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. While he was hardly the first, one can say this method of fan editing truly came into its own 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!

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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.

REVIEW: E.T. The Extra-Terrestrial (1982)

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Directed by Steven Spielberg
Written by Melissa Matheson
Starring Dee Wallace, Henry Thomas, Peter Coyote, Robert McNaughton, Drew Barrymore

There are a few perfect films out there, not just for me, but for most of cinema-goers. Taxi Driver. Raiders of the Lost Ark. Star Wars. It’s a Wonderful Life. Blade Runner. These films are cherished and revered, often imitated but never fully copied. Steven Spielberg, probably the most recognized filmmaker in history, has had the fortune of making not one, but several perfect films in his career, with E.T. The Extra-Terrestrial probably being the best of the best.

After a gentle alien becomes stranded on Earth, the being is discovered and befriended by a young boy named Elliott (Henry Thomas). Bringing the extraterrestrial into his suburban California house, Elliott introduces E.T., as the alien is dubbed, to his brother (Robert McNaughton) and his little sister, Gertie (Drew Barrymore), and the children decide to keep its existence a secret. Soon, however, E.T. falls ill, resulting in government intervention and a dire situation for both Elliott and the alien.

Right away, from the strangely ominous drones over the black-screen credits, you know you’re in for something memorable. As the opening titles give way to the familiar sight of a shooting star against a calm night sky, we are treated the arrival of an alien spaceship in the woods. But unlike the at-times frightening appearance of the visitors in Close Encounters of the Third Kind, these creatures are decidedly more benevolent; they waddle under the handicap of their comically-undersized legs, their hearts glow brightly to signal startlement, and their childlike curiosity of the new world before them is charming. And then the humans show up. Dark, silhouetted figures of meddling humanity who give chase to one of the visitors in particular, who misses his ride home and begins a trek down the wooded hill to find shelter on an unfamiliar planet.

So begins Spielberg’s E.T., a film that I discovered I am still absolutely in love with to this day. Like his immediately previous efforts in Jaws, Close Encounters, and Raiders, E.T. is a technical and storytelling marvel, with little-to-no faults to be had. Everything about this movie is just perfect. Tired of that word yet? Perfect, perfect, PERFECT!!!

Spielberg has longed dismissed the film’s ostensible genre as science fiction, and prefers to think of it as a family drama, with Elliott’s family straining under the still-fresh injury of their father leaving. It’s a theme that Spielberg often comes back to, a real part of his life that he finds therapeutic release in portraying on screen, either as part of the background or as the main focus, such as right here in E.T. Together with Close Encounters, this film is his most personal, presenting the children, Elliott, Mike, and Gertie, as struggling with the hurt of divorce and finding comfort in this diminutive creature from the stars who needs their help.

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In any film involving child actors, there’s the risk of the whole endeavor falling apart because of their inability to understand the work. That simply doesn’t happen here. Henry Thomas as Elliott is one of the greatest child performances around, as he exudes incredible chemistry with his on-screen siblings and mother as well as convincingly acting alongside the E.T. puppets. While McNaughton isn’t as large a factor, his role as the older brother Mike is still a source of much of the film’s comic relief and is such a valued member of the trio. Rounding them out is young Drew Barrymore, who doesn’t so much as act as she does truly converse with E.T. as a real being. Reportedly, at several points in production, she became convinced of E.T.’s reality, which isn’t too hard to believe considering how young she was and how good the on-set effects were.

Portrayed with a combination of various suits and animatronic puppets, E.T. is a fine example of the life a piece of latex can take on with the right design, execution, and tender love and care. From the design, evoking the old, wisened eyes of Albert Einstein, to the performance of the various instruments belaying a younger sense of wonder, E.T. is one of the best non-human characters ever realized. Such is his authenticity that, like the Yoda puppet from The Empire Strikes Back, never once do I look upon the old botanist’s face and see a high-tech gadget, but a living alien deserving of friendship.

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But E.T. isn’t the only technical marvel of the film. In what I assume was an attempt to create an ethereal, dreamlike atmosphere to the idealized suburbia of Elliott’s neighborhood, many scenes are filled with whisps of vapor, allowing the light in the nighttime scenes to really pop as well as shrouding E.T. with an air of mystique, as any alien being should have. This mist of the unknown also percolates around the adult characters, who in Spielberg fashion, are concealed in silhouette until the final act, further slamming home that this story is of children, told from their point of view. (This also places a lot of the slack onto Dee Wallace, who as the children’s mother is the only adult consistently portrayed in full.)

And let’s not forget another rousing score from the master, John Williams. Alternating between quietly beautiful themes for E.T. and Elliot, and grandiose, adventurous pieces that elevate the small town setting into a mythical quest, Williams’ has delivered another score for the ages. This is how film scores are meant to be.

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In 2002, for the film’s 20th Anniversary, Steven Spielberg decided to re-release the film in cinemas for a limited exhibition. Unfortunately, a little golem named George Lucas must have been sitting on his shoulder, because Spielberg decided to emulate the Star Wars Special Editions and significantly alter E.T., replacing almost all of the on-set puppetry with CGI, adding two unnecessary deleted scenes back into the film, and in the most asinine change, digitally alter the guns of the government agents chasing the children into walkie-talkies. This version was also released onto a special DVD set along with the original version.

