Tag Archives: science fiction

Reviews, Star Trek

TO BOLDLY REVIEW #15 – STAR TREK: VOYAGER (1995 -2001) – SEASONS 1 – 7

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TO BOLDLY REVIEW #15 – STAR TREK: VOYAGER (1995 -2001) – SEASONS 1 – 7

Created by: Rick Berman, Michael Piller and Jeri Taylor

Based on Star Trek: by Gene Roddenberry

Main Cast: Kate Mulgrew, Robert Beltran, Roxann Dawson, Jennifer Lien, Robert Duncan McNeill, Ethan Phillips, Robert Picardo, Tim Russ, Garrett Wang, Jeri Ryan etc.

Notable guest stars: Kurtwood Smith, Marina Sirkis, Dwight Schultz, Joel Grey, Sarah Silverman, John De Lancie, The Rock, Michael McKean, Jason Alexander, Virginia Madsen, Tom Morello etc.

Theme music composer: Jerry Goldsmith

It’s been over a year since I reviewed the Star Trek: Deep Space Nine here. Thus, much of 2023 was spent watching the seven series of Star Trek: Voyager. The main concern with this cultural project of watching every Star Trek show and film released is that I could get serious franchise fatigue. However, Voyager was a fantastic series with some of my favourite ever Trek episodes experienced within the seven seasons.

Paramount Pictures commissioned the series after the cancellation of Star Trek: The Next Generation to run alongside Deep Space Nine in the schedules and launch their new UPN network. Created and developed by Rick Berman, Michael Piller and Jeri Taylor, Voyager uses the template of a Federation crew exploring new worlds and making contact with unknown species, but with a serious goal in place – to return home.

Because in the first episode, The Caretaker, Voyager is enveloped by a powerful energy wave that strands it in the galaxy’s Delta Quadrant, more than 70,000 light-years from Earth. I think this critical narrative drive raises the stakes and sense of jeopardy throughout the series and also gave the writers the opportunity to introduce alien species as recurring characters, namely the Kazon, Vidiians, Hirogen, and Species 8472. Having said that, the main nemesis ultimately ended up being the Borg.

Voyager was the first Star Trek series to feature a female commanding officer, Captain Kathryn Janeway (Kate Mulgrew), as the lead. Mulgrew is a terrific actor and provided formidable characterisation throughout. Interestingly, Geneviève Bujold, was originally cast as Janeway, but quit a day and a half into shooting the pilot and was replaced. Mulgrew is notably supported in the ensemble cast by Robert Beltrani, Robert Picardo, Tim Russ, and the later introduction of fan favourite, Borg designation ‘Seven-of-Nine’ portrayed by Jeri Ryan. Robert Picardo as the hologram Doctor was also especially entertaining with many fine storylines.

I enjoyed the dynamic set-up of Starfleet officers having to work with rebels such as the Maquis, and that conflict provided much drama, pathos and joy throughout the series as their relationships developed. Further, important new Trek discoveries were introduced during the show such as: holo-emitters (so the doctor leave the ship and participate in more episodes), a tachyon core, trans-warp coil, Astrometrics lab, detailed information on the Borg and Delta Quadrant inhabitants, quantum slipstream drive, nano-viruses and access to the Borg’s Transwarp hub.

So, to end this summary I’d like to pick SEVEN of my favourite episodes – one from each season. They represent some of the best examples of Voyager, an often brilliantly written, well acted, funny and moving science fiction series.

** MAY CONTAIN SPOILERS **

VOYAGER – SEVEN GREAT EPISODES (FROM EACH SEASON)

SEASON 1 – CARETAKER

The opening two hour pilot is a terrific introduction to the players and storylines which will inhabit the next seven seasons. On the hunt for Maquis rebels finds the Voyager crew dragged into the Delta Quadrant, where they lock horns with the omnipotent power that is the ‘Caretaker.’ As well as establishing all the main players from Starfleet, the show successfully welcomes series mainstays Kes and Neelix.

SEASON 2 – TUVIX

What is essentially a version of The Fly (1989) in space, Neelix and Tuvok get combined at a molecular level to create a new character called Tuvix (Tom Wright.) What initially seems quite goofy is in fact a heartfelt exploration of morality and ethics. Janeway has an almost impossible decision to make with character actor, Wright, excelling and imposing pathos as the tragic Tuvix.

SEASON 3 – SCORPION – PART 1 and 2

Just when you thought things couldn’t get worse for Voyager they meet a foe even the Borg are fearful of, namely Species 8472. In this brilliant two-parter, Janeway and her intrepid crew find themselves caught in the middle of a war between the Borg and Species 8472. These thrilling episodes also saw the first appearance of ‘7 of 9’ (Jeri Ryan.)

