The Merbrat found the soundtrack I’m going to sleep to for the rest of my life.
I’ve always found the sound of the warp engines on the Enterprise-D to be quite soothing. Now there is twelve hours of it, streaming.
The Merbrat found the soundtrack I’m going to sleep to for the rest of my life.
I’ve always found the sound of the warp engines on the Enterprise-D to be quite soothing. Now there is twelve hours of it, streaming.
I’m not laughing anymore. This was on the Stonekettle Station Facebook wall today.
I’ve done a cursory look online (check out the image credit on that wikipedia page) and the symbolism does seem to be official if not actually adopted by the branch of military service that Congress funded last month. I’ll try to forgive congress the insult to American intelligence that their funding of one of the idiocracies pet ideas legitimizes.
Yes. That is potentially a theft of intellectual property in the form of a proposed device for the OHM’s Space Farce. …er Force. While you are laughing remember that, to the rest of the world, you are what they are laughing at. You the reader, not you the president. Not you Stonekettle Station. You, dear reader. All of you who count yourselves as Americans. You are a joke if this bullshit is not brought to an end.
Well okay. That was funny.
As far as who owns the rights to the IP in question, that isn’t clear.
I thought of “Mirror, Mirror” after seeing the Trump administration’s new Space Force logo, which the president tweeted out Friday with a characteristically awkward nod to our “Great Military Leaders” of the “Sixth Branch of our Magnificent Military!” (caps and punctuation his). Within minutes, the logo was lampooned widely for appearing to rip off the logo for Starfleet Command from “Star Trek.” Indeed, with the two logos placed side by side, the resemblance is so remarkable that I had to wonder whether Melania Trump was part of the design committee.
Apparently, the new logo is just another iteration on the former Air Force Space Command logo, which also featured an upward pointing delta, but the final product with its concentric rings and swooping orbits looks so much like Starfleet’s, I fear it could easily confuse any Vulcans and Klingons who see it.
This somewhat comical appropriation of “Star Trek” imagery carries a certain irony. The universe of “Star Trek” has always provided a hopeful, near-utopian vision for humanity, where we have finally learned to set aside things like racial prejudice and gender inequality, and we all work together toward a common purpose and quest. Money is a thing of the past because no one wants for any material need, and we have united much of the galaxy in a peaceful assembly of sovereign worlds.
Contrast that for a moment with the current administration’s values and practices: racial resentments and fear stoked for cynical political purposes, the wealthy made even more obscenely so through grift and political influence, coarse and bullying behavior masquerading as diplomacy, to name but a few. Even the notion of a “Space Force” seems patently absurd coming from an administration where science is mocked and disregarded.
At times it truly feels like the past three years have had us beamed into a parallel universe, where instead of a president we have a mendacious thug, and where notions like the U.S. Senate being a deliberate, serious body that serves as a vital check on presidential power now seem quaint and naive.George Takei
If, however, the government took orders from the OHM, and the OHM’s intent was to mimic the Starfleet insignia (being an idiot of very little brain, but then I repeat myself) then the logo for Space Force as it is presented by the OHM probably constitutes theft of intellectual property. Proving the theft, proving the OHM’s intentions, then becomes the next hurdle to clear.
The Starfleet insignia as we know it today didn’t exist until the motionless picture (my second favorite Star Trek film) back in 1979. This was long after Gene riffed on the theme of the gold pins that NASA gave to astronauts on going to space to create the various ships insignias seen in the original Star Trek series (1967-69) None of those pins have an upward delta device with a star, also pointing upward, in the center of them. That insignia was just for the Enterprise crew, and the star inside the stylized delta represented command crew. A real fan will know what the two other symbols inside the delta were, and what they represented. The Air Force Space Command insignia does have a delta pointing upward, and that has been acknowledged to be a Star Trek reference. There is your bit of trivia for today.
Stonekettle Station has a tricorder. Well, almost a tricorder. If the device captured all measurable energy in the recording field and not just the visible light, they’d have a tricorder. The future is now.
On May 10, 2011, the X Prize Foundation partnered with Qualcomm Incorporated to announce the Tricorder X Prize, a $10 million incentive to develop a mobile device that can diagnose patients as well as or better than a panel of board-certified physicians. On Jan 12, 2012, the contest was officially opened at the 2012 Consumer Electronics Show in Las Vegas. Early entrants to the competition include two Silicon Valley startups, Scanadu and Senstore, which began work on the medical tricorder in early 2011.Wikipedia, the free encyclopedia
…He might have first run across René Auberjonois in Star Trek: Deep Space Nine. I will always think of him in his role from the series Benson, the only spin-off from one of my favorite TV shows, SOAP, and the only other character aside from the title character from SOAP that was really memorable. I had forgotten that he played Father Mulcahy in the movie version of M*A*S*H. I’ll miss him and the others from Trekdom who have left us over the last few weeks. It has been a rough year.
How did I not know that Ethan Phillips was also in Benson?