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Luckily, Spielberg has changed his tune over the years. He admits that these alterations were a mistake, and in each subsequent re-release onto home video, he has left the Special Edition in the dust and focused solely on the original cut. If you still wish to view it however, track down the 2-disc DVD from 2002. I trust that’ll be the only viewing you have of it before you come to the same conclusion as Spielberg did.

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This review only came about because I finally had the pleasure of reintroducing E.T. to my video collection after it being absent for a decade. I’d almost forgotten how good of a film it is, how touching, how funny, how relatable. Even the “evil” government agent played by Peter Coyote seems to revel in the magic of E.T.’s presence on Earth during his talk with Elliott in the emergency tent. He displays a kind of childlike wonder and gratefulness to having this experience, even though he has tainted it with his government alignment. Needless to say, I was filled with that same wonder, even fistpumping the air as the kids made their escape on bicycles, with John Williams’ excellent track blaring in my living room. So many wonderful memories, so many happy tears. Thank you Steven Spielberg. It’s always nice to live that again.

Fan Edit Review: Paradise

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Original Films Directed by Ridley Scott, Prometheus Written by Jon Spaights and Damon Lindelof, Alien: Covenant Written by John Logan and Dante Larper
Fan Edit by JobWillins
Category: FanMix

JobWillins’ Derelict was quite the experience, combining two Ridley Scott films separated by over three decades into a coherent and suspenseful single storyline. After Alien: Covenant was released, I suddenly had a spark of inspiration; why couldn’t Prometheus and Covenant be combined in a similar way? After all, both films feature a central character in David, the murderous, disturbingly creative android, so why not give it a go myself? Well, little did I know that JobWillins was already on it, and let’s face it, he was always going to do a better job than I would.

As it turns out, JobWillins had conceived of the Paradise idea long ago. From his Tumblr:

“When I edited Derelict a couple of years ago, combining Prometheus & Alien in black & white, it was mainly because I found Prometheus unsatisfying as a standalone film.  Its ending promised (and begged for) a sequel, but that sequel kept falling behind other Ridley Scott productions.  With a sequel in doubt, I tried to use material from both films to make a single experience that felt more like a satisfying whole.
“We eventually did get a sequel 5 years later in Alien: Covenant.  Half of it felt like a Prometheus sequel and the other half an Alien prequel.  In my opinion it didn’t fully succeed in either role.  I enjoyed parts of Covenant very much as I did Prometheus, but also much like Prometheus, it ended on an intriguing promise of a sequel.  That sequel may never come thanks to its relatively poor box office performance.”

And so, here we are with another expansive, 2.5 hour sci-fi epic!

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Opening in the all-too-familiar black-and-white style of Derelict with the ominous Peter Weyland TED Talk, Paradise shifts into full color with the excellent prologue of Covenant, David’s first day of life in the company of his father. However, the prologue stops short, giving us the new title as the Prometheus flies through space. Throughout the film, this prologue will return periodically, as if to punctuate the themes of creation and godhood with increased clarity as the narrative bounces between time frames.

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While the transitions aren’t quite as good or numerous as those witnessed in Derelict, JobWillins covers this with a restrained hand, ensuring to keep both films at least thematically-synced. Probably the best example of this would be Covenant‘s backburster scene, intercut with Holloway’s agonizing death in Prometheus. As Ted Kurzel’s brilliant score pulsates away, the horror of both Shaw and Oram seeing their spouses’ deaths is compounded nicely. A lot has been cut from both films, including some of my favorite bits, like Milburn and Fifield’s run-in with the Millipede and various snippets of the Covenant crew’s first trek across Planet 4, but again, this is all in the name of ensuring the finished project isn’t so long that viewers check out for other offerings.

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As before in Derelict, several deleted scenes from both films are used, as well as some of the online viral content from Alien: Covenant. Major props to JobWillins for his beautiful rendition of the ‘Crossing’ prologue. As for changes wholly his own, some may or may not like his musical choices for the beginning and end of the Covenant storyline, but I for one enjoyed them.

For this review, I watched his full-quality offering of the edit from Google Drive, which at a file size of 9.62 GBs, is plenty enough for home theater viewing. The video bitrate is a little lower than Derelict‘s at 8 mbps, but this allows for the inclusion of both stereo and surround audio tracks, and I honestly didn’t see any video quality loss, at least on my 1080p equipment.

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While Derelict seemed to emphasize the mystery and intrigue of the films it sought to combine, Paradise is an edit more preoccupied with the grander themes at work within Ridley Scott’s mind: themes of creating life from nothing, of going against the natural order, themes more reminiscent of Shelley than Lovecraft, which is something I picked up from Covenant that I’m sure most viewers either didn’t see or didn’t appreciate. JobWillins certainly did, and that’s just one of many reasons why I love Paradise. I’m still thinking of doing my own Prometheus/Covenant fanmix, but not because Paradise was inadequate. On the contrary, if I never got around to it, I wouldn’t feel that bad. I still have this gem to come back to.