SEASON 4 – YEAR OF HELL – PART 1 and 2

A truly epic two-parter with a story that could easily have made an incredible feature film. The abuse of power via time travel is at the core of the story as Kurtwood Smith’s Annorax obsessively changes his time to his own will as part of the Krenim Imperium. Janeway are enslaved under threat of being wiped from existence but fight back with tremendous resilience as the writing, directing and acting reach a peak for the series as a whole.

SEASON 5 – COURSE: OBLIVION

A direct sequel to Episode 24 from Series 4, Demon, Course: Oblivion is a brave episode for a number of reasons. It has a dreamy, surreal and latterly nightmarish quality to the style and the storyline, notably the ending, is one of the bleakest in Trek history. What is so clever is that as the writing and performances make us care for the characters when they begin to perish, even though we know nothing is what it seems.

SEASON 6 – BARGE OF THE DEAD

‘7 of 9’ (Jeri Ryan) took a lot of the character development plaudits during the last three seasons, but Roxann Dawson as B’Elanna Torres had some terrific episodes too such as this and Lineage in season 7. She is brilliant in this episode as her psyche is breached by a near-death experience and has to confront her family’s past and the heft of Klingon lore and history.

SEASON 7 – BODY AND SOUL

Obviously Star Trek contains episodes that are very serious and dramatic, but it has its fair share of comedic shows too. This re-imagining of gender swap comedy, All of Me (1984), finds ‘7 of 9’ (Jeri Ryan) switching bodies and mind with the Doctor (Robert Picardo) to hilarious effect. Now Picardo has always demonstrated sharp wit throughout Voyager, but Jeri Ryan is particularly impressive as she successfully mimics the Doctor’s mannerisms to hilarious effect, contrasting her usual deadpan and stoic Borg personality.

New Releases, Reviews

CINEMA REVIEW: THE CREATOR (2023)

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CINEMA REVIEW: THE CREATOR (2023)

Directed by: Gareth Edwards

Screenplay by: Gareth Edwards and Chris Weitz

Story by Gareth Edwards

Produced by: Gareth Edwards, Kiri Hart, Jim Spencer, Arnon Milchan

Main Cast: John David Washington, Madeleine Yuna Voyles, Gemma Chan, Ken Watanabe, Sturgill Simpson, Allison Janney, Ralph Ineson and Marc Menchaca.

Cinematography: Greig Fraser and Oren Soffer

*** MAY CONTAIN SPOILERS ***

The Creator (2023) is Gareth Edwards first directorial release since the tremendous Star Wars prequel Rogue One (2016). Of all the Disney-funded Star Wars products that remains my favourite. Overall, Rogue One (2016) is not just a great Star Wars film but a brilliant movie too, as it transcended the franchise while delivering a pulsating, heroic, nostalgic and emotional film experience. It also had an influence on the stunning visual look, action, and effects of The Creator (2023) too. So much so, The Creator (2023), in terms of style, often felt like a Star Wars film in all but name.

With The Creator (2023), Gareth Edwards and his talented production and effects team have invented a continually innovative futuristic look based around Artificially Intelligent robots and technologically modified humans. Indeed, based on all his directorial works, jaw-dropping visuals and themes of humans overcoming machines and monsters are always very much to the fore. But in The Creator (2023) one of the major themes poses the question – who are the real monsters? The humans or their computerised creations? As the narrative begins, in 2055, with the machines detonating a nuclear attack on Los Angeles the Americans declare war on the robots. More specifically, Southeast Asia, who still utilise A: I technology. Fast forward several years and John David Washington’s Joshua, remains part of the U.S. military plans, as they attempt to finish off the A: I threat for once and for all.

As Joshua is manipulated by the US Government, through a past romantic connection with Gemma Chan’s Maya, he is dropped behind “enemy” lines in Asia to destroy the A: I’s secret weapon called, “Alpha-O.” Along, with a paper-thin characterised group of U.S soldiers, Joshua finds the mission going south and ultimately goes on the run with “Alpha-O.” Edwards and his writers humanize the dangerous processor by giving it the body of a young girl portrayed by Madeleine Yuna Voyles. Despite the powerful visuals of the film, I found The Creator (2023) buckling under the wright of over-used ideas from other films. The cute “genius” kid being just one of those.

It’s The Terminator (1984) meets Artificial: Intelligence (2001) meets Avatar (2009) meets any number of action-hero-saves-young-child narratives. I mean can at least one film TRY and make the American warmongers more nuanced? Yes, the action, cinematography and sound design are especially impressive and thrilling and there is certain emotion on screen. However, I personally did not feel much emotion in my heart, unfortunately. Watch it on the biggest screen you can, because what The Creator (2023) lacks in original narrative and character elements, it more than makes up in nifty robotic concepts and visual cinematic grandeur.