This discussion started in the Babylon 5 fan group. There is a rule in the group that disallows all politics and religion that isn’t part of the show from being discussed in the group. If a post strays too far into the real world, the moderators will delete it. I know why moderators do this, but I don’t honestly care. It is unrealistic to expect human beings to be able to separate their beliefs from the entertainment that they enjoy. Especially a show like Babylon 5 or Star Trek, shows that are always tweaking politics and religion in the course of their storytelling. Discuss any episode of the show without straying into weighty matters of philosophy or politics. Go ahead and try.
The long and the short of why I started the article this way is, I have no idea how long the writing I’ve done on the subject will exist within the Facebook group. It just takes one religious zealot, one antitheist, and the thread goes poof. Can you blame me that I want to export the writing so as preserve it?
This image is from the Babylon 5 episode Believers. Here is a link to a synopsis of the episode in case you haven’t seen it or if you don’t want to spend an hour watching the show right now. Also, you should stop reading now if you don’t want any spoilers before you watch the episode, because this article will be full of them.
Still with me? Okay then, here we go. Don’t say I didn’t warn you.
The OP included this statement with the image, “I still remember how outraged I was when I saw it the first time.” A sentiment that I wholeheartedly endorse. When the episode aired back in 1994 I was furious when the credits rolled. As a young parent myself, I couldn’t imagine how any parent could be so blind as to do what they did in the final scenes. The story revolves around a sick child,
Shon, a young alien boy, has developed a “congested blockage in his upper air passages.” When Dr. Franklin explains to Shon’s parents that Shon’s condition can be cured by a fairly routine surgical procedure, the parents seem bewildered. “You will cut him open?” they ask, and explain that the “Chosen of God” cannot be “punctured” — for their souls will escape.
The main conflict of the episode, above, is introduced in the teaser opening. The show starts this way for a reason, and develops the way it does specifically in service to the moral quandary of the problem. “Oh, but his soul!” say his parents. The soul is unmeasurable, unidentifiable. The soul, for the purposes of this episode, is non-existent. The McGuffin, in scriptwriting terms.
There are other episodes of the show where the soul is treated as a physical or at least detectable energy presence. The episode Soul Hunter, eight episodes before this one in the first series, springs immediately to mind as an example of this. So the problem isn’t that there are no souls in the show, or that the writer, David Gerrold, didn’t flesh out the story well enough. It is simply necessary in this episode that the presence of the soul cannot be detected because if it could be verified as being present after the surgery, then there is no moral quandary. There is no story to tell.
When I ran across the thread discussing the episode it already had over 100 comments. However, in reading through the comments I found a near absence of understanding of the purposeful moral dilemma presented by the story. Comments like this one,
Sorry, but I call BS on that one. “Unmeasurable, unidentifiable; AKA, non-existent.” Is nothing more than an argument to silence. For the vast majority of human history things like cells, atoms, and gravity were “Unmeasurable, unidentifiable;” so they were “AKA, non-existent”, right? Just because it is not (yet) measurable does not mean it does not exist.
As I have mentioned a number of times about this episode, the reasons for this particular belief were not addressed. That’s either a failure of Franklin or David Gerrold.
His willingness to blame the writer and actor simply reveals his beliefs on this particular subject. His rejection of the argument is far more revealing of his moral rigidity and lack of understanding of the mechanics of storytelling than it is a truthful observation about the episode and the moral quandary that it contains.
Like the trolley problem, there is no right answer to this problem. In the trolley problem you are asked to choose between taking one life or five under varying circumstances. When the problem is framed one way, you predominantly get an answer that underscores utilitarian ethics; i.e. most people will choose to sacrifice one life to save five. However, when the problem is framed another way, usually requiring the person making the decision to take an active physical role in the decision by pushing a person onto the tracks to stop the trolley, as one example, most people will chose to allow the five people to die.
The problem here, narrowly defined, is medical intervention vs. natural selection. The doctor is required to help his patients. He makes a reference to this fact when he alludes to taking a medical oath to do no harm. The good doctor saw his moral obligation as at least attempting to save the child’s life. The child will end up dead no matter what the doctor does. Of course, neither he nor the audience knows this until the reveal at the end.
The parents knew their child was dying. They expected to find him dead when they were summoned back to the medical lab. When he was instead alive and well, they knew that the doctor had violated their beliefs and saved the child against their wishes. So they acted on their beliefs and did what they thought should have been allowed to happen in the first place.
If the soul is measurable, produce a measurement. If it is definable, define it in a way that can be demonstrated empirically. In this specific episode of Babylon 5 there was no measurement, no definition. In the world that we exist in, believers have been trying to prove the existence of the soul for hundreds of years. They have yet to demonstrate a single method for determining the properties of a soul, and yet few humans will step forward and say they have no soul. Why is this? The soul cannot be shown to be real by any measurement that we humans can attempt, and yet we all still believe that we all have a soul. That it is important we not deny the existence of our own souls.
