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Non-Review Review: Spider-Man – Into the Spider-Verse

Spider-Man: Into the Spider-Verse is an amazing Spider-man movie.

There is no other way to describe it. Into the Spider-Verse is a clean lock for the best superhero film of the year, neatly leapfrogging the superlative Black Panther. Into the Spider-Verse is also the best animated film of the year, placing comfortably ahead of The Breadwinner or Incredibles 2. In fact, it seems fairly safe to describe Into the Spider-Verse as the best feature film starring Spider-Man since Spider-Man II. Even that feels like hedging, and would be a very closely run race.

Just dive on in.

Into the Spider-Verse is a creative triumph. It is a fantastically constructed movie, in virtually every way. The film’s unique approach to animation will inevitably dominate discussions, and understandably so. Into the Spider-Verse is a visually sumptuous piece of cinema that looks unlike anything ever committed to film. However, the film’s storytelling is just as impressive if decidedly (and consciously) less showy in its construction. Adding a phenomenal cast, Into the Spider-Verse is just a film that works in an incredibly infectious and engaging way.

Into the Spider-Verse does whatever a Spider-Man movie can. And then some.

Suits him.

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97. The Open House (-#58)

Hosted by Andrew Quinn and Darren Mooney, The Bottom 100 is a subset of the fortnightly The 250 podcast, a trip through some of the worst movies ever made, as voted for by Internet Movie Database Users. The Bottom 100 is a special series of episodes that will be randomly interspaced with regular releases, covering the way in which the Internet Movie Database recently renovated their list of the worst movies ever made to include more populist fare.

This time Matt Angel and Suzanne Coote’s The Open House.

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Star Trek: Voyager – Live Fast and Prosper (Review)

Live Fast and Prosper is a reasonably adequate mid-tier episode of Star Trek: Voyager.

It is not awful. It has an interesting premise, with some interesting potential for development and exploration. It fits with some of the larger fascinations of Voyager – in particularly recurring themes of identity and narrative, and the intersection of the two. More than that, unlike a lot of Voyager episodes, it has a story that feels somewhat original. This is not a dull rehash of a familiar story, a shiny new exterior hastily assembled over a familiar storytelling engine.

“Get this… whatever it is… to Sickbay!”

At the same time, it is also not very good of itself. Although Live Fast and Prosper has an absolutely ingenious premise, it never seems to push itself beyond that point. It never makes the leap that the best stories make, from an interesting premise into a satisfying execution. Live Fast and Prosper is pretty much exactly the episode that every audience member would anticipate given the one-line plot description of “Voyager encounters a group of con artists who have been impersonating them for shady business deals.”

The result is an hour of television that is solid, if not impressive. Live Fast and Prosper feels like a middling delivery on a fantastic promise, to the point where its status as merely adequate is almost as severe a disappointment as some of the spectacular misfires around it.

Unfamiliar faces…

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Star Trek: Voyager – Course: Oblivion (Review)

Course: Oblivion is a fantastic piece of television, in large part because of how strange and surreal it feels. Like Distant Origin or Living Witness, it is an episode that demonstrates how effective Star Trek: Voyager can be, once it is willing to push itself beyond the template of familiar Star Trek storytelling. Course: Oblivion is a staggeringly weird piece of television, a bottle episode filmed with the primary cast on standing sets, but which only features the briefest of appearances from the regular characters.

More than that, Course: Oblivion effectively weaponises many of the long-standing weaknesses and clichés associated with the storytelling on Voyager. It is the very definition of a “reset” button episode, in that the events (and the ending) of the episode are both catastrophic in scale and utterly inconsequential in the larger scheme of things. In some ways, Course: Oblivion is the quintessential Voyager episode, distilling the destruction of Voyager and the death of Janeway into a tragedy with absolutely no repercussions.

‘Til death do us…

Voyager could often feel generic and disconnected, a show without a unique identity. In many ways, Course: Oblivion is very unique to Voyager in that it builds those core ideas into the very fabric of the episode, constructing an episode that reflects Voyager‘s identity by channeling its identity crisis. As with various other episodes of the fifth season, like Night and TimelessCourse: Oblivion builds a meta-text around the anxieties rippling through Voyager at this point in the run.

However, Course: Oblivion is more than just an effective illustration of Voyager‘s storytelling tropes and unique sensibility. Course: Oblivion is also an episode that taps into a lot of the anxieties bleeding through the zeitgeist at the turn of the millennium. Voyager was undoubtedly a television of its time, and tended to reflect the existential paranoia of the nineties. Course: Oblivion is an episode about what it means to grapple with a person’s own unreality, to wrestle with an existence where meaning no longer exists, and everything is illusory.

“… well, that was quicker than expected.”

Even beyond those themes that anchor Course: Oblivion is the cultural landscape of the late nineties, the episode ties back into broader Star Trek themes. One of the great strengths of the Star Trek franchise is the freedom to use a science-fiction template to explore big questions. Course: Oblivion is an episode about what it means to face death, in a manner very distinct from the way that television usually treats death. The death in Course: Oblivion is not meaningful or epic or heroic. The death in Course: Oblivion is inevitable decay, a murmur in an infinite void.

