film babble blog: Star Trek

Showing posts with label Star Trek. Show all posts

Wednesday, October 13, 2021

Between Star Trek & His Real Life Space Trip, William Shatner Once Went To The Stars For Comedy

“Irony Can Be Pretty Ironic Sometimes”

Earlier today, iconic actor William Shatner boarded a rocket named New Shepherd with three fellow passengers to launch into space for an 11 minute journey.

Shatner, whose Wikipedia entry now adds the title “space tourist,” described the experience as “profound,” and that “I hope I never recover from this.”

But while Shatner is best known for the role of Captain James T. Kirk in 79 episodes of the ‘60s sci-fi classic television program Star Trek, and seven movies which run from the late ‘70s to the mid ‘90s, he took a less heralded voyage to the stars in a sequel that was released the same year as STAR TREK II: THE WRATH OF KHAN, one of the most acclaimed entries in the franchise.

That would be AIRPLANE II: THE SEQUEL, the 1982 follow-up to the hit satire, AIRPLANE! (1980). While AIRPLANE II recycled the disaster movie parody premise, it added some sci-fi film spoofery including a running gag involving a computer much like HAL-9000 from 2001: A SPACE ODYSSEY.

The most obvious take-off comes in the form of Shatner as Buck Murdock, a tough as nails space station Commander, who aids in the rescue of the shuttle Mayflower One. Now, Shatner is standing in for Robert Stack, who played an incredibly stern airline pilot from the original. Both Shatner and Stack even say “that’s just what they’ll be expecting us to do.”

Apart from that, Shatner is obviously, and obnoxiously, satirizing his classic character, Captain Kirk. Extreme over-acting, mad mugging for the camera, and over dramatized speechifying make his part here the Shatner role from Heaven, or, for some, the Shatner role from Hell. There's even a shot of the U.S.S. Enterprise from the original series that Shatner's caricature sees through a periscope.

What’s most notable to me is that AIRPLANE II can be seen as the beginning of Shatner’s comedy career. The man had touched on comedy in previous years (BIG BAD MAMA for instance), but it wasn’t until that silly sequel that he was cast in all out comic productions like LOADED WEAPON 1, MISS CONGENIALITY, and DODGEBALL. Shatner also made many TV appearances most notably Boston Legal, for which he won an Emmy for his portrayal of lawyer Denny Crane.

Now, it could be said that Shatner’s work as a dramatic actor was largely comical, even if it wasn’t meant to be. According to the Urban Dictionary, “Shatnerize” is described as “To deliberately produce something so bad it’s good.” At one point I theorized that Shatner was aware that he’s a joke to many of his fans and non fans, but he’s not sure what the joke is.

Now that he’s actually gone to space – at 90, the oldest human to do so – maybe it’s time to take the man more seriously. His film and TV career is nothing to sneeze at, his extensive list of books (dozens and dozens) as an author are largely best-sellers, and his personable appearances on talk shows are hilarious must sees.

Even if he didn’t reach the final frontier, it was fun to see Shatner boldly go where a number of others have gone before. Unless he shows up in some new movie or TV show, this epic yet brief voyage certainly serves as a final feather in his cap. Oh, and I bet he’ll get another book out of it.

So I’ll leave you on this note, Shatner’s classic appearance on SNL in 1986, in which he told a convention full of Star Trek fans to “Get a life!”

More later...

Wednesday, October 06, 2021

What Are Fotonovels Or Photostories, You Ask? Well, Let Me Tell You

Back in the ‘70s, before cable TV and home video options (laserdisc players, VCRs) weren’t household appliances yet, movie-fans like me had to re-experience or our favorite films in other ways. Since the ‘60s, there were books that contained screenplays of various popular movies augmented with a bunch of stills.

In the ‘70s the medium exploded with tons of these books, but later in the decade, a particular kind of movie book hit the scene. They were called Fotonovels or Photostories and they featured color screenshots and word bubbles to illustrate the films or TV shows. Yes, they were put together like comic books (no one called them graphic novels back then).

Among the first Fotonovels published were of 12 episodes of the original ‘60s Star Trek including such fan favorites as “City on the Edge of Forever,” “The Trouble with Tribbles,” and “The Devil in the Dark.”

But it was the movies that were the bigger sellers. Such films as GREASE, LORD OF THE RINGS (the 1979 animated version), HAIR, INVASION OF THE BODY SNATCHERS, CLOSE ENCOUNTERS OF THE THIRD KIND, HEAVEN CAN WAIT, ROCKY AND ROCKY II (in one book), and many more.

Check out a couple of pages from the CLOSE ENCOUNTERS edition:

TV shows that were given the treatment included The Incredible Hulk, Mork & Mindy, Buck Rogers in the 25th Century, Battlestar Gallactica, and even The Waltons.