FAN EDIT REVIEW: Star Wars Episode V: The Empire Strikes Back – Revisited

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Original Film Directed by Irvin Kershner, Written by Leigh Brackett and Lawrence Kasdan
Fan Edit by Adywan
Category: FanFix

The home video history of Star Wars and of the art of fan editing itself are heavily intertwined. Beginning in 2000 with Mike J. Nichols’ The Phantom Edit, the resultant “remix culture” that has surrounded George Lucas’ more controversial 21st Century fingerprints on his magnum opus has now ballooned into a complete community as extensive as cosplay culture. Needless to say, there are now tons of Star Wars fan edits out there, and are as varied as the selection at a Baskin-Robbins; you have Harmy’s Despecialized Edition restorations of the original unaltered trilogy, grindhouse mixes like The Man Behind the Mask”s War of the Stars, Christopher Nolan-style time-benders like Star Wars: Renascent, and you have your basic fanfixes, like The Phantom Edit.

Emerging in the late 2000s with several restorations, editor Adrian Sayce–better known as Adywan–soon established his own indelible mark upon the Star Wars fan editing nation with Star Wars Revisited, a massive reimagining of the modern state of the original trilogy. While seeing the merit in the concept of a Special Edition, Adywan set out to heavily alter Lucas’ re-edited versions, in an attempt to produce “what the Special Editions should have been.”

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Adywan’s Revisited version of Episode IV – A New Hope was released in 2009, and quickly became a popular edit with its intricately-crafted new visual effects, massive color regrading, and subtle fixes to stupid mistakes that Lucasfilm should have repaired long ago (Obi-Wan’s lightsaber changing to a dimly-lit pole comes to mind). After 7 years of hard work, his long-awaited followup, The Empire Strikes Back Revisited, is finally here, and it was so worth the wait.

As of this writing, it is only available as a 720p x264 file at a size of around seven gigabites, but even on this relatively shrimpy format the edit is simply stunning. Even a cursory scroll-through of the screenshots from the x264 version reveals a picture far superior to even the official Blu-rays. While liberties are taken with many elements in order to bring the film in line with Adywan’s vision of a functional director’s cut, ESB-R is second only to Harmy’s Despecialized Edition in fidelity to the original theatrical image.

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Even the majority of his changes seem to minimize the shock inherent to seeing an altered version of a movie so many remember so well. For example, Obi-Wan’s Force ghost on Hoth is no longer lacking the characteristic edge sparkle it and all the others possess, but Adywan keeps the brightness on it down low enough to not break the mirage-like effect that particular ghost was always meant to have. Many other changes, while substantially more noticeable, always make sense: the Battle of Hoth now contains more AT-STs to offset the out-of-place original occurrence of the vehicle; the swamps of Dagobah are a little more crawling with exotic creatures; the asteroid field is even more intense with an expansion of the field on the z axis. Every change is not forced or full of nonsense.

Like with A New Hope Revisited, the film has been through a complete color re-grading, although this time it seems less noticeable, no doubt due to how screwed up the previous film’s color palette was by Lucasfilm. In addition, various technical gaffes and limitations have been fixed, including all new starfields and smoothed out jump cuts. Lightsaber and blaster effects have all been completely rotoscoped by Adywan.

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Not every change is perfection, however; in what I believe will be his most controversial, Adywan has used CG to further animate the Yoda puppet’s mouth. In some scenes it works, in others it’s just distracting. Hey, at least it’s not a full CG Yoda, right?

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With ESB-R, Adywan has reclaimed his place at the top of the fan edit mountain. With picture and sound even better than the official blu-rays, and additions and fixes that, for the most part, greatly improve upon Lucas’ own hair-brained ideas, The Empire Strikes Back Revisited should be in everyone’s fan edit collection.

HOW TO GET IT:
Visit Adywan’s how-to-download page for details on getting the 8gb .mkv. DVD-5, DVD-9 and Blu-ray versions will be available sometime in the future.

 

Maestro’s Picks – August 25, 2017

It’s Friday, and that means it’s time for Maestro’s Picks!

Because this is the glorious(?) return of my first on-going series, I’ve decided to go with two picks this time around. Also, because I just couldn’t pick one of them. This time, both are from the illustrious and bottomless world of Tumblr!

First, as you may or may not know, I am working on my first full-length fan edit, and a major factor in this finally happening is the excellent editor Red Menace, of RedMenaceOfficial on Tumblr. Specializing in HD reconstructions, Red Menace has delivered the kaiju goods on multiple occasions, bringing back to life such lost American versions of Godzilla films as Godzilla 1985, Destroy All Monsters, and Monster Zero, in addition to a fan edit series of Neon Genesis Evangelion. He is currently working on several projects including a hotly-anticipated Godzilla vs. The Thing reconstruction, and of course, makes tons of shitposts. Check him out!

Second is the interesting newcomer Alien Covenant: A Gothic Fiction in Space. My recent rewatch of Covenant has convinced me of its merits as a great science fiction and horror story, and this Tumblr came along at the right time to help form words to my exploding thoughts regarding Ridley Scott’s newest piece. Prerusing the table of contents post reveals an expansive attention to the details of Covenant, analyzing everything from character motivations to specific, indelible images that link Scott’s film with the greatest gothic fiction of the past, including, yes, Mary Shelley’s Frankenstein. Give this one a serious read, even if you weren’t a fan of Covenant. You just might change your mind.

And now, here comes the second half of Maestro’s Picks: where I share one video and one image which I found myself drawn to this week: Presenting:

The new poster for Blade Runner 2049, opening October 17 of this year and starring Ryan Gosling, Harrison Ford, and Jared Leto:

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Medley Weaver‘s mashup trailer for Godzilla (1954), featuring the music and editing of the 2014 film’s famous trailer:

Well, that’s all for today! Stay true, believers!