The doctor is certain that the parents will see reason. He is certain about what his moral path is. The parents are certain that their child should be dead. They are certain of their moral path. The conflict is unresolvable, on purpose. You are supposed to question “what is the moral course?”
Delinn asks the only important question “Whose beliefs are the correct ones?” when she refuses to help the parents stop the operation. Whose beliefs are correct, and how do you demonstrate the correctness of your beliefs? What would have happened if the parents had accepted that their child was healthy but unchanged? If they had taken him home to their planet, would the rest of their people have recognized him as a demon on sight? Or would they have blithely accepted that medicine had saved the boy without loosing his soul? They wouldn’t know that he had been cut unless they could sense the change in his body like a soul hunter would in that other episode.
The boy’s parents did know, because they said goodbye to him minutes before he would have died only to return and find him alive and well. But if they could have accepted him, would anyone else have noticed? This was the lesson I learned from the episode and I’ve carried it with me ever since. You cannot save a child from their parents without removing the child from the parents. The separation has to be physical, and the child has to accept that this is the right thing to do. Without that action, without the agreement of the person you are trying to help, you will simply deliver the lamb to the slaughterer at another time and place, and you might as well have not bothered to make the attempt in the first place.
Act or not act, the outcome is the same in this story. The only question is, what was the moral thing to do? I still side with Dr. Franklin. You, however, are free to disagree.
The avalanche has already started; It is too late for the pebbles to vote.Ambassador Kosh
Facebook Memories has served up the hack job I did on Star Trek: Beyond when that trailer came out. I’ve run across it more than once now, enough times that I feel I should at least mention how wrong I was about the film somewhere on the blog. The trailer I saw on Facebook, shared on Facebook, was not the first trailer, but trailer number two. This trailer.
When I shared the trailer I simply paraphrased from Abramantions Multiply: It is still an Abramanation. The possibility of suckage is high.
The damn trailer has the Bad Robot logo on it. I consider that to be fair warning of impending suckage after the disaster that was LOST seasons 4 through 6. I suffered through all of LOST, the Abramanator will not trick me into liking his work again. I tried. I really did. I tried to make sense of those last seasons of LOST. I tried watching the 2009 Star Trek reboot. Then I declared Trek dead. The Nutrek reboots are bad in many ways, as I and others have gone into great detail to describe in the past. Details that long-time readers of this blog will know about. They are bad in ways that a lot of popular movies are bad these days (Star Wars 7. Mad Max 4) but also bad because of the disconnect with the universe that Gene set out to create.
However, I did finally break down and watch Star Trek: Beyond, just as I watched Star Trek: Into Darkness edited for television and wished I could have my two hours back. After watching Star Trek: Beyond I had to admit that not all Nutrek sucks ass to an equal degree. In fact, Star Trek: Beyond really does try to go beyond, to leave all the previous attempts to tell grand movie stories using Star Trek as a vehicle, and just try to do a Star Trek story as a movie.
Simon Pegg penned a decent little story when he wrote the script. The actors playing the parts delivered their usual best work; and since they weren’t working from the Abramantors crap scripts, the resulting blockbuster spectacle is pretty watchable from just about any perspective that you might come to it. It’s not even bad Trek, per se. There are some points that I might object to from a purist standpoint, but those points can be overruled by watching any number of classic episodes that diverged from Gene Roddenberry’s strict guidelines for how the Trek universe manifested itself. At least one of the episodes that breaks his rules is one he wrote himself. So there are flaws that a purist might take exception to, but anyone trying to watch it with disbelief suspended and a willingness to let the story progress unprotested (how to approach watching any film) will probably walk out of a showing counting it as time well spent.
So, apologies to the cast and crew of Star Trek Beyond. For the first time since First Contact they produced a show that was truly worth watching. They produced a payoff for all the fans who have hung on through decades of bad filmmaking. The characters we’ve loved since the sixties finally felt like they might actually be the same characters that we fell in love with, even though they were portrayed by different actors.
Paramount should try to make sure that Abrams’ company logo does not appear on any more Star Trek properties if they want to win fans back to the show. Abrams has burned too many bridges among the fan community to be welcome even producing films that have any kind of fan following. This should have been clear after the failure of Star Trek: Into Darkness. When he screwed up Star Wars after screwing up Star Trek, it has to be painfully obvious that he screws up everything he touches.
But when all is said and done, it’s just another summer dark ride. Lots of great stuff to look at, lots of things exploding, lots of spectacular FX, and when it’s over, you get out of the chair and go pee. There’s not a lot here to argue about. There’s no moral dilemma.
What attracted me to classic Trek is that the show was about something. Every episode had a chunk of idea in it, big enough to chew on for a while.
Too much of what passes for entertainment today is about justifying cruelty to someone else. Not enough is about sitting down and finding a way to avoid the violence.
And I wonder if that’s a reflection of what we’ve become … or one of the reasons we’ve become what we’ve become.David Gerrold
Stormtrumpers can’t like Star Trek. It would be a causality violation if any of them are caught in the act of enjoying Star Trek. If you do like and watch Star Trek, you can’t vote for the Orange Hate-Monkey. This is simply not allowed per the rules of the space-time continuum.