Not everything that photostories and Fotonovels was a beloved hit. Flops like NIGHTWING, and AMERICATHON (heard of those?) were titles that were probably decided on before their box office was known, were impossible to predict whether they were going to be successes failures at the time (seems pretty obvious now though).

So in the early ‘80s, just as cable was spreading like a virus, there were fewer books produced. The saddest release was of STAR TREK II: THE WRATH OF KHAN as it was in black & white. In addition, the images were blurry, and grainy on much lower quality paper. Even as a kid at the time, I knew the movie picture book party was over.

But the decades that followed, there were a few that popped up in the movie/TV sections in bookstores. THE BLAIR WITCH PROJECT, Disney’s DINOSAUR, and CHARLIE ANGELS, which was an attempt to cash in on the ‘70s revival of the time. Nowadays, you can find Fotonovels and Photostories in used bookstores and on Ebay. Most are cheap - $10-$20, but the GREASE one is listed on Ebay as going for $40-$500 (no joke).

So that’s a small, maybe tiny, bit of movie memorabilia history. I have a few of these Fotonovels on my bookshelf, and am amused when I see them out in the wild. If I come across one, or more, at a local used bookstore, I may consider a purchase, unless it’s the overpriced GREASE one that is.

More later...

Monday, April 12, 2021

Star Trek + The Monkees = GALAXY QUEST

Since the sci-fi comedy GALAXY QUEST was released around Christmas 1999, it has become a cult favorite loved by fans of the property it skewers, Star Trek, and satire aficionados alike. The Dean Parisot-directed parody has spawned comic books, Deluxe Edition DVD and Blu rays, a documentary, and there’s talk of a sequel or TV series resurrection.

But let’s set the Wayback Machine for September 1966 in which two shows premiered on NBC during the first all-color television season: Star Trek and The Monkees. Star Trek (it feels weird to describe as everyone knows the premise) was about the crew of a starship in the future on a five-year mission though the program only ran for three years; while The Monkees was about a fictional four-piece rock band trying to make it in show business in the midst of their wacky adventures.

Now while The Monkees started out as a made-for-TV group, the major popularity of their music resulted in the members learning how to play their instruments (well, two of them, Michael Nesmith and Peter Tork, were already musicians) so that they could perform on their records, and tour unaccompanied.

Later, the Monkees’ Mickey Dolenz remarked “The Monkees really becoming a band was like the equivalent of Leonard Nimoy really becoming a Vulcan.”

Dolenz made this analogy so many times that Tork once replied, “This Vulcan line, Mickey, give it up for God’s sake!”

Another Star Trek connection is that when Walter Koenig was hired to play Anton Chekov in season three of the space opera, the character was added for two reasons: to appease criticisms from Russians that they weren’t represented in the cast, and, more importantly to cash in on Monkee-mania. It was hoped that Koenig’s youth, and reasonable resemblance to Davy Jones would attract younger fans. Koenig even wore a moptop wig to complete the effect.

Now let’s go back to the future. After a successful run of movies, Star Trek was such an established franchise that it was endlessly parodied. But the writers of GALAXY QUEST, David Howard and Robert Gordon, came up with a different angle. The movie was as much a satire of Trek as it was Trekkies, dealing with the cast of a long defunct space series depressingly attending conventions and having to exploit their characters. Tim Allen portrayed the William Shatner/Captain Kirk lead, alongside a hilarious ensemble including Sigourney Weaver, Alan Rickman, Tony Shalhoub, Sam Rockwell, and Daryl Mitchell.

The premise was that aliens have mistaken the show’s reruns for documentaries and have come to seek help from the crew to defeat an evil alien race. So obviously Allen and his cohorts have to actually become the Federation (or whatever they call it) heroes that they’ve been pretending to be.

Screenwriter Howard has said that he got the idea for the plot of GALAXY QUEST while watching a IMAX documentary that featured narration by Nimoy. While this may be true, it’s difficult to believe that the Monkees’ influence wasn’t part of the equation. Especially considering that Allen’s character is named Jason Nesmith. Boom!

Ignoring Tork’s “give it a rest” request, Dolenz has continued to make his analogy but has amended it somewhat replacing Star Trek with GALAXY QUEST:

“Have you seen GALAXY QUEST, the movie about fictitious sci-fi characters visited by real aliens to save their planet? That’s what happened to The Monkees! It started out with fictitious people and all of a sudden we were made into a real pop band. And we weren’t just actors playing the fool. We were cast in the same way as you would a West End musical - you had to sing, dance, move, act, improvise and play an instrument. The closest thing I could describe it as is a stage musical on television.”

Whatever the case, from Chekov’s Davy Jones-styled wig to the premise of actors morphing into their roles, Star Trek, The Monkees, and GALAXY QUEST are forever entwined. I hope they do produce more GALAXY QUEST in some form of other as long as they never should give up, and never surrender (sorry, I couldn’t resist).

