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The 250, Episode #15 – 2001: A Space Odyssey (#90)

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, Stanley Kubrick’s 2001: A Space Odyssey.

At the dawn of man, a strange observer appears to witness the instant at which mankind comes into existence. Millennia later, the object appears again, beckoning mankind out towards Jupiter, beyond the infinite.

At time of recording, it was ranked the 90th best movie of all time on the Internet Movie Database.

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Doctor Who: Oxygen (Review)

Like every worker everywhere, we’re fighting the suits.

– the Doctor about sums it up

In space, EVERYONE can hear you scream…

Oxygen plays very much like a companion piece to Thin Ice earlier in the season. Both are essentially stories about monstrous capitalism, from nineteenth century London through to the depths of outer space.

Indeed, Oxygen pitches itself as something akin to a late seventies or early eighties science-fiction film, in terms of aesthetic and politics. The episode’s production design recalls the “used future” of films like Star Wars, while the heavy criticism of capitalism invites comparison to films like Alien or Outland. Indeed, Oxygen even borrows from a similar strain of horror movies, tapping into the fear of zombies as the monstrous face of capitalism that can be traced back to Dawn of the Dead.

Station keeping.

Jamie Mathiesen has been one of the most consistently impressive writers of the Twelfth Doctor’s tenure, turning in impressive scripts for both Mummy on the Orient Express and The Girl Who Died, along with a genuine masterpiece in Flatline. Indeed, Oxygen is the most impressive episode in the stretch of the season, a bold and ambitious piece of allegorical science-fiction, wedded to a genuinely scary concept, top-notch production design, and any number of clever ideas.

Oxygen is a brilliant piece of work, and a reminder of just how effectively Doctor Who can blend its disparate elements into a satisfying whole.

Give him space to work.

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Star Trek: Voyager – Nemesis (Review)

Nemesis is a great example of Star Trek: Voyager pitching itself as generic Star Trek.

This is a story that is not unique or particular to this crew. In fact, the story could easily be adapted to service characters from Star Trek: The Next Generation or Star Trek: Deep Space Nine or even Star Trek: Enterprise. In some respects, Nemesis might even work better if Robert Beltran were swapped out for Jonathan Frakes or Colm Meaney or Connor Trinneer. There is very little in the script that relies on the particularities of this show or the nuances of its characters.

The Rifleman...

The Rifleman…

While this lack of a distinct identity is a problem for Voyager as a television series, it does lead to some great episodes. Many of the best episodes of Voyager could easily be ported to or from any of the other shows. It was an approach that really came to the fore during the third season, when Jeri Taylor and Brannon Braga made a conscious choice to steer the show away from its focus on a crew stranded far from home and towards a more generic Star Trek sensibility.

At its best, this leads to very strong allegorical storytelling. Episodes like Remember and Distant Origin are very much archetypal Star Trek episodes, extended science-fiction metaphors with a strong moral core that evoke the Star Trek beloved by so many of its fans. Nemesis is very much an episode constructed in that tradition, a metaphorical exploration of the dehumanisation of soldiers through combat training and conditioning. It is a powerful and thought-provoking piece of social commentary and a superb piece of Star Trek.

A hard shoot.

A hard shoot.

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Sympathy for the Other: The Science-Fiction Horror Film in the Brexit/Trump Era

It’s not over. It’s just not yours any more.

– Melanie, The Girl With All the Gifts

exmachina

Note: This post contains minor spoilers for the reboot of Westworld and major spoilers for the endings of The Girl With All the Gifts and Ex Machina. Consider yourself warned. Continue reading

Non-Review Review: High-Rise

This film was seen as part of the Audi Dublin International Film Festival 2016.

Ben Wheatley’s High-Rise is a beautiful ugly film.

An adaptation of J. G. Ballard’s surrealist novel, High-Rise fits rather comfortably within Wheatley’s aesthetic. There is an apocalyptic paranoia running through the film, which charts the social decay of the eponymous building over a three-week period. Class warfare is rendered literal in multiple senses, as the lower classes visit violence upon the wealthier inhabitants of the tower block. Even during the most peaceful and serene sequences of the movie’s first half, there is an underlying anxiety and dread bubbling just beneath the surface.

highrise3

High-Rise is disjointed and uneven, but that would seem to be something of the point. Amy Jump’s screenplay and Ben Wheatley’s direction eschew conventional pacing, with the world collapsing more in fits and starts than in a steady decline. Wheatley and Jump also edit the film, emphasising the chaotic nature of this collapse through jumps and montages that document the erosion of social order in a manner that ebbs and flows. It is disorientating and occasionally even frustrating, but one senses that this is meant to be the point.