Mark: 7 out of 11

Cinema, New Releases, Reviews

CINEMA REVIEW: ASTEROID CITY (2023)

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CINEMA REVIEW: ASTEROID CITY (2023)

Directed by Wes Anderson

Screenplay by Wes Anderson

Story by: Wes Anderson and Roman Coppola

Produced by: Wes Anderson, Steven Rales, Jeremy Dawson

Ensemble Cast: Jason Schwartzman, Scarlett Johansson, Tom Hanks, Jeffrey Wright, Tilda Swinton, Bryan Cranston, Edward Norton, Adrien Brody, Liev Schreiber, Hope Davis, Stephen Park, Rupert Friend, Maya Hawke, Steve Carell, Matt Dillon, Hong Chau, Willem Dafoe etc.

Cinematography Robert Yeoman

*** MAY CONTAIN SPOILERS ***

Wes Anderson is a phenomenal filmmaker with an imaginative set of style and narrative conceits. Everyone one of his releases is a rich tapestry containing memorable ensemble casts, adjacent framing, effervescent use of colour, geographical pertinence, intellectual humour and subjects situated in the far-left field of genre cinema. Yet, I do not enjoy ALL his films. Often, they veer too far into eccentric pretentiousness. Indeed, I found The French Dispatch (2021), frustrating and, other than the tremendous story set in the asylum with the mad artist (Benicio Del Toro), disconnected with it overall. While it was another admirable work of cinema, I did not enjoy it as a paying punter.

Asteroid City (2023), however, is a film I enjoyed greatly. The famous actors immersed within the ensemble, the cinematic artifice, the clever meta-narrative structure, symmetrical shot composition, beautiful use of colour, offbeat characters, specific era and geographical setting, imaginative props and costume design, and witty humour are all present as per Anderson’s impressive body of work. But Asteroid City (2023) had a larger emotional heart than his recent films, and is my favourite since the superb, The Grand Budapest Hotel (2014).

A heady combination of genres, one could describe, Asteroid City (2023), as a hyper-sci-fi-Western-retro-romantic-futuristic-comedy and study of grief set in 1950s, America. Despite filming taking place in Spain. Anyway, Anderson establishes the characters through the structure of a film within a play. Bryan Cranston’s narrator introduces us to the various middle-class, working class, military and scientific personalities who become trapped in the town of Asteroid City by a series of unlikely but hilarious misfortunes. Throughout the chapter inter-titles the scenes return us to our narrator as Anderson cleverly comments on the process of creating a story while delivering the narrative events.

Anderson delves into familiar themes of grief via the story of war photographer, Augie Steenbeck (Jason Schwartzmann) and his four kids, one of whom is a genius, Woodrow (Jake Ryan). He is there for a Junior Stargazer competition amidst the setting of the gigantic meteorite bunker. Again, the theme of prodigious children is mined for great humour and intellectual wit by Anderson. The futuristic inventions created by the children are especially fantastic. The plot strand of the science geniuses being exploited by the military and corporate sharks is deftly done. Yet, the main emotional heft is delivered within Augie and Hollywood actress, Midge Palmer’s (Scarlett Johansson) budding relationship. Johansson is especially compelling in the role, anchoring the film in welcome pathos, amidst the flurry of idiosyncratic absurdities Anderson throws at us. His framing of Augie and Midge between the their chalets is aesthetically memorable, visually augmenting their growing human connection.

Asteroid City (2023) proves once again Wes Anderson is one of the most original filmmakers of this generation. Will he gain some more converts to his particular set of cinematic bag of tricks? Who knows. What I do know is that I was completely immersed in the colour, movement, pace, humour, aesthetics, performances and themes with the film. I must say though, while it was necessary, the “Area 51” style — and I don’t want to give it away — absurd plot-turn halfway through was not my favourite aspect of the piece. But I realise it was narratively integral to the story. The meta-framing also seemed to get in the way at times of the main action effecting the occupants of Asteroid City. But these are minor gripes at a thoroughly artistic, beautifully immersive, and technically impressive cinematic achievement.

Mark: 9 out of 11

Cinema, New Releases, Reviews

CINEMA REVIEW: DON’T WORRY DARLING (2022)

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CINEMA REVIEW – DON’T WORRY DARLING (2022)

Directed by: Olivia Wilde

Screenplay by: Katie Silberman – Story by Carey Van Dyke, Shane Van Dyke and Katie Silberman

Produced by: Olivia Wilde, Katie Silberman, Miri Yoon, Roy Lee

Main Cast: Florence Pugh, Harry Styles, Olivia Wilde, Gemma Chan, KiKi Layne, Nick Kroll, Chris Pine etc.

Cinematography Matthew Libatique

*** MAY CONTAIN SPOILERS ***

Part arthouse character study, part science fiction social satire and eventually a rushed concertinaed thriller, the Olivia Wilde directed, Don’t Worry Darling (2022) is a visual feast, anchored by Florence Pugh’s devastatingly brilliant performance. However, the ambition of the themes remains hamstrung by pacing and structure which fails to serve the story to its full potential.

