Tag of the Month: Love Conquers All (February 2018)

It’s February at The Movie Maestro, and that means it’s time for a new Tag of the Month!

What is the “Tag of the Month?”

Every month, in between my regular reviews, I will be viewing films pertaining to a certain theme, be it seasonal, holiday, or otherwise-oriented. Examples: “Twisted Xmas” for December, something scary for October, etc.

February’s Tag: Love Conquers All
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Yeah, I know. A romantic tag for the month of Valentine’s Day. How original. But we all need stories of love at least every now and then to revitalize our tired old hearts, so this is as good a time as any. But, to put a little spin on the proceedings, I’m going to focusing more on the kinds of love stories that make us root for the underdog; tales of unlikely love mixed in with the usual to remind us that there just may be a soulmate for everyone out there.

Keep a look out for the tag #LoveConquersAll on my Instagram and Tumblr reviews, and check back here each week for links to them all.

THE REVIEWS SO FAR:
50/50
The Grand Budapest Hotel
Purple Rain
The Shape of Water

Last Month: Visions of the Future

Last month, I took a look at various futuristic films, ranging the gamut from post-apocalyptic to urban dystopia. If you missed the reviews, you can check them out here.

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Tag of the Month: Visions of the Future (January 2018)

It’s January at The Movie Maestro, and since it’s a new year, it’s time for the first Tag of the Month!

What is the “Tag of the Month?”

Every month, in between my regular reviews, I will be viewing films pertaining to a certain theme, be it seasonal, holiday, or otherwise-oriented. Examples: “Twisted Xmas” for December, something romantic for February, etc.

January’s Tag: Visions of the Future

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Every New Years in my youth, I used to view futuristic films; pieces ranging the gamut of speculative science fiction, from the post-apocalyptic vistas of Mad Max to the dystopian metropolis of Blade Runner and beyond. This New Years, I’ll be cutting you into the fun with a series of reviews revolving around glimpses into civilization to come.

Keep a look out for the tag #FutureVisions on my Instagram and Tumblr movie reviews, and check back here for links to them every week.

The Reviews:
Jodorowsky’s Dune
Star Trek Beyond
Total Recall
Logan’s Run
Godzilla: Planet of the Monsters
Dune
Mad Max
Mad Max 2: The Road Warrior
Mad Max Beyond Thunderdome
Mad Max: Fury Road
Blade Runner 2049 (more)

Happy New Years!

FAN EDIT REVIEW: The Star Wars Trilogy – Harmy’s Despecialized Editons

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Original Films Directed by George Lucas, Irvin Kershner, and Richard Marquand, Written by George Lucas, Leigh Brackett, and Lawrence Kasdan
Fan Edit by Harmy
Category: Reconstruction

While most fan edits can usually be distilled down to the editor’s subjective goal for a film, there is a rapidly-growing facet of the community that involves the creation of reconstructions. These are edits which do not seek to create a wholly new version of the film, but rather to restore a previously unavailable version, using a number of different home video sources. One can say this method of fan editing truly came into being with Czech editor Harmy, and his excellent Star Wars Despecialized Editions.

First, a brief history lesson, courtesy of the first half of this very informative short documentary:

In case you can’t watch the video, in effect, everything that the original Star Wars film won Oscars for–the visual effects, the set and costume design, sound design–was significantly altered by George Lucas twenty years later to produce the Special Edition, a series of cuts that he felt lived up to his original vision for the trilogy. While the merits of these versions have been and continue to be endlessly debated by fans, the original versions are, at the time of this writing, MIA, in either original print form or on high definition (or acceptable standard definition, for that matter) video.

Enter Harmy, a Czech English teacher and video enthusiast, who sought to restore the original versions of the trilogy in the vein of an early effort by Revisited editor Adywan, by combining different video sources to bring the film back to its original state. Thus, the Despecialized Editions were born.

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The first versions of the edits, available in MKV form, concentrated on two major fronts: correcting the massive alterations to the color timings of the films, and of course, reversing the editorial and visual effects changes that Lucas has made over three successive variations of the Special Editions. Even in these lower-bitrate versions, made with upscales of the Laserdisc-derived 2006 DVD releases of the original trilogy, were quite a step above the official Blu-ray release of 2011 in fidelity to the first-released cuts.