A Taste of Tumblr and The Subversive Genius of Alien: Covenant

Last night, I threw in my Alien: Covenant blu-ray for my first viewing of Ridley Scott’s divisive return to the universe of the Xenomorph since May. Before, I knew I could see merit and even inspiration in Covenant, but I was still a bit on the fence. And then the blu-ray kicked back into the menu, I took to my Tumblr account to spill the excited beans. This was supposed to stay exclusive, but I felt it was too good to let my blog readers go without, so enjoy:

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For more of the same, follow @damoviemaestro on Tumblr, Twitter, and Instagram!

EDITORIAL: Aliens Ruined the Alien Franchise

Before I begin, I just want to say that I, in fact, do not hate Aliens at all. Actually, I find it to be fine piece of cinema, heavily influential and paced to entertain at breakneck speed. If you don’t believe me, check out my review.

But as I found myself halfway through a viewing earlier this year for Alien Week, I began to realize something I never had considered before. It felt…different. Not different from the other films, it already is that in spades. I mean different as in I was seeing the film itself in a light I had never seen before. As Ripley and the Marines huddled together in formation, their backs to the wall, awaiting the alien horde with rifles at the ready, I began to remember the numerous complaints of Prometheus viewers at the movie theater where I work, five years ago.

“It’s too confusing; I couldn’t understand it.”

Hicks is spooked. He fires blindly into the ceiling.

“The characters are dumb, they make terrible, stupid decisions. Totally unbelievable.”

Hudson and Vazquez let loose. Alien after alien leaps down from the ceiling panels.

“It’s nothing like Aliens. That movie was good.”

Ripley finally fires, and now I get it.

Indeed, James Cameron’s “perfect sequel” is a good movie. And it was a good thing for the franchise at the time, keeping it alive at a crucial juncture, spawning comics, novels, and yes, more films. But as history has shown time and again, good things can inadvertently lead to bad things. And that night, as Ripley and Newt faced extraterrestrial death in my living room for what was probably the 100th time, I finally saw that Aliens had done just that.

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Damn right, I just blamed Aliens for this.

So how did a seminal sci-fi flick with substantial success, both in profit and influence, singlehandedly destroy the future of its own franchise? To answer that question, it is necessary to look back at Ridley Scott’s original horror classic as well as Cameron’s follow-up, to determine what made Scott’s film stand out, and what Cameron dropped from his to achieve greater success.

THE ORIGINAL FILM

Conceived mainly by screenwriters Dan O’Bannon and Ronald Shusett, the script for Alien quickly made a splash among industry insiders in the mid-70s for bleak atmosphere and innovative monster, heavily inspired by the art of Swiss surrealist H.R. Giger. Nothing like Alien had been seen on screen before; while images of extraterrestrial creatures eating people were standard EC Comics fare and the main “space trucker” characters seemed to be blue-collar revisions of the scientific crews of Forbidden Planet and The Thing from Another World, Giger’s beast was a nightmarish creature of incredible sensuality–qualities which are usually mutually exclusive to one another. And the way in which it enters the story–by raping a human male and forcing a bloody birth upon him–is so horrifyingly innovative that the original scene still holds the same shock that it did in 1979.

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But as much as Alien is O’Bannon’s baby, it was Ridley Scott who did the child-rearing that resulted in a brilliant piece of celluloid. Known for both a meticulous attention to even the smallest detail and his penchant for perfectionism behind the camera, Scott’s direction over both the actors and the design crew, consisting of Giger, Ron Cobb, and comic legends Chris Foss and Jean Moebius Giraud, is as sublime as it is epic. Resolving to push for the maximum effort, Scott was able to attain highly-technical and realistic sets for the space tug Nostromo, and truly eerie and inhuman sights for the crashed Derelict, and of course, the Alien itself. Just two years after Star Wars, Alien changed sci-fi again.

As detailed in The Long Take’s excellent video analysis, the menace of the Alien is wholly unconventional, covered in semen-like slime as it approaches its prey with a sexual cunning. At every stage of its monstrous life cycle, its body takes on alternatively vaginal and phallic forms, stalking men and women alike in an apparent play on both toxic masculinity and the transgender boogeyman of the ’70s feminist movement. Combined with the post-Nixon distrust of authority and the outstanding character of Ripley, played with both masculine grit and feminine intuition by Sigourney Weaver, Alien cracks the mold of both space films and horror.

THE SEQUEL

Immediately after Alien, Ridley Scott had his own designs for a sequel, spit-balling back and forth between a story involving LV-426 exploding, sending eggs through the vastness of space to eventually reach Earth, where Ripley arrives at the start, and another, interesting notion of a prequel detailing how the Derelict and its Space Jockey pilot came to be on their barren world. With the departure of Alan Ladd, Jr. from Twentieth Century Fox, these ideas would not come to fruition, and Scott decided to pursue other projects.

It is intriguing to see the genesis of two very different directions that the Alien franchise would be destined to explore. The first, with an Alien horde reaching Earth, resembles many of the early drafts for Alien 3 and the driving plot element of Alien Resurrection, while the prequel concept obviously became Scott’s preferred vision with Prometheus and Alien: Covenant. In either case, Scott’s ambitions were clear: he wanted to explore the origins and nature of the Xenomorph creature, and dabble in the depiction of the Space Jockey.