Set within a utopian 1950’s sun blanched town called Victory, Wilde and her writers throw us straight into the hedonistic lives of a set of youthful and dynamic couples, drinking, partying and sexing. They work and play hard. Well, the husbands work as the dutiful women stay at home cleaning and churning out kids. So far-so-Stepford Wives! At the heart of Don’t Worry Darling (2022) is Pugh as the loyal but inquisitive, Alice. Her husband, Jack (Harry Styles) is ambitious, seeking the approval of big boss, the hubristic Frank (Chris Pine). When Alice begins to experience Kafkaesque dreams of feeling trapped by her daily life, she slowly realises all is not quite perfect in paradise.

No one does anguish and anxiety on screen like Florence Pugh. As Alice falls deeper down the rabbit hole of despair, Pugh produces true cinematic power once again. Olivia Wilde also brings a compelling image system to fully visualise Alice’s hellish descent. In comparison, the male characters are far less developed and the exchanges between Pugh and Styles, especially in the final act, are really lacking in dramatic punch. Styles himself I felt was miscast, but he does have an engaging screen presence. It’s just I didn’t feel enough threat from him.

Structurally, Don’t Worry Darling (2022) is also flawed. The major reveal comes way too late to assuage the pacing issues. While the narrative contains some striking visual set-pieces there are too many parties, barbecues and social events getting in the way of the potential thrills that could have occurred if Alice had discovered her plight much earlier. Overall, there is too much set-up and not enough punch. The longer you wait to reveal the twist, the bigger the revelation needs to be. The Outer Limits and The Twilight Zone have done this style of story with more emotional impact and better economy. Pugh and Wilde though prove once again they are major talents and thematically speaking it’s good that men get another kick in. Men are fast becoming the go-to villains of this century and long may it continue.

Mark: 6.5 out of 11

Short films, Star Trek

Our Star Trek fan film – THE HOLY CORE (2019) is an award-winner!

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THE HOLY CORE (2019) is an award-winner!

Big thanks to TREKLANTA.ORG for organising the 2020 BJO Star Trek Fan Film awards. Delayed due to COVID-19 the awards took place late in 2021 and I am so pleased that The Holy Core (2019) was nominated for a number of awards and won two.

The Holy Core (2019) won BEST ORIGINAL STORY OR SCREENPLAY
and BEST DRAMATIC PRESENTATION, LONG FORM!

Here are some photos of Paul Laight (me/writer), Gary O’Brien (Director, Editor/Production) and Philip Wolff (lead cast member) with our awards.

And if you have never seen the film you can watch it here:

Amazon Prime, Cult Cinema, Films That Got Away, horror

CULT MOVIE REVIEW: XTRO (1982)

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CULT MOVIE REVIEW: XTRO (1982)

Directed by: Harry Bromley Davenport

Screenplay by: Harry Bromley Davenport, Michel Perry, Iain Cassie, Robert Smith

Story by: Harry Bromley Davenport, Michel Perry

Produced by: Mark Forstater

Cast: Bernice Stegers, Philip Sayer, Simon Nash, Maryam d’Abo, Danny Brainin etc.

Cinematography: John Metcalfe

*** MAY CONTAIN SPOILERS ***

Being a fan of the horror genre never fails to spring surprises, especially if you also love trashy-B-movie-exploitation-video-nasties too. Because what often occurs is a hidden or buried or previously banned film will reanimate and be located on one of the many streaming platforms we have today. I am both surprised and even more joyous if I find I have never even seen the said film. This is certainly the case with low-budget alien monster film, XTRO (1982).

There I was pressing play via Amazon Prime, thinking it was another schlocky American indie I had missed from yesteryear, only to discover Xtro (1982) is actually a bizarre British film which twists and riffs on the box office hit that was ET: Extra Terrestrial (1982). Xtro (1982), directed by Harry Bromley Davenport, is not a comforting family science fiction drama like its more famous counterpart though. Instead, it is a gory sci-fi shocker with many outrageously violent set-pieces and a budget lower than E.T.’s lunch bill.

Critically damned at the time, Xtro (1982), when released on home video in 1983, was subject to a prosecution case in relation to British obscenity laws and labelled a “video-nasty”. Watching it now I have to admit it is quite shocking still, but the practical effects are so gloriously over-the-top they are more humorous than sickening. Having said that there are some memorably gruesome moments involving alien births, crazy clowns, a live “Action Man” doll, weird space eggs, and transformative man-into-monster effects.

