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Official trailer for Prometheus dropped yesterday. I’ve been plenty aware of Prometheus for a while now, being pretty enamored of The Sci-Fi Movie Page because I think that guy does pretty well with the news for movies of years down the line, but I guess it never occurred to me that Ridley Scott’s scifi would actually come out. To me it was similar to Metropolis, the Blade Runner sequel, or James Cameron’s Battle Angel. Too good to be true. But no, it’s actually done and here’s a trailer. I just about peed in my pants when I saw that post on The Movie Blog, and the trailer did not disappoint.
How could a trailer possibly be disappointing? Well, I don’t remember what I said about the first Avatar trailer either recently or in 2009, but that first trailer was pretty underwhelming. It was the art design that didn’t jibe, but because HR Giger’s on board for Prometheus — and it shows — Prometheus was immediately stunning. The cast is also amazing. I had known ahead of time, but Idris Elba and Michael Fassbender, Guy Pearce and Charlize Theron are in this; that’s great, and really speaks to not only Ridley Scott, but where we are right now in terms of science-fiction film.
These are all incredibly talented actors, and they take this space romp totally seriously. I think that’s one of the good things that Avatar did for our perceptions of the genre in film. I remember seeing one picture from Avatar of Col. Quarritch holding a futuristic looking gun and thinking, man — that could be from anything. That could be a still from Saturn 3… or Virus (note that there was only sky for background). How far we’ve come, that movies like Avatar share the lifeblood of its shameful forerunners, and garner mainstream and critical attention.
2012 is shaping up to be a good year for scifi movies. You got this, you got John Carter, there’s Total Recall… well not much else after that but hey even one is good. Just like this year, and better than last year. But. Prometheus worries me for several reasons. Even though the trailer is undoubtedly Alien-tastic (it’s now very easy to decipher all that marketing speak about having “Alien DNA”) and super wow, this has Avatar written all over it. There’s a reason why I brought that partic title up twice before — not just because it festers in my mind minute-to-minute — this is the return of a great director to a genre he started in.
When Avatar was coming out late 2009, it was James Cameron’s first scifi movie since his best, Terminator 2. It had been over sixteen years, and I know because I was born shortly after T2. That’s a long freaking time, man, but Ridley’s been out of the game for exactly thirty, by the time Prometheus will be released, unless you count that classic Superbowl ad. True, he never took any extended breaks from making feature films, but I have yet to see a movie of his after Gladiator that approached passable. I hated Black Hawk Down, Kingdom of Heaven, and Body of Lies — they were just mystifying to me. It got to the point where my roommate and I were literally contemplating who was the better director, him or Tony Scott?*
We went with Ridley, because even though Tony’s got… Domino, Ridley does have a holy three that are some of my all time favorites. But it’s been so long. Scott followed Alien, one of the most important movies in science-fiction, and the powder-keg that led to everything from The Thing and Aliens to Event Horizon and Dead Space, with Blade Runner, which is the most important movie in science-fiction, and the powder-keg to everything. Blade Runner is so goddamn good it’s hideous. It did have a source material though, and I wonder now if that’ll help Prometheus…
From where I’m standing Prometheus will be a prequel, but in a weird way. It’ll be like the Alien movies are spin-offs of a much larger property that just so happened to come out ten years later. This is fine, but the Alien movies were very quiet in terms of their mythology. You know, like why robots? What’s Weyland-Yutani all about? And of course that immortal question that inspired this movie — what the hell is that dude in the Alien ship? There’s something poetic going on here, and I like that every filmmaker involved in the Alien series proper handled the world-building the same way, which isn’t to say they didn’t. The universe is in the details, and nobody’s going around talking about FTL and Xenomorph morphology.
