Tonight I saw Star Wars: The Last Jedi, starring Mark Hamill and Carrie Fisher.
The film picks up soon after The Force Awakens left off showing us Rey (Daisy Ridley), a cliffside compound and the legendary Luke Skywalker (Hamill). Instead of the badass we know him to be, Luke has retreated to a monk-like lifestyle, watching over the ancient Jedi texts as he reflects on his regrets regarding nephew, Kylo Ren (Adam Driver). He has no desire to return to battle.
Meanwhile, the Resistance is facing more drama and they're in desperate need of some backup. After perhaps too many characters get a few moments in the spotlight, everything scatters into chaos. There are welcome additions, however, like the spritely Rose (Kelly Marie Tran) who meshes well with Finn (John Boyega).
I could have done with less of them, though—and Poe (Oscar Isaac) and Admiral Holdo (Laura Dern). Though they're all good characters portrayed by good actors, I'd just have preferred a shorter movie that had less going on the side. The core of the film is Luke and Leia (Fisher) and Ren and Rey. And they can hold their own.
That said, I still think this was a great movie. The original Star Wars was the first film I ever saw in a theater and I will always get goosebumps when that iconic score bursts into sound, no matter what installment of the story I'm watching. I haven't loved all of them, but this one to me felt like the classic in many ways, and for that I am grateful.
Yes, the characters tell us throughout that the torch is being passed. The title itself implies the Jedis are on their way out. A new generation is taking over, blah blah. But I'd argue that the real message here was that the more things change, the more they stay the same.
Through all that transpires (and I won't spoil for those who have yet to see), it all goes back to Luke and Leia. C-3PO and R2-D2 pop in, along with Chewbacca and Yoda. In the traditional sense, some of those appearances are cameos, but they don't feel that way. Their presence (whether literal or metaphorical) is a comfort; something that's always been there and that will continue to be when all of us kids from the '70s—who were the first to freak out in this alternate reality—are long gone to enjoy it.
I liked the strong message about the future being female (listen closely to Carrie Fisher's last line), the nod to children and the younger characters emerging strong. But what I liked more was the sense of history and lineage that permeates the franchise and has never been more evident as it is now.
The Force will always be with us.
~~~
Showing posts with label sci fi. Show all posts
Showing posts with label sci fi. Show all posts
Tuesday, December 19, 2017
Monday, November 14, 2016
Doctor Strange
On Saturday, I saw Doctor Strange, starring Benedict Cumberbatch and Chiwetel Ejiofor.
Dr. Stephen Strange (Cumberbatch) is a gifted neurosurgeon with a knack for music trivia. He's sharp, sarcastic and more than a little bit arrogant. He has an on-again, off-again relationship with fellow doctor Christine (Rachel McAdams), who at the very least trusts his professional genius.
When Dr. Strange is in a terrible car accident (caused by distracted driving, of course), he suffers severe nerve damage to his hands—his most precious instruments—and grows desperate for a cure. A discussion with a physical therapist attending to him leads to a conversation with a "miracle" patient who was healed through alternative means. From this patient he learns of a healer in Kathmandu, so he catches the next flight to Nepal.
There, he meets Mordo (Ejiofor) and The Ancient One (Tilda Swinton) who convince him to stop thinking scientifically about everything and embrace the powers of the mind.
Refusing to discard any chance of physical restoration, Strange dedicates himself to learning the spiritual arts of which they speak and finds himself in the midst of a supernatural fight between good and evil. He's a quick study, but he still doesn't seem to be learning the larger philosophical lessons that The Ancient One practically beats him over the head with each day.
The film does a great job of getting the audience invested in Strange. Even though he's not the nicest guy, it's hard not to admire his intelligence and perseverance in the face of a ruined career. Cumberbatch also expresses the pain, both mental and physical, so vividly that a part of you aches for a remedy right along with him.
Swinton is sufficiently creepy as the wise teacher, but considering the casting drama, it seems she was mostly chosen for her look. She works, don't get me wrong, but others could have pulled off the role too.
Ejiofor is a calming presence as the voice of reason, and every time we see him, a little sigh of relief escapes, and Mads Mikkelsen (has their ever been a better real name for a villain?) as Kaecilius does a sufficient job of bringing the anger.
My only issues with the film were the dizzying bendy scenes where mirrors cave in and cities crumble within themselves Inception-style. I was grateful to be at the back of the theater and to be at a non-3D showing, because I fear I could have gotten sick otherwise. It was too much, too often, once the action got going. Excessive and unnecessary.