In the years since, Harmy has kept up with changes in both video editing technology and newly-available preservations of the original films, updating each edit accordingly. For this review, I used v2.7 of Star Wars, v2.0 of Empire, and v2.5 of Jedi, in two forms: the full MKV files and a custom blu-ray set made by editor NJVC. While both versions contain the same multitude of audio and subtitle tracks, the blu-rays lower the bitrate slightly in order to fit every feature onto a disc. This doesn’t bother me much, considering I don’t sit close enough to my 40-inch TV to notice a difference, but pick accordingly to your tastes.

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Star Wars v2.7 is undoubtedly the centerpiece of Harmy’s set, considering how extensively the original film has been altered in 4 decades. In addition to the highest number of new visual effects, Star Wars suffered a heavily-skewed color palette, to the point that flesh tones begin to take on incredibly rosy complexions. The Despecialized Edition mercifully corrects this, using a well-preserved 35mm print as reference for correct theatrical color timing. The film is no longer forced to conform to the look of the prequels, appearing as it once did in 1977.

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Top: 2011 Bu-ray, Bottom: Despecialized v2.7

And of course, every successive VFX change is reversed–from things as huge as the original ILM Death Star battle to tweaks as small as restoring the orange blob of Vaseline under Luke’s desert speeder, nothing goes unnoticed by Harmy. Each original shot is returned through numerous different sources, depending on which is the highest quality version available; while most of the video is a color-corrected blu-ray rip, changes made to that master are reversed by taking from HD broadcasts of the 2004 DVDs or the 1997 Special Edition, and so on.

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When it becomes necessary to restore a shot that was only in the original version, fan-produced upscales of the 2006 DVDs are utilized, with elements taken from two noteworthy film preservations, Team Negative 1’s Silver Screen Edition and the 16mm Puggo Grande Edition. The video above explains the process in much better detail than I can in these paragraphs, but to over-summarize, the amount of work that went into creating these cuts prove that sometimes, the fans care more about something special than the creator.

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Empire and Jedi, while containing their fair share of VFX alterations, were less butchered by Lucasfilm, with the changes limited more to the inclusion of previously deleted footage and alternate audio takes. The latter example further displays the collaborative nature of the Despecialized Editions, with Harmy enlisting the approved usage of another fan project: a recreation of the original theatrical mixes. Produced by Hairy_hen mainly using the 1993 Laserdisc mixes, the main audio options replicate the standard 35mm stereo and the 70mm six-track mixes that were originally heard in theaters, with the first film also including the mono mix. All are presented in DTS-HD Master Audio, and while most certainly aren’t reference-material, hold up to the official releases quite well.

Each MKV file is quite massive, weighing in at an average of over 30 GBs, with bitrates approaching an average of 20 MBPS. The latest versions are still in 720p, but look stunningly beautiful in their original forms compared to the official releases, which are varyingly faded or glossed over with digital enhancements. The blu-ray set by NJVC doesn’t really handle the grain field as well, but as I mentioned before, unless you’re sitting right in front of the TV, this isn’t really something you will notice. Later versions of the MKVs are stated by Harmy to be in full 1080p resolution, owing to new elements pulled from Team Negative 1’s now finished Silver Screen Edition and a new set of prints being restored by an OriginalTrilogy Forum member known as Poita.

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But that’s not all! Both options include a selection of interesting and excellent features, many of which aren’t easily available anywhere else. On the MKV files, no less than twenty different audio options are available: in addition to the theatrical mixes, the original Laserdisc tracks are included in Dolby Digital form, along with a wide array of foreign dubs (my favorites are the German and Japanese tracks. So awesome and funny at the same time). There are also audio commentaries available from the Laserdiscs, DVDs, and Blu-rays, with Star Wars also presenting a rare official website podcast commentary by Pablo Hidalgo. Finally, each one provides an English Descriptive Audio track (so caring and thoughtful of the fans. If only Lucas could be the same).

