing scene of Dragon Plays with Fire, this episode is the end of the Hand and K’un Lun as narrative forces in the context of the larger narrative. It is also an episode that effectively allows Davos to lightly touch upon the issue of cultural appropriation before brushing his concerns aside by turning him into a stock villain.

But, really, the issue is so firmly baked into the Iron Fist mythos that it is impossible to talk about in isolation.

Warding off evil spirits.

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Iron Fist – Lead Horse Back to Stable (Review)

K’un Lun is a notable void at the heart of Iron Fist, even before the closing moments of Dragon Plays With Fire.

There are any number of terrible mistakes that were made during the production of Iron Fist, fundamental flaws that could easily have been avoided by a more competent and committed creative team. The series was assigned a showrunner with a horrific track record. The production team cast a lead actor without any raw charisma and who was incapable of doing his own stunts, while refusing to put the character in a mask. The series focused more on board room antics than kung fu fun. The Hand were used as the primary antagonist.

You shall not pass.

However, one of the most grating disappointments is the simple fact that a lot of the really fun and interesting stuff about Danny Rand happens long before he stumbles back into New York in Snow Gives Way. There is a solid argument to be made that Danny Rand is a third- or fourth-tier comic book character, but there undeniable cool parts of the Iron Fist mythos. None of them take place in the offices of Rand Industries. Iron Fist is the story of a man who gained his power by punching a dragon in a heart. Whatever an adaptation of Iron Fist should be, it should never be boring.

And, yet, for whatever reason, the first season of Iron Fist makes a point to consciously shoot around the more impressive and distinctive parts of the Iron Fist mythos, reducing its title character to a cut-rate (and ironically trust-fund) Matt Murdock. Danny left K’un Lun behind, and it was a terrible mistake.

The watcher on the pass.

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Iron Fist – Black Tiger Steals Heart (Review)

And so it becomes a little clearer what exactly Iron Fist is trying to do with the Hand.

Black Tiger Steals Heart reveals that Madame Gao is not the leader of the Hand, but instead one faction of the Hand. Presumably, Nobu was the leader of another faction of the Hand on Daredevil, although his interactions with Gao never seemed anywhere near as charged as they might otherwise be. Black Tiger Steals Heart properly introduces the character of Bakuto, a mysterious figure who has been lurking at the edge of the narrative since he was introduced as a friend of Colleen Wing in Felling Tree With Roots.

“Ay, Macarena!”

Bakuto is ultimately revealed to be a major player in the Hand, a character with ambiguous motivations and impressive influence. Black Tiger Steals Heart immediately sets Bakuto up as a cool idealist with progressive values and socialist leanings. He attracts young followers who seem genuinely devoted to them, arguing against capitalism as a philosophy and suggesting that the power of disaffected youth can be channeled in a more constructive manner. Contrasted with Gao’s capitalism or Rand Industries’ exploitation, Bakuto makes a lot of sense.

Bakuto is ultimately revealed as a sinister cult leader looking to exploit the young people placed in his care, turning them into weapons through which he might wage war upon the establishment. Bakuto’s reinvention of the Hand away from Nobu’s Asian mysticism or Gao’s magical capitalism continues the theme of the Hand as a stand-in for American anxieties about foreign belief systems. In this case, Iron Fist treats the Hand as a reactionary critique of left-leaning social movements like Black Lives Matter or Bernie Sanders supporters.

Enjoy this, because this is the only Asian Iron Fist that you’re going to get.

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24. Get Out – This Just In (#227)

With host Andrew Quinn taking the week off, Darren Mooney is joined by special guest Grace Duffy for This Just In, a subset of the fortnightly The 250 podcast looking at notable new arrivals on the list of the 250 best movies of all-time as voted for by Internet Movie Database Users.

This time, Jordan Peele’s Get Out.

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