by Adam Ferenz
August 15, 1986. 96 minutes. Written by Charles Edward Pogue and David Cronenberg. Directed by David Cronenberg. Starring: Jeff Goldblum, Geena Davis, John Getz.
Director David Cronenberg’s reworking of the 1950s B-classic, The Fly, is a tale for the times, at once a straight body horror, yet infused with themes that are very modern. There is a sense of isolation, of dread, and infection, which is ever present. The story is about a man who loses his humanity because of his obsession, because of a plot in which an advanced genetic experiment goes very wrong. The film, as it unfolds, appears to at first be a morality play about not messing with the delicate balance of nature, but is instead a meditation on choice, consequence and chance. In this sense, it can be viewed as a warning, or an examination, about behaviors, in particular, sexual conduct.
The film itself is technically superb, with the makeup being a legendary achievement which has lost none of its potency in now thirty years of release. The acting is very effective, with Goldblum perfecting the role he has continued to play for the rest of his career. He was never better than this film. Neither was Geena Davis, who runs the emotional gamut, as does John Getz as Stathis Borans, Veronica’s ex. A note must also be made of the sets, in particular the telepods, Seth Brundles’s invention, which have an almost amniotic sac shape, merged with the design of a honey dipper. The photography is kept dark but not poorly lit, a world of shadows that never lacks clarity, with the film almost all in medium range. When the film changes to close-ups or long shots, it is very noticeable. What this achieves is a sense of a very controlled yet dangerous world. Continue Reading »
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by Stephen Mullen
The Island of Lost Souls is another of those films that might be more horror and adventure yarn than science fiction, though it is certainly science fiction. The basic plot is SF – a mad scientist in his lair, short-cutting evolution with surgery and cellular manipulation, creating monsters to roam the world – though none of this is given a lot of weight. Dr. Moreau’s fictional science is treated as the given of the story, and they move on from there. But the film is also science fiction at a more significant level. The horror themes (monsters, body horror, the slippages of identity and so on) run alongside themes more associated with science fiction: man vs. nature; science’s attempts to control nature, with mixed results; the question of progress, whether progress is necessarily an improvement, whether it is reversible, and so on. These themes run all through the film, they are embedded in its style as much as its story; the story, the film, present a microcosm of dystopia, and a dystopia very much made by human attempts at science. Its science fiction is wrapped around its horror tropes and vice versa – working very well at both.
Criterion’s edition of the film contains an interview with Gerry Casales and Mark Mothersbaugh of Devo, taking about the film’s influence on their ideas and music, its relevance to 1970s Akron, and so on. What did they see in it? They talk about Ghoulardi (who showed it on late night television); they talk about Kent State (where they were students at the time of the shootings); they talk about de-evolution, about the film and its look (its masks, shadows, monsters) and its themes, and what it meant to them. They mention a strange fact – how this film set on a lost jungle island in the south seas looks like what’s outside their doors – 5 o’clock at the Goodyear plant, says Mothersbaugh. It’s true – the film has a strong dose of German expressionism in its veins, and the beast men emerging from one of Moreau’s stone doors and passing a wall where their shadows loom as they shuffle out of the shot, bent knees and backs, look like factory workers shuffling out after their shifts. The same image turns up in another 70s era rust belt song, Pere Ubu’s “Heart of Darkness”: “Image object illusion, go down to the corner, where none of the faces fit a human form, nothing I see there isn’t deformed, maybe in a secret lab works Dr. Moreau” – it’s less the images of deformity that catch you, than the beginning – go down to the corner – this is what it looks like, now, today, Cleveland in the 70s.
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by Adam Ferenz
January/April 2015, 108 minutes. written and directed by Alex Garland. Starring: Alicia Vikander, Oscar Isaac, Domhnall Gleeson.
Ex Machina is a film which takes one quite by surprise. This is territory which seems to have already been covered by the giants of the Cyberpunk field, such as Dick and Gibson. Even a touch of Asimov, and his I, Robot work. Yet, this is an altogether more original and tightly wound tale than it first appears. The focus is on a seemingly reclusive genius, the employee he brings to a woodland laboratory and the humanoid creation that they begin testing.The humanoid is known as Ava, and she is the result of years of experiments by Nathan Batemen, who has brought Caleb Smith to his woodland retreat-also a high security laboratory-for an indefinite period of testing the responses of Caleb and Ava to one another. This, Caleb recognizes, is part of the Turing Test, which in part holds that true artificial intelligence will only be achieved when a human being fails to recognize an AI as an AI.