Live long and prosper.

More later...

Friday, April 24, 2020

When TV Characters Become Movie Critics: Part 1

I have long been amused when a character in a television show gives their opinion about a popular movie – sometimes while the film is still playing in theaters. In many cases, the criticisms echo those of many people in the audience, which helps to blur the line between fantasy and reality.

On the NBC sitcom, Community, Annie (Alison Brie) gives her study group friend Abed (Danny Pudi) DVDs of three of the Indiana Jones movies because, as both say in unity, “The fourth one blows!” This is a sentiment that both holds consensus in the show’s world, and the real one’s - especially the online community.

Community (now streaming on Netflix) was full of such moments in which pat put downs of many movies were offered (see Den of Geek’s The 68 Movie References in Community), and the same goes for such shows as The Simpsons, Big Bang Theory, Rick & Morty, and countless other pop culture-minded programs.

But here I wanted to look at the shows that have character’s point of views on certain movies come up more organically – for the most part.

The first such moment of movie appraisal that I remember noting was from the late ‘70s to early ‘80s soap opera satire, Soap. In an episode towards the end of the first season (airdate: March 14, 1978), a character named Flo Flotsky, played by television veteran Doris Roberts, perhaps best known for her role as Ray Romano’s mother in the CBS sitcom Everyone Loves Raymond, deflects from her son, Father Tim Flotsky (sal Viscuso), telling her he’s fallen in love with Corine (Diana Conova) by spouting out her critique of the massively popular space epic that was still reigning at the box office when the episode aired:

Flo Flotsky: “Y’know I finally saw that ‘Star Wars’ movie they’re all ravin’ about. I dunno. In my day if they had a leading man it was Clark Gable. Today they got a little machine that goes ‘boop.’ I mean, frankly, I could have stayed home and looked at my upright vacuum cleaner.”

Later, another shot at a mega movie hit, happened during the last season of the NBC show Seinfeld (a mega hit itself) that was broadcast on March 19, 1998. Like STAR WARS, TITANIC was still in theaters when this exchange took place:

George Costanza (Jason Alexander): “I saw ‘Titanic.’ So that old woman, she’s just a liar, right?”

Jerry (Jerry Seinfeld): “And a bit of a tramp if you ask me.”

In the episode “The Rat Pack” from The Sopranos’ fifth season (broadcast: March 14, 2005), most of the female contingent of the cast gather for a Film Club night in which they watch Orson Welles’ CITIZEN KANE. Carmela (Edie Falco) hosts the screening, which takes place in the family’s swanky viewing room, and even reads aloud from Leonard Maltin’s review of the film from one of his yearly guides before it begins.

After they watch the film, the reactions from Carmela and her fellow mob wife group members are priceless:

Adriana (Drea de Matteo): “So it was a sled, huh? He should’ve told somebody.”

Gabriella Dante (Maureen Van Zandt): “I think it’s fascinating that man had all that stuff, but he died alone with nothing and nobody.”

Carmela: “Good. Prick.”

Rosalie Aprile (Sharon Angela): “I hated it. ‘You supply the war, I’ll supply the headlines.’ How conceited.”

Following these comments, the ladies run out of things to say except to briefly compliment the cinematography (“That was very good”) so they fall back into their regular gossiping. The show never reveals whether they have another Film Club, but my guess would be that it was a one-time thing.

While The Office US (2005-2013) regularly highlighted the absurd, insensitive, and just plain wrong utterances of its protagonist Michael Scott (Steve Carrell), every now and then the character would say something that was actually on point. One such moment was when he shared his thoughts on the fourth entry in the DIE HARD franchise (LIVE FREE AND DIE HARD):

Michael: “You know what, here’s the thing about ‘Die Hard 4.’ ‘Die Hard 1,’ the original, John McClane was just this normal guy. You know, he’s just a normal New York City cop, who gets his feet cut, and gets beat up. But he’s an everyday guy. In ‘Die Hard 4,’ he is jumping a motorcycle into a helicopter. In air. You know? He’s invincible. It just sort of lost what ‘Die Hard’ was. It’s not ‘Terminator.’”

Following this, one of his co-workers says “Dude, you should review movies.” Yeah, maybe he should.

Finally, there’s this conversation from The Handmaid’s Tale (“Women’s Work, June 6, 2018) between June (Elizabeth Moss) and Janine (Madeline Brewer) about childbirth:

Janine: “You’ll probably get to the cool part soon - the baby’s foot pushes out of your stomach, like in ‘Alien.’ (laughs) Charlotte used to do that all the time. (awkward pause) You haven’t seen ‘Alien’?”

June: “I just thought the sequel was better.”

These are just several instances of TV characters giving us film critiques, I know there are hundreds, and as the Part 1 implies I’ll be posting more, so if you know of any please place them in the comments below or email them me via the address above on the right.