The film doesn’t hang about establishing character but propels, from the opening scene of a father playing in the garden with his son, straight into the disappearing parent plot. The father (Philip Sayers) vanishes without a trace and three years later his wife (Bernice Stegers) and son are attempting to repair their lives. Yet, the boy is suffering horrific nightmares when suddenly his father reappears attempting to reconcile. The familial drama within the script itself could have been further developed to some emotional impact. However, while Bernice Stegers gives a decent dramatic performance, the film soon descends into a mix of surreal and insane set-pieces, combined with the father’s metamorphosis into something from another world.

There’s much to like and much to loathe about, Xtro (1982), notably the gratuitous nudity sprinkled throughout. Yet, if you are drawn to exploitational B-movies there is much sick entertainment to be found in the blend of impressive practical effects and creature moments. Philip Sayer and Bernice Stegers keep the shlocky elements of the plot in check with sane acting performances and despite some eccentric writing throughout Harry Bromley Davenport and his team have delivered an out-of-this-world bona fide B-movie cult classic.

Cinema, Reviews, Star Trek, Television

TO BOLDLY REVIEW #13 – STAR TREK – THE NEXT GENERATION FILMS!

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TO BOLDLY REVIEW #13 – STAR TREK – THE NEXT GENERATION FILMS!

I have to admit I started getting Star Trek fatigue having watched seven seasons of The Next Generation, the original series, and films over the last couple of years. Thus, I had a bit of a break. But now am ready to visit the many series of Deep Space Nine.

What of the The Next Generation feature films though? The creative danger of adapting television series into feature films is that they often fall into the trap of being two episodes stuck together without the texture , scope or feeling of a cinematic presentation. Not that the studio executives will care ultimately, because their films will likely make money due to the desirous power of the show’s fanbase. How successful were the TNG film releases in avoiding the pitfalls of small to big screen adaptations? Let us see.

*** CONTAINS SPOILERS ***

Star Trek: Generations (1994)

Generations sees Captain Kirk (Shatner) and Captain Picard (Patrick Stewart) meet across the time-streams in a giddy mix of philosophy and temporal variance. Malcolm McDowell as an obsessive scientist, Soran, plays a good baddie. However, this is more a collection of fascinating concepts conjoined unevenly to get Picard and Kirk on screen together. What it lacks in proper cinematic drama and suspense, it serves the fans well with a fun mix of the original and Next Generation series actors. Who doesn’t love seeing Patrick Stewart and William Shatner inhabit their characters with gusto trapped in the mind-bending realm of the Nexus?

Mark: 7 out of 11

Star Trek: First Contact (1996)

In First Contact, Picard and crew fight the formidable Borg with the former flexing both his verbal and physical muscles. This is great and easily one of the best Star Trek films. Patrick Stewart is always brilliant, but you can see his Picard is driven, Captain Ahab-like, to pursue revenge against the Borg, even ignoring Starfleet orders along the way. Alice Krige as the Borg Queen is particularly memorable too. Time travel is integral again to an involving plot. Senior crew members led by Riker (Jonathan Frakes) go back in time to when warp was invented by unlikely legend, Zefram Cochrane (James Cromwell). With two strong narrative strands combining to create superb drama and conflict, First Contact, is both entertaining and moving, standing as a fine tribute to thirty years of Star Trek.

Mark 8.5 out of 11

Star Trek: Insurrection (1998)

With a title suggesting uprising and revolution, Insurrection rather slows the pace down when compared to the dynamic, First Contact. Moreover, in the “fountain of youth” themed plot, Captain Picard falls in love, with Patrick Stewart flexing his romantic muscles here. I actually enjoyed Insurrection with the crew of the Enterprise endeavouring to protect a peace-loving community called the Ba’ha from several surprising foes. I am aware the script went through a number of drafts and iterations, so the narrative holds up surprisingly well. The thematic exploration of the prime directive, vanity and mortality provide emotional depth. Although the biblical metaphors of Picard leading the natives to the “promised land” is a bit much. Still, F. Murray Abraham is brilliant as antagonist, Ru’afo, even under all the prosthetics. Overall, Insurrection, while a mixed bag of ideas and story strands, is certainly very entertaining.

Mark: 7.5 out of 11

Star Trek: Nemesis (2002)

More interesting for the casting choices rather than the strength of the screenplay, plot and themes, Nemesis (2002) was unfortunately a box office failure. It isn’t surprising though as Stuart Baird was arguably not the right director for the franchise, as the film is helmed like a generic action film without the essence of true Next Generation style. Having said that I quite liked the concept of Picard facing Shinzon (Tom Hardy), an enigmatic character who knows a lot about the Enterprise captain. Despite some energetic set-pieces Nemesis (2002) doesn’t quite catch fire dramatically, but Stewart pitting his acting chops against a very young, Tom Hardy, provides some frisson of excitement. Mostly though this could be any bog-standard sci-fi story and is a disappointing final TNG cinematic salvo.

