Seen for the First Time

• The Big Lebowski – I don’t know what I was expecting, but it wasn’t this. It should have been funny, but was just tedious.
• Slumdog Millionaire – Fascinating, both in its exploration of poverty in India and in the theme of showing how seemingly small and unrelated events can all contribute to someone’s future.
• Superman/Batman: Public Enemies – Had its moments, but overall was pretty much a standard superhero film.
• Clerks 2 – Kevin Smith seems to hit about 50/50 with me. I loved the first Clerks, hated Mallrats (except for the “Jedi Mind Trick” payoff), liked Chasing Amy and Dogma, but Jay and Silent Bob was mostly annoying (though it had its moments). Clerks 2 was mostly gross-out humor wrapped around a Broken Aesop in which the happy ending is for the indecisive guy to let the a—hole make his decisions for him.
• Battlestar Galactica: The Plan – They did a decent job of trying to pull together a consistent story from elements that were originally unconnected, but it still ended up playing too much like a clip show — especially the segments in the Colonial fleet. The segments on Caprica worked much better, though I did find it interesting that they re-cast the Cylon infiltrators as a tiny, isolated guerrilla force rather than the tip of an iceberg of espionage. It relied way too much on the audience remembering what happened in the series.
• Liar, Liar – Pretty much what I remember from the previews, except longer. Funny. Worth seeing at least once.
• Synecdoche, New York – A metafictional examination of living life vs. imitating it that doesn’t quite live up to the scope of its ambition…but then, part of the point of the movie is that it can’t. (Note: not a good choice for watching while eating.)
• Evil Dead 2 – Nice camera work, but I’m not a horror fan. Also, this makes absolutely no sense as a sequel, but works just fine as a remake. You can explain Ash’s actions at the beginning with evil-enforced amnesia, but the timeline with the professor’s discovery of the book just doesn’t mesh with the first movie. I posted some thoughts on Army of Darkness last week.

Rewatched

• Up – Second time, watched in a second-run theater. Holds up, even without 3D. Bring tissue.
• Batman & Mr. Freeze: Subzero – still a better Mr. Freeze movie than Batman And Robin. Not that it would be hard.
• Coraline – Third time, but first time on small screen or in 2D. Still works, though of course not nearly as impressive visually. Still, great animation & story. Kind of like Up in that way.
• Conan the Destroyer – The first movie with Arnold Schwarzenegger was very good and holds up well almost three decades later. This one was almost self-parody.

I also started thinking about what sets the Evil Dead trilogy apart from other 1980s horror series: instead of focusing on the villains, the later installments are all about the hero.

Friday the 13th? All about Jason. Nightmare on Elm Street? Freddie Kruger. Hellraiser? Pinhead and the Cenobites.

Evil Dead? Ash. Hail to the King.

At the comic store today, I noticed that there’s a whole line of sequel comics, focusing again on Ash (including “Ash Saves Obama”). But they’re not titled Evil Dead. They’re all Army of Darkness. It must have greater name recognition.

• New Dork Stories #
• Annie Get Your Gum #
• Fight Clue #
• There should be an Oz sequel called All About Ev. #
• Reaching a bit, but Key D’argo (Farscape) #
• Ok, I keep coming up with movie titles for and finding that someone else has already done them. Time for bed I think. #
• Okay, one more. There are those who call it…The Land Before Tim. #

• Shaka Sulu #
• Schindler’s Arcology #
• Obi-Wan Hur #
• Droids on the Side #
• Shuttlecraft 54, Where Are You? #

In some ways it wasn’t as awful as I’d heard, and in some ways it was worse. On the plus side, it had giant robots blowing stuff up, and they put more thought into the story than I expected them to. And there were certainly good moments spread throughout the film. On the minus side, the visuals were so complex that they were hard to follow. That’s a problem I had with the Transformers’ designs in the first film, too — they look insanely cool in still shots, but start them moving and you end up with two clouds of shrapnel fighting each other. Plus Michael Bay has a very different sense of humor than I do, which didn’t help. And amazingly enough, the movie was tedious. I don’t know how you can possibly take a movie about giant robots and explosions and make it dull enough that I checked my watch at least five times during the film.

In summary, I’m glad I waited for the second-run showing and only spent $1.75.

As if the original title wasn’t enough, they actually played on the title of Transformers: Revenge of the Fallen when they did their own sequel!

And yes, that does say Bruce Boxleitner on the box.

While Terminator: Salvation also has the unenviable task of being both a sequel and a prequel at the same time, it manages to at least distinguish itself by going off in a new direction in terms of story. Yes, it’s the story of a prototype Terminator, how John Connor met Kyle Reese, and how John Connor became leader of the resistance, but it takes those elements as starting points and tells a story, rather than following a connect-the-dots path. (Though they did repeat a few stunts, and there are plot holes you could fly an H-K through.)

That, and T3 really annoyed me because it rejected the core theme of T2: “The future is not set. There is no fate but what we make for ourselves.” Whether that them is actually supportable in the first two movies is debatable (especially considering that the first film appears to present a stable time loop), but this complete reversal is a bit of a slap in the face.*

Surrogates, Terminators and Borg

I actually don’t know much about Surrogates other than the fact that it’s based on a comic book, but I saw this poster the other day and was instantly reminded of the original posters advertising Terminator: The Sarah Connor Chronicles.

It’s not a direct reference, of course, simply a similar concept — and the image of a partially-assembled Cameron (Summer Glau) was clearly inspired by the first appearance of the Borg Queen (Alice Krige) in Star Trek: First Contact.

