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
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.
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.
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
As one of the biggest breakout characters in the original Star Wars trilogy, the mischievous smuggler Han Solo has been widely imitated in many works inspired by (or plagiarizing) the films. With 1983’s Spacehunter: Adventures in the Forbidden Zone, Columbia Pictures and director Lamont Johnson (The Twilight Zone) reached what they felt was the logical conclusion: make an incredible simulation of the Millennium Falcon’s captain into the hero of the movie.
Forbidden Zone? Say hello to George Taylor for me.
The results are mixed, to say the least. As the interstellar bounty hunter Wolff, Peter Strauss (The Jericho Mile) does his best Harrison Ford impression but he’s not given the chance to show the vulnerability that made Ford’s portrayal of Captain Solo work. It doesn’t help that the performances from the rest of the cast are all over the place. On one hand, Ernie Hudson (Ghostbusters) gives a surprisingly natural turn as Wolff’s old rival and Michael Ironside (Total Recall) is fairly menacing as the cybernetic heavy, Overdog. On the other hand, Niki, the young scavenger played by Molly Ringwald (The Breakfast Club), comes across like every stereotypical annoying teenager ever known. These eclectic performances seem to obscure what Strauss is going for and, as a result, Wolff is lost in the shuffle. On a more positive note, the film is visually appealing, if derivative. Of particular interest are some of Overdog’s mutant henchmen, with unearthly designs that wouldn’t look out of place in your average 80’s horror flick.
Overall, Spacehunter’s willingness to throw as many bizarre concepts at the audience as possible is both its greatest strength and flaw. Though the film’s short run-time hampers its potential to fully realize its numerous settings and characters, it never drags out or complicates the exciting story it wants to tell.
Credit: Mondo Digital
We’re a month away from a new Star Wars film that’s apparently so incredible, Lucasfilm is giving director Rian Johnson his own personal Star Wars trilogy to play around with. With hype for the eighth installment of the Skywalker saga at a fever pitch, whet your space opera appetite with a series featuring some of the strangest films inspired by George Lucas’s opus. First on deck is the 1985 animated feature Starchaser: The Legend of Orin.
Directed by Steven Hahn and written by Jeffrey Scott (Superfriends, Muppet Babies), Starchaser is essentially the store-brand equivalent of the original Star Wars trilogy, the Sam’s Choice to the OT’s Pepsi. To wit, here’s a tale of a brave but reckless young worker who discovers a magical sword that once belonged to a band of warriors. With the aid of an arrogant outlaw, the courageous daughter of a ruler, and a pair of bickering machines, the young man comes of age and fights a cybernetic warlord. It’s not just the basic story either. Certain shots, set-pieces and even sound effects have been pilfered, almost verbatim, from the classic trilogy (pay close attention to the sounds of the titular starship’s engines as it flies by the camera).
On the plus side, the movie looks good. The animation is fluid and highly expressive in a Rock & Rule/Heavy Metal sort of way and the overall art design, though conventional, shows a good deal of skill and pulp sci-fi influence. By far, the most intriguing designs belong to the flesh-harvesting Man-Droids, who look appropriately nightmarish in their only appearance in the film. For that matter, there are times where Starchaser feels more like a family friendly Heavy Metal, especially in scenes involving Dagg Dibrimi (Carmen Argenziano), the amoral space pirate who could give Captain Sternn a run for his money in the sleaze department. The film seems to find its real voice when it drifts away from its routine nature-versus-technology plot and into these crasser moments.
On balance, Starchaser holds up fairly well. It’s incredibly simple but its infectious zeal and breathless momentum keep it from getting boring. Don’t let the somewhat derivative story keep you away from checking out this visually appealing animated space opera.
Credit: The Popcorn Drop