In addition to the audio tracks, an equally-impressive selection of subtitles is collected from the Project Threepio effort, ranging from English to such overlooked languages as Thai and Navajo.

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The NJVC blu-ray set, available in several options, ups the ante in the extras field with several more commentaries such as Internet podcasts by Rebel Force Radio and Collider, and even Rifftrax by the MST3K crew themselves, along with a few more subtitle options. The bonus features discs include a collection of goodies from around the inter-webs, such as featurettes detailing the changes made to the films over the years, parody productions, documentaries, deleted scenes, trailers and TV spots, and even the excellent filmumentaries by Jamie Benning. All of the discs are finished with full motion menus which further push the official feel of this set.

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All in all, this is a great time to be a Star Wars fan. The dark years of the late 1980s have passed, as have the Lucas years, where Star Wars was kept under the stranglehold of a veritable Darth Vader, a man who has become everything about the Hollywood system he used to hate. Look at it now, with new, acclaimed films in theaters, TV series killing it on the small screen, and fan productions restoring to us our most treasured memories of the Galaxy Far, Far Away, things are finally looking up. So this Christmas, or Star Wars Day, or anytime you want, fire up the Despecialized Editions and enjoy yourself. You finally can again.

HOW TO GET IT:
Despite the crackdown on p2p file sharing going on these days, the Despecialized Editions are still easily and readily available in just about every corner of the web today, thanks in no small part to their popularity. If you are going through the official channels, visit this Harmy-approved guide, which will walk you through the different methods of obtaining the digital files, whether in the full MKV versions or lower-quality AVCHD files.

NJVC’s blu-ray set was briefly unavailable due to the creator pulling it from circulation–it appears that several unscrupulous individuals were selling the sets on Ebay. However, another fan has graciously and with NJVC’s support made them available again. All you need is a blu-ray burner and the discs, and you are good to go!

November at The Movie Maestro

Now that Halloween is long behind us, it’s time for me to refresh myself with some of my favorite films and film franchises! Until the end of November, I’ll be reviewing a wide array of entries from the Star Trek series to Indiana Jones to the Marvel Cinematic Universe, all just in time to read while you stuff your face with Thanksgiving turkey! Also on the plate will be a complete review of the Star Wars saga to prepare for the December 15 release of The Last Jedi.

Stay true, believers!

Maestro’s Marathons: The Ancient Evil Halloween Marathon

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It’s that time again! The spooky, spectral time of ghosts and demons and all sorts of frightening beasts from the Beyond…it’s October!

Ancient Evil Halloween Marathon

It could be anything. An ancient monster that just won’t die. An alien infestation consuming your body. The spectre of the night encased in silent, human form. Whatever you fear, it could be anything this Halloween!
This October, The Movie Maestro brings to you 13 nights of terror as the shadows of eons past return to wreak havoc on humankind! From October 19th to the Festival of Samhain on the 31st, you will be witness to ?? films of increasing dread as the forces of pure evil from days gone by lunge for the kill!

Unlike the American Spirit Marathon, the October/Halloween event will be slightly changing with each iteration, presenting a different theme each year. This year, in light of the massive success of the new adaptation of Stephen King’s It, the theme will be Ancient Evil. Everything from alien creatures millions of years old to the Deadites of the Middle Ages, from eldritch monsters beyond our reality to the pure, ageless evil behind the eyes of Michael Myers, all of it will be coming for you!

The Picks:

Salem’s Lot
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We begin the marathon with a tale from the Master of Macabre’s past: Stephen King’s Salem’s Lot. Released in 1979 as a miniseries, like the better-known It, Salem’s Lot presents us with an interesting take on the vampire mythos. Taking place in King’s old standby state of Maine, the small town of Jerusalem’s Lot becomes the modern-day breeding ground for a new and vicious group of blood-suckers, led by the monstrous Kurt Barlow and his sinister assistant, the eloquent Richard Straker . This film is pulling double-duty within our marathon due to its director–the late Tobe Hooper, who sadly passed away earlier this year. Still early in his career, Hooper relishes the chance to create a foreboding atmosphere, infusing Salem’s Lot with an eeriness that persists to this day. While there is a remake with the always perfect Rutger Hauer as Barlow, I’m sticking with the original out of respect for Hooper and the grisly Nosferatu-like visage of this film’s king vampire.