Mark 6.5 out of 11

Cinema, Reviews

CINEMA REVIEW: DUNE (2021)

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CINEMA REVIEW: DUNE (2021)

Directed by: Denis Villeneuve

Screenplay by: Jon Spaihts, Denis Villeneuve, Eric Roth

Based on: Dune by Frank Herbert

Produced by: Denis Villeneuve, Mary Parent, Cale Boyter, Joe Caracciolo Jr.

Cast: Timothée Chalamet, Rebecca Ferguson, Oscar Isaac, Josh Brolin, Stellan Skarsgård, Dave Bautista, Stephen McKinley Henderson, Zendaya, Chang Chen, Sharon Duncan-Brewster, Charlotte Rampling, Jason Momoa, Javier Bardem, etc.

Cinematography: Greig Fraser

***MAY CONTAIN SPOILERS***

I truly hope Dune: Part One (2021), an epic adaptation of Frank Herbert’s legendary Dune literary series, has a second part, otherwise I would have wasted well over two hours of my life watching the Denis Villeneuve helmed film version. Having said that, there were times where I felt the glacial pace of the narrative caused time to stand still, boring me in the process. But, I get it. It’s part one and setting all the major players up and building a strange world both visually and imaginatively. As such perhaps Herbert’s books may have suited a HBO TV adaptation rather than a cinematic version.

Maybe I’m jaded and cynical though. Have I seen too many films and stories? Is Dune: Part One (2021) even worth the journey and perhaps it’s too old-fashioned a sci-fi story to create resonance for myself and these times? Well, it absolutely looks amazing. The special effects, sandy landscapes, behemoth buildings, underground monsters and space vessels are rendered with such believable authenticity they genuinely looked real on the screen. Frank Herbert’s (I haven’t read the books) vision is astoundingly realised as this futuristic world in a far, far galaxy felt like a moving work of art. But, it was extremely beige and brown and sandy looking on Arrakis, so much so that I was glad of the dark contrast in the scenes involving House of Harkonnen. By the way, I’m not often a fan of the natural cinematography style used here where during big action scenes at night I could hardly see anything. Moan over.

The story of Dune (2021) felt a bit old-fashioned as a classic hero’s journey. It didn’t help that the in-the-sand screenplay and Denis Villeneuve’s meditative, confident direction was too subtle for this story. I mean why do we care about Timothee Chalamet’s Paul Atreides and his family’s inheritance of the spice world’s of Arrakis? Without giving anything away it becomes a poisoned chalice politically in this world and Paul’s, his parents, and the House of Atreides’ lives all become endangered. So, while Frank Herbert’s novel was originally released to powerful acclaim in 1965 and five other novels would follow year’s later, a film version of Dune (2021) now feels outdated in terms of subtext. Villeneuve is a genius filmmaker, but I’m not sure, aside from the beautiful look of the locations, sets and actors there is much of a narrative to get our teeth into. Just another ‘white saviour’ quest, which is so drawn out in terms of the interminable slow pace at times.

Of course, the cast are wonderful to look at, but Chalamet is miscast for me. He is an incredibly talented young actor, but he is not given any character to get his teeth into. Villeneuve does a less-is-more style that I love and he’s obviously playing the long game with Dune (2021), yet he really needed a young Ryan Gosling to carry Paul Atreides as Chalamet isn’t given enough to do in terms of acting. Yes, there are massive worms and big explosions and floating fat men, but the story dragged. Thankfully, Jason Momoa injected some movie star charisma in his action sequences, while Rebecca Ferguson and Javier Bardem sprinkled some of their own spice amidst the over-controlled Villeneuve design.

I really wanted to like Dune (2021). I won’t see a more attractive and technically perfect rendition of a sci-fi world in the cinema in years. But, I could not connect with the narrative or drama. I mean, Paul is possibly the chosen one or something or other but why do we care? His mother is connected to some weird cultish sect — with the “Force” — and there are big worms which made me want to watch Tremors (1990); a far superior and shorter version of the hero’s journey. Watch that instead.

Mark: 7 out of 11

Reviews, Star Trek, Television

TO BOLDLY REVIEW #12 – STAR TREK: NEXT GENERATION: SEASON 7 (1993 – 1994)

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TO BOLDLY REVIEW #12 – STAR TREK: NEXT GENERATION – SEASON 7 (1993 – 1994)

Based on Star Trek & Created by: Gene Roddenberry

Season 7 writers (selected): Joe Menosky, Jeri Taylor, Ronald D. Moore, Brannon Braga, René Echevarria, Michael Piller, Naren Shankar, Jean Louise Matthias, James E. Brooks, Michael A. Medlock, Christopher Hatton, Nick Sagan, Spike Steingasser, Dan Koeppel, etc.