Fast-forward to 1984. James Cameron, hot off the success of The Terminator, is suddenly in demand among the Hollywood elite. Having been working on the Alien sequel for some time, he and his producing partner Gale Anne Hurd were finally given the complete reigns over the project to finish in 1986. Cameron’s final script, incorporating ideas from an earlier sci-fi story he had written entitled Mother, signaled a massive shift in formula and tone from Scott’s entry. While preserving continuity and retaining Sigourney Weaver as Ripley, Aliens shifted away from the horror elements of its ancestor and planted its roots as a combat-driven action film. Gone were allusions to gender identity and sexual psychology, replaced by an allegory of the Vietnam War that serves to provide Ripley with the chance to assert her maternal identity with Newt, the young sole survivor of the LV-426 colony.

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Cameron has been quoted as saying that he wanted his film to be “less horror, more terror.” Whatever that is supposed to mean, it is clear that Aliens doesn’t fit in with the pure existential and predatory dread of the first film. Aliens is scary, but in a different fashion, opting for more traditional jumps and creeps in between pulse-pounding scenes of futuristic combat. In what is probably his biggest contribution to the Alien mythos, Cameron introduces the final piece of the Alien’s reproductive cycle, the Queen. A powerful leadership caste that control the Warrior drones by simple gesture, the Queen is more than a match for the crafty Ripley, and can even hold a grudge–it pursues her in a decidedly intelligent quest for revenge after Ripley destroys its nest.

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On the surface, this seems to be a good change, focusing the menace into a bigger and meaner creature that can think its way out of a jam. However, closer comparison between the films reveals that the concept of the Queen stands in opposition to the original idea of the Alien. The Alien of the first film is a solitary creature, slowly crawling out of the shadows to attack in startling displays of sexual sadism, and in the original screenplay and Director’s Cut, horrifically transform its victims into new eggs while they remain awake for the entire ordeal. And yet, for everything known about the Alien, Scott’s greatest contribution to it was the mystery surrounding it.

The Alien’s life cycle may have been complete in the beginning, but even this does not fully account for the sheer number of eggs within the Derelict’s cargo hold. Indeed, perhaps the hold contained more than just Xenomorph eggs. Perhaps there were untold varieties of beastly horrors locked away in its ancient walls. Their origin is also kept a tantalizing mystery; could they have been the remains of the rest of the Space Jockey crew? Or scientific specimens of an exploratory vessel? Or perhaps they were a biological weapon, as Scott liked to opine in the decades after finishing Alien. Even the true nature of the titular “Big Chap,” originally revealed as a highly intelligent being after biting Ripley’s head off and mimicking her voice to set an interstellar trap, was wisely dropped from the final cut. All of this adds to the eerie atmosphere of Scott’s film, intertwining with the cultural zeitgeist of the uncertain ’70s to unleash a truly horrifying experience that still captures minds today.

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Cameron, on the other hand, seemed uninterested in mystery. His creation of the Queen is the biggest indication as to his preferred depiction of the Xenomorph, no doubt heavily influenced more by the Arachnids of Robert Heinlein’s novel Starship Troopers than by Giger’s artwork and concepts. The Queen simultaneously removes the mystery of the Alien and the universe at large outside of the walls of Hadley’s Hope, reducing the invincible monster of Alien to an expendable foot soldier, able to be defeated by a simple barrage of caseless rifle fire. If only Dallas had one of those, right? Further more, the enigma of the eggs in the cargo hold isn’t so unfathomable anymore.

This rejection of the unknown continues to seep into every facet of Aliens. Early on, the faceless, evil Company is laid bare as a bureaucratic mess, more concerned with the loss of an iron ore shipment than with the prospect of a race of monsters at Earth’s doorstep. And Special Order 937? Replaced by a lowly Company agent with greedy aspirations of profiting from the creatures, revealing the influence of the materialistic ’80s upon Cameron’s story, where capitalism is still the bees knees, its just a few bad apples that muck things up. The only thematic content more pervasive than this is the specter of Reagan’s America, present in the nuclear family of Ripley, Hicks, and Newt as the survivors of the film, triumphing unequivocally over the promiscuous Anti-Mother by seemingly destroying the Xenomorph race once and for all.

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THE AFTERMATH

When times are good, people will respond to stories that reinforce the world around them. Aliens was released at the height of an American economic boom, presenting just enough of Alien‘s creature to be recognizable while jettisoning the uncertainty and pessimism of the ’70s inherent in that film. This turned out to be a recipe for success, propelling Aliens to box office and pop culture glory.

The subsequent sequels would not be so lucky. Alien 3 would prove to be Sisyphean struggle to produce, with many early drafts took on narratives that echoed Aliens, featuring military combat against swarms of the creatures. Despite some interesting drafts that presented truly nightmarish and ghastly depictions of the Aliens, each version retained this emphasis on action, until Vincent Ward’s legendary, ethereal lost story. Set on an artificial world made of wood and populated by Neo-Luddite monks, Ward’s Alien 3 became one of the greatest unmade films ever conceived, boldly removing the ’80s social certainty by killing Hicks and Newt and throwing Ripley into her own personal hell as the host for the last Alien. After Ward’s departure and the scrapping of the wooden world concept, the final Alien 3 as directed by David Fincher retained much of Ward’s themes, and pushed an increasingly nihilistic film upon an audience that expected a retread of Aliens, which is understandable given the misleading marketing of the film. As I’ve noted before, Alien 3 is uncompromising and brave in its conviction to emotional disturbance, betraying an almost gothic sense of horror that evokes the original but still remains its own beast. Unfortunately, audiences disagreed and many still do.