We will be stopping by to repossess your collector’s items after the election if you do vote for the Orange Hate-Monkey. Remember, we have a time surveillance agency on our side. We’ll know who, where and when you are. Just be prepared for our visit.
From Facebook. FYI, we already adjusted your timeline.
I have a confession to make. I’ve seen Star Trek: Into Darkness.
It doesn’t matter if it premieres the resurrected Great Bird of the Galaxy himself, I won’t be going to see this film in a theater. This will be the first film in Star Trek history that I’m actually hostile about before I’ve even seen it, and one of three that I loathe ever having been created (FYI, it’s the last three) I cannot express the level of revulsion that I feel when I contemplate what kind of depraved acts will be enacted on the corpse of one my most cherished memories from another time. Better to just pretend it isn’t happening, I guess.
I did catch a edited for television version recently. It was every bit as bad as I imagined it would be, and then some. Somehow the internet haters really failed to communicate just how ridiculous this farce of a film was. I’m not sure how this is possible, but it is. Magic blood. A Khan that isn’t South Asian. Starfleet officers engaging in conspiracies, taking the lives of their own people when they fail to submit to aggression.
That Khan failed to pervert the crew of the Enterprise in the TOS episode Space Seed because future man is no longer susceptible to terroristic threats of this kind is a philosophical achievement lost on the creators of nutrek and the Abramanator himself.
The number of violations of Gene Roddenberry’s vision of the future are almost uncountable. They will remain uncounted by me. It was enough for me simply to confirm that the film was bad and not just bad Trek.
My apologies to the ghost of Gene Roddenberry for having witnessed this narrative of depravity.My review for Star Trek: Into Darkness on Rotten Tomatoes
I give the film half a star on the Rotten Tomatoes 5 star rating system. I can’t rate it lower than that or I would. Having failed to keep up my end of the bargain and actually never watch the film as the first paragraph of the review goes into, I felt I had to come clean and admit to my transgression after having watched Abramation II. However, this article isn’t just about Star Trek: Into Darkness. I haven’t been a Trek fan for quite a few years. I quit following the show or hanging around with fans of Nutrek ages ago, not long after declaring Star Trek dead in 2009. I have no interest in being an internet hater. I have even less interest in spending time in the presence of people who like things that I think are unforgivable violations of the intellectual property of a long-dead inspiration.
I am quite happy sitting here alone in my office. I am forced to revisit this subject because the abramanations continue, and the general movie-going population remains vacuously enamored of J.J. Abrams’ tripe. I sat down and watched Star Wars VII a few weeks ago with the Wife. We had planned on watching that film on the big screen and we missed it because it left theaters within a month of coming out, it left screens and moved to video release quicker than any other Star Wars film in history. When it was announced that J.J. Abrams would write and direct Star Wars VII I distinctly remember saying that “Given what George Lucas has done to Star Wars, I can hardly imagine how J.J. Abrams could fuck it up more than he has.” Having now watched Star Wars VII I can honestly say I owe George Lucas an apology.
I owe George Lucas an apology because Star Wars VII is just Star Wars IV told even more poorly as a story, while millions upon millions more are spent on meaningless effects sequences. It is a marvel to watch from an effects standpoint (much like Mad Max 4) while being almost incomprehensible from a plot and story perspective (also like Mad Max 4) And since George Lucas filmed Star Wars IV with less money and with no example to script by, I have to conclude that his is the superior intellect when contrasted with the abramanator.
It is nice to be proven wrong on occasion, even when the proof takes a few hours out of my life and a few yards out of my intestines due to the indigestion caused by stress. Stress caused by having to watch bad filmmaking being rewarded so lavishly.
I blame LOST.
I never did do a post series write-up on that show, even though (as the link illustrates) I was quite the fan, following all the crumbs and clues and waiting for the next episode and the next season with breathless anticipation. Until the story stopped making any sense at all, sometime during season four. I doggedly continued to catch every episode even then, and bought the DVD collections for each season, trusting that somehow it would all make sense in the end.
Except that it never did make sense. LOST is singularly the worst written story arc ever to be completed in a television show. It is the only show that, having gotten to the end, I really wanted all my invested time back. Not only does the story not make any sense, but the finale attempts to make every possible fan prediction about what the island was, and how the characters survived, be true simultaneously. It is the series that best manifests the truism trying to make everyone happy is the surest way to piss everyone off.
Every season following the third season became harder and harder to watch. Far from being the finale that ruined the show for me, it was the reliance on tropes and heuristics to ‘sort of’ move the show along to the conclusion that most of us saw coming years before the confirmatory finale; the finale which so deflated everyone’s expectations about the meaning of it all.