The Evil Dead
Related imageAt once Sam Raimi’s debut and magnum opus of horror, Evil Dead is still enduring in several forms; comics, a Showtime TV series, a remake, and even a musical have been released alongside the two more successful sequels, and Raimi himself has become quite an eccentric and eclectic filmmaker in the decades since. For this marathon, we’ll go back to the beginning, when the demons were first unleashed and the evil in the forest was no laughing matter. Ash, played as always by the immortal Bruce Campbell, and his friends arrive at a secluded cabin in the woods for a carefree weekend away from civilization. Instead, they find a scene of slaughter, and the Necronomicon, a book of demonic spells, wrapped in flesh and inked in blood, which releases a horde of Kandarian spirits, determined to possess the kids through rape and mutilation. Phew, that was a brutal mouthful. And so is this movie, to this very day.

The Cabin in the Woods
Image result for the cabin in the woods posterWhile we’re on the subject of cabins and mutilation, let’s keep this theme rolling with Drew Goddard’s excellent deconstruction of classic horror movie tropes, The Cabin in the Woods. Co-written with Joss Whedon, Cabin explores another group of kids’ run-in with supernatural torment deep in the forest, but with a more funny twist…and a strange little Office Space-style conspiracy running in the background. Did I say Office Space? It’s more like Office Space by way of H.P. Lovecraft, we’ll just say that. I’ll also say that this is how Cabin ends up on my Ancient Evil marathon, but to say more might truly spoil the whole thing, so just pop it in and enjoy a stoner, a jock, a virgin, a slut, and whatever that other guy was stumble through a nightmare scenario of movie monsters, all controlled by two sweaty office workers who complain about their wives’ hormones.

Nosferatu the Vampyre
Image result for nosferatu the vampyre posterFrom pop culture exploitation to art-house cinema we go, with this, probably the most haunting rendition of Bram Stoker’s tale of the ultimate vampire, Dracula. King of the Undead and cursed by God Himself, Count Dracula feeds on the blood of the living to sustain his damned existence, bringing his horror to the shores of England when he sets his sights on the lovely Mina Harker. While any of the myriad versions of Dracula will do here, such as the classic 1931 production starring Bela Lugosi, one of the Hammer films starring Christopher Lee, or the Francis Ford Coppola remake with Gary Oldman, I have decided to spice things up a bit with Werner Herzog’s homage remake of Nosferatu. Not having to worry about copyright enfringement anymore, Herzog has returned much of the original Dracula characters to the fray, but with his hypnotic direction at the helm, Nosferatu the Vampyre makes for an interesting detour in our marathon.

The Mummy (1997)
Image result for the mummy 1997 posterSometimes, you just need some good, fun escapism. After the trance-like Nosferatu, why not take a moment to recuperate with Brendan Frasier as he battles it out with Imhotep, the rotting star of 1997’s The Mummy? 3000 years ago, in the empire of Egypt, Imhotep was the high priest of the dead, the chief holy power in the realm and second only to the Pharoah himself–too bad he and his lady love decided to murder him. So begins an epic, Indiana Jones-like odyssey with Frasier’s Rick O’Connell fighting alongside Rachel Weisz and others to prevent the ancient blasphemer from unleashing the power to destroy the world. While this installment is much heavier on action and adventure, it still has quite a few good scares for the more timid among us. And, let’s face it, it is miles ahead of the new Tom Cruise-starring version, so why not relive old times, when all was right with the world?