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Alien Resurrection, despite benefiting early on from the French expressionism of Jean-Pierre Jeunette and some of the most ghastly sights of the franchise, ends up playing as a light-hearted Aliens clone by the end, and the AVP entries of the 2000s were cynical cash grabs, with the second film literally remaking the plot of Aliens on present day Earth. Quickly, one can see a pattern emerging: nobody wanted to leave Cameron’s film behind.

Nobody except Ridley Scott himself, who regained the franchise in 2012 with Prometheus, a soft reboot that sought to explore the Space Jockey race, now called Engineers, in a bit of world-building that returned to the series the Eldritch threat of existential terror. Believing that Alien itself was a “cooked” beast, Scott strayed away from it, keeping the more recognizable beats of bodily horror while focusing on a demonic twist to humanity’s origins and the creeping threat of A.I. This led to a polarizing film, with opinions split down the middle; devotees of Scott’s original film feel it is a nice return of the tone of that piece, while critics deride it as shallow, confusing, and lacking of the main creature that makes the franchise what it is. Looking at the divide, it seems obvious where it came from.

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These days, the split among Alien fans remains firmly in place. Half seems to side more with Scott’s vision of a terrible, Lovecraftian universe of uncaring horrors, while the other prefers the human-centric adventure of Ripley and the Space Marines, barreling toward a war with the Alien species. What’s worse, this split has affected Scott’s plans for the prequel series. Originally planning a direct sequel to Prometheus entitled Paradise, the lukewarm reaction to that film caused him to drop many of the concepts he was building and shoehorn in the Alien for the even more polarizing Alien: Covenant, in which he seeks to assert ownership over the creature and its life cycle by presenting David, his murderous android character (and rebuke to the heroic Bishop) as the creator of the species. While I have my own thoughts on that little development, one cannot overstate how drastic a change this is from even his own first ideas, let alone the intentions of Dan O’Bannon and H.R. Giger. This can be unequivocally traced back to the success of Aliens, and the embracing by the fans of its simpler nature.

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With Alien: Covenant failing to make a splash at the box office, the future of the series is now uncertain. Scott’s Alien: Awakening project, even if it isn’t canceled, seems mired in its own intentions to reveal the last shred of mystery the franchise had, while the online outrage at the termination of Neill Blomkamp’s Alien 5 film, which would be another retread of Aliens with Ripley and Hicks returning to wipe away Alien 3 and Resurrection from continuity, has reached fever pitch, signalling that Fox could head in that direction. I would hope that they don’t, because I’ve had enough of Aliens. I’m fine with the one film, and would rather like to see more thought-provoking and eerie movies in the vein of the original. Attempting to recapture the Cameron version of the beast almost always ends in disappointment, and further dilutes the impact of the creature itself. But as it stands, it looks like the Alien will have to get used to disappointing its many devotees, because while Cameron seems more interested in friendlier E.T.s from Pandora, he’s still leaving his mark upon the cold evil of space.

REVIEW: Valerian and the City of a Thousand Planets (2017)

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Directed by Luc Besson
Written by Luc Besson, Based on the comic book Valérian and Laureline by Pierre Christin and Jean-Claude Mézières
Starring Dane DeHaan, Cara Delevingne, Clive Owen, Rihanna, Ethan Hawke, Herbie Hancock, Kris Wu, Sam Spruell, Alain Chabat, Rutger Hauer

Luc Besson is probably one of the most risk-taking filmmakers out there today, although that declaration should come with a qualifier; his risks aren’t in innovation or narrative, style, or visual effects techniques, but in the simple fact that he always sets out to please his own violence-loving tendencies. A glance through his filmography reveals an almost Hong Kong filmmaking-esque fetishizing of martial arts, gunfights, and balls-to-the-wall action is evident, and when coupled with his unique French perspective on the camera lens it makes for at least a good time, if not always a breathtaking time. Valerian is somewhere towards the bottom part of his middle ground, breathtaking to the eyes but not so much the head and heart, but is that really a bad thing?

In the 28th century, Valerian (Dane DeHaan) and Laureline (Cara Delevingne) are a team of special operatives charged with maintaining order throughout the human territories. Under assignment from the Minister of Defense (Herbie Hancock), the two embark on a mission to the astonishing city of Alpha: an ever-expanding metropolis where species from all over the universe have converged over centuries to share knowledge, intelligence and cultures with each other. There is a mystery at the center of Alpha, a dark force which threatens the peaceful existence of the City of a Thousand Planets, and Valerian and Laureline must race to identify the marauding menace and safeguard not just Alpha, but the future of the universe. 

Based on the popular Franco-Belgian comic book Valérian and Laureline by Pierre Christin and Jean-Claude Mézières, Besson’s film is a very obvious labor of love by the French auteur, having grown up reading the comic since it’s beginning in the yesteryear of 1967. Financed with a combination of crowd-sourcing and his own pocket, totaling 210 million dollars, Valerian is now the most expensive independent film ever made. Not that it matters much now that the film is tanking in the box office, but I suspect Valerian will have longer legs on home video and in the streaming market, where its spiritual predecessor The Fifth Element carved out a cult following.

