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Star Trek Movie Rewatch: Star Trek V – The Final Frontier (1989)

Star Trek Movie Rewatch: Star Trek V – The Final Frontier (1989)

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Early on I was inclined to be charitable about Star Trek V: The Final Frontier and I wasn’t really sure what all the fuss was about. As you may be aware, the consensus seems to be that it was one of the worst of all of the Star Trek movies.

But up until about the halfway mark I didn’t quite get it. Not that the first half of this movie is a masterpiece, mind you. But as the second half began to unfold I started to catch on.

The plot can be dispensed with in a few words. Spock’s half-brother — one of those free-spirited emotional Vulcan types — commandeers the Enterprise and sets off to the center of the galaxy to find God. Which doesn’t seem to be all that far removed from the premise of the first Star Trek movie. Which also featured an abundance of scenes of people trying to look awed but mostly looking dopey. Since there’s little drama or interest to be found in this premise there’s also some standard stuff about Klingons with bad intentions lurking about.

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Time to Railroad: Still On The Train

Time to Railroad: Still On The Train

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VU1Last time I was talking about the idea of there being a time to railroad. In other words, that there’s a time when the supporting technology, or maybe just the zeitgeist, allows for a concept or invention to finally flourish. The railroad itself is the ultimate example of this idea technologically, and you can look at my last post for examples of TV or movie concepts whose time to railroad popped up in the last ten years or so.

But I also wanted to take a look at a couple of TV shows that got derailed because – maybe – they were ahead of their time.

I’d be remiss if I didn’t at least touch on two related works, The Princess Bride, and Firefly, both of which “failed” at the time of their production, and both of which have become cult classics since. To be honest, I don’t think either of these was before their time. Above, around, beyond, maybe, but not before. Princess Bride was marketed badly – like trying to find only one shelf for a cross-genre book. The studio just didn’t know what to do with it. Firefly suffered more, I think, from lack of backbone – I mean to say, patience – on the part of its network. Either that or the audience which seems so huge to us in the Fantasy and SF community is actually quite small when compared to the population at large. Maybe Firefly would have flourished if it had been on another network, where the numbers would have looked better.

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Goth Chick News: So There Really Was Something In The Woods…?

Goth Chick News: So There Really Was Something In The Woods…?

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The Woods movie banner

In spite of the fact John O will not allow us to borrow the Black Gate dirigible for a road trip (air trip?) out to the San Diego ComicCon, we followed all the many developments of last week from afar, with maniacal interest. After all, this is where we see what we have to look forward to on the entertainment front as we slog through another Midwest winter.

From world-class cosplay to the many celebrity appearances it was difficult to decide where to look first – unless of course you’re obsessed with a good horror movie, in which case the place to look was the many trailers which made their debut during the week.

We had glimpses of Justice League, Kong: Skull Island, Suicide Squad, Wonder Woman and a television-series version of The Exorcist starring Gina Davis, which actually looks pretty interesting if you don’t mind priests fighting demons with guns instead of holy water.

But an unexpected treat came in the form of the screening of an upcoming found-footage horror film called The Woods.

From what we are told, during the screening the posters for The Woods in the theater lobby were swapped out for ones simply titled Blair Witch, and audiences were informed that they were about to watch a direct sequel to the 1999 horror blockbuster that started the craze: The Blair Witch Project.

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Hear John Goodman Give a Speech Straight Out of Lovecraft in Kong: Skull Island

Hear John Goodman Give a Speech Straight Out of Lovecraft in Kong: Skull Island

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Among the many fascinating trailers shown for the first time at Comic-Con this weekend (including those for Justice League and Wonder Woman, which we showcased here, and the first official trailer for Dr. Strange) was a special Comic-Con trailer for Kong: Skull Island. Produced by the Legendary team behind the latest film version of Godzilla (see Ryan Harvey’s rave review here), the film is also a set-up for the upcoming Godzilla Vs. Kong megapicture.

All very cool. But this most interesting part of the trailer for me (next to the peek at actress Brie Larson, who’s just been cast as Captain Marvel) was John Goodman’s brief speech, which is straight out of H.P. Lovecraft.

This planet doesn’t belong to us… ancient species owned this Earth long before mankind. I’ve spent 30 years trying to prove the truth. Monsters exist.

You tell ’em, Goodman! The world needs to know this stuff. Also, you should let everyone in on the giant insects of Monster Island.

