Oh Deeeerie Meeee

High Life (Claire Denis, 2018)

This is not alas the big screen version of the classic Alan Cumming-Forbes Masson-Siobhan Redmond sitcom, but Robert Pattison is no Alan Cumming and Juliette Binoche is no Forbes Masson. What we have is sf that suffers in the name of art, with Silent Running, Stalker and Sleeper wizzed in the blender with a crapper version of The Black Hole dribbling out of the jug.

Continue reading →

The Antepenultimate Jedi

Have you seen it? Read on. If not, and spoilers bother you, stop.

The Last Jedi (Rian Johnson, 2017)

There’s a moment in Reign of Fire where a story is being acted out for a group of rapt children — and we in the audience should recognise the story, since it’s a version of the original Star Wars trilogy. Those first three films — episodes IV to VI — have the quality of the fairy tale, the orphan who battles monsters, who reaches the happily ever after moment and then is heard from no more, until he has to give half his kingdom and his daughter to whomever will slay the dragon. There is always another child — and it should have been more interesting than it was that Anakin was that child and grew up to be evil Darth Vader. Think reading The Magician’s Nephew after The Lion, the Witch and the Wardrobe. And then there was Rey, in The Force Awakens, of mysterious birth, a wild untutored phoenix in the ways of the Force who this time was a girl (and there was a great perturbance in the Force….)

Continue reading →

Falling to Earth Again

Every so often, a contribution gets spiked or falls into limbo, and the text hangs around not being read on the harddrive. I ended up writing about The Man Who Fell to Earth in Solar Flares, “Unimportant Failures: The Fall and Rise of The Man Who Fell to Earth”, Science Fiction Across Media: Adaptation/Novelisation and “The Man Who Fell To Earth: The Messiah and the Amphicatastrophe”, Heroes, Monsters and Values: Science Fiction Films of the 1970s. I discuss the more famous, 1976, version here.

The Man Who Fell to Earth (David Gerber Productions/MGM Television, 1987)
Adapted from Walter Tevis, The Man Who Fell to Earth (1963)

(Dir. Bobby Roth; Sc. Richard Kitter; Pr. Christopher Chulack; Cin. Frederick Moore; P.D. John Mansbridge; SFX. Charles E. Dolan; starring Lewis Smith (John Dory); James Laurenson (Felix Hawthorne); Robert Picardo (Agent Richard Morse); Bruce McGill (Vernon Gage); Wil Wheaton (Billy Milton); Beverly D’Angelo (Eva Milton))

Continue reading →

The Falling Man

Every so often, a contribution gets spiked or falls into limbo, and the text hangs around not being read on the harddrive. I ended up writing about The Man Who Fell to Earth in Solar Flares, “Unimportant Failures: The Fall and Rise of The Man Who Fell to Earth”, Science Fiction Across Media: Adaptation/Novelisation and “The Man Who Fell To Earth: The Messiah and the Amphicatastrophe”, Heroes, Monsters and Values: Science Fiction Films of the 1970s. I review the 1987 TV movie remake here [You’ll have to wait a few hours].

The Man Who Fell To Earth (British Lion, 1976)
Adapted from Walter Tevis, The Man Who Fell to Earth (1963)

Continue reading →

The Ape with No Name

War for the Planet of the Apes (Matt Reeves, 2017)

The original Planet of the Apes franchise is a good example of the way in which sf film moved from radical to conservative between the late 1960s and late 1970s. Whilst the original Pierre Boulle novel presumably needs to be read in terms of French political history and colonialism, or in terms of class, the films seemed to offer an allegory for America in the civil rights era, with the apes standing in for whites, African Americans and Jews. Certainly we have the spectacle of Charlton Heston, old Moses and Ben Hur, and fellow white astronauts being subjected to the slave experience. As a sequel gave way to prequels, the films seemed to become more anxious about the politics (and there is something frankly racist about the allegory).

Continue reading →

Peter Parker’s Day Off

Spider-Man: Homecoming (Jon Watts, 2017)

I can remember standing in a queue for the Spider-Man reboot, worried that it would be rebooted again before I got to see it. And here we are, a new Spider-Man, now part of the Marvel Comics Universe, after what I assume is a cameo in a Captain America movie.

Continue reading →

To Boldly Go…

There is a moment in Star Trek VI: The Undiscovered Country (Nicholas Meyer, 1991) when the Klingon Chancellor Gorkon toasts “The undiscovered country—the future.” Captain kirk later repeats the chancellor’s words, firstly to Gorkon’s daughter—“Your father called the future the undiscovered country”—and then in the film’s closing voiceover:

    This is the final cruise of the Starship Enterprise under my command. This ship and her history will shortly become the care of another crew. To them and their posterity will we commit our future. They will continue the voyages we have begun and journey to all the undiscovered countries, boldly going where no man—where no one—has gone before.

While Spock notes that Gorkon has quoted Hamlet he does not note that he has misinterpreted the line.

I’d never really thought of writing about the Star Trek franchise — there’s too much it to get on top of, but I did write about the first film in Solar Flares.

But Simon Bacon invited me to write for his collection, To Boldly Go: Essays on Gender and Identity in the Star Trek Universe, co-edited with Nadine Farghaly, and the ghears began grinding.

I remember shouting at the screen for Star Trek VI: The Undiscovered Country that the Hamlet was being mangled, and that the undiscovered country was death rather than the future.

When I read Emmanuel Levinas, during the PhD, I’d read and stored his ideas on patriarchy, filiality, the future and death, and this returned to mind. I’d also been reading Robin Wood and Andrew Britton on 1980s sf movies — for two other projects — and this joined the dots.

How does the avidly liberal and feminist Star Trek represented fatherhood in the future — and how does that relate to death?