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New Escapist Column! On the “Altered Carbon” and the Ghosts of Futures Past…

I published a new In the Frame piece at Escapist Magazine this evening. With the release of the second season of Altered Carbon, I thought it was worth taking a look at the recent trend towards retro-futurism, how modern pop culture is haunted by the ghosts of futures past.

Altered Carbon works best as a celebration of the cyberpunk genre, drawing from a wealth of sources like Ghost in the Shell and Blade Runner, steeped in nostalgia for a particular kind of future that was very popular during the eighties. It is not alone; after all, the first season was released after the Ghost in the Shell remake and Blade Runner 2049. However, it isn’t just cyberpunk that informs such nostalgia. Franchises like Star Wars and Star Trek have taken to looking backwards, while it’s hard to think of a modern piece of science-fiction that suggests a novel vision of the future.

It’s an interesting and unsettling trend, as if pop culture has given up on the idea of the future being different. Instead of imagining bold new worlds, pop culture seems instead to be recycling early generations’ hopes and dreams. You can read the piece here, or click the picture below.

Escapist Column! “It: Chapter 2” and the Dangers of Nostalgia…

Another In the Frame column from Escapist Magazine!

This time, taking a look at the recent release of It: Chapter 2, and what the film has to say about the gulf between memory and history. It: Chapter 2 is a story about coming home, and processing the reality of what happened, so that it can be truly put to rest.

You can read it here, or click the picture below.

143. Once Upon Time… in Hollywood – This Just In (#127)

Hosted by Andrew Quinn and Darren Mooney, and this week with special guest Phil Bagnall, The 250 is a (mostly) weekly trip through some of the best (and worst) movies ever made, as voted for by Internet Movie Database Users. New episodes are released every Saturday at 6pm GMT.

This time, Quentin Tarantino’s Once Upon a Time… in Hollywood.

It’s February 1969. Everything is changing. Hollywood itself seems to be facing an inevitable collision with the turmoil that has engulfed the rest of the world. Against this backdrop, lives intersect and collide. Returning from the United Kingdom, Sharon Tate moves in next door to washed up fifties western star Rick Dalton, both completely unaware of how profoundly their lives will impact one another.

At time of recording, it was ranked 127th on the Internet Movie Database’s list of the best movies of all-time.

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Non-Review Review: Once Upon a Time… In Hollywood

Once Upon a Time… in Hollywood is a fairy tale, for better and for ill.

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“The Undiscovered Country… the Future!”: Star Trek VI and the Unexpected End of History…

Early in Star Trek VI: The Undiscovered Country, the Klingon Chancellor Gorkon offers what appears to be a fairly dramatic misreading of Hamlet.

Opening a dinner between the representatives of the Klingon High Council and the senior staff of the Enterprise, Gorkon raises his glass of Romulan Ale in salute. “I offer a toast,” he states. “The undiscovered country, the future.” By most accounts, this isn’t what Shakespeare meant when he allowed the Danish Prince to monologue about “the undiscovered country.” The dialogue is quite explicit that Shakespeare was talking about death rather than the future. Hamlet is reflecting upon the possibility of “something after death, the undiscover’d country from whose bourn no traveller returns.” To be fair to Gorkon, this may be a simple translation error; after all, the Klingon Chancellor boasts that “you have not experienced Shakespeare until you have read him in the original Klingon.”

However, increasingly, The Undiscovered Country suggests that Gorkon’s toast is not a simple misreading of the Bard. In the most obvious of senses, Gorkon himself gets to travel to “the undiscovered country” almost immediately after the dinner, murdered by two assassins in Starfleet uniforms as part of a plot to destabilise the possibility of peaceful relations between the Klingon Empire and the Federation. Indeed, even within the larger context of the Star Trek franchise, there is a sense that the future of the Klingon Empire is inexorably associated with death. Gorkon’s peace with the Federation sets in motion the gradual decay and decline of the Klingon Empire that runs through stories like Heart of Glory, Sins of the Father, The Way of the Warrior, Tacking Into the Wind.

However, watching The Undiscovered Country more than a quarter of a century removed from its original context, that seeming misstatement seems increasingly deliberate and calculated. The Undiscovered Country is perhaps the most under-appreciated of the Star Trek films, in large part due to how it consciously and deliberately twins the notions of “death” and “the future”, insisting that perhaps the past must die so that the future might live. In the world of The Undiscovered Country, death is still frightening and mysterious and uncharted. However, it is also a necessary part of growth and evolution. In the years since the release of The Undiscovered Country, it seems like more franchises could take that idea to heart.

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Non-Review Review: Pet Sematary

The horror in Pet Sematary is primal and ancient, both literally and figuratively.

The tropes that power Pet Sematary were already familiar and old-fashioned by the time that Stephen King published the book more than a quarter of a century ago. Indeed, there are extended stretches of the novel when Pet Sematary feels like a game of Stephen-King-related mad-libs: a dash of paternal anxiety here, a sense of existential dread about the American wilderness there, a familiar older character to provide exposition thrown in, and a climax where everything gets very brutal very quickly.

“You just take a left at the Pet Seminary.”

Even beyond the sense of Pet Sematary as a collection of familiar Stephen King elements blended together, the novel riffed on familiar genre elements. There was more than a faint whiff of The Monkey’s Paw to the basic plot, the story of a seemingly wondrous device that could resurrect the dead only for the person responsible to realise that their beloved had come back “wrong” – or, as Jud helpfully summarises, that “sometimes dead is better.” (The novel alluded to this more directly with the story of Timmy Baterman, which is consigned to a newspaper clipping in this adaptation.)

Writer Jeff Buhler, along with directors Kevin Kölsch and Dennis Widmyer, clearly understand that appeal. The script for Pet Sematary makes a number of major alterations to the book’s plot, but most are logical and organic, rooted in the realities and necessities of cinematic storytelling more than the desire to change things for the sake of changing them. For the most part, Pet Sematary revels in the old-fashioned blend of Americana and horror that defines so much of King’s work, the mounting sense of dread and the decidedly pulpy sensibility.

The purr-fect villain.

Pet Sematary only really runs into trouble in its third act, and this is arguably a problem that is carried over from the source material despite the major branching choices that the script makes leading up to that point. The issues with the third act are not those of character or plot, but instead of tempo and genre. In a weird way, these third act issues make Pet Sematary feel like a spiritually faithful adaptation, carrying over something of the essence of the book, for better and for worse.

Pet Sematary is at is strongest when building mood and mounting dread, when offering its own shading on the familiar iconography of a haunted and untamed wilderness. Pet Sematary is at its weakest when it is forced to shape that dread into a more conventional horror movie climax.

Shades of grey.

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123. The Sting (#100)

Hosted by Andrew Quinn and Darren Mooney, this week joined by special guest Gerry Mooney, The 250 is a (mostly) weekly 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, George Roy Hill’s The Sting.

When a simple con leads to horrific consequences, amateur con artist Johnny Hooker vows to avenge himself on crime boss Doyle Lonnegan. Enlisting the help of over-the-hill veteran Henry Gondorff and a motley crew of small-time hoods, Hooker sets in motion an elaborate con game with potentially disastrous consequences.

At time of recording, it was ranked the 100th best movie of all time on the Internet Movie Database.

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