Season 7 directors (selected): Les Landau, Cliff Bole, Winrich Kolbe, Alexander Singer, Robert Weimer, Robert Scheerer, Adam Nimoy, Patrick Stewart, Jonathan Frakes, Gabrielle Beaumont, James L. Conway, LeVar Burton, Gates McFadden, etc.

Cast: Patrick Stewart, Jonathan Frakes, LeVar Burton, Whoopi Goldberg, Colm Meaney, Michael Dorn, Marina Sirtis, Brent Spiner, Gates McFadden, Michelle Forbes, Majel Barrett, Rosalind Chao, John De Lancie, Wil Wheaton, Kirsten Dunst, Paul Sorvino, Dwight Schultz, etc.

Music/Composers: Alexander Courage, Jerry Goldsmith, Dennis McCarthy, Ron Jones, Jay Chattaway

Production Company(s): Paramount Television, CBS Television

**** CONTAINS SPOILERS ****

Full Details On Star Trek: The Next Generation Season 7 & 'All Good Things' Blu-rays – TrekMovie.com

My Star Trek journey started when I was a kid many moons ago. I used to watch the original series on my portable telly in the kitchen while eating dinner. I loved the adventures of Kirk, Spock, Bones, Uhuru and the rest of these bold space heroes. Thus, it was surprising that the whole of the Next Generation era of shows, including DS9 and Voyager, passed me by. Nonetheless, I have, since writing and producing two Star Trek fan films, been on a dedicated mission to watch every episode and film of the franchise that has been released.

This escapade began with the original series and my first blog review can be read here:

TO BOLDLY REVIEW #1 – STAR TREK: THE ORIGINAL SERIES (SEASON 1)

Subsequently, and three engrossing years later, I have finally completed watching the last season of The Next Generation. I have to be honest that this marathon viewing project is certainly a big cultural task. Furthermore, I still cannot work out how the hell they managed to produce so many episodes per season for TNG. It truly beggars belief the amount of high quality TV that was produced. I mean, I was exhausted watching it, so how those making it felt I do not know. I guess the fan’s respect and money and joy of being part of the Star Trek legacy was more than compensation.

Season 7 was again a mammoth twenty-six episode tranche. One might think there would be a drop in quality and there was some element of this in certain episodes. However, that was more to do with attempting to crowbar in a satisfactory ending for certain characters, notably Wil Wheaton’s anaemic, Wesley Crusher. Family ties and dramas linked many of season 7’s narratives, yet there was also the usual high concepts and socio-political themes explored throughout. Thus, dearest Next Generation, I thank you for taking me on a bold ride to the final frontier of journey’s end. Here are six of my favourite episodes of season seven!

ATTACHED – EPISODE 9

One of the great pleasures of watching The Next Generation is that the show always gave us mature romantic relationships. The “will they-won’t they” romance of Dr Crusher and Captain Picard is directly addressed in Attached, as the two find themselves shackled physically and telepathically by a paranoid alien race. As they attempt to survive and escape capture the two explore their hidden feelings in a moving episode of some power.

Doux Reviews: Star Trek The Next Generation: Attached

THE PEGASUS – EPISODE 12

Commander Riker (Jonathan Frakes) is portrayed as a dynamic action hero of strength and skill, so it is always interesting when his character is tested. In The Pegasus he is faced with both the sins of the “father” and of his own past. The surrogate father is this case is Captain Erik Pressman, portrayed brilliantly by Terry O’Quinn. Pressman is determined to track down the lost ship, ‘The Pegasus’ before the Romulans get to it. He places pressure on Riker to keep confidential the secrets the missing vessel has as the episode contains great drama and conflict.

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HOMEWARD – EPISODE 13

When shows have been going for many seasons they often have to introduce previously unknown siblings, parents or love interests to manufacture storylines. I totally get this and often it creates fantastic episodes. In Inheritance we get to meet Data’s “mother”, but an even better episode is Homeward where Worf’s foster brother, Nikola (Paul Sorvino) rebels against the ‘Prime Directive’ to save the Boraalan people. It’s a great episode full of twists and some excellent scenes between Paul Sorvino (not playing a gangster for once) and the ever-excellent, Michael Dorn. The use of the holodeck as an integral part of the narrative is highly inventive too.

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LOWER DECKS – EPISODE 15

Most episodes of Star Trek will focus on the core characters with a leaning to one or two of the main cast. But Lower Decks turns that around with the fantastic premise of profiling some of the younger crew members. It’s a well written narrative which focusses attention on a Starfleet promotion with Ensigns Sito Jaxa, Sam Lavelle and Taurik in “friendly” competition to achieve the goal. We immediately warm to their personalities as the witty dialogue adds much fizz, but the drama of the piece is heightened when Bajoran, Sito Jaxa, is sent on a dangerous mission, leading to a powerfully emotional denouement.

