November 14, 2018
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Thank you for the inspiration, Stan Lee.
October 30, 2018
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It’s only a day away until Goth Christmas (otherwise known as Halloween) and I’ve decided to take a look at a strange example of a film in the subgenre of science fiction horror. 1980’s Saturn 3, released with an eye toward the audience that lauded Ridley Scott’s 1979 breakthrough hit Alien, is the subject of a great deal of controversy in regard to its behind-the-scenes woes. Martin Amis, the British novelist who wrote the screenplay for Saturn 3, was able to cash in on the contention with his 1984 novel Money, which is based on his own experience during the calamitous production of the movie. Are the various production problems visible in the final film? Let’s find out as we take a look at this Razzie Award-nominated sci-fi thriller.
Skynet’s development of the T-800 went through some growing pains.
If Saturn 3 has any strengths, the performances certainly wouldn’t be counted among them. Watching Kirk Douglas’s hammy, almost parodic turn as the scientist Adam could make one long to see a Douglas-impersonating Frank Gorshin take up the role. It doesn’t help that he has very little chemistry with Harvey Keitel, who portrays the villainous cargo pilot Benson, and Farrah Fawcett, who comes across as monotonous in her performance of Adam’s assistant Alex. It’s pretty unfortunate when the best actor in your movie is your key practical effect. The prop in question is Hector, an advanced robot built by Benson who, in true HAL 9000 fashion, rebels against Adam’s crew. As a space-based thriller with a small cast, it takes a lot of its cues from Alien, right down to a scene that echoes Jonesy the cat’s encounter with the Xenomorph. Veteran director Stanley Donen (Singin’ in the Rain) does the best he can with the story, which was conceived by Star Wars production designer John Barry, but most of the scenes lack energy or imagination. Saturn 3’s saving grace is Elmer Bernstein’s vibrant score, which conveys menace and mystery when the visuals and acting aren’t up to the task.
Overall, I can’t really say you should skip Saturn 3 entirely. The effects and imagery are believably frightening and some of the design work is intriguing, especially the weirdly unique and appropriately unsettling Hector. If you’re in the mood for a bit of early 80s sci-fi cheese, Saturn 3 might satisfy that craving.
Credit: deadenddrivein, Something Is Wrong On Saturn 3
September 30, 2018
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Gary Kurtz, the legendary producer of many classic films including American Graffiti, The Dark Crystal and the first two Star Wars films, recently passed away at the age of 78. For a filmmaker with a handful of projects under his belt, Kurtz certainly left a positive impact in cinematic history through his collaborations with some of the most influential creators in entertainment, such as Walter Murch, Jim Henson, Francis Ford Coppola and George Lucas. In 1989, Kurtz attempted to regain the success he earned in the sci-fi genre with the subject of this review but the film in question flopped at the box office and languished in B-movie limbo ever since. We’ll find out if it deserves that fate as we take a look at the post-apocalyptic adventure Slipstream.
Luke Skywalker takes his womp rat hunting very seriously.
Set after a man-made Armageddon known as the Convergence, the story of Slipstream feels like an amalgam of Blade Runner’s philosophical gravity, as demonstrated by its Scripture-quoting android hero Byron (Bob Peck), and Mad Max’s focus on the lives of the many denizens of its apocalyptic setting and the consequences of the actions of a prior generation, which is best illustrated by a Ben Kingsley-led cult that worships a powerful windstorm that appeared after the Convergence. At times, this combination gives the film a disjointed flow that doesn’t fully solidify its themes, which isn’t helped by the low-key direction of Tron producer Steven Lisberger. The film is largely carried by a few enjoyable performances, most notably the somewhat fascinating chemistry between Peck and Bill Paxton’s bounty hunter character Matt and an intriguing appearance by the ever-underrated Mark Hamill as the dangerous cop Will Tasker.
Does Slipstream deserve its reputation as an inert box office bust? I don’t think so. The film has a unique visual appeal, a wonderful score by Elmer Bernstein and it presents some genuinely compelling ideas about where humanity is headed. If you’re looking to get into post-apocalyptic sci-fi, Slipstream is a pretty decent introduction to the genre.
July 29, 2018
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This weekend, I’ll be attending the Flashback Weekend Horror Convention in Rosemont, Illinois. There’s a lot to look forward to, including screenings of the 1988 slasher classic Child’s Play and the 1985 vampire mystery Fright Night and appearances from horror luminaries such as Child’s Play star Brad Dourif, director Tom Holland and Chicago’s own Svengoolie, but the event that I’m anticipating the most is the 13th Annual Sinister Visions Costume Contest. Hosted by Svengoolie, this contest is a great showcase of the creativity and the passion that defines the hobby of cosplaying. In all my years as a con-goer, I’ve dabbled in costuming myself from time to time and experienced how inclusive and encouraging the cosplaying community can be. If you want to learn more about what inspires cosplayers or if you want to pursue the hobby yourself, consider this 2014 documentary, directed by Shelley Yu, a informative primer on the diverse costuming community.