Kong: Skull Island is directed by Jordan Vogt-Roberts and stars Tom Hiddleston, Brie Larson, Samuel L. Jackson, Jason Mitchell, Corey Hawkins, Toby Kebbell, Tom Wilkinson, Terry Notary, John Goodman, and John C. Reilly. It is scheduled for release on March 10, 2017.

See the Comic-Con Teaser Trailers for Justice League and Wonder Woman

See the Comic-Con Teaser Trailers for Justice League and Wonder Woman

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I quite enjoyed Zack Snyder’s Batman vs. Superman. One of the things I liked best about it was the care it took in setting up follow-up features in the DC Universe. Yesterday at San Diego Comic-Con, Warner Bros. unveiled some of the fruits of that careful planning, with the first teaser trailer for Justice League, and a full-length trailer for Wonder Woman.

Justice League features Batman, Wonder Woman, Flash, Aquaman and Cyborg, and looks like a lot of fun. Clearly following in the successful footsteps of Marvel’s Avengers, the film gathers an ensemble cast (including Ben Affleck, Henry Cavill, Gal Gadot, Ezra Miller, Jason Momoa, Ray Fisher, Amy Adams, Jeremy Irons, J. K. Simmons, Amber Heard and Willem Dafoe) and sets up an epic battle between Earth’s mightiest heroes and an extra-planetary menace.

Principal photography began on April 11, 2016, so this is obviously very early footage. Not a lot is known about the plot, but we do know that Batman assembles the team to take on the interdimensional threat of Steppenwolf and his army of Parademons, as hinted in the closing scenes (and this deleted scene) from Batman vs. Superman. Justice League is directed by Zack Snyder and scheduled for release November 17, 2017.

Be sure to check out the first full-length trailer for Wonder Woman, also released this weekend at Comic-Con. Wonder Woman, directed by Patty Jenkins, and staring Gal Gadot, Chris Pine, Connie Nielsen, and Robin Wright, is the fourth installment in what’s now being called the DC Extended Universe. The producers have whole-heartedly embraced Wonder Woman’s epic backstory, including her origin as Princess Diana of Themyscira, warrior princess of the Amazons of Greek mythology. Gadot surprised me in Batman vs. Superman, pretty much stealing all the scenes she was in, and she brings a marvelous gravity to the role. The film is scheduled to be released on June 2, 2017.

Fantasia 2016, Day 1: Outlaws and Angels

Fantasia 2016, Day 1: Outlaws and Angels

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Fantasia 2016Thursday, June 14: as good a day as any to begin an adventure. I walked downtown that afternoon under looming clouds to Concordia University’s EV Building, where I picked up my accreditation for the 2016 edition of the Fantasia International Film Festival. I’d been looking forward to writing about this year’s festival for Black Gate virtually since last year’s had ended. Now things were finally about to begin. A laminated press pass, a festival schedule, a thick program book: the guide to the adventure unfolding over the next three weeks, to fantasy and horror and science fiction and a lot more.

Fantasia is a genre film festival that traditionally has a strong focus on Asian film. I’ve covered it for Black Gate both of the last two years, and I’m looking forward to doing it again, especially since this year marks the twentieth edition of Fantasia (spread over twenty-one years). Once again I’ll be posting in a diary format, covering the films I see in the order they’re shown while also reporting on special events accompanying the screenings — interviews, presentations, and whatever else comes along. I’ll try to get the posts up as quickly as I can, but realistically I’ll be seeing so many movies from now until the festival ends on August 3 that I don’t know when I’ll have time to type up my notes. There’ll probably be scattered posts from now until then, with a flood of posts following through August. We’ll see.

The festival proper began for me that Thursday evening at the De Sève Theatre, the smaller of the two main Fantasia theatres. I saw a western named Outlaws and Angels, which intrigued me since one of the leads is surnamed Eastwood. In this case, that’s Francesca Eastwood, daughter of Clint. I thought the casting choice was fascinating, and was also struck by writer/director J.T. Mollner’s decision to shoot the movie on 35mm film. I wondered how these things would work out; and besides, the only other movie showing at the same time was Kickboxer: Vengeance, a relaunch of the Jean-Claude Van Damme series from the 80s. Having seen the first three seasons or so of Community, I knew I’d only be able to think of that movie as Kickpuncher. Outlaws and Angels seemed like the clear choice.