The Shining
Image result for the shining posterTime for a break from the ancient evil! Since Stephen King stories seem to be on a roll lately, let’s go back to one of the earliest hits from his bookshelf, this one by one of the greatest filmmakers of them all, Stanley Kubrick. While the menace isn’t quite ancient, it’s still pretty old–the Overlook Hotel, imbued with evil by the spirits of the dead within its walls, be they massacred Indians or axe-murdered twins. Ugh, those twins. Jack Torrence, played both frighteningly and hilariously by Jack Nicholson, is soon under the spell of these ghastly ghosts, and your only hope is….Shelly Duvall and a little kid? Well, take heart, because Shelly is tougher than she looks, and that kid has a little ability that can make or break your chances for survival. So go ahead. Kick back, relax, turn the thermostat way down, and enjoy a creepy night in at the Overlook. Now say it with me…”HEEEEEERE’S JOHNNY!!!”

The Fog
Related imageNope! Break’s not over yet! John Carpenter is a filmmaker you’ll be seeing pop up on my radar a lot, considering, you know, just how good he is. Any genre he works in, be it sci-fi, romance, action, and yes, horror, he just nails with an offbeat sense of coolness, like he can do no wrong. This time, we’ll be taking a look at one of his more dreamlike entries, a film about spooky tales on the water in the midst of the night…The Fog. The Californian town of Antonio Bay is about to celebrate its 100th anniversary when paranormal activity begins to occur at a frightening rate. In the midst of the chaos comes a massive fogbank, bearing down on the town. Within are the restless spirits of a long-dead clipper ship, ready to take six lives in retaliation for a buried secret in the town’s sordid history. Did I mention this movie has Jamie Lee Curtis AND Adrienne Barbeau? For pure, high-seas ghostly terror, sit down with the original Fog.

It
Image result for it posterYou knew it was gonna end up on the list somewhere. Now the magnum opus of Stephen King flicks, Andy Muscietti’s adaptation of It has, in many eyes, supplanted the old miniseries, taking the number one spot in lists of evil, scary clowns. But It isn’t just a clown; Pennywise may be the physical face of this extraterrestrial terror, but It’s true form may just be too terrifying for we puny humans to behold. Crashing to Earth billions of years ago, It has finally awakened to feast on its favorite meals: fear and the flesh of children. It is the Eater of Worlds; the Sum-Total of Every Nightmare Ever Had; and now It will face its greatest foes: The Losers Club, a group of youngsters with foul mouths and a sense of unity that may be their only weapon to combat this Eldritch beast. While you will have to go out to your local theater this year to see it, if you haven’t yet, It is one hell of a horror film that you will not be disappointed in.

TRIPLE FEATURE: John Carpenter’s Apocalypse Trilogy
apocalypse triple feature smallReady for a long evening? Try John Carpenter’s thematic Apocalypse Trilogy, featuring three films that portray the beginning of the end of the world. Start off with the director’s bonafide classic The Thing, starring Kurt Russell as the manly MacReady as he and the other crewmen of a U.S. Antarctica base face off against an alien creature which can perfectly mimic any lifeform it reaches…even one of them. Continue with Prince of Darkness, a bizarre yet incredibly fun combination of time travel and demonic possession that pits college students and Donald Pleasance as a crusty old preacher against the literal forces of evil: Satan and the Anti-God. Close out the triple feature with In the Mouth of Madness, in which Sam Neill plays John Trent, a private investigator on the trail of missing horror novelist Sutter Cane, who’s new book may spell doom for the human race.

Wes Craven’s New Nightmare
Image result for new nightmare posterMade as an afterthought coda to the main six films of the Nightmare on Elm Street series, Wes Craven’s New Nightmare is actually probably the most creative of all those films. Delving heavily into metatextual territory, New Nightmare takes place in our world, starring the real-life actors who made the Nightmare series playing themselves. Heather Langenkamp is now a mother trying to put her horror movie past behind her, but when her young son begins having vivid nightmares at about the same time her husband begins work on a new Nightmare film. Soon, Freddy Krueger begins appearing in the real world–but it isn’t Freddy Krueger. As Craven himself cryptically explains, long ago a terrible demon was locked away in a story…and it will take a new one to contain him again. Featuring hellish imagery and some of the best dream-scares of the whole series, New Nightmare is a fine addition to this marathon.