Why season three? Remember the season three cliff-hanger ending? (I despise cliff-hanger season endings. Loathe them. What happens if the stars die or back out of their contracts? Just pretend the viewers weren’t left hanging?) Charlie’s big sacrifice? Didn’t mean anything. It might have meant something if the Oceanic 6 hadn’t then gone on to… What? Go home, become helpless invalids? Fail to raise children and then return to the island? Return to the island in the past (a past that the smart guy in their midst says can’t be changed) Return to the island and be blown up by a nuclear explosion (an event that historically didn’t happen) which traps them in a time bubble. For all eternity. With people they hate as well as the friends they love.
I hate to break it to this guy, but if you have to explain what the ending meant in order for people to get it, then it really wasn’t closure of any kind, much less a good ending for a series. The only reason people still talk about LOST is because J.J. Abrams is Hollywood gold for some inexplicable reason, and so people feel obliged to say nice things about the series that launched him to success.
I watched in disbelieving horror when Damon Lindelof was paraded out a few years back on The Nerdist, which was airing on BBC America at the time. Damon Lindelof paraded out and held up as some kind of authority on time travel stories, horrified as I watched him taking apart what were, in my estimation, more interesting stories that used the story-telling vehicle in question.
Damon Lindelof? An authority? An authority on time travel? An authority on time travel as a storytelling vehicle? An authority on stories about things which most scientists will tell you are theoretically implausible, which is about as close to impossible as you can get a scientist to go. The mind boggles.
Let me put it this way. My reading of time travel stories and watching time travel movies, my being obsessed with the concept of time travel for as long as I can remember. My discovery of Doctor Who in 1972 on a hotel television screen in Denver, Colorado (on a channel called PBS that I’d never heard of) makes my left testicle more of an authority on time travel than Damon Lindelof or J.J. Abrams himself. They so screwed up time travel as a story vehicle in every episode of LOST and in the Abramanation, making the story vehicle a distraction from rather than the method of telling the story that I can’t even begin to explain how they might fix it other than to tell them to go talk to actual speculative fiction writers about what they did wrong.
Which brings me to the real reason I started this post. I ran across a clip on Youtube (see, I said it was bad news) advertising an HBO series that riffs off of another movie and story that I grew up on. That would be Westworld.
This is one of those rare films I was allowed to go see as a child. What is most interesting to me looking back at it is this; Westworld and Andromeda Strain mark the beginnings of my exposure to Michael Crichton, a lifelong dance which ended with his death in 2008 and the novel State of Fear, a novel which many people mistake for non-fiction. In the middle was Jurassic Park as a high note and the poorly adapted Congo as a low note (the novel was much better than the film) it seems that his imagination has served as punctuation marks along my journey through science and speculative fiction.
I liked the original film. It is quite campy now and probably barely watchable. I don’t know for sure. I haven’t rewatched it in at least thirty years. What I do know is that J.J. Abrams is highly touted as having a hand in the HBO series.
J.J. Abrams having a hand in the series creation spells doom for the series from the outset, in my less than humble opinion. I doubt that most people will agree with me since most people think that Star Wars VII is a good film. However, I’ll stand by this equation,
The watchability of any media offering will be in direct inverse correlation to how much actual control J.J. Abrams has over it.
Westworld could be a good series, but I won’t be holding my breath. I won’t be able to watch it anyway until it hits Netflix or some other third party site since I don’t pay for HBO any longer. That is one fine trailer though. Gunshots and partial nudity. Deep bass vibrations in the music to amp up the fear. Lots of famous actor cameos. It hits all the marks that advertising executives require. Just like the trailer for Star Trek: Beyond. Haven’t seen that Star Trek either, but I might watch it. I might even pay to watch it. Someone else wrote and directed it, so it might be OK as an experience. Remember, an inverse relationship to Abramanator control. The Star Trek trailer sports the Bad Robot logo, though. Not a good sign.
HBO is riding the crest of a wave that they hadn’t expected to be on. Who would have thought that George R.R. Martin would hit it big on television, with HBO as a backer, creating the adaptation of his long running A Song of Ice and Fire fantasy series which only people who live in caves without the internet won’t recognize as Game of Thrones. I am now obliged to offer an apology to George R.R. Martin as well as George Lucas. Not just because I’ve first mentioned him in this article about the dreaded Abramanations; but also because, unlike the rest of the family and probably the rest of Austin if not the entire US, I haven’t seen, read or listened to his stories. I can’t name one title of his I’ve read even though I distinctly remember sharing a table with him at an Armadillocon somewhere in the murky past. For that, and for mentioning you here, I truly am sorry George.
But HBO is the channel riding the wave now, as AMC was riding the wave of popularity following Breaking Bad and the first few season of The Walking Dead. We’ll just have to see if AMC continues to ride the wave with the next seasons of The Walking Dead and Better Call Saul (which I like more than Breaking Bad, but my liking things is usually bad for their continued existence. Just a word of caution) After the lackluster reception for the cliffhanger ending season 6 of The Walking Dead, they’ll just have to keep their fingers crossed.