Nonetheless, I very much enjoyed the film and the teaser for the sequel, which followed the credits.
~~~
Dr. Stephen Strange (Cumberbatch) is a gifted neurosurgeon with a knack for music trivia. He's sharp, sarcastic and more than a little bit arrogant. He has an on-again, off-again relationship with fellow doctor Christine (Rachel McAdams), who at the very least trusts his professional genius.
When Dr. Strange is in a terrible car accident (caused by distracted driving, of course), he suffers severe nerve damage to his hands—his most precious instruments—and grows desperate for a cure. A discussion with a physical therapist attending to him leads to a conversation with a "miracle" patient who was healed through alternative means. From this patient he learns of a healer in Kathmandu, so he catches the next flight to Nepal.
There, he meets Mordo (Ejiofor) and The Ancient One (Tilda Swinton) who convince him to stop thinking scientifically about everything and embrace the powers of the mind.
Refusing to discard any chance of physical restoration, Strange dedicates himself to learning the spiritual arts of which they speak and finds himself in the midst of a supernatural fight between good and evil. He's a quick study, but he still doesn't seem to be learning the larger philosophical lessons that The Ancient One practically beats him over the head with each day.
The film does a great job of getting the audience invested in Strange. Even though he's not the nicest guy, it's hard not to admire his intelligence and perseverance in the face of a ruined career. Cumberbatch also expresses the pain, both mental and physical, so vividly that a part of you aches for a remedy right along with him.
Swinton is sufficiently creepy as the wise teacher, but considering the casting drama, it seems she was mostly chosen for her look. She works, don't get me wrong, but others could have pulled off the role too.
Ejiofor is a calming presence as the voice of reason, and every time we see him, a little sigh of relief escapes, and Mads Mikkelsen (has their ever been a better real name for a villain?) as Kaecilius does a sufficient job of bringing the anger.
My only issues with the film were the dizzying bendy scenes where mirrors cave in and cities crumble within themselves Inception-style. I was grateful to be at the back of the theater and to be at a non-3D showing, because I fear I could have gotten sick otherwise. It was too much, too often, once the action got going. Excessive and unnecessary.
Nonetheless, I very much enjoyed the film and the teaser for the sequel, which followed the credits.
~~~
Saturday, November 08, 2014
Interstellar
Tonight I saw Interstellar, starring Matthew McConaughey and Jessica Chastain.
Cooper (McConaughey) is a mid-western widower and father of two who is stuck farming corn after earth becomes nearly inhabitable. In a former life he was an engineer and astronaut, and he's never gotten over the fact that the technology died out before mankind could be saved.
Murphy (Chastain) is Cooper's daughter who is convinced that a ghost in her room is trying to communicate with her. He's certain she doesn't have a ghost, but can find no scientific explanation for the weird occurrences.
The whole family (which also includes a son and a grandpa) is tested when Cooper discovers a way to possibly remedy the predicament humans have gotten themselves into. Of course, this means he has to travel through a 'wormhole' in space to explore other planets that may provide favorable living conditions, and take years off his life, but hey—he's up for the challenge.
He has a few comrades on his trip; Dr. Bryant (Anne Hathaway) the only female. When they set out on the trip, you wonder if they'll even come close to accomplishing their mission since their pleasantries are so icy, but of course they thaw out. How could they not? They have three hours to do so.
Therein lies the problem: a movie that's already been done—whether you call it Moon or Gravity or 2001: A Space Odyssey—is what you see, plus the family back home waiting for dad to come home, plus the folks at the command center, plus a few surprises in the next galaxy, plus a few cameos that you're sure were put there just because the actors wanted cameos. And a lot of spinning.
I've never been so alternately nauseous and exhausted.
Of course the acting is top notch, but with a script that struggles and sequences in space that carry on far too long, it almost feels as if you're hanging out atop a roller coaster right before it's about to go off the edge and then you drop and take that long way back to the top. Several times.
There were some jumpy moments, some tense-filled scenes, no doubt. But not enough when woven together to create a seamless film.
~~~
Cooper (McConaughey) is a mid-western widower and father of two who is stuck farming corn after earth becomes nearly inhabitable. In a former life he was an engineer and astronaut, and he's never gotten over the fact that the technology died out before mankind could be saved.
Murphy (Chastain) is Cooper's daughter who is convinced that a ghost in her room is trying to communicate with her. He's certain she doesn't have a ghost, but can find no scientific explanation for the weird occurrences.