The Texas Chainsaw Massacre (1974)
Related imageTaking another detour on our list of ancient evil films, we arrive in the twisted plains of deep Texas, where the meat is much more than just tainted. A horror hallmark, The Texas Chainsaw Massacre should be on everybody’s Halloween viewing lists, even more so after the unfortunate death of Tobe Hooper. A group of teens on a pleasure trip is about to find out the Texas meaning of good eats when they encounter an unsettling hitchhiker and nasty old gas station barbecue. After some choice scares, continue on into the ominous landscape, unaware of the family of psychopaths ready to butcher them all with hammers, straight-razors, and gas-powered chainsaws like prime-angus beef. An uncompromising, gruesome, and at times amusing descent into hellish heat and the stench of the slaughter, TCM provides full-bore slasher scares with none of the camp, and even less of the blood. What? You want blood? Don’t worry; your imagination will fill in the blanks.

It Follows
Related imageNot quite a detour, It Follows occupies an interesting spot on this list, as the main monster of this film’s origin is never revealed. Nonetheless, it is an unsettling thing to experience, and why not include it on the list for that very reason? Jay is your typical teenage girl who has just experienced her first sexual encounter. Depending on the person, she may be receiving either a high-five or a stern stare, right? Who would have thought that she would instead be subjected to the fear of becoming prey when she finds herself relentlessly pursued by a supernatural entity that knows her every sin? Quickly becoming praised by critics, audiences, and horror buffs alike, this film won notoriety for its writer and director David Robert Mitchell, and has probably managed to do for sex what Jaws did for beaches. In other words, the Entity of It Follows has succeeded where Jason Voorhees, Freddy Krueger, and Michael Myers have failed.

DOUBLE FEATURE: Halloween / Halloween II
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Finish off the marathon with a double feature night, containing the only films that should be watched on Halloween night: John Carpenter’s seminal classic Halloween, and its direct continuation, Halloween II! Michael Myers himself may be just a 21-year-old psychopath, but the evil living behind his young eyes is as old as time itself…

And that’s all folks! Once again, feel free to switch out some of these films for others or mix-and-match the order. The point is, this is your ultimate Halloween marathon, so you do it your way!

REVIEW: The Fly (1986)

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Directed by David Cronenberg
Written by Charles Edward Pogue and David Cronenberg, Based on the Short Story by George Langelaan
Starring Jeff Goldblum, Geena Davis, John Getz

Was there any filmmaker quite like the 1980s David Cronenberg? Making a series of films that were at once grotesque and physically horrifying yet deeply intimate and human, Cronenberg brought a strange, gothic heart to the horror and thriller genres that I don’t know if I’ve ever encountered since. Right smack in the middle of all of this is The Fly, the remake of the 1958 Vincent Price hit that blows all comparisons to that work out of the water.

Seth Brundle (Jeff Goldblum), a brilliant but eccentric scientist attempts to woo investigative journalist Veronica Quaife (Geena Davis) by offering her a scoop on his latest research in the field of matter transportation, which against all the expectations of the scientific establishment have proved successful. Up to a point. Brundle thinks he has ironed out the last problem when he successfully transports a living creature, but when he attempts to teleport himself a fly enters one of the transmission booths, and Brundle finds he is a changed man.

I remember first seeing The Fly on late night cable, and being utterly repulsed by its extreme gore. And I still couldn’t look away. Sure, part of it was my adolescent curiosity, but even then, there was something about Cronenberg’s shocker that was more than cheap blood and goo. Since then, I’ve become a fan of Cronenberg’s work, and have always attributed that to The Fly, his most commercial and successful picture.

Much of the film’s success comes from three people: Cronenberg himself, and the two leads: Jeff Goldblum and Geena Davis. Goldblum, a master of performance and subtlety, dives deep into some of the best work of his illustrious career. Goldblum’s Brundle is eccentric and insecure; hiding behind a boyish shyness is an altruistic need to create, and create he has, probably the most important invention of the human race: the telepod. Davis is the hot journalist who at first seems mildly amused by the young genius, only to find herself falling for him as they document his successes and failures with teleportation.

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Themselves a couple at the time, their on-screen chemistry as first scientific partners and later as lovers is wholly believable, and genuinely touching. There are times when I want to rate them as one of the ten best movie couples ever. You know what, I am going to rate them as one of the ten best movie couples ever. Which one would they be? I don’t know, but it’s up there.