Not only would they logically just not be thinking about those things or even know them, the film is a medium quite unlike the novel. In a scifi novel, world-building is key, and sometimes king. Movies only have 90 minutes, not hours of your time. The vaginal and phallic designs on the walls and in the creatures — that’s the world-building. In time, we may have explanations to everything, and it isn’t so much I don’t want to know these things, but the impact this movie will have on the Alien series is yet to be known. Those four movies are very important to me, so c’mon Ridley. Don’t fuck up. Don’t make me wait for the action sequel, Prometheuses…
I’m just kidding. Prometheus looks great, I heart hard for it. And the last time I concerned over a movie, it was The Thing ’11, and that one turned out excellent. Of course, there were low expectations going in…
*I actually do like some of his stuff
In this year 2011, over a decade after The Matrix hit theatres and I was but a boy, I never thought I could ever be such a thing as a Matrix apologist. Of course, the sequels were poorly recieved so I had to defend those, but the original Matrix is one of science-fiction film’s proudest moments – from what I understood of critical consensus. Why then do I find that people can be so critical of it when it’s – on the level that they criticize it for – essentially Star Wars, operating on the same principle of gracefully synthesizing old tropes. Where Star Wars had Kurosawa and Flash Gordon, The Matrix had Gibson and Ghost in the Shell. It also, and this is something that Star Wars most certainly did not have, had a year that was appropriately surrounded by a bevy of cyberpunk and existential movies. We had, from 1995 to 1999, Strange Days, Dark City, Johnny Mnemonic, eXistenZ, and The Thirteenth Floor, and as Christopher Nolan will tell us, Memento. I can agree with that, though it lacks cyber and it has no punk.
If one day The Matrix actually came into your office and ripped you off, just jacked all your belongings and was seen only on the security feed, you couldn’t say a goddamn thing – it’d be crying wolf, as a legion of creatives has already beat you to it. It’s a fundamental problem the Wachowski brothers had with their universe. It’s hugely popular as a franchise in terms of finance, akin to Star Wars but obviously not as galactic (*laughs*), but have you ever really heard of a Matrix fan? As a devout science-fiction nerd, this is indeed something I’ve turned over in my mind not once but a frequently many times before.
A Star Wars fan has a Boba Fett T-shirt, a Phantom Menace poster – because I don’t know he’s a hipster – a Chewbacca bobble-head, and a preorder for Star Wars: The Old Republic, or KOTOR III-VI, if marketing jargon has been effective. The fan has a lot of universe to pick from, it’s so expansive and conducive to fandom. Same with Star Trek and Doctor Who and Buffy, I guess, though they might just say “Whedonverse,” which might as well just be Buffy for various reasons*. The Matrix on the other hand has something of a flawed universe if we’re speaking to fan-friendly terms.
The heroes in The Matrix universe are actively working to undo the universe. As a result it sort of feels temporary, and personally that’s something that doesn’t jibe with me. It’s definitely one of those weirdnerd things, but out of all the sci-fi universes I’d want to live in – where the Sprawl universe or Mass Effect ties for the top – The Matrix would be down near Ghost in the Shell, which is at the bottom because you can get real fucked up in that world. Being in The Matrix would just be no fun, and it does reflect on the movies, which are all very, very serious.
Despite some flashes of humor, all three movies and the one anime anthology, take themselves very seriously, and tonally that doesn’t always click with people. Not to harp on Nolan again but that’s one of the reasons why I can’t say without qualification that I like his movies, where even the jokes in something like The Dark Knight feel like they’re taking themselves seriously. At the same time though The Matrix always works for me, even if all the parts in Zion that don’t involve sexy robot-on-robot action come off something like… The Chronicles of Riddick.
I’ve said this before but The Matrix is not only exemplary in modern filmmaking (indeed such a general term), I’d also consider it to be the second best science-fiction film ever made, above Star Wars and 2001 and all the others. It fills out exactly what movies of this type aspire to – being hugely entertaining and taking the time out to allow the audience to think about what’s going on. Not even Blade Runner does that because not everyone can find it as entertaining. That being said, The Matrix doesn’t quite operate on the same intellectual plane as Blade Runner, where it’s existentialist questions and themes were upstaged a year earlier with Dark City.
It’s just a damn good movie that talked about all the things people have been talking about for centuries – Allegory of the Cave but the difference here is that the Cave is the Net, which I suppose makes it stretch only as far back as certain episodes of The Twilight Zone or The Outer Limits, but it never gets old and had two not-as-good sequels and a universe that nerds can’t get behind. Hmm.
*Well I didn’t want to get into it above because I thought it was just a funny throwaway joke but didn’t want to bog down the already needlessly joke-heavy post; a gamble, of course. But it occured to me as I typed the word “Buffy,” up there that Joss Whedon has Buffy, a huge series spanning like seven or twelve seasons or something, and then Angel, which is a spin-off and occupies the same universe, a little later on he had Firefly, which was so short it doesn’t count, and then Dollhouse which was about four times as long but nobody liked it.