Of course, as I was reminded while looking for pictures, the Borg Queen had her own antecedents as well.

Back to the Surrogates poster, it turns out that Bleeding Cool spotted a much closer reference in the form of an entry in a Celebrity Cyborgs photo alteration contest, featuring model Kate Moss.

Appropriately enough, the entry was apparently inspired by an article that mentioned an upcoming movie adaptation of Surrogates…

*Regarding the “slap in the face” — that’s not really the phrase I want to use, since it implies deliberate offense and is really overused in entitled fandom. What I’m getting at is that it’s sudden and shocking, like preparing to wade out slowly into a very cold pool, then getting pushed in and doing a belly flop.

So it was kind of odd tonight to watch an episode of DS9 that basically was Casablanca in space.

In “Profit and Loss”, the owner of a local bar encounters the love of his life who disappeared years ago. But she’s here with the leader(s) of a foreign nation’s underground resistance against a powerful military regime — and that regime wants to capture her companion(s). There’s also the matter of obtaining an object so that they can leave safely. She could stay here with the bar owner, but in the end has to leave. Meanwhile, there are shifting alliances as the bar owner has to deal with the local chief of police and other citizens with their own agendas.

According to the writeup at Memory Alpha, the episode was originally going to be more like Casablanca, even titled “Here’s Lookin’ at You…,” but they had to change it due to legal pressure.

We went again Sunday afternoon to see it in IMAX, but the 4:00 showing sold out while we were in line. So we bought tickets for 7:10 and bummed around the mall for the next three hours. Not my first choice, but with Terminator: Salvation taking over the IMAX screens in a few days, it was a limited window.

So we were in the movie during the earthquake.

Quake

Not that I noticed. I’d just leaned over to Katie to whisper something about a music cue reminding me of another soundtrack, so I was moving, and didn’t notice that the chair and floor were moving. (Similarly, I managed to miss the Whittier Narrows quake despite the fact that everyone I knew felt it. As near as I could tell, I must have been standing at or walking to/from my locker at the time.) But a murmur went through the entire audience as they realized what had just happened.

The timing was perfect, too — right at the point that characters in the film open a huge, loud, grinding door to a remote outpost. People thought at first that it was the speakers rumbling. Everyone settled down immediately and went back to watching the movie, but it was the second most popular topic of conversation among people leaving afterward.

Crash

It reminded me of another real-world/movie confluence, way back when I saw Star Trek VI: The Undiscovered Country. That film opened with a massive explosion in space that sent a shock wave so far that it hit Captain Sulu’s ship, the Excelsior. Either at the moment of the explosion or at the moment it hit the ship, we heard an incredibly loud BOOM!, and thought at first that it was just a very impressive sound effect…until we noticed that the curtain was draped across a quarter of the screen. The curtain rod had broken during the movie. After a few minutes they stopped the movie, canceled a showing of something else, and moved us all over into another theater (it was opening night, and they had a theater full of Star Trek fans who’d waited for several hours to get in — they were not going to risk our wrath by sending us home, even with refunds).

Back to the Film

Judging by audience reaction, there were definitely lots of people seeing it for the first time today, so I’ll keep this non-spoilery as much as possible.

• The film manages to recapture the Kirk, Spock and McCoy dynamic that gave the original show its heart.
• Each character gets at least something to do, even if it does focus heavily on Kirk and Spock.
• The actors really manage to convey the same characters, rather than new characters with the same names. Especially McCoy and Spock. Karl Urban in particular seems to be channeling DeForest Kelley the way Ewan MacGregor channeled Alec Guinness in the Star Wars prequels. (And yes, Kirk is different, but there’s a reason for it, and that reason is critical to the story and his character’s journey.)
• The plot moves and holds together (mostly).
• The effects of course are incredible.
• They remembered that Trek can have humor — something that ST: TNG and later shows seemed to avoid as if it would somehow taint their artistic value (except when Q was around).
• The nods to established elements of the series, from character quirks to design elements to music cues, that are there if you know what to look for, but don’t bog down the story if you don’t.

I had no problems with the obvious canon changes, and thought that the huge event 1/3 of the way in was probably the best way they could recapture dramatic suspense and establish the idea that anything can happen.

In fact, the things that bothered me have very little to do with other versions of Star Trek. Again, trying to be as non-spoilery as I can for the people who haven’t seen it.

• Supernovas are not that dangerous unless you’re in the same solar system. For planet X to be destroyed, it would have to have been that planet’s sun that went supernova.
• Another planet, to provide the view that it offered of a significant event, would have to have been a moon of the planet on which that event took place.
• Engineering doesn’t look like a spaceship. It looks like a brewery.
• It relies heavily on the same dead-relative-as-motivation trope that’s bothering me so much in Flash: Rebirth. But I can see what they were going for and why they did it.
• A piece of miracle technology is invented which would revolutionize space travel to the point that it would make any further voyages irrelevant, and will most likely be ignored because of this. (Of course, the TV series did the same thing all the time.)

Music

Also, while I liked the music in context, it’s very repetitive. The theater was playing the score while we waited for the film to start, and an awful lot of it is the same theme, over and over, in different arrangements.

My favorite Star Trek music is a toss-up between James Horner’s scores for The Wrath of Khan and The Search for Spock, and Cliff Eidelman’s score for The Undiscovered Country. We were talking about the music before the movie, and neither of us could think of anything else Eidelman had done, so I looked him up on IMDB. It turns out that he’s written music for about 20 films since Star Trek VI, and I recognized almost all of them…I just hadn’t actually seen any of them.