And therein lies the genius of Cronenberg’s script rewrite. Charles Edward Pogue’s original draft (which is included on the excellent Fox blu-ray), is much more flowery and sweeping, playing more like the 1958 original, and places more emphasis on the scientific aspect of the film. Cronenberg aimed for a more concise narrative framed around these two doomed lovers, and in doing so, imbued this film with a bleeding heart that far outshines the scares.

But the scares exist, and while it takes awhile to get to them, they do not disappoint. The first forty minutes or so are consumed with Brundle’s attempts to correct a major flaw in the telepod–it can only teleport non-living material. His first teleportation of an animal, a baboon, results in the film’s first horrific set-piece as the poor creature is turned inside out upon reintegration. After correcting the issue, Brundle succeeds with another baboon, but soon, his idiosyncratic insecurities rear their ugly head, and he drunkenly enters the machine…not noticing the fly that has made inside with him.

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At first, the changes are positive: Brundle can perform feats of physical prowess and seems to be wired all the time. But as the film goes on, his appearance and demeanor changes, frighteningly. His body becomes sensitive to food and external stimuli; strange, insect-like hairs sprout from his back and later his face; even his personality shifts, revealing a new Seth Brundle that is dodgy, arrogant, and all-too-willing to demonstrate his abilities, to the harm of those around him.

At about the hour-mark, the film starts to take on a more familiar sci-fi edge as Seth’s body begins to deteriorate, the fly genes manifesting in cancerous legions that tear his visage apart. Major props to Chris Walas and the rest of the makeup department, who create disgustingly logical appliances that allow Goldblum to change before our eyes into a true monster but allowing him enough freedom to create a performance. Their work is honestly second only to Rob Bottin’s creations on John Carpenter’s The Thing. All through this, Veronica is forced to watch him slowly fall away into a new, terrifying form, showcasing the quiet torment that Geena Davis so effortlessly portrays.

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The Fly is a clever bait-and-switch to armchair fans of gory horror flicks. As I did years ago, I’m sure many people tuned in or bought the DVD to see the excellent makeup effects that still make me cringe, and slowly discovered the tender undercurrent of melancholy inherent in the film. In fact, I’d go so far as to say this is one of the most depressing films I’ve ever seen. It certainly is not for everyone, and I wouldn’t begrudge someone from disliking it after a viewing, but for those that can weather the storm, David Cronenberg’s The Fly is a unique remake, taking only the barest premise and treating(?) us to a darkly humorous and sad meditation of disease, deformity, the perils of scientific progress and the tragedy of doomed love.

REVIEW: Blade Runner 2049 (2017)

Directed by Denis Villeneuve
Written by Hampton Fancher and Michael Green, Story by Hampton Fancher, Based on Characters from the Novel Do Androids Dream of Electrip Sheep? by Philip K. Dick
Starring Ryan Gosling, Harrison Ford, Jared Leto, Ana de Armas, Robin Wright, Dave Bautista, Mackenzie Davis, Sylvia Hoeks

I really shouldn’t enjoy this movie at all, despite my unconditional love for the original film. Because I fully believe, nay, know, that Blade Runner is a film for whom any follow-up, be it a sequel, prequel, or remake, is completely unnecessary, I have approached this one cautiously and reservedly for over a year. I seemed to have gone through the stages of grief with this one before seeing it, and I am now in a comfortable stage of acceptance.

Thirty years after the events of the first film, a new blade runner, LAPD Officer K (Ryan Gosling), unearths a long-buried secret that has the potential to plunge what’s left of society into chaos. K’s discovery leads him on a quest to find Rick Deckard (Harrison Ford), a former LAPD blade runner who has been missing for 30 years.

And now here I am, sitting in front of the computer, trying to find the words for what I just watched. I mean this in both good and bad ways, because 2049 affected me in a much different way than the original film. Much like Alien: Covenant earlier this year, I feel that it’s going to take time and multiple viewings to truly come to a conclusion regarding how much I enjoy this film.