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See the History of Horror Film in 12 Minutes

See the History of Horror Film in 12 Minutes

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Diego Carrera has created a captivating and wordless 12-minute video essay that proposes “a timeline of influential and aesthetically beautiful horror movies around the world since 1895 until 2016.” It offers us a brief clip from one film every year, starting with The Execution of Mary, Queen of Scotts (1895), and working up through The Haunted Curiosity Shop (1901), Frankenstein (1910), The Cabinet of Dr Caligari (1920), Nosferatu (1922), Bob Hope’s hilarious The Ghost Breakers (1941), Abbott and Costello Meet Frankenstein (one of my favorite horror films, 1948), Psycho (1960), The Exorcist (1973), Alien (1979), The Thing (1982), The Blair Witch Project (1999), Let the Right One In (2008), It Follows (2015) and The Witch (2016).

It’s oddly captivating — check it out. And see more of Diego Carrera’s video work on Vimeo here.

When It’s Time to Railroad . . .

When It’s Time to Railroad . . .

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DraculaI don’t think there’s anyone in the Fantasy and SF community that isn’t familiar with this concept (I first came across it in a Heinlein novel) but just in case: There’s a point at which all the necessary components to allow for an invention to flourish are in existence, and at that point – and not before – the invention takes off.

In other words, when it’s time to railroad, everybody railroads. It explains in part why so many inventors seem to file patents within weeks or months of each other, and why so many different people are credited with being the first one to invent something.

Look at it this way, Leonardo da Vinci is credited with the invention of numerous devices he didn’t actually build and/or wasn’t able to build, because the supporting industry, or the supporting technologies weren’t yet in existence.

I want to suggest that this happens in the arts as well. Consider the vampire, as an example. For all intents and literary purposes, the vampire was invented by Bram Stoker. A few other writers showed an interest, but not much was done with the idea until the latter half of the 20th century, when it became time to vampire.

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Goth Chick News: Kiefer Sutherland and Hollywood Both Flatline

Goth Chick News: Kiefer Sutherland and Hollywood Both Flatline

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Flatliners-small

Back in 1988 a then-unknown Boston screenwriter Peter Filardi had an idea for a story based on a very personal source; a close friend of his suffered a severe allergic reaction to the anesthesia after an operation and had a near-death experience.

Filardi went on to write The Craft and Salem’s Lot, but in 1990 he and director Joel Schumacher (St. Elmo’s Fire) turned that potential tragedy into the very lucrative film Flatliners.

The original Flatliners followed a group of medical students and close friends who conduct experiments with near death experiences. Each one has their heart stopped before being revived instantly, which causes them nightmarish visions, reflecting either sins they have committed or sins committed against them.

As you can imagine, their unorthodox extracurricular studies have very dark consequences, as the supernatural apparitions they experience during their “deaths” begin to follow them into the living world.

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Belated Movie Review #7: Towards a Unified Theory of Hudson Hawk

Belated Movie Review #7: Towards a Unified Theory of Hudson Hawk

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Hudson Hawk poster-smallSo there’s this network, Comet TV, that shows old sci-fi shows and movies and such. As I live in a media cave without cable or Netflix I sometimes catch said old movies there. A couple of weeks ago I caught the 1991 Bruce Willis vehicle Hudson Hawk — a movie both loved and reviled! An action/comedy that is, in most senses, the final word on action comedies.

Most people absolutely HATE this movie. Especially snobs whose jobs depend on them hating movies. Can I provide examples? Oh yes:

Terry Cliffored, writing for the Chicago Tribune notes:

Boring and banal, overwrought and undercooked, Hudson Hawk is beyond bad.

Kenneth Truan scribbling gloomily for the L.A. Times had this to say:

The saddest thing about Hudson Hawk is that director Lehmann and co-screenwriter Waters were previously responsible for the clever, audacious “Heathers,” a film that represented all that is most promising about American film, while this one represents all that is most moribund and retrograde. Perhaps they both earned enough money here so that they won’t be tempted to indulge themselves in similar big-budget fiascoes. Here’s hoping.

And I would be remiss if I didn’t include Rolling Stone’s Peter Travers trying to be cool by bemoaning it thusly:

A movie this unspeakably awful can make an audience a little crazy. You want to throw things, yell at the actors, beg them to stop.

You know what? Screw them! There are some movies that are simply beyond the grasp of tiny minds — and this is one of those movies, if not the king of such movies.

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