The Chronicles of Riddick, written and directed by David Twohy, represents one of the biggest missed opportunities in recent years. The question I have is this: did it shoot too high, or did it not try very hard? It’s a tough call but I’ll have to go with – and this is a cop-out – a bit of both. Great pains were taken to put this character from Pitch Black into a greater universe, and measured creative actions were undergone to make it as cool as possible. Unfortunately I don’t believe that Twohy thought too far out of the box, or outside the box at all. When you think ‘space story,’ the first thought you may have is Star Wars. That particular franchise is very successful I heard, and had a war going on that the heroes fought on one side of. Want to know what The Chronicles of Riddick is?
I’ll tell you what it isn’t – very successful. Its critical and commercial failure, particularly the latter, can be blamed for the eight year delay between The Chronicles of Riddick and the expertly titled sequel The Chronicles of Riddick: Dead Man Stalking. Audiences didn’t seem to respond too well to the shoddy cinematography and editing during action, nor the underdeveloped characters, nor the length. I’ll take them one further; the chief issue with Riddick is its universe. The space war template is not served well here where it is in Star Wars because the enemies are so damned stupid. Indeed Stormtroopers and then droids were absurd enemies that posed no real illusion of menace – perhaps they posed a phantom menace – but they weren’t derivative and lame creatons known as the Necromongers, which are not only derivative and lame, but go on to influence the space story universe for the worst.
The perfect The Chronicles of Riddick movie, in my opinion, and a cool sidequel (is that a term yet? I suppose only Soldier really counts as one) and sequel to Pitch Black, would have Riddick out on his own in a galaxy that’s swarming with mercenaries, PMCs, space prisons (like Mass Effect 2), bounty hunters, and the occasional clawed alien. Twohy could have expanded the Crematoria sequence in the middle of the actual film into a feature, and it would’ve been fine. It wouldn’t have needed such a huge budget, and it wouldn’t have required such a lame universe, but kept in tune with the gritty original.
My own personal feelings on fantasy as a genre, as a well as the sword and sandal epic, don’t enter into this because even those who enjoy sorcery and magic will find those and other traditional tropes disjointed here when applied to the science-fiction world established in the first movie. In Pitch Black there were no Necromongers, and that’s how it needed to stay, because then we also wouldn’t have elementals and soul-stealing and something called the Underverse, which at this point I can only visualize as Robot Heaven from Transformers: Revenge of the Fallen. These things are all reinvented pieces of fantasy bullshit – which I hate – which is coupled with planets and spaceships and guns that shoot bullets but sound like they shoot lasers. Sure, everybody likes Krull because they saw it as a young age, but that movie sucks. Perhaps that’s not due to its genre-mixing, but rather its pacing.
I’m not some genre stickler who never wants to mix things, I mean the horror/comedy is one of my favorite genres, and has only let me down once, with Zombieland, but it is very necessary to mix these genres correctly, or cleverly, or with a purpose. Star Wars, to go back to that one again, started out mixing fantasy and science-fiction very well, with all talk about planets and spaceships and lasers coming first, and the Force coming a bit later. It totally fit within the universe, but the Necromongers are more invasive in the context of the universe than the narrative. They show up and I’m just dumbfounded. They’re a religious empire on a crusade to convert all of humanity, and this is just no good for Riddick, so he goes and fights with them.
Another problem with the Necromongers comes out of their interactions with Riddick. Just like the Stormtroopers and the droids were not threatening villains that could ever scratch the heroes, these guys are in a constant badass competition with Riddick, who aspires to be the ultimate badass. He can kill anyone with anything, so that’s a really difficult character to create a sense of vulnerability. That doesn’t really matter – we still root for James Bond even though we know he’ll never die, surviving even time and the Pierce Brosnan era (my personal favorite) – but it really reflects poorly on the villains.
Even when we did have Stormtroopers we had Darth Vader, but I’m not too into Colm Feore as a badass. I liked him better as a John Woo regular and his brief but memorable turn as the First Gentleman in 24: Season 8. Not only that, but these Necromongers get taken out so easily. It’s like the badguys and cronies in a movie like The Punisher or The Marine. I’m not convinced that these dudes will be able to take out John Cena, not for a second. Riddick in the universe is the most powerful being, and the Necromongers seem to bend to his will, as do the mercs and the prison lions.
The most telling piece of the the universe of Riddick‘s haphazardness in its media world is a Franchise Collection (I think that’s the releasing company) DVD set called The Riddick Trilogy, including Pitch Black (or The Chronicles of Riddick: Pitch Black), The Chronicles of Riddick: Dark Fury, and The Chronicles of Riddick. That they’re actually going to make a real trilogy with Pitch Black as a prequel is just perfect, because in a few year we may see, in some less sensical retailers, The Riddick Trilogy collection sharing a shelf with The Riddick Trilogy, containing The Chronicles of Riddick, The Chronicles of Riddick: Dead Man Stalking, and The Chronicles of Riddick: Live 2 Tell.