The result is one of the most striking and effective episodes that Voyager ever produced, and easily the most ambitious episode of the fifth season as a whole.

Face off.

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Non-Review Review: Star Trek – Insurrection

“I think I’m having a mid-life crisis,” Riker tells Troi at one point in Star Trek: Insurrection, and it might be the most telling line in the film.

Insurrection is many things, perhaps too many things. However, it primarily feels like a meditation on what it means to grow old, focusing on the cast of Star Trek: The Next Generation. That first live-action Star Trek spin-off had revived the franchise as an on-going cultural concern, even launching a feature film franchise including Star Trek: Generations and Star Trek: First Contact, and spawning its own spin-offs including Star Trek: Voyager and Star Trek: Deep Space Nine.

A fist full of Data.

However, by the time that Insurrection arrived, The Next Generation was looking quite old. The Next Generation had launched more than a decade earlier, and had been off the air for almost five years. Although it had been a pop cultural behemoth, even its children (or its younger siblings) were starting to look a little long in the tooth. Deep Space Nine was in its final season, and Voyager was closer to its end than to its beginning. There was a creeping sense of fatigue and exhaustion.

In theory, this positions Insurrection quite well. After all, the original feature film franchise really came into its own when the characters found themselves forced to confront their own mortality. Star Trek II: The Wrath of Khan breathed new life into the franchise as it forced Kirk to come to terms with his old age, while Star Trek III: The Search for Spock indulged the sense of grown-ups behaving badly in a story that forced Kirk to throw aside his ship and his career in service of an old friend.

Picard’s hairpiece was fooling nobody.

Stories about age and mortality resonate, and so Insurrection has a fairly solid foundation from which to build. There is just one sizable problem. The cast and crew of The Next Generation have no intention of growing old, of wrestling with mortality, of confronting their age. Insurrection is fundamentally a story about rejecting this maturity and this sense of age, of refusing to accept that time takes its toll and denying that old age is best faced with solemn dignity and reflection.

Insurrection is a story about mamboing against the dying of the light.

A familiar dance.

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Star Trek: Voyager – One (Review)

One is a solid episode.

Indeed, One is so solid that it is the rare episode of Star Trek: Voyager to be repurposed for Star Trek: Enterprise. The prequel series tended to borrow stock Star Trek plots, but it tended to borrow most heavily from Star Trek: The Next Generation and even Star Trek: Deep Space Nine; Oasis was Shadowplay, Vanishing Point was Realm of Fear, Dawn was Darmok. However, One would be reworked as Doctor’s Orders, another pseudo-horror bottle episode in which a member of the cast finds themselves driven insane by isolation.

Everything’s gone askew…

However, One has an in-built advantage over Doctor’s Orders, in that it is centred on a character who practically begs for this sort of treatment. Seven of Nine is effectively a reformed Borg drone. While Jean-Luc Picard was assimilated in The Best of Both Worlds, Part I and recovered in The Best of Both Worlds, Part II, and while Chakotay brushed up against a pseudo-collective in Unity, Seven of Nine is the first franchise regular to have spent the bulk of her life inside the Borg Collective. The nature of the Borg means that Seven is perfectly suited to a story about isolation.

One is a messy and clumsy episode in a number of ways, particularly in its drive for big action set pieces and tangible threats. In particular, the penultimate act of One feels awkward, as if the production team do not trust the audience to engage with a purer breed of psychological thriller. However, One leans very heavily on the character of Seven of Nine and on the performance of Jeri Ryan. Luckily, both character and actor are up to the task.

Voices in her head.

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Star Trek: Enterprise – Impulse (Review)

Next year, Star Trek is fifty years old. We have some special stuff planned for that, but – in the meantime – we’re reviewing all of Star Trek: Enterprise this year as something of a prequel to that anniversary. This August, we’re doing the third season. Check back daily for the latest review.

Impulse is a Star Trek zombie story.

It might sound absurd, but it works very well. After all, the Star Trek franchise rooted in pulp space horror, with extended stretches of the original show portraying space as haunted. In some ways, Impulse could be seen as a logical extension of Regeneration from late in the second season. Both episodes are very much modelled on the classic zombie horror movie formula, both deal with how traditional Star Trek morality applies to that formula, and both are even directed by veteran Star Trek producer David Livingston, who brings a nice kinetic feel to the adventures.

Dead space...

Dead space…

Impulse works a lot better than it really should. There are some plotting issues created by the secondary storyline grafted into the episode, and the show doesn’t quite develop its Vulcan themes as well as it might. However, it compensates for these issues with an incredible sense of energy and momentum. The third season of Star Trek: Enterprise might be the first season of Star Trek to be seriously facing cancellation in decades, but it had an entirely new lease on life.

Impulse is a bold and exciting piece of television, one that feel vital and urgent. It recaptures some of the appeal of the new status quo that had been somewhat squandered by Extinction and Rajiin.

Reed shirt...

Reed shirt…

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