In the laboratory is one other, a silent Asian woman, Kyoko. As the film progresses, we discover that she is an earlier experiment by Batemen. As the film unfolds, Caleb and Batemen come to be suspicious of one another, with Ava seemingly in danger of being turned into spare parts following this stage of evolution, which involves a liquid gel brain and realistic skin over an advanced, non-biological, frame. A frame which, Batemen lets Caleb know, includes a working vagina. This is important, because Caleb does indeed become interested in, even aroused, by Ava, and discovers that Nathan has had intercourse with his creations. Continue Reading »
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by Robert Hornak
Opening note: More so and forever a fantasy-adventure film before it’s a science fiction film, I can still find a way to live with it on this list if I think hard about its theme of modern technology (of the time, gas bombs and biplanes) overtaking the absolute epitome of natural strength – that is, for the movie to be science fiction, it has to be seen as nature’s final bow at the hands of what is the unstoppable wave of the future. But that’s difficult for me. As you’ll see, I’m beyond emotionally ensnared by this film, and as long as the movie’s had its grip around me, I’ve only ever enjoyed it as the greatest of all monster-on-the-loose films, many of which are clearly science fiction, but this one’s not so obvious. I happily invite anyone in the comments to describe the movie’s relation to the genre at hand – I want to learn – but this paragraph will have to count as my only nod to that branch of the discussion.
King Kong, the debated but still perversely entertaining 1976 remake, is the only movie that I can’t remember not knowing about. Meaning, one of my earliest memories of life is seeing a TV commercial for its theatrical release when I was a little squib of 5 years old. The cracking trees, the writhing woman bound to posts, and the horrible animal scream of the giant gorilla had me so irrevocably hooked on the idea of a giant gorilla that it’s never left my brain. I must’ve thrown a fit, cause my parents actually took me with them to see it. I still have a sort of chest flutter/muscle memory sort of feeling when I think about seeing that huge creature on that huge screen. After that, I drew gorillas incessantly. I imagined I was a gorilla, loping around the house, an action figure in my hand (or maybe my sister’s Barbie). I used to climb on top of fire hydrants and roar while swiping at invisible aircraft. I think I stopped doing that about my sophomore year of college. A year or so after the movie, though unrelated to the movie (so I thought), I bought my first book with “my own money”: Jeff Rovin’s 1977 From the Land Beyond Beyond, detailing all of Willis O’Brien’s work and all of Ray Harryhausen’s stuff up to his then-most-current movie, Sinbad and the Eye of the Tiger (with a quick sentence-long teaser for something in the works called Perseus and the Gorgon’s Head). Of course, I got the book because of the monsters I saw on every page, unaware at first that one of those movies was a very different version of my beloved King Kong. I essentially learned to read so I could read that book. When I finally understood it, over the next few years, I got to love stop-motion with a depth eclipsed by nothing else. Continue Reading »
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by John Grant
Originally titled Kaze no Tani no Naushika
vt Nausicaä; cut vt Warriors of the Wind
Japan / 117 minutes / color / Topcraft, Toei Dir & Scr: Hayao Miyazaki Pr: Isao Takahata Story: Kaze no Tani no Naushika (1982 onward manga) by Hayao Miyazaki Cine: Yasuhiro Shimizu, Kôji Shiragami, Yukitomo Shudo, Mamoru Sugiura Voice cast: Sumi Shimamoto (Nausicaä), Yoshiko Sakakibara (Kushana), Yôji Matsuda (Asbel), Gorô Naya (Lord Yupa), Ichirô Nagai (Old Mito), Iemasa Kayumi (Kurotawa). Hisako Kyôda (Oh-Baba), Rihoko Yoshida (Teto), Mahito Tsujimura (Jhil), Kôhei Miyauchi (Goru), Jôji Yanami (Gikkuri), Minoru Yada (Niga), Mîna Tominaga (Lastel).
Sometime in the 1990s a friend of mine, the anime expert Andrew Osmond, suggested I should watch Nausicaä. I was skeptical. Although I knew something of Western animation—I’d written my book on Disney animation by then—I’d been unimpressed by the little anime I’d seen, which seemed to rely on cheesy, 1940s-pulp-style SF clichés and upskirt shots of giggling schoolgirls to cater to the onanistic pedophile market. (There are some upskirt shots in Nausicaä; they’re the one element I really dislike about the movie. Later Miyazaki would learn better, and abandon that particular anime tradition.)
You have to remember that the home video explosion was only just beginning, so it was very much harder to achieve the scope of movie watching that we enjoy today. Even so, thanks to a local video library I was able to lay hands on a not particularly stretched VHS of the movie, and settled in with my metaphorical popcorn.
Nausicaä was an eye-opener for me. In technical terms the animation came nowhere close to the standards of the features that I was accustomed to by Disney, Don Bluth et al., but by way of compensation many of the backgrounds were astonishingly beautiful; more than that, the visualization of Princess Nausicaä’s future world was quite stunning.
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