So I’ll leave you now with this quote from Seinfeld, where the STAR TREK movies frequently came up. Jerry on STAR TREK II: THE WRATH OF KHAN: “Well, it was the best of those movies.”

I completely agree.

More later…

Saturday, November 07, 2015

SPECTRE Isn't Especially Bond At Its Best

Now playing at a multiplex near you:

SPECTRE (Dir. Sam Mendes, 2015)

WARNING: This review contains Spoilers! But I bet you guessed the supposed biggest one two years ago.

James Bond is back, but this time he’s far from “better than ever” as the ad campaign has declared every time a new entry has appeared since the series began in the early ‘60s.

There’s a considerable drop-off in quality in Agent 007’s 24th adventure, SPECTRE, from his previous outing, but since that was the universally acclaimed, box office record-breaking smash SKYFALL, that’s hardly surprising.

And that's just it - as hard as they tried, there are no surprises in Daniel Craig's fourth time out as Bond. Let's start with how Mendes and Co. misguidedly took a page from the reboot rulebook established by STAR TREK INTO DARKNESS by lying to fans for years about the villain's identity.

J.J. Abrams and his crew swore up and down that Benedict Cumberbatch was not playing the series' most notorious villain, Khan, in the second installment of the rebooted Star Trek franchise and we got burned bad there. So much so that Abrams admitted later that they screwed up the reveal.

When news got out that Christoph Waltz was cast in SPECTRE, the first thought everybody interested had was that he must be playing the Bond series' biggest villain, Ernest Stavro Blofeld.

But when Waltz was asked if he was playing Blofeld, he replied: “That is absolutely untrue. That rumor started on the Internet, and the Internet is a pest.”

Well, the internet must be a pest because they guess things right sometimes.

Beyond that, the film is a stitched together collection of overly familiar action set pieces hung on a story-line that's no match for the plot of the last MISSION: IMPOSSIBLE movie.

The plot being that Bond, spurred on by a cryptic video message left by his deceased superior M (brief final Judi Dench cameo!), Bond goes on a rogue mission (hello, LICENSE TO KILL) to track down the titular evil organization behind a new electronic global surveillance initiative called Nine Eyes set to dismantle the MI6 00-division.

SPECTRE starts off smashingly with a pre-credits scene involving a high-jacked helicopter (hello, FOR YOUR EYES ONLY!) going out-of-control above the huge crowds of Mexico's Day of the Dead festival, but after the rather lackluster theme song “Writing's On The Wall,” it settles into draggy drama for a bit.

The new M (Ralph Fiennes) puts Bond on leave, so Q (Ben Whishaw) only gives him one gadget (a watch that can explode) and tells 007 “enjoy your downtime!” Of course, Bond disregards the notion of taking a break, steals MI6's snazzy new Aston Martin DB10, and heads off to Italy where he hooks up with Monica Bellucci as the widow of the guy Bond killed at the film's beginning, and he learns of a secret meeting of international terrorists that he is able to infiltrate a little too easily.

This is where Waltz as Blo...sorry, Franz Oberhauser, clothed in shadowy darkness, comes in and senses Bond's presence in the room immediately. This leads to a pretty standard-issue car chase through the streets of Rome, then Bond follows another lead to the snow-covered mountain terrain of Austria.

There he hooks up with Léa Seydoux as Madeleine Swann (sadly, the more age appropriate Bellucci is long out of the picture), the daughter of Bond's former adversary Mr. White (Jesper Christensen, making his third appearance in the series after CASINO ROYALE and QUANTUM OF SOLACE).

This, of course, leads to another chase, with 007 chasing after the film's Oddjob stand-in Mr. Hinx (WWE wrestler-turned-actor Dave Bautista) in a commandeered private plane that gets its wings clipped (hello, LIVE AND LET DIE!).

Meanwhile, Fiennes's M frets over a merger with MI5 and clashes with his new superior, C (Andrew Scott, best known as Moriarty on Sherlock), while Moneypenny (Naomie Harris) and Q (Whishaw) have more screen-time than usual on the sidelines aiding 007 and M.

Bond and Swann follow another lead to Morocco, and after a brutal fight on a train with Mr. Hinx (Hello, FROM RUSSIA WITH LOVE, LIVE AND LET DIE, and THE SPY WHO LOVED ME!), they make their way to SPECTRE's meteor crater lair (like Blofeld’s volcanic lair in YOU ONLY LIVE TWICE!), and that's where we get the lowdown on our villain's background and all that other spoilery stuff (apart from Waltz's identity as Blofeld there actually are some plot-points here I'll refrain from describing).

The London-set climax, which involves blowing up the remains of the old MI6 building, and more helicopter shenanigans, isn't very inspired and whatever excitement was in the film had drained from the film way before they get there.