Since Westworld isn’t likely to include nuclear weapons or time travel, it is probably a safe bet to watch it. A safe bet for HBO to back it. I’d be on the lookout for the Abramanator to find some way to include those devices in the show, if I had money on the line. If he does, take your money, run and don’t look back. You’ll thank me for it later.
I disagree with Verhoeven and quibble with most of the other answers given here. I hated Lost in Translation. I was Lost. In Translation. Actually I was lost in the crypt keeper having a fling with a high school student and it supposedly being romantic. But that is beside the point. I really don’t care what was whispered to the young girl at the end. I just wanted the old guy to leave her alone. I love you Bill Murray. This is not directed at you specifically. I had the same reaction watching Havana. Old men and young women. Yuck.
Verhoeven may think he knows what the ending to Total Recall means, but there really is no answer within the content of the film. The light comes from the sun in the film, not the blade of a knife. Like most of these explanations, if the film doesn’t contain it, the interpretation is open to question no matter what the director intended. In the same vein, Donnie Darko ends with him killing himself in much the same way that the director’s cut of Butterfly Effect ends with a very bad ending that is supposed to be interpreted as good for everyone except the protagonist. Too bad that the suits at corporate headquarters were right and made the director change the ending. It is a much better film that way.
Star Trek 2009 is not Star Trek, nor do NuSpock’s notions of logic or ethics actually equate to anything Gene Roddenberry filmed or wrote about Vulcans. Nothing about that film made sense to anyone aside from the Abramanator. Same with the second film.
If you really have unanswered questions about obscure films, blame the director. The art, the film, should contain all the relevant information needed to understand it in itself. If miscommunication happens it is the artist’s fault, not the fault of the viewer.
Better than blaming the director; if this frequently happens to you, take someone with you to walk you through the film afterwards. Audience makes all the difference. Most comedies are targeted to a specific audience. Take a member of that group with you to watch the film, preferably with an audience the film is targeted at. The comedy might actually be funny that way rather than just striking you as stupid or cringe-worthy.
This is going to be a bit like stream of consciousness to the reader. My apologies in advance for this if you find it impossible to follow.
I clicked a Youtube video link not realizing I was going on a journey that would take all day.
This kind of slapstick comes across as too funny. Too funny as in 90 minutes of this would kill me with stupid. I might watch it. I might not. I can’t say. It is billed as featuring 40 previous iconic “Star Trek” actors so I might have to see it. But then that is what the filmmakers are counting on when they make these kinds of movies.
While I’m sitting there contemplating whether to hazard my diminishing quantities of brain cells watching so much stupid at one time (like a Marx Brothers film) the dreaded Youtube autoplay kicked in. First it was this short.
Camera motion, blood effects. Chopping one’s own arm off. Yeah, I can see walking out of all of these (I haven’t watched any American Horror Story. It’s just not my style. I am surprised the wife hasn’t wanted to watch it) which is why I haven’t seen some of them. Infrasound would explain a lot of things about certain horror films and my reactions to them.
Crap. Autoplay kicked in again while contemplating Tree of Life (Should I, shouldn’t I? Have I already? Is this me thinking?) What the hell will be next is anybody’s guess.
I’ve seen all but three of these (those three are now in my Netflix queue) Two or three of them are on my “must see” list when someone asks me what to watch next (hint; I have a soft spot for Bruce Dern, Roy Scheider and Sam Rockwell) For the inquiring minds, Heavy Metal was a movie about an adult comic book which apparently nobody ever admits to reading, not about the rock music which may or may not have been either inspired by or the inspiration for the magazine. The artwork in the movie is drawn directly from the various illustration styles in the magazine. Yes, I will admit to reading a few copies in my youth. Regrettably I don’t own any of them anymore.
Had Pitch Black made it on their list, it would have been four movies. I am once again victimized by autoplay.
Not sure all of these films are worth watching, much less being best films you should watch but haven’t. Foreign language films are not for everyone, so I don’t generally recommend them to people I know who won’t be up for reading subtitles, even if I might watch them myself.
I would personally recommend A Boy and His Dog. This is where the list starts to go sideways for me. This and the list that follows this one. It starts with the still image that introduces the list.
Don’t get me wrong, I think 2001 is a fine film. I think you should watch that and 2010 back to back. But 2001 is a snooze-fest. It is glacially slow as a movie. I don’t think a lot of people watch that movie over and over. They remember watching it as a child, but haven’t tried to watch it recently. I have, several times. Like the 60’s it was created in, it takes the right kinds of drugs to appreciate this film properly.
Don’t get me wrong, I love Stanley Kubrick. He has three films at least that I would put in the category of best science fiction films. Not just 2001 but also A Clockwork Orange and Doctor Strangelove. Most film critics will speak highly of Stanley Kubrick and his films. He is an auteur, his films bear the indelible mark of his authorship. But few of his films are light or fun to watch. You don’t just pop in A Clockwork Orange for a bit of light afternoon entertainment.