Credit: Infinity Sky Productions
June 25, 2018
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Today’s review of 1977’s The War In Space (Wakusei Daisensō: Za uō in Supēsu) is the result of two upcoming events that I’ll be attending soon. The first is Star Wars: A New Hope in Concert, a screening of George Lucas’s 1977 classic accompanied by a live rendition of John Williams’s incredible score conducted by Richard Kaufman and performed by the Chicago Symphony Orchestra. The second event is G-FEST XXV, a fan convention with a focus on the Godzilla films produced by the prolific Japanese production company Toho, along with many other tokusatsu franchises (by the way, last year’s G-FEST was a blast). Toho’s War in Space may be one of the earliest space opera films released in a post-Star Wars world but it also draws some of its inspiration from the studio’s own body of work.
Searching for a distant star/Heading off to Iscandar
The film’s centerpiece, the massive, drill-bearing starship Gohten, shares a design with the Gotengo, the warship that’s prominently featured in Toho’s 1963 sci-fi adventure Atragon, a movie that War in Space shares a few plot points with as well, including an evil invading empire that can only be stopped by a large and powerful vessel constructed in secret by a scientist who’s reluctant to use the vessel’s full strength out of fear of the damage it could cause. The movie even features several Toho veterans, most notably director Jun Fukuda (Godzilla vs. Mechagodzilla), Ryo Ikebe (Battle in Outer Space), and Akihito Hirata, best known as the most notable human character in the original Godzilla, Dr. Serizawa. The film wisely moves at a steady clip and utilizes a more grounded approach to its story by taking the time to establish its archetypal characters, especially Professor Takigawa who’s portrayed with an almost tragic authority by Ikebe, which helps to give a recognizably human side to a conflict involving aliens led by an intergalactic warlord who’s escorted by a horned, axe-wielding Wookiee facsimile and goes by the outrageous moniker of Commander Hell.
The War in Space may not have the manic energy of Toho’s Godzilla films or the deeper introspection of the Akira Kurosawa films they produced but I think it’s one of their most underrated genre films. For fans of tokusatsu, this is an enjoyable ride that has a bit more to offer than simple thrills.
Credit: Media Graveyard
May 18, 2018
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The Star Wars universe is a setting that’s ripe with comedic potential. From the strange visuals to the quirky dialogue, there’s a lot of material to work with. Luckily, most fans respond to the weirdness with a lot of good-natured ribbing. The cult status of Mel Brooks’ full-blown parody of Star Wars, 1987’s Spaceballs, is only one example of the numerous riffs on the franchise. The Ice Pirates, released in 1984, represents a somewhat unique way to cash in on the popularity of Star Wars: instead of a straightforward quest, this would be a more self-aware and comedic adventure, akin to a Guardians of the Galaxy prototype. The results of this bold experiment are mixed to say the least.
You know the Emperor’s evil because he wrote the Star Wars Holiday Special!
Directed by Stewart Raffill (who also helmed the infamous E.T. imitation, Mac and Me) and written by Raffill and Krull scribe Stanford Sherman, the film’s self-evident premise of ice smuggling sounds like the setup to a variety show skit. It even looks like some kind of sketch with the cryogenic corsairs in question, looking like denizens of a post-apocalyptic Age of Sail, battling a band of space knights who look like they wandered in from a Renaissance fair. Ice Pirates may look cheap but when it comes to its sense of humor, it hits more than it misses. Despite a few awkward gags that feel like they’re filthy for the sake of being filthy, most of the jokes make very clever use of its setting, especially in its imaginative final battle in the middle of a time storm where machines fight the rapidly aging pirate crew.
Overall, Ice Pirates is a strange beast of a movie that might be better appreciated now in the days of constant Star Wars riffs and memes than when it was released for giving viewers a much weirder approach to the space opera genre. It plays things somewhat cynically but it has all the right ingredients that make a cult classic.
May 11, 2018
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Imagine a world where, instead of purchasing Lucasfilm in 2012 and acquiring the highly valuable Star Wars brand, Disney decided to revamp 1979’s The Black Hole, their previous attempt to capture the burgeoning space opera film market. Perhaps it would be a modernized retelling of the USS Palomino‘s discovery of the USS Cygnus, inhabited by the deranged Dr. Reinhardt and drifting toward an ominous wormhole. Perhaps it would be a continuation of the adventures of Captain Holland, Dr. McCrae and the charming little robot V.I.N.CENT (with a new voice actor to replace the late, great Roddy McDowell, of course). Maybe this hypothetical revamp would improve the film’s rotten reputation among sci-fi fans. However, one has to wonder if The Black Hole even deserves its status as “movieland’s equivalent to the Hindenburg“. The answer to that is…only slightly.