Screenwriters Neal Purvis, John Wade, John Logan, and Jez Butterworth unsuccessfully try to duplicate the highlights of SKYFALL, which all but Butterworth scripted, and the result is an uneven, and frustratingly paced narrative.

And, running at 2 hours and 40 minutes, it’s the longest, and most drawn out, Bond movie of the series. That’s another strike against it.

But back to my original beef about how they tried to hide that Waltz was playing Blofeld. This is no way to treat the re-introduction of SPECTRE, absent from the franchise since DIAMONDS ARE FOREVER for legal reasons.

It would’ve been a better move, and, I bet made for a better movie, if they’d just announced up front that the two-time Academy Award winner was portraying 007’s most powerful and iconic foe, instead of fashioning their film around such an obvious “twist.”

Instead we’ve got this epically ineffective Bond in which Craig looks bored and ready to go home. After this routine ride with such a surprise fail, that’s sure how I felt.

More later...

Tuesday, September 10, 2013

New Releases On Blu Ray & DVD: 9/10/13

J.J. Abrams’ summer smash sequel STAR TREK INTO DARKNESS heads the pack of new releases on Blu ray and DVD this week. Having enjoyed Abrams’ 2009 reboot, I was disappointed in the follow-up as you can obviously tell in my review entitled “STAR TREK Into Disappointment” (5/16/13). But even fans who loved the film may be disappointed in its home video release as the Blu ray+DVD+Digital Copy package (also available in a 3D Starfleet Phaser Limited Edition Gift Set) only boasts a bunch of featurettes as its bonus material, with no commentary, deleted scenes, or an extensive “making of” documentary. This is surely because there will surely be a more expansive Special Edition someday, so fans thinking about purchasing it should maybe take that into consideration.

To take advantage of the release stardate (sorry) of the newest film in the long-running franchise, Paramount is putting out a bevy of Star Trek titles on Blu ray including Star Trek: The Original Series – Origins, STAR TREK: Stardate Collection (a box-set of 10 movies with additional content), and new individual Blu ray or DVD editions of each of the previous ST films.

Also out this week: Suzanne Bier’s LOVE IS ALL YOU NEED (read my review from last May), Tina Gordon Chism’s TYLER PERRY PRESENTS PEEPLES, Alex Gibney’s documentary about Julian Assange’s infamous website WikiLeaks: WE STEAL SECRETS: THE STORY OF WIKILEAKS (DVD only), Richard Raaphorst’s sci-fi horror flick FRANKENSTEIN’S ARMY, Nick Murphy's 2012 crime thriller BLOOD, Kieran Darcy-Smith's 2012 mystery drama WISH YOU WERE HERE, and David Mamet's HBO telefilm PHIL SPECTOR, which despite starring such classy types as Mamet, Al Pacino (in the title role) and Helen Mirren is a pretty trashy affair.

The Criterion Collection has a few notable titles out today that are new to Blu ray, both with choice bonus features. First up, there’s Edouard Molinaro’s 1978 French comedy classic LA CAGE AUX FOLLES, which is enhanced by a new 20 minute video interview with director Molinaro, 30 minutes of Archival Footage, a 22 minute interview with professor Laurence Senelick about the film’s history and influence, original theatrical trailers, and an illustrated booklet featuring an essay by critic David Ehrenstein.

Martin Ritt’s 1965 thriller classic THE SPY WHO CAME IN FROM THE COLD also gets the deluxe Criterion treatment with over 4 hours of Special Features including an interview with John Le Carre, an hour long BBC biodoc entitled “The Secret Centre: John le Carre,” audio excerpts from an 1985 interview with director Ritt conducted by film historian Patrick McGilligan, a featurette in which cinematographer Oswald Morris discusses select scenes, an audio commentary, a Set Designs featurette, an episode of the BBC program Acting in the 60's focusing on Richard Burton, and an illustrated booklet featuring an essay by critic Michael Sragow.

Also on the older films new to Blu ray front is Kurt Neumann's 1958 Vincent Price classic THE FLY, Dario Argento’s 1970 Giallo genre landmark THE BIRD WITH THE CRYSTAL PLUMAGE, John Schlesinger's MARATHON MAN (1976), Anthony Minghella's Patricia Highsmith adaptation made into a Matt Damon vehicle THE TALENTED MR. RIPLEY, and the largely forgotten 1998 Nicholas Cage caper that was Brian De Palma's SNAKE EYES.

The BBC/HBO mini-series Parade's End, starring Benedict Cumberbatch and Rebecca Hall, also hits home video this week in 2-disc Blu ray and DVD sets. The 5-part series is joined then sole bonus feature of playwright Tom Stoppard, who adapted Ford Mattox Ford's “Parade's End” series of novels from the 1920's for the production, getting interviewed on KCRW's The Treatment with Elvis Mitchell.