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GENESIS – EPISODE 19

I loved this episode because it contained a fantastic melding of sci-fi and horror genres with some monstrous creatures on show. With Gates McFadden directing her only episode, the story finds the Enterprise crew falling ill and regressing to various animal states. Worf has reverted into an aggressive predator attempting to mate with Troi; Riker an Australopithecine (Caveman); Troi an amphibian; and Barclay a spider. Even Spot the cat has become an iguana. While it may sound weird and a bit silly I loved the imaginative animal transformations as the cast shed both their human skin and inhibitions.

Star Trek: The Next Generation" Genesis (TV Episode 1994) - IMDb

ALL GOOD THINGS – EPISODES 25/26

As they say all good things come to an end. So, after boldly going for many seasons, The Next Generation finally concluded with a moving and inventive two-parter. I must admit that while it was clever to call back to the first episode, Encounter at Farpoint, I was never a massive fan of the character, Q. Even though John De Lancie’s performance always brought great energy to every episode, I just felt that this character with uber-God-like powers could always resolve the drama with a Deus ex Machina click of the fingers. Nonetheless, the idea that he was always testing humanity was a great theme, and once again in All Good Things, he puts Jean Luc Picard through a trio of trials in the past, present and future. It’s a superbly written, acted and directed finale and possibly one of the best final episodes of a long-running TV show of all time! The last scene with Picard finally joining his crew at the poker table is truly logical! Make it so – Number One!

10 Things You Should Know About "All Good Things..."
Cinema, New Releases, Reviews

CINEMA REVIEW: A QUIET PLACE PART II (2021)

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CINEMA REVIEW: A QUIET PLACE PART II (2021)

Directed by: John Krasinski

Produced by: Michael Bay, Andrew Form, Brad Fuller, John Krasinski

Written by: John Krasinski

Based on characters created by Bryan Woods and Scott Beck

Cast: Emily Blunt, Cillian Murphy, Millicent Simmonds, Noah Jupe, Djimon Hounsou and John Krasinski

Music by: Marco Beltrami

Cinematography: Polly Morgan

*** MAY CONTAIN SPOILERS ***

Ah, the difficult second album. Well, how do you follow up a genuine classic horror thriller such as A Quiet Place (2018)? I mean, it had everything, including a simple but devastating premise and an imaginative set of rules for the monstrous dangers facing the Abbott family. With hardly any fanfare or major marketing campaign the original film really got audiences flexing their “word-of-mouth” muscles. Throughout  A Quiet Place (2018) my heart was literally living in my mouth, as my fingers and knuckles clenched and whitened during the whole tense escapade. Plus, Emily Blunt and John Krasinski’s “every-couple” and their three children brought a believable humanity to the characters, with Blunt especially on phenomenal form in her reaction and character work.

The sequel opens with a prequel sequence which illuminates how the world descended into chaos. Sadly, and not surprisingly, we only get a short time with John Krasinski’s action-dad, Lee Abbott, before he dives back behind the camera to direct this rattlingly good and highly tense horror/sci-fi mash-up. Thus, the weight of part two is left with Emily Blunt, Millicent Simmonds and the less effective, Noah Jupe character. Once again, the trio, plus baby, rely on dead silence in an attempt to remain uneaten by the blind-but-deadly alien creatures hellbent on making Earth’s inhabitants lunch. Along the way they bump into an apparent loner, Emmett, portrayed by Cillian Murphy. His jaded, shell of a man, hides a tragic secret and the last thing he wants is other people around to attract more devourers.

The story develops as the relationship between the Abbott’s and Emmett, while initially distrusting, becomes less hostile. However, he still wants them gone, much to Emily Blunt’s frustration. After all, any good mother wants to protect her children, as evacuating the factory setting could mean certain death. I have to admit I felt Emily Blunt’s major acting talents were not as well utilised as the first film. Indeed, it was Simmonds’ character, Regan, who had more development and heroic moments. It is Regan who is determined to discover a way out from the dark recesses of the filthy basement and clanking pipes. She may be foolhardy to some, but Regan has guts and makes important life-changing decisions for her family. Simmonds is compelling as she gives another mature performance in the role.

Overall, A Quiet Place – Part 2 (2021) is not as much as a surprise as the original film. How could it be?! I mean we now know what defeats the monsters, yet that doesn’t stop them being fierce predators and foes. Moreover, the use of sound design that was so brilliant in the first film is presented equally superbly in the sequel. While the film lacks for a decent plotline, as anyone who has their fill of zombie apocalypse films could testify, there remains some incredibly exciting chases and well directed set-pieces. Krasinski clearly had the Spielberg playbook to hand and that is certainly not a criticism, because I think he is definitely a talent to keeps tabs on. Thus, as my first film back at the cinema after yet another lockdown, I can definitely recommend A Quiet Place – Part 2 (2021), to take one’s mind off the horrors of real life for ninety-odd pulsating minutes.

Mark 8.5 out of 11