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My Favorite Dragons

My Favorite Dragons

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Dragonslayer poster-smallDragons.

These creatures of legend have captivated our imaginations from the dawn of time. A staple of fantasy literature and culture, they embody power, majesty, and perilous danger.

I’d like to share with you some of my favorites, in no particular order.

Smaug (The Hobbit, J.R.R. Tolkien)

Ah, old Smaug. Wrecker of dwarven homes and stealer of treasures. I can still remember the rapture with which I read this book as a child, with all Bilbo’s misadventures leading him toward an epic confrontation with this ancient wyrm.

Without a doubt, Smaug triggered a fascination with dragons that has lasted my entire life. And now with The Hobbit movies coming out, I can re-live that joy in its full splendor on the big screen.

Vermithrax Pejorative (Dragonslayer, Touchstone Pictures)

I saw this movie as a kid, fresh off my love-affair with Smaug. Even though we see precious little of the beast until the final act, just the sounds of its breath rising from the ground and the reactions of the various characters to its presence fill the movie with a wonderful sense of anticipation.

And the final battle between wizard and dragon is pretty damned good for its time. Definitely, a diamond in the rough.

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Roar for Victory! The Godzilla ’14 Trailer Is Here and Life Is Good

Roar for Victory! The Godzilla ’14 Trailer Is Here and Life Is Good

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godzilla 2014 poster-smallTHE TRAILER IS HERE AND YOU SHOULD BE WATCHING IT.

You might not have noticed it, because I’ve only had a few opportunities to discuss it at Black Gate (here and here), but Godzilla is sort of a huge big damn bloody deal to me.

Well, Godzilla is just plain huge to anybody, especially if you are in its way.

That’s why I hovered over my keyboard today at 10 a.m., hands palsied, awaiting the premiere of the first teaser trailer for the new Hollywood Godzilla from director Gareth Edwards. And… when the camera at last found the great lengths of the Japanese leviathan looming through the rubble of its devastation, and the beast let loose the legendary roar… I also roared out loud with him at the top of my lungs.

I was at work, mind you. Some impulses cannot be stopped. We’re a loose workplace, fortunately. They expect weird actions from their writers.

There’s no need to describe the trailer further — you can behold it for yourself — except to say that using György Ligeti’s “Requiem for Soprano, Mezzo-Soprano, 2 Mixed Choirs and Orchestra” for the HALO-drop opening is perfect. This music is best known for its use as the “monolith theme” in 2001: A Space Odyssey, and is anything more monolithic than Godzilla? (As a hardcore Stanley Kubrick fan as well, this slammed my geek-meter up to “Do Not Pull This Lever Again.”)

Although the trailer leaves many open questions, as any early teaser trailer should (will Walter White have to move the cook now that a monster has stomped it?), it does show that Gareth Edwards and company have created a genuine interpretation of the figure of Godzilla.

This is crucial: there are many different Godzilla interpretations since the beast first crashed onto Japanese screens in 1954. Godzilla has served as a nuclear metaphor, a force of nature, a butt-kicking anti-hero, a child friendly superhero, and a near-demonic force. All of these are legitimate interpretations of Godzilla, who can absorb many concepts and channel many human emotions. I prefer some versions to others, but as a dedicated G-fan, I can find some enjoyment in all of them.

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Star Trek: Nemesis, One Generation’s Final Frontier

Star Trek: Nemesis, One Generation’s Final Frontier

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NemesisposterLet it be known that I missed the release of Star Trek: Nemesis because, in 2002, I was busy shepherding the next generation of science fiction fans into this wondrous, weary world. Eleven years later, I finally have the time to rectify that deficiency.

If the initial appeal of Star Trek (the TV series) was interstellar adventure coupled with wear-it-on-your-sleeve humanism, the long term attraction has proven to be much like that of visiting extended family, the kind of affable clan where reunions are always a treat.  Even if the vehicle in question is a stinker (Star Trek: The Motion Picture et al), a certain pleasure remains simply in spending a few hours in the company of trusted, far-flung friends.