Other TV series sets hitting home video today include Homeland: The Complete Second Season, The Big Bang Theory: The Complete Sixth Season, Castle: The Complete Fifth Season, Supernatural: The Complete Eight Season, Blue Bloods: The Third Season, and Luther 3.

More later...

Thursday, May 16, 2013

STAR TREK Into Disappointment

Opening today at nearly every multiplex in the galaxy:

STAR TREK INTO DARKNESS

(Dir. J.J. Abrams, 2013)

At first, it seemed that it was just that this sequel was just messier and less fun than Abram’s 2009 reboot. That the freshness of how that movie so entertainingly re-established Star Trek’s most iconic characters with new faces had faded.

But as the quick-cut convolutions of the plot swirled around my head, aided by the heavy lens flare (now in 3D!), I began to shudder. Abrams, along with screenwriters Roberto Orci, Alex Kurtzman, and Damon Lindelof, were no longer simply paying homage, they were blatantly ripping off scenarios, dialogue, and the emotional pull of what many consider the best of the original run of STAR TREK movies.

Of course, I’m talking about STAR TREK II: THE WRATH OF KHAN (from here on: STII: TWOK).

Nicholas Meyer’s 1982 sequel to Robert Wise’s STAR TREK: THE MOTION PICTURE (1979) was a game changer for the franchise. The first one, which brought the cast back from the popular '60s TV series in part to capitalize on the STAR WARS craze of the late ‘70s, was seen as too cerebral, and worse – boring, but the second one was a terrific action adventure that appealed to both fans and a mass audience, without sacrificing the smarts (largely thanks to an excellent screenplay by Jack B. Sowards and Meyer).

Abrams had already touched on STII:TWOK in his first installment of STAR TREK, with the Kobayashi Maru element (the no-win scenario Starfleet test) and a few lines, but here the allusions are out in full force starting with Benedict Cumberbatch as a villain from 300 years in the past that, c’mon, everybody knows going in who he’s going to turn out to be.

The entire cast returns headed by Chris Pine as Captain Kirk, who again lives to ignore Federation regulations, have sex with alien women (he’s in bed with two of them early on), and perform death defying stunts at early possible chance.

Their amusing rivalry has died down, so Kirk and Zachary Quinto’s Spock are settled into the friendship as seen on the old series, and Spock’s romantic relationship with Uhuru (Zoe Saldana), something that was somewhat shocking when it was introduced 4 years ago is also background fodder here. As for the rest, Karl Urban as McCoy, Simon Pegg as Scotty, Anton Yelchin as Chekov, and John Cho as Sulu, they’re around mainly to say their character’s classic lines (McCoy: “Damn it Jim, I’m a Doctor not a torpedo technician!”).

So the movie has Kirk being demoted for breaking the Prime Directive (you know, the deal where Starfleet can’t interfere with the development of an alien civilization) in the film’s big ass opening volcano sequence, then made First Officer under Admiral Pike (Bruce Greenwood, also returning from the previous film). When Pike is killed by Cumberbatch (who has some effectively sinister moments but is no Ricardo Montalban) in a gunship in a violent assault in San Fransisco, Kirk and crew chases him down with the Enterprise to the Klingon territory of Kronos.

With the Klingon entanglements, sometimes confusing negotiation tactics, and muddled back story about Cumberbatch’s people each encased in hollow photon torpedoes, I got a bit drowsy, but I snapped too when I realized they were not only trying to replicate the high points of the 2009 reboot (revealing that they can do something new with warp speed, Leonard Nimoy cameo, etc.), they were mounting a re-approximation (with an obvious variation) of one of the highest points of the entire franchise, i.e. Spock’s death scene in STII:TWOK.

No doubt, some folks are going to enjoy that they did this. The film goes so by fast, with a lot of kinetic energy surrounding the immaculate CGI, that movie-goers are likely to get caught up in it all, and then love that they recognize the set-up with some of the same dialogue as it unfolds, but when I saw that they were so transparently aping what worked so well in the past it felt forced and a bit desperate to me.

I also didn’t buy the extra villainy of Peter Weller’s (ROBOCOP!) angry Starfleet admiral Marcus (father of Alice Eve as Carrol Marcus, another element from STII:TWOK), who threatens to destroy the Enterprise and everybody on it just to get to Cumberbatch.

On The Daily Show earlier this week, Abrams admitted, as he has many times before, that as a kid he was never into Star Trek, adding that “it always felt too philosophical to me.” Here it really shows that his STAR WARS-ified sexed-up version of the world that Gene Roddenberry created just aims to be mindless entertainment.

At its previous best, say in STII:TWOK, Star Trek was never mindless, even in its most failed forays, say the William Shatner-directed STAR TREK V, it had an aim to question and seek out new possibilities.

STAR TREK INTO DARKNESS, surely to be a blockbuster knocking IRON MAN 3 out of the #1 position at the box office this weekend, is a disappointment on many levels, the biggest one being that it retreads sacred ground with no new purpose.