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Valerian begins with what is now among my top-ten opening sequences of the past decade: the progression of the Alpha Space Station over two centuries, presenting all sorts of human and alien peoples joining hands with a succession of welcoming captains in mutual cooperation–and it’s set to David Bowie’s Space Oddity. Solid start. Continuing onto probably the best full-out visual effects sequence since anything seen in Avatar, we are introduced to the Pearls, a race of peaceful, nature-oriented aliens who fish magical, energy-giving pearls from the oceans, using small creatures called converters, that can replicate a hundred-fold anything they consume, to replenish the planet’s supply. But, just as quickly as we come to admire them, the Pearls’ paradise is shattered by the falling wrecks of a space fleet, and they seem to be obliterated by a war that they had no part in.

Without having actually read Valerian, I can’t say for certain that this is an accurate assessment, but from what I do know, this opening is an excellent demonstration of Christin’s humanist and liberal leanings in his writing, which comes more and more to the forefront through Cara Delevingne’s Laureline, as independent and humanist as they come, compared to her partner and superior, Major Valerian, who’s womanizing ways and adherence to protocol and law do more than infuriate his partner and the object of his desires throughout the story.

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Unfortunately, with their introduction is where I start to tune out. While Delevingne’s performance is a bit wooden in places, this is all a part of the package, as a glance through the comics reveals their Golden Age Space Opera origins, ’30s dialogue and all. In fact, in many scenes, I found her to be the breath of fresh air compared to Dane DeHaan, who in this critic’s opinion, should never have been allowed near the role of Valerian. His cheap imitation at a manly comic strip hero’s voice betrays how shrimpy he looks in the role, as if he were a ten-year-old boy playing astronaut dress-up. He has absolutely no chemistry with Delevingne, and his stunted delivery during some of the most pivotal and emotional moments destroys the drama almost as much as Besson’s barely passable writing.

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Oh yeah, the script. Honestly, past the mentioned opening, I’m not too impressed with the story. The comic was a space opera with heavy time travel elements, with Laureline literally having been an 11th Century French villager before being recruited into the Spatio-Temporal Service. The film makes little-to-no mention of time travel at all, presumably to streamline things for a wider audience, but that is no excuse for robbing Valerian of what could have been another major selling point besides the amazing visuals. Even worse is Besson’s handling of the romantic subplot and Commander Filitt’s (Clive Owen) motivations; while Filitt’s endgame is needlessly drawn out over ten minutes of precious climactic screentime, Valerian is established as already wanting to get into Laureline’s pants, and after only 20 minutes, is to the point of proposing to her. May I remind you this film is almost 140 minutes long?

Past these immense problems, the film starts to present some redemption. Everyone else in front of the camera does a pretty good job with their material, even when their roles amount to little more than extended cameo’s like Ethan Hawke and the great Rutger Hauer. And for once, Rihanna was actually one of the better parts of a movie.

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However, the real star of Valerian is the immense and immersive world created on screen through some of the best CGI work in a long time. Created by a unified team of ILM and Weta Digital artists, everything from the massive world of Alpha to the myriad species of alien beings are created lovingly and in textures that appear incredibly lifelike in Besson’s neon-lit style employed in this picture.

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So, what is my final verdict? While the casting of Valerian himself and Besson’s writing are huge flaws that pull the film down from the potential it could have had, ultimately, it isn’t a complete waste of time. In fact, the immersive world on display and the thrilling alien action are enough to convince me to give this film another go around when it hits blu-ray. Until then, I’d say proceed with caution on a matinee or discount night at your local cinema. Wait until a more worthy independent project comes along to pay full price.

EDITORIAL: Why Armageddon is the Most American Movie Ever

This 4th of July will be celebrated across the nation of the Untied States like every other one has–in a million different ways. Most citizens will be doing it the old fashioned way at barbecues with beers aplenty or at large, open fields, eagerly awaiting the colorful explosions of Independence Day fireworks. But a select few will probably be like me; when not otherwise engaged with outdoor festivities or (sadly) work, some will probably put on an appropriate movie or two.

What makes an appropriate movie seems to be up to debate among us cinephiles. Some prefer films with a heavy patriotic edge, like Rocky 4 or Born on the Fourth of July. Others ironically pick films that focus on big bangs and nationalistic machismo, like Independence Day or Olympus Has Fallen. While I like to mix it up with my July 4th marathon, by the time of the big day I put on a film that I think best exemplifies both qualities, one that has made me a black sheep within the rabble of filmic patriots. That film is Armageddon.

Image result for armageddon bannerNo, I’m not kidding.

Michael Bay’s third film and released in 1998 in direct competition with the similarly-plotted Deep Impact, Armageddon is not widely thought of as a “patriotic” picture per say, let alone a good one; most moviegoers tend to dismiss it along with Pearl Harbor and the Transformers films, although I believe this is a sorely unfair comparison. Namely, Armageddon is much smarter and more meaningful than Transformers, and definitely more fun. But most of all, for the purposes of this article, I submit to you, dear reader, that Armageddon is the quintessential Independence Day film, solely because of how it captures the essence of the American Dream.