If they can recommend Strange Days without a caution (and I wouldn’t do that. Be prepared for murder and rape scenes conducted in the first person) then A Clockwork Orange is a walk in the park to watch.
No top ten list of science fiction (SF) is complete without Metropolis and Forbidden Planet. You cannot be a SF film fanatic without having seen those two films and recommending those two films. They can’t be on a list of films you haven’t seen; and if they are, your fan credentials will be subject to revocation.
Metropolis is arguably the mother of all modern SF, a film that has been revisited and reimagined in nearly every tale of dystopia, every film that questions who we really are, any film that posits the difference between man and machine. In the same vein Forbidden Planet is the forebear of Star Trek, Star Wars, etc. Those two films have to be on the top ten list or the list is invalid, in my opinion.
Especially any list that credits The Empire Strikes Back as the best SF film of all time. I doubt very much that anyone who wasn’t raised on Star Wars will think that Empire Strikes Back (much less any other Star Wars film aside from the original) should be on the list, much less topping it. Well, perhaps the original Star Wars; not the now-titled Episode 4, but the film which aired back in 1977, the film that may single-handedly require my maintenance of a functioning laserdisc player in my home. You remember, the movie where Han is the only person to fire a blaster in the famous bar scene? That film goes on a top ten list, if I could ever settle for ten.
I’m lying by the way. I won’t maintain the laserdisc player just for Star Wars. I will do it for the making of disc for The Abyss, for Tron, for the pressing of Highlander 2 Renegade cut and the copy of 1776 with the bits Jack Warner personally cut out of the film spliced back in and the splice marks still visible. I can link the version of 1776 that says “director’s cut” but there isn’t any way to watch the version I like other than on laserdisc. Same for the making of the Abyss which goes into the ordeal of constructing a set inside of and then flooding an abandoned nuclear reactor vessel so that real underwater shots could be pulled off with that deep water feel. The Abyss (special edition only) is one of the many, many films I would have to include in any list of SF films worth compiling.
There are a lot of good films included in their list, but I disagree with most of the films in the top five. I like them but they are all modern films. Derivative works of derivative works, unless you are talking about the Matrix or the Terminator (Not Terminator II. It’s good and a decent rewatch, just not as good as the first movie which it is derived from) both of which should be way up the list, higher than the Matrix actually appears.
Ten through six are all good solid films. I need to rewatch the War of The Worlds. I haven’t seen it since the 70’s on broadcast TV. I have the box set of all the original Planet of the Apes films. They all rewatch well aside from the last one.
Children of Men was a heart-wrenching film to watch, but I have little doubt it will survive as a cautionary tale of meddling with mother nature. The original version of The Day the Earth Stood Still was almost unique in its time period with the portrayal of aliens as not being hellbent on destroying us (a fact that the equally good but not as memorable remake decided to change) which lends it the credibility to withstand time. Children of Men is actually one among many films which portray humans as our own worst enemy.
Jurassic Park is showing signs of age, despite their insistence that it isn’t. Maybe it is the weight of the miserable sequels that colors my impression of it. Can’t tell yet. But Aliens? Really, Aliens but not Alien? I agree the sequels that follow are best forgotten, but how do you watch Aliens without first watching Alien? Can’t be done.
Which is the problem with derivative works and especially sequels. Without context the film is divorced from most of its meaning and has to survive on its own merit alone. This is why The Empire Strikes Back will not be remembered as the best SF film ever. Because without the first film (1977 Star Wars) you don’t know who the Empire is. Why the villain being Luke’s dad is a problem. Who the hell Luke is in the first place.
If we’re just going to recommend sequels, movies that you have to have watched the previous versions to be able to appreciate, I’d like to put in a shameless plug for Terminator Genisys (deja vu if you’ve read my last post carefully) As I’ve noted when recommending previously, the first 10 to 20 minutes of the film (after the first time jump) is a shot for shot tribute to the original film. It is the most beautifully made and scripted film that I’ve seen for awhile now, and it builds on established previous entries into the film canon, builds on them then knocks them all down, in ways that the viewer will not see coming. If you want to watch a good sequel, this is one for you to enjoy.
If I was going to make a list of ten films you probably haven’t seen recently (if ever) but speak highly of, 2001 is going to be top of that list. In fact, most of the Top 10 list that WatchMojo put together are films that I guarantee the compilers have not rewatched recently.
If you surf over to the WatchMojo website you will notice that they do an awful lot of top ten lists. Way, way more of them than is healthy, quite frankly. In fact, I can’t even find the films-by-decade lists that are mentioned in the Top Ten list just to see if the films I think are relevant are on those lists. I think that creating these endless list films that they produce keeps them from taking the time to enjoy the life that they rate in top ten increments several times a day.
I appear to have stumbled upon the kind of site that internet surfers loathe. The dreaded clickbait. The site that sucks up all your life and time, without giving you much in return. This explains why their films list is mostly modern films, or films recently remade with modern versions, like War of the Worlds and The Day the Earth Stood Still. Not an in depth analysis of any real kind at all. And I’ve written how much on this subject now? Several pages, at least.