Now Abrams will go off and reboot STAR WARS (set for Summer 2015) for probably even bigger box returns. That franchise is obviously better suited for him (and he’s actually a fan of it) so I hope the Force is strong with him in that galaxy, because he really broke the Prime Directive of this one.

More later...

Tuesday, April 30, 2013

New Releases On Blu Ray & DVD: 4/30/13

David O. Russell’s critically acclaimed crowd pleaser SILVER LININGS PLAYBOOK is the next to last of 2012’s Best Picture Oscar nominees to be released on Blu ray and DVD (Michael Haneke’s excellent AMOUR is the hold-out with no set release date), and it’s available today in either a double disc Blu ray set (Two-Disc Combo Pack: Blu-ray + DVD + Digital Copy + UltraViolet) or a single disc DVD. Special Features: deleted Scenes, featurettes (“Silver Linings Playbook: The Movie That Became A Movement,” “Dance Rehearsal,” “Learn To Dance Like Pat & Tiffany,” “Going Steadicam With Bradley Cooper”), and edited highlights from various Q & A sessions promoting the film.

A movie I quite enjoyed makes its debut too today on Blu ray and DVD: David Chase’s NOT FADE AWAY, starring John Magaro as an aspiring ‘60s rock ‘n roller and James Gandolfini as his disapproving father. Special features on both the single disc Blu ray and DVD include a doc entitled “The Basement Tapes,” which contains 3 segments called “Track 1: The Boys in the Band,” “Track 2: Living in the Sixties,” andTrack 3: Hard Art,” deleted scenes, and a featurette (“Building the Band”). I love how big they made the words “From David Chase creator of The Sopranos” on the cover.

A movie I missed from last year (and will most likely keep on missing), Anne Fletcher’s comedy THE GUILT TRIP, starring Barbara Streisand and Seth Rogen, is also out today in a 2 disc Blu ray (Two-Disc Blu-ray/DVD Combo + Digital Copy) and single disc DVD. Its bonus material includes five featurettes: “Barbra & Seth,” “Barbra's World,” “Guilt Trip: A Real Mother of a Road Trip,” “In the Driver's Seat,” and something called “Not Really a Road Trip Movie.”

Another I didn’t see in its brief theatrical run was Allen Hughes’ BROKEN CITY, starring Mark Wahlberg and Russell Crowe, but from what I hear I didn’t miss much. Folks who may be more interested in it than I may want to note that it’s out today in the expected Blu-ray / DVD + Digital Copy package. Special Features: deleted scenes, and “in-depth” documentary about the making of the film, and an alternate ending.

Other releases today include: Jacob Aaron Estes’ indie comedy drama THE DETAILS, starring Tobey Maguire, James Plumb’s ultra cheap zombie horror flick NIGHT OF THE LIVING DEAD RESURRECTION (DVD only), and the extensive rock band bio-doc HISTORY OF THE EAGLES, which contains 4 hours of never before seen material of the Californian band from the past 40 years. The 3 disc Blu ray or DVD Eagles release has a lot of special features but I’m not going to go into them because as the Dude says “it’s been a long night and I hate the fuckin’ Eagles!”

On the older movie front, Paramount is releasing all of the STAR TREK movies on individual Blu rays just in time for J.J. Abrams’ high anticipated STAR TREK INTO DARKNESS (May 17th).

Other vintage releases today on Blu ray include the 1951 Humphrey Bogart classic THE ENFORCER, and Marlon Brando's 1950 film debut in Fred Zinneman's THE MEN, which soon will kick off a new series here on Film Babble Blog: Marlon Brando Mondays. Hope you stop back by and check it out.

More later...

Monday, February 01, 2010

The Film Babble Blog Top Ten Movies Of 2009

All this last month readers have been asking me for my top 10 movies of 2009. I've mentioned before that some major prestige films don't get to my area until late January or early February or later, and that's not considering many Foreign films that aren't released in these parts until months after the Oscars so it's usually a month or so into the year before I post my picks.

So since there's no way I'm going to catch up anytime soon and because tomorrow the Academy Award nominations are going to be announced, now is as good a time as any for my list for what I think was a great and diverse year for film:

1. A SERIOUS MAN (Dirs. Joen & Ethan Coen)

"The greatest films are the ones that leave you not able to explain, but you know that you have experienced something special. I've always had this feeling that the perfect response to a film or a piece of work of mine would be if someone got up and said, 'I don't know what it is, but it's right.'

That's the feeling you want - 'That's right' - and it comes from four or five layers down, it comes from the inside rather than from the outside." - Robert Altman

I've been plowing through the new book: "Robert Altman: The Oral Biography" since I got it for Christmas and I was struck by the quote above. It made me think of A SERIOUS MAN, though the latest Coen Brothers cinematic conundrum is anything but Altman-esque. With Michael Stuhlburg leading an equally unknown cast into the academic abyss of late 60's suburban Minneapolis, it's the Brothers' most personal work to date. Whether it's a post modern riff on the story of Job or a series of nonsensical jabs at everybody's existential expense, it's a perplexingly pleasing parable. Read my original review here.