The whole family (which also includes a son and a grandpa) is tested when Cooper discovers a way to possibly remedy the predicament humans have gotten themselves into. Of course, this means he has to travel through a 'wormhole' in space to explore other planets that may provide favorable living conditions, and take years off his life, but hey—he's up for the challenge.
He has a few comrades on his trip; Dr. Bryant (Anne Hathaway) the only female. When they set out on the trip, you wonder if they'll even come close to accomplishing their mission since their pleasantries are so icy, but of course they thaw out. How could they not? They have three hours to do so.
Therein lies the problem: a movie that's already been done—whether you call it Moon or Gravity or 2001: A Space Odyssey—is what you see, plus the family back home waiting for dad to come home, plus the folks at the command center, plus a few surprises in the next galaxy, plus a few cameos that you're sure were put there just because the actors wanted cameos. And a lot of spinning.
I've never been so alternately nauseous and exhausted.
Of course the acting is top notch, but with a script that struggles and sequences in space that carry on far too long, it almost feels as if you're hanging out atop a roller coaster right before it's about to go off the edge and then you drop and take that long way back to the top. Several times.
There were some jumpy moments, some tense-filled scenes, no doubt. But not enough when woven together to create a seamless film.
~~~
Saturday, August 04, 2012
Total Recall (2012)
Tonight I saw Total Recall, starring Colin Farrell and Kate Beckinsale.
For a remake, it's not as bad as it could be, but as a stand-alone film it has some flaws.
Colin (Quaid) is a factory worker in a dystopian future who is looking for an escape from his less-than-fulfilling life (though his job seems solid and his wife seems hot, but whatever). He decides to take a risk and go to Rekall, where he can have new memories programmed into his brain. Note: this sequence of the film reminded me more of Eternal Sunshine of the Spotless Mind than it did the original Recall, but that moment soon escaped me.
When Quaid goes in for the procedure, hoping to be programmed as a secret agent, all hell breaks loose and his identity is called into question.
From here on out, the film is a roller coaster of storm-trooper-resembling soldiers, deceptive women and Bryan Cranston, who unfortunately can't come close to being as menacing as his Breaking Bad alter ego, Walt.
Is it entertaining? Sure. Farrell is a solid actor (and more believable as a highly intelligent operative than the role's original Arnold S.) and the chemistry he has with Beckinsale is fun to watch.
But for a sci fi movie that clearly maps out what has become of our world, the scenery is pretty unremarkable, and some of the technologies (phones implanted in hands) don't match up with other props (a good old paperback book—which makes us wonder if the Kindle population was also wiped out in the chemical warfare).
Cool to see? Refrigerator photos and notes that are digital (I can't imagine that doesn't already exist) and hovercrafts that rival those from Back to the Future II.
Not so much? Jessica Biel who really doesn't convince the audience of anything. I'm still not sure why she had to be there.
All in all, you could do worse if you're just wanting some action-heavy, pow-wow entertainment, but if you're looking for substance or sci fi innovation, stay home.
~~~
For a remake, it's not as bad as it could be, but as a stand-alone film it has some flaws.
Colin (Quaid) is a factory worker in a dystopian future who is looking for an escape from his less-than-fulfilling life (though his job seems solid and his wife seems hot, but whatever). He decides to take a risk and go to Rekall, where he can have new memories programmed into his brain. Note: this sequence of the film reminded me more of Eternal Sunshine of the Spotless Mind than it did the original Recall, but that moment soon escaped me.
When Quaid goes in for the procedure, hoping to be programmed as a secret agent, all hell breaks loose and his identity is called into question.
From here on out, the film is a roller coaster of storm-trooper-resembling soldiers, deceptive women and Bryan Cranston, who unfortunately can't come close to being as menacing as his Breaking Bad alter ego, Walt.
Is it entertaining? Sure. Farrell is a solid actor (and more believable as a highly intelligent operative than the role's original Arnold S.) and the chemistry he has with Beckinsale is fun to watch.
But for a sci fi movie that clearly maps out what has become of our world, the scenery is pretty unremarkable, and some of the technologies (phones implanted in hands) don't match up with other props (a good old paperback book—which makes us wonder if the Kindle population was also wiped out in the chemical warfare).
Cool to see? Refrigerator photos and notes that are digital (I can't imagine that doesn't already exist) and hovercrafts that rival those from Back to the Future II.
Not so much? Jessica Biel who really doesn't convince the audience of anything. I'm still not sure why she had to be there.
All in all, you could do worse if you're just wanting some action-heavy, pow-wow entertainment, but if you're looking for substance or sci fi innovation, stay home.
~~~
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