So what about a real Top Ten List? The ten best SF films ever made? I don’t think I can create a list of only 10 of them. I tried to create one of those kinds of lists ages ago on Flixster. I soon found out that limiting the list to ten films requires that I eliminate films that are essential to understanding the artform. Films like Metropolis and Forbidden Planet.
The profile link for my list says I have 15 films on it. I can’t see them because their website enters an error when I go to click on my own created content. The web 2.0, more broken than the web 1.0 and now featuring more advertising. Luckily I copied a version of it off and posted it to this blog. I have no idea if it is the last one or not, but here is at least one of my lists.
Avatar should be in the top five. We can start with that. A lot of people love to hate on Avatar, but it is the film that inspired the resurgence of 3D and it wasn’t the 3D in the film that was remarkable. It is the fact that you cannot tell the animation from the real images in the film that makes it so remarkable. That you can have such a realistically animated film and not cross the uncanny valley in the process. It is an amazing film, soon to be a series of 4 films.
Top Ten worthy films produced since Avatar? I can offer a few.
Ex Machina. Highly rated and very watchable, it explores the boundaries of what is or isn’t human better than any film I’ve seen on the subject. A film worth mentioning that is also in the vein of Ex Machina is Transcendence, one of those poorly received for no good reason films, consequently not a film that would make a top ten list.
Why won’t Transcendence be a top ten listed film? Because commercial success figures into the calculation of what is or isn’t good, what is or isn’t preserved, what is or isn’t watchable by people who pick up the material to watch later. If the film was highly rated and it made a lot of money, then it is also still a valuable experience to have, even though I don’t know who Luke Skywalker is (spoken figuratively, from the future) if you want to make lists that don’t make you sound like an idiot, you have to take all of those metrics into account. And since future prediction is something we humans suck at, most of our lists will be utterly worthless.
Take, for instance, Gravity. This is a fine film. Highly rated. Made lots of money. Probably won’t be remembered (my apologies to Sandra Bullock) because it deals with current technology and doesn’t do that really well, even though the cinematography is excellent an the acting is nearly faultless.
In the same vein of discussion, the mainstays of current cinema, the sequel, the franchise, none of those films survive without the other films in the series, just like the Saturday morning serials of old. Consequently no Star Wars, no Star Trek, no Mad Max, no Alien will go down in history as worthy of mention, unless the first in the series merits it, or there is established a place for serial media (like television) to be consumed in the order it was produced. This gives the viewing experience context, gives it meaning it doesn’t contain within its own constrained run-time.
That is why Alien appears at number five in my old list, and Aliens at number 10, and those are the only sequelized films on the list. Because films that are part of another genre, that can’t hold their own alone, will not be remembered. This means most of the comic book movies will also not be on any lists, if we can call those SF and not Fantasy. And whether they would be considered SF is an open question, so don’t dismiss it. If we’re talking fantasy films, we’ve opened an entirely different discussion. A discussion where the film Legend figures prominently.
Continuing the SF list. Blade Runner would also have to be on the list. It is iconic. Worth mentioning is Dark City a twisted little film with the same feel and a completely different storyline. Both of those border on fantasy, so I could see how they would be excluded from a hard SF list. That is, if anyone actually knew what hard SF was, could meet others who thought they knew and that group could then agree on what the term meant. I consider that presumption fantasy in and of itself.
As I go down that old list, I can discard several films as being temporarily relevant. Films like Serenity. I still love it, but I am reconciled with the show never returning now. I keep hoping the Firefly online game will release, but I’m beginning to suspect that is also not going to happen.
Vanilla Sky and Eternal Sunshine of the Spotless Mind really are hard to rewatch. The Truman Show is still watchable, but really not surprising in the current age of reality TV. You can easily see someone pretending not to be on camera, deluding themselves into thinking the illusion is real. Sadly, it is all too believable now. Truman not knowing he was on camera? That is hard to believe.
I think A.I. should still be on the list, but it may fall off soon. We are just now getting to the point where robots are real things, much less making them capable of passing for human. The singularity that futurists are still fascinated with is portrayed loosely in that film, making it still relevant. Once the robots are among us, there is no telling what will happen next.
The last film that I’ve seen that should probably be included in any top 10 list is The Martian. Worlds better than Red Planet or Mission to Mars (Hollywood is so incestuous) both of which I paid money to see (Red Planet is good fun, just not good SF) The Martian holds up to the most intense scrutiny of scientists (other than the storm at the beginning) making it the most solidly science based fiction film since 2001.
Worthy of mention is Interstellar. Almost a time travel story (almost!) it mixes science and fantasy and comes up with a decent little film exploring the near future and what we might be facing soon if we aren’t careful.
Which brings me to the last great film that Robin Williams was in before he died, the movie The Final Cut; the story of a man afraid to live his own life, so instead spends his time authoring the stories of other people’s lives.
What else would be on the current list? I’m still working on that.