First things first, let’s get something out of the way: I do not think 2049 surpasses the original. Not by a long shot. Anybody who thinks it does simply did not like the original, and I will stick by that observation to the death. The future world depicted in Villeneuve’s film is not as profoundly shocking as Scott’s, and the story is not as efficient or effective. This is not to say that it’s terrible; it just isn’t the same kind of simple, hard-hitting film noir that Blade Runner still is.

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2049 begins with a new adaptation of an original opening concept for the first film, no doubt a signal of Hampton Fancher’s influence, who has returned to help write this film. Officer K arrives on a futuristic farm, clad in bleak grays, with Dave Bautista taking the small role of the big replicant that K waits to retire. After he discovers a strange crate buried on the property, K returns to Los Angeles, which in the past 30 years has changed much–and also not much at all. LA is still choking with corporate product placement and diseased masses of humanity, but this time around, a lot of it seems more…clean? That might not be the right word, but many of the sets do possess a more sterile quality than their counterparts in the original, especially K’s apartment and the police station. I completely understand the reasoning behind this–30 years can do much to change architecture and style–I just miss the old retrofitted future.

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A most interesting addition to the Blade Runner mythos in this film is Ana de Armas’s Joi, K’s holographic housewife. Firmly cementing 2049 into a 21st Century evolution of the original, Joi is an interesting spin of Her‘s Samantha, a computerized companion in a world where even some of the humans are artificial.

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Speaking of artificial humans, in this film there are way more of them. In the 30 years since, human-replicant integration has taken place, to the point where replicants are now openly holding jobs on Earth among humans. There are still racial tensions that prevent replicants from fully enjoying human freedom, however, in a few nice tidbits of screenwriting by Fancher and Green. This increased acceptance of replicants into society draws neat parallels with the end of slavery and the beginnings of the civil rights movements in the United States, and poses some powerful questions about identity, segregation, and the state of humanity in a world that was already post-human decades ago.

K’s discovery eventually leads to something of an intriguing mystery that further sets 2049 apart from its predecessor. While Blade Runner is pretty straightforward in terms of its narrative, 2049 is more about mystery. I don’t want to say too much for fear of giving the best parts away, but I will say that the quest undertaken by K is intriguing, even if a little predictable.

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Ryan Gosling is his usual self as K, which is to say he is absolutely brilliant. Building on the performances of both Harrison Ford and Rutger Hauer as Roy Batty, Gosling combines the more subtle nuances of both to create a character as likeable. Everybody else is adequate, but not quite praise-worthy. Robin Wright and Mackenzie Davis are straight and narrow in their roles, while Jared Leto and Sylvia Hoeks play decent villains with a few nice quirks. On the whole, however, the acting front is pretty slim compared to the original, and I would level the blame on the fact that there is no Roy Batty counterpart in the film. His character was a very important counterweight to Deckard, and without one for K, the film suffers.

One more thing on the acting: Harrison Ford. While his performance here is decidedly more subtle than it was in The Force Awakens, I don’t feel Deckard had much to contribute to the narrative. Besides one deeply unsettling and wickedly good scene between him and Leto, I could have easily done without his inclusion. This is the third iconic character of his to return, and his entrance onto the screen was greeted with chuckles in the auditorium I saw it in, and I know that scene wasn’t meant to be funny.

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Do I hate Blade Runner 2049? Absolutely not. The film is a beautiful and stark vision of a future, paved-over planet, thematically similar yet visually separated from its ancestor, and Ryan Gosling and Ana de Armas more than made the experience worthwhile. Roger Deakins will for sure get an Oscar nod for his work here, and the score by Hans Zimmer and Benjamin Wallfisch comes pretty damn close to equaling Vangelis’ work. Villeneuve assembled a kickass team, and didn’t forget to raise deep and profound questions like Scott did. And yet, for all this praise, I still feel something missing. Perhaps it is just that it will never leave the shadow of Blade Runner in my eyes. But then again, what film truly could? For an unnecessary sequel, 2049 didn’t do too bad at all, and I’m sure I will love it more as time goes on.