The Starship Eiffel Tower embarks on a fateful mission.
Sure, the script is a little clunky and Gary Nelson’s somewhat bland direction robs certain moments of their needed impact (getting a boring performance out of Ernest frickin’ Borgnine should be impossible), but Black Hole does have some admirable elements. For instance, Maximilian Schell brings a very chilling madness to his portrayal of Dr. Reinhardt, the Nemo-esque scientist who plans to travel through the titular vortex with a crew of drones who are more than what they seem. At times, the film looks beautiful yet fearsome, especially its main showpiece, the Cygnus, with its eerie glow and a design that’s more evocative of a flying haunted castle than a space shuttle or Star Destroyer. In fact, Black Hole is at its strongest when it feels like an old-school haunted house movie filtered through a space opera lens, complete with an appropriately creepy score by John Barry (who scored not one but two Star Wars imitators prior to this) and a menacing monster in the form of Maximilian, Reinhardt’s sadistic robot bodyguard.
While it may play things a little too bluntly, I feel that The Black Hole gets a bad rap. The film has a decent grasp of the terrifying beauty of the cosmos that gets an occasional chance to shine when it isn’t going for its obligatory, whiz-bang space heroics.
The modern blockbuster, as typified by Jaws and Star Wars, is the B-movie writ large. The current mainstream cinema landscape is driven by concepts and stories that, in the past, would have been considered the domain of schlocky exploitation films and low-budget film serials. One of the earliest filmmakers to bridge the somewhat tenuous gap between two eras of popular cinema is independent filmmaking trendsetter Roger Corman, producer of over 300 films and mentor of many influential filmmakers, including Francis Ford Coppola, Martin Scorsese, Joe Dante and Ron Howard. The key to Corman’s longevity is his eye for talent and his keen understanding of the kinds of movies people want to see. Case in point: consider 1980’s Battle Beyond the Stars.
The untold adventures of Han Solo’s father, Napoleon.
Released a few months after the premiere of The Empire Strikes Back, this shoestring science fantasy, helmed by animator Jimmy T. Murakami and written by Oscar nominee John Sayles, comes closer than most Star Wars imitators to realizing that one of the things that made A New Hope work was its atmosphere. The attention to detail in Battle’s art direction, overseen by a pre-Terminator James Cameron, gives the movie a substance that outshines its roots as a shameless, word-for-word Seven Samurai retelling. The other aspect that elevates Battle above other Star Wars clones is the relatively naturalistic direction. Some of the acting is refreshingly subtle compared to campier space opera fare. In particular, Robert Vaughn providing a somewhat moving performance as the wealthy, solitary assassin Gelt. Granted, he’s portraying the same character he played in The Magnificent Seven, but it’s worth it just to see his moody introductory scene.
For an opportunistic cash grab made to capitalize on Star Wars mania, Battle Beyond the Stars has a surprising amount of sincerity and craft, which gives it a good amount of rewatch value. Overall, Battle feels like the cinematic equivalent of a good cover band: it may not deliver the full experience but it’ll most certainly try.
March 27, 2018
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Thank you for the inspiration, Stephen Hawking.
February 15, 2018
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With the premiere of Marvel’s promising Afrofuturist adventure Black Panther closing in, interest in black superheroism has reached a fever pitch. However, instead of a retrospective on the impact of Blade, a reflection on what went so very wrong with Steel, or a discussion of the hidden charms of M.A.N.T.I.S., I’m going to take a look at 1977’s Abar, the First Black Superman, an offbeat offering in the rare subgenre of blaxploitation science fiction.
Billed as the “first black science fiction film”, Abar is the sole directorial effort by Frank Packard, based on a story written by James Smalley and co-star J. Walter Smith, who portrays Dr. Kinkade, a black scientist who hires ass-kicking activist John Abar (Tobar Mayo) to protect his family from neighborhood bigots. After drinking a superpowered serum concocted by Kinkade, Abar uses his newly developed mental and physical abilities to clean up the hood.
Abar is a tonally strange film, which is both its biggest boon and flaw. The movie’s a lot of fun to watch, even when it struggles to balance the multiple identities that it establishes for itself, which include a fantastical morality tale, a politically charged sermon on the African-American experience, and an action-packed slugfest in the vein of the Jim Kelly vehicle Black Belt Jones. The acting is similarly erratic, with Mayo and Smith carrying the film while the other performances range from unremarkable to cartoonishly exaggerated.
While it probably won’t be lauded for any skillful storytelling or filmmaking, I appreciate Abar for representing an early attempt to tell a bigger, weirder and more inspiring story in the realm of black cinema.
Credit: Paul Kazee