Crazy, you call me? Well, prepare to have your minds blown (away).

The first indication to Armageddon‘s rather bombastic American identity is the fact that it is on visual display everywhere throughout the film. I kid you not; there are American flags everywhere.

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Even Will Patton’s kid is wearing an Old Glory t-shirt in the end.

But this is a Michael Bay trademark by now, I grant you, and simply not enough to support my argument. That’s why a second go-around of the evidence reveals even more subtle visual hints, like a large hay barn on a farm, an old barber shop on Main Street, a woman listening to the radio of a 1940s pickup truck while yet another American flag flutters in the breeze. The inclusion of these iconic sights of Americana serves to connect Armageddon to our nation’s past in a way that, say, Independence Day or Rocky 4 could never muster.

A most interesting observation of these shots is that most of it seems firmly rooted in the 50s-70s era, the so-called “good old days” of the Boomer generation, but more importantly, the age of the Space Race, when the United States was locked in an idealogical battle with the Soviet Union over both the world and its ultimate high ground, outer space. This front of the Cold War brought us probably the greatest achievement not only in American history, but in the story of the human race; the manned landing on the Moon. How fitting then that Bay’s film, stuffed to the brim of iconographic sights of American exceptionalism, is centered around NASA and a manned space mission? Very fitting, indeed.

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However, unlike other certain films which deal with this uniquely American pride in space like The Right Stuff or Apollo 13, Armageddon depicts the scientists of NASA as being unable to pull of the job themselves, and so they resort to calling in outside talent, namely the oil drilling team of Harry Stamper. Setting aside all concerns about believability or scientific accuracy, this reveals Bay and the screenwriters to be employing an old, epic cinematic trope: the working man rising to save the day.

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The following has been taken from the liner notes of the Criterion Collection DVD, written by Jeanine Basinger, one of Bay’s professors of Film Studies at Wesleyan Univerity:

“At its core, Armageddon is a genre picture, and like all genre pictures that arrive late in the cycle, it has been subjected to misinterpretation. Although it qualifies as a science fiction/disaster movie, I see it as an epic form of the old Warner Brothers movies about working-class men who have to step up and rescue a situation through their courage, true grit, and knowledge of machines—productions such as Raoul Walsh’s Manpower (1941) and Alfred E. Green’s Flowing Gold (1940). The “science fiction” or “disaster movie” elements of Armageddon fit into the epic form—a form that exists to make movie stories we already know grander, larger, and more “real” in historic setting. (A failed epic settles for the definition put forth in Nicholas Ray’s 1950 film In a Lonely Place: “. . . a picture that’s real long and has lots and lots going on.”) Armageddon is grand, large, and set at NASA, but, the story of Stamper, his daughter, and his hard-living, oil-drilling buddies is the kind of movie that has previously been smaller and tighter. This film makes these ordinary men noble, lifting their efforts up into an epic event. Here, working men are not only saving the overeducated scientists and politicians who can’t do anything (and who probably went to Yale and Harvard), but, incidentally, the entire population of the planet.”

Quite the analysis, there. But even a cursory look-over of the film proves what Basinger is saying. Stamper and his crew are coarse, uncouth, and horribly politically-incorrect, representing the lowest rung of the working class of America, employed in one of its biggest industries: oil drilling. When NASA’s chief director (played in a very down-home, country-boy drawl by Billy Bob Thornton) realizes that they need the Image result for armageddon harry stamperbest drillers in the world to execute their mission, they look to Stamper, first to help them iron out the kinks in their drill design, stolen from Stamper himself. In a scene typical of Bay’s alpha-male wit, Stamper crushes their inefficiencies with his no-nonsense approach, and negotiates bringing his own men along.

These men aren’t the well-spoken, foreign elites of Truman’s scientific team, but are men you could picture all hanging out in a small town bar. They come from all walks of life: Chick is a Nevada native who is addicted to the craps table; Bear is lone biker; Oscar owns a ranch in Nebraska, and A.J. seems to be walking in Harry’s footsteps as an oil driller. A lot of the men even have rocky and sordid histories, best exemplified by Rockhound’s continuous inside joke of being…uh, “horny.” Together, they are truly a motley crew and one that not everyone can trust…not unlike a group of immigrants waiting to enter through Ellis Island, rough from a life of work and sometimes sin. But in taking the job and surviving NASA training, they blast off in defense of humanity, but more importantly, in symbolic defense of the American dream that they so benefit from.

Bay may have dumbed-down the dialogue of the past epic examples Basinger provided, but the spirit of these films is very much intact. In Armageddon, we are seeing a classic ideal, the American Dream, made into visual form. These men, woefully unqualified and completely out of their element in a world of intelligentsia and privilege, save the day, in fact, the entire world, with nothing but their indomitable will and hard-worked hands. And when they triumph, what are they greeted to, other than another serving of Americana:

Feel free to consider me wrong, but I can’t help but feel patriotic in a way that The Patriot or Air Force One never could. All arguments about how well the message came across aside, I for one believe that Michael Bay intended for Armageddon to spur these feelings as the best allegory he could manage. Is it nuanced? Hell no. Is it good? This is subjective. But if you are one of the few who still likes to watch Armageddon, go ahead and give it a viewing this 4th. Chances are you’ll be watching it after a few beers and before fireworks, so it should fit quite nicely.