It’s not all bad. The Crematoria sequence is the closest in comes to being genuinely entertaining, rather than ironically for its B-movie dialogue and acting. There is something interesting, reflected in the killer character who finds trouble in his replication; this is speaking specifically to Kira, an older version of Jack from the first movie. The heartless killer (proven to have a heart by the end of Pitch Black so WTF) takes responsibility for his actions as measured in this killer jr. character, and the audience could potentially read remorse in our anti-hero, where he can actually see the monster he is standing in front of a mirror. I’m glad it wasn’t a romance, but every element, including this one, comes across weakly, as Kira turns about to be a whiner and not nearly as badass as she thinks. And it’s once again interrupted by the ubiquitous Necromongers. In fact, all the elements in the movie are spoiled; ruined by either the Necromongers or the audience’s inability to immerse themselves in a universe that seems to exist only in support of its eponymous character. The minor characters in Star Wars probably wouldn’t have the same sense of importance or specialness were it titled The Adventures of Starkiller.
Here’s an example of how one action scene is marred by this strangely niggling idea: the action scene is ‘the fleet is mobilized during the Necromonger invasion, several pilots go to war.’ First of all, I don’t know what the fuck planet we’re on. Let’s call it Helios Prime, going off of memory. Why should I care about this planet? Riddick has no stake in it. Oh – Keith David’s here. Space Imam. Second-of-ly, what fucking fleet? Why do we spend so much time watching the pilots fly their spaceships into the air doing their standard “WHOOO-YEAH” yelps and getting blown to pieces if they ultimately don’t do anything? I’m not just saying they ultimately didn’t defend the planet – I’m saying we could have easily not spent so much time. Riddick, from the ground level, could have been fighting Necromongers (or massacring, as it were) while in the background we see the dogfight. Eventually, towards the end of the scene we watch as the remaining pilots are taken out.
The scene sticks out to me because it seems reminiscent of Star Wars – the Hoth scene or the final assault on the Death Star in Return of the Jedi where we jump around to different pilots in the cockpit radioing things to each other. But those guys were aligned with the hero, so we rooted for them somewhat. We have zero stake in the pilots of The Chronicles of Riddick, and indeed this scene happens so early that we don’t really care, and at the end, it amounts to nothing. The planet’s overtaken, and to Riddick, nothing’s changed.
This movie could have been an interesting story – dark, space-faring science-fiction about the seedy underbelly of the galaxy and the occasional alien. From what I understand this is what the video-game Prey 2 is going to be – aside from a total departure from the original. The Chronicles of Riddick is exactly what everyone says it is: overblown. It’s really too bad, and I feel like this may be science-fiction’s second Heaven’s Gate in terms of original material. I know you’re thinking ‘it’s not original – it’s a sequel,’ but I’ll take sequel over remake, reboot, or even adaptation any day. A writer who sits down to his typewriter and bangs out characters, situations, plot points, and in the case of science-fiction, sometimes an entire universe, is incredibly valuable and increasingly on the decline. These people know that you can’t turn up gold in mined areas – though you often run the risk of turning up The Chronicles of Riddick.
It hardly feels original – note how many times I brought up Star Wars in this post…
The tagline should be: There’s a fine line between anti-hero and dick. This summer, it’s crossed.
We’ve had one feature film and two television series about it, and fan response has been lukewarm as the franchise’s relevance begins to decline. Star Trek is possibly getting popular again, Battlestar Galactica was huge – there are seemingly better options nowadays for space opera. George Lucas has been known to hold out on his fans, not quite on the level of Harlan Ellison perhaps, but by not delivering on promising projects, for example a live-action television show, he’s being frustrating again. Just like in 2002 when Attack of the Clones was released to only moderate critical success, a movie that should have washed the sour taste of Phantom Menace out of the fanbase’s collective mouth, but instead kicked off a brand new storyline, a saga within a saga that would become the face of Star Wars for nearly a decade, spanning video-games and books and yes, even a whole Star Wars movie. Episode 7? No. The Clone Wars.