2. UP (Dir. Pete Docter)

Last year the same #2 position on this list was held by a Pixar film (WALL-E) so I was tempted to go in another direction here. But, that would've been wrong because UP honestly deserves this space. The first 10 minutes alone deserve this space. This wonderful tale of Carl (voiced by Ed Asner) - a crotchety old widower who attaches thousands of balloons to his house in order to fly it to Paradise Falls in South Africa is a rambunctiously inventive and funny flight. And if you don't cry at that sweeping opening montage, either you have a heart of stone or you're Armond White. Read my original review here.

3. THE HURT LOCKER (Dir. Kathryn Bigelow)

Every explosion has an emotional impact in this gripping war drama featuring Jeremy Renner as a bomb defusing expert who'd rather risk his life in Iraq than be home with his wife. Read my original review here.

4. INGLOURIOUS BASTERDS (Dir. Quentin Tarantino)

This indulgent alternate history World War II film is possibly over-stuffed with story strands but as I said in my original review: "the pulse and tone of Tarantino's best work is intact." Read the rest of that review here.

5. BLACK DYNAMITE (Dir. Scott Sanders)

Though it was little seen, this is hands down the funniest film of 2009. Forget THE HANGOVER, this blaxploitation homage/satire/greatest hits has more laughs per minute and is sure to be one Helluva a future cult classic. Read more here.

6. THE FANTASTIC MR. FOX (Dir. Wes Anderson)

Wes Anderson's stylistic whimsy works wonders in this friendly, fuzzy, and ferociously witty film adaptation of Roald Dahl's beloved children's book. So does George Clooney's charm which I enjoyed more here than in a certain air-born live action film that is sure to get more acclaim awards wise.

7. BRIGHT STAR (Dir. Jane Campion) An unfortunately overlooked period piece centering on poet John Keats' (Ben Whishaw) doomed courtship of Fanny Brawne (Abbie Cornish). A beautifully moving work with first rate performances including a scene stealing Paul Schneider as Keats' writing partner Charles Armitage Brown. With hope the Academy will take notice. Read my original review here.

8. DISTRICT 9 (Dir. Neill Blomkamp) Without a doubt the most frighteningly original (and strikingly satirical) work of science fiction of the year. A misadventure in alien apartheid leaves a wet behind the ears field operative (Sharlto Copley) with his arm mutated to that of a "prawn" and he...oh, just go watch it. Read my original ravings here.

9. ANVIL! THE STORY OF ANVIL! (Dir. Sacha Gervasi)

This documentary about a Spinal Tap-ish band of aging Canadian heavy metal rockers may have you snickering at first but before you know it they win your heart over with their "never say die" determination. As I said in my original review: "Metal heads and casual movie-goers alike (which means just about everybody) ought to dig it."

10. BAD LIEUTENANT: PORT OF CALL - NEW ORLEANS (Dir. Werner Herzog) Speaking of "never say die", Nicholas Cage re-ignites the crazy edge of his persona in this twisted and surrealistic corrupt cop crime caper while he re-ignites his "lucky crack pipe" yelling "I'll kill all of you...to the break of dawn! To the break of dawn baby!" Read about more craziness and how this does and doesn't relate to Abel Ferrara's 1992 BAD LIEUTENANT here.

Spillover:

The ones that didn't quite make the Top Ten grade but were still good, sometimes great flicks - click on the title for my original review.

STAR TREK (Dir. J.J. Abrams)

THE INFORMANT! (Dir. Steven Soderbergh)

ZOMBIELAND (Dir. Ruben Fleisher)

THE ROAD (Dir. John Hillcoat)

IN THE LOOP (Dir. Armando Iannucci)

A SINGLE MAN (Dir. Tom Ford)

WHERE THE WILD THINGS ARE (Dir. Spike Jonze)

AN EDUCATION (Dir. Lone Scherfig)

AWAY WE GO (Dir. Sam Mendes)

OBSERVE AND REPORT (Dir. Jody Hill)

BIG FAN (Dir. Robert Siegel)

(500) DAYS OF SUMMER (Dir. Marc Webb)

MOON (Dir. Duncan Jones)

ABEL RAISES CAIN (Dirs. Jenny Abel & Jeff Hocket)

TWO LOVERS (Dir. James Gray)

I didn't write reviews of these but they are also strongly recommended:

SUMMER HOURS (Dir. Olivier Assayas)

GOODBYE SOLO (Dir. Ramin Bahrani)

WORLD'S GREATEST DAD (Dir. Bobcat Goldthwait)

More later...