High-Rise is a messy piece of work. But then, as the movie seems to suggest, things get messy when life is forced into a neatly delineated box.

HR_0430_tiff.tif

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Harsh Realm – Reunion (Review)

This November, we’re taking a trip back in time to review the seventh season of The X-Files and the first (and only) season of Harsh Realm.

So that in the first place, I put for a general inclination of all mankind a perpetual and restless desire of Power after power, that ceaseth only in Death. And the cause of this is not always that a man hopes for a more intensive delight than he has already attained to, or that he cannot be content with a moderate power: but because he cannot assure the power and means to live well, which he hath present, without the acquisition of more.

– Thomas Hobbes, Leviathan, The First Part, Chapter XI

Reunion continues the sense that Chris Carter envisioned Harsh Realm as something of an allegorical episodic adventure series through a post-apocalyptic reflection of contemporary America.

Carter quite clearly wanted to use Harsh Realm as a vehicle to explore and comment upon certain aspects of the American experience. Inga Fossa touched on the links between projected masculinity and violence; Cincinnati will find Santiago’s “manifest destiny” brushing up against the country’s Native American population. Even scripts like Three Percenters and Manus Domini feel tied into Carter’s large oeuvre, touching on the writer’s recurring fascination with homogeneity and spirituality in the modern world.

Things come to a head...

Things come to a head…

Reunion is very consciously a critique of excessive and abusive capitalism, presenting a vision of America built upon the economics of slave labour reinforced by the rhetoric of freedom and competition. In some respects, Reunion feels like Harsh Realm is channelling the spirit of classic science-fiction television like Star Trek or The Twilight Zone. Its central allegory is hardly subtle, but there is a goofy charm in carrying these ideas well past their logical extremes. The vision of labour presented in Reunion is grotesque and exaggerated, but it is not completely fantastical.

Reunion also reaffirms the link that exists between the digital world and the real world, suggesting that perhaps the world that we inhabit is not as far removed from the horrors of the virtual reality as might hope.

Family matters...

Family matters…

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Star Trek: Enterprise – Countdown (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.

Star Trek: Enterprise spent a lot of the final stretch of the third season playing at being Star Trek: Deep Space Nine. There are a number of episodes that provide a direct parallel with stories from that earlier underrated Star Trek show. Damage riffs on In the Pale Moonlight. is very much Children of Time. More than that, the moral ambiguity and the long-form storytelling that define the third season of Enterprise also owe a very conscious debt to the work done on Deep Space Nine.

However, the final two episodes of the third season drift away from the ethical uncertainties and moral quagmires that defined a lot of the year’s stories. The Council effective resolved the big thematic questions hanging over the third season, allowing Archer the chance to propose a diplomatic solution to the Xindi crisis. This allows Countdown and Zero Hour to go about the task of providing a suitably impressive action climax to this twenty-four-episode season-long arc. There is precious little soul-searching here; instead, there is one big race against time.

The life aquatic...

The life aquatic…

In that respect, the last two episodes of the third season hark back to a more traditional form of Star Trek storytelling. In particular, Countdown and Zero Hour feel like an old-school blockbuster two-parter, in the style of Star Trek: The Next Generation or Star Trek: Voyager. In fact, with Archer’s fate in question and a hostile unstoppable force invading the solar system only to be destroyed in orbit of Earth, Countdown and Zero Hour play like an extended homage to The Best of Both Worlds.

While one of the most frequent criticisms of Enterprise is the sense that the writing staff are simply regurgitating classic Next Generation and Voyager plots, this feels almost earned. The third season has largely been about the show’s journey back to the heart of the Star Trek franchise, a trip that concluded with Archer embracing traditional Star Trek values in The Council. But what fun is that journey if you don’t get to celebrate it with an epic high-stakes world-ending rollercoaster ride?

"We cool?" "We cool."

“We cool?”
“We cool.”

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