So not only does the Clone Wars provide a face for the series in this modern time where fans scratch their heads, it also feels like a huge waste of time. Remember in The Empire Strikes Back, when Darth Vader tells Luke that he’s his father? I sure do, and it’s those major plot points that kept the series going back in the late seventies and early eighties, kept the fans interested and invested in what mattered in the long term for the narrative – the characters. While having not seen any of Star Wars: The Clone Wars (not to be confused with Star Wars: Clone Wars, which was actually kind of good), I can’t say anything for certain, but I just can’t imagine they add anythng to the series canon when we already have Episode II and Episode III. Assumedly they all lead up to Anakin turning to evil, so I suppose the best the show can offer you is original characters and scenarios and what comes of those.
But then, why bother placing it in the Clone Wars? Not only do we know the outcome, this is easily the most uninteresting aspect of the Star Wars universe, one that contains such things as retroactively inserted dancing CG aliens in 1983 and Jar-Jar Binks. There’s so many problems with the idea of a the clone wars, and I think they’re analogous to why the films that contained them didn’t really connect with the audience.
We have Clone Troopers being made, an infinite army serving the Republic, which will eventually fall and become the Empire. These clonetroopers obviously become the Storm Troopers, the inept soldiers who are constant laser fodder in the original trilogy. So if they’re going to be evil, are we supposed to root for them now? Certainly we never get to know any of their characters, but if they’re good I suppose we cheer for their team. The only problem is we know they’re going to be evil. They’re only temporary heroes, and so watching Clone Wars battles between clones and droids is like watching two sports teams go at it who aren’t from your local area. I have no stake in either, and the main heroes aren’t as personally invested in the clonetroopers’ plight as the heroes were with the Rebel Alliance in the original movies.
It kind of leaves you cold, when you’re indifferent to such a piece of what’s going on. That’s exactly how I felt about the prequel movies – disregarding entirely the fact that I don’t care much for the series as a whole – cold and distant. No sense of gravity to anything that was going on; truly the writers fell into the easy prequel trap, where yes we know the ending, so we should have something to combat that fact which minimizes drama and suspense, but nothing was done.
Also, the entirety of the Clone Wars occur in the Star Wars universe to serve a singular, tiny purpose, and this is something that a long time ago I brought up in conversation with a friend who’s a Star Wars fan. I said “It’s kind of dumb that we have this huge war that’s orchestrated just so that the Chancellor can control the clone army, on a narrative level anyway. It really makes the Clone Wars feel useless.” His response was “Isn’t that what war is in real life? Useless?” Fine, you can make that argument, but not with any evidence gathered from Episode I-III. The themes of those movies were corruption and the fall of republics. This segues nicely into the original trilogy, which was about redemption and the fall of empires. Assuming that Lucas is following the mold set by space opera in literature, we can say that after Episode VI the Rebel Alliance too becomes an Empire and somebody must stop them.
It’s a series that would then be about cycles throughout the ages, and it would be about history. It’s not so much that war is pointless in history, but that it’s a constant. Even if you disagree with that, and you feel that the Clone Wars were useless by necessity, the product of that uselessness is still a major negative on the series. We have clones and androids, two of the most expendable creatures in all of science-fiction, being pumped out on a galactic scale to do battle with each other. Sound epic? No, that sounds like you could kill one thousand clones and do no better than when you killed three hundred thousand droids last week. There is no weight to the conflict, which can’t be said of the rebels and empire war.
I guess in the end we’re not supposed to be invested in the clones at all, but the Jedi. And all the clone wars do is just serve that one plot point of the Chancellor becomes the evil emperor of the new Empire. That’s fine, but why do we have to have so much of it? Star Wars could and should be a series of over a dozen movies by now, but it’s like pulling teeth with the guy to make another movie – what exactly is he doing up there in his Skywalker Ranch? Doesn’t matter. If we don’t have more Star Wars movies, that’s just fine by me, but why out of all the possible films to make set in this universe do we get one about the clone wars? And it was animated! With animation you could have done anything; the continuation of Luke’s story maybe, or whatever happened to Boba Fett, which I know is a point of much interest on the Internet. Anything could have been done, and it would’ve been eaten up because Star Wars is and always will be the biggest and most popular franchise in science-fiction history, eclipsing Star Trek by a margin.
The clone wars is just one insignificant dot in it, starting from one throwaway line in Star Wars and all the way up to modern times with I don’t know three seasons of the second animated TV series?
Shit does look pretty rad though, especially in Episode II at the end. As much as I’ve complained about it, the clone wars bits of the movies are probably for me the most memorable. But they’re so stupid… I need a science-fiction movie with that level of fantastical visuals and the burden of something ticking under its creators’ skulls. Too much to ask for?