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Space: Above and Beyond – The Angriest Angel (Review)

This November (and a little of December), we’re taking a trip back in time to review the third season of The X-Files and the first (and only) season of Space: Above and Beyond.

Existentialism is something of a recurring theme in the work of Glen Morgan and James Wong.

It echoes through their work. Mulder’s choice of action ultimately serves to define him in One Breath, in contrast to the other more senior male characters in the narrative. The duo’s second script for Millennium, 5-2-6-6-6, opens with a quote from existentialist philosopher Jean Paul Sartre. Even the pair’s feature film work – The One and the Final Destination films – touch broadly on existentialist themes.

Pressed (up) on the issue...

Pressed (up) on the issue…

However, The Angriest Angel is perhaps the most candid of their scripts, with McQueen explicitly explaining how his actions are serving to define his identity. In his power-house opening monologue, McQueen describes these defining moments as make-or-break points. “Everyone, everyone in this life knows when the moment is before them. To turn away is simple. To ignore it assures survival. But it is an insult to life. Because there can be no redemption.”

This is perhaps the most elegant and effective summary of Morgan and Wong’s approach to character development. McQueen articulates it clearer than any of their characters, but the philosophy applies just as much to Scully in Beyond the Sea or Never Again as it does to Tyrius Cassius McQueen. Indeed, it would come to define their work on Millennium, with the second season repeatedly suggesting that the end of the world was as much a personal event as a massive social occurrence.

Slice of life...

Slice of life…

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Space: Above and Beyond – Never No More (Review)

This November (and a little of December), we’re taking a trip back in time to review the third season of The X-Files and the first (and only) season of Space: Above and Beyond.

On the surface, Never No More and The Angriest Angel feel like a companion piece to Hostile Visit and Choice or Chance. Both are two-part episodes airing around sweeps, almost in step with the equivalent two-part episodes of The X-Files. Both push the show’s story arcs forward. Both also draw in recurring guest stars Doug Hutchinson and Michael Mantell, last seen during Choice or Chance. In many respects, Never No More and The Angriest Angel could be seen as a follow-up to that earlier two-part adventure.

However, there are a number of subtle differences that help Never No More and The Angriest Angel feel like a series highpoint – rather than another ambitious misfire. Hostile Visit and Choice or Chance seemed like episodes trying to do too much, and straying into areas where Space: Above and Beyond had always faced difficulty. They were high-concept science-fiction epic adventures that also tried to work in character arcs for the entire ensemble, set against a truly epic story about an ambitious suicide mission and subsequent rescue attempt.

It's only a paper moon...

It’s only a paper moon…

In a way, Never No More and The Angriest Angel are a lot more modest in their scope. There are big revelations here, and plot points that push the show’s arc forwards. However, these elements are not foregrounded. Never No More and The Angriest Angel are not episodes that aspire to be all things to all people. Instead, they are two character studies centred on the two strongest characters (and actors) in the cast, filling in other details as a secondary concern.

Space: Above and Beyond always worked better as a war show than as a science-fiction drama, and Never No More and The Angriest Angel seem to realise this. The two episodes play as an extended homage to the tropes and conventions of classic war stories. Never No More is the story of love divided by conflict, and The Angriest Angel is a tale of personal discovery set against the backdrop of a larger war. They combine to produce a highlight of the entire Space: Above and Beyond run.

Not a patch on his original squadron...

Not a patch on his original squadron…

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Non-Review Review: Silver Linings Playbook

It’s very hard to find a movie that deals with mental illness in a compassionate way, let alone without descending into cheap emotionally-exploitive hokum. The story of Pat Solitano, coping with his “undiagnosed bipolar” disorder by returning home, Silver Linings Playbook manages to be sincere without being cheesy, to be warm without being soft and to be human without being melodramatic. Returning to his parent’s house, Pat stumbles across Tiffany, another “broken bird” dealing with her own personal issues. Silver Lining Playbook is the story of two extremely damaged people helping one another in the most human way possible.

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Metro Film Fight Club: The Fighter

The wonderful folks over at Ross v. Ross asked me to contribute a very special edition of Film Fight Club, going over the ten Best Picture nominees. I stood in the corner for The Fighter, Marky Mark and what is left of Christian Bale. You can pick up a copy in the morning, or check it out here.

I got this guy in my corner...

UPDATE: Guess what just got put on the IMDb Hitlist? If you guessed Robert Rodriguez’s shoe ad, you guessed correctly, but that’s beside the point. Yep, we’re up there. Thanks to everyone for inviting me to take part, and it was a pleasure to cover the race with a bunch as witty, clever and insightful as that selection.

Is There Method to the Madness: Christian Bale’s Weight & Method Acting

Christian Bale is losing a massive amount of weight again for his role in the upcoming Concrete Island. It’s rather topical, given that the actor took time out of an interview to lambaste those who would deride his massive amount of weight loss for The Fighter:

‘To be honest, I find it laughable that it’s considered to be some f—ing gimmick — it’s so patronizing. For God’s sake, do people not understand what a pain it is to do? It’s as though it’s some comment about, ‘Oh it’s easy for him, because he’s done it a bunch of times.’ It’s not easy, it’s not fun — it’s horrible.”

In fairness, I think Bale misses the general thrust of the argument when he makes the (entirely fair) point that it’s a very difficult process. I don’t think anybody will argue that such control over his own body mass is easy (as, if it were, I’d probably choose to be the epitome of physical fitness, but it doesn’t work that way). I think the general question is whether such a large fluctuation in weight adds a benefit to his roles that is worth the physical strain. Is there a gain for the pain, so to speak?

What's the skinny?

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Non-Review Review: The Fighter

The Fighter comes from a long line of Oscar-friendly boxing films. From Rocky through to The Cinderella Man to Raging Bull and beyond, filmmakers seem to see something poetic in the boxer. A figure in the ring, usually from a disadvantaged background, fighting because it’s the only thing that they know what to do. There’s a noble simplicity to the sport, a brutal honest that one seldom finds in football (American or otherwise), basketball or baseball. There’s always something touching about watching a protagonist beat the odds, and boxing films thrive on the literal nature of their conflict. I can’t say that The Fighter adds anything new to the long established “Oscar boxing film”, but it does have one advantage: the sheer volume of talent in its corner.

How does it measure up?

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