Sure enough, good company is the chief pleasure of the Next Generation’s final outing. Nemesis proves to be a convoluted, shadowy film that trots out any number of sci-fi standbys (baddies in stiff vinyl costumes, fearsome ships much larger than the Enterprise, and diplomatic missions fraught with duplicity and danger), but it’s not by any means a disaster. Gone are the bright scarlet and black uniforms of old; now that the crew has aged a bit, a more somber black-and-heather-blue attire holds sway. Perhaps this is metaphorical? More than a few of our old friends do seem to be feeling the miles. Two exceptions: newlyweds Deanna Troi and Will Riker both look better than ever. Actors Mirina Sirtis and Jonathan Frakes are lucky people; age has brought out a rugged sturdiness to their familiar faces.

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This Will Be On The Test

This Will Be On The Test

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Treasure IslandI don’t know whether it’s the controversy over the character Turiel in the upcoming The Hobbit: The Desolation of Smaug, but there’s been a big swell of interest lately in the Bechdel Test. You know what that is, right? Generally applied to movies and TV shows, it determines whether women are represented equitably. In order to pass the test,  there must be two female characters who have names; they must at some point speak to each other; they must speak about something other than men. Seems simple.

I remember my father once telling me that Treasure Island had no women in it. He seemed to think this was a good thing. He was wrong, of course, except that he was also right. What he didn’t realize was that the film he was familiar with had no women, but that wasn’t also true of the book. Jim Hawkins does have a mother.  We could argue, however, that the film guys got it right, since Mrs. Hawkins does little or nothing to forward the plot.

So Treasure Island, whether print or celluloid, fails the Bechdel Test.

Most films/shows don’t pass the test, even the ones we fantasy and SF lovers love the most. Big Bang Theory doesn’t pass, even though there are three named female characters (and not because Penny, as my friend Jim Hines has pointed out, has no last name). Stargate passes, at least SG1 – they were smart to make the doctor a woman, since that gives plenty of room for non-guy related conversation. It’s been a while, but I believe that Star Trek: Voyager passes (between Captain Janeway, B’lanna Torres, and Seven-of-Nine) and TNG as well – remember, the doctor’s a woman.

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The Resurrection of Dr. Mabuse

The Resurrection of Dr. Mabuse

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DRMABUSEDVDDRMABUSEONESHEETNorbert Jacques’s Weimar Republic criminal mastermind, Dr. Mabuse has proven a potent allegorical figure for communicating the chaos of socio-economic collapse.

From the original Roaring Twenties figure of Jacques’s fiction and Fritz Lang’s epic two-part silent film and its Depression-era sequel to the character’s rebirth, which book-ended the rise and fall of the Berlin Wall and the beginning of the modern police state with its intricate and intrusive surveillance systems, Mabuse’s long cinematic history incorporates Expressionism, film noir, krimi, Euro-trash, and now modern independent film.

Ansel Faraj is the ambitious young man who has brought Dr. Mabuse into the twenty-first century. A mere twenty-one years old, Faraj has already written and directed twenty-five independent films for his Hollinsworth Productions over the past seven years. Dr. Mabuse, newly released on DVD, shows a surprising polish and sense of artistry rarely found in the work of young filmmakers.

Most surprising is how well Faraj makes use of his modest budget to the film’s overall advantage, instead of its detriment. The Spartan production values assist in creating the dreamlike quality of the film. This can best be appreciated by watching the film in its entirety. Judging the results by the trailer fails to do justice to the neo-Expressionistic mood Faraj has managed to capture here.

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Goth Chick News: Why Japanese Tire Commercials Are Cooler Than US Tire Commercials

Goth Chick News: Why Japanese Tire Commercials Are Cooler Than US Tire Commercials

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Kuchisake-onnaYou’re going to love this…

Autoway Loop, one of Japan’s largest wholesalers of tires, has recently employed the image of Kuchisake-onna (the “Slit-Mouthed Woman”) as its new “it” girl.

According to Japanese urban legend, Kuchisake-onna is a woman who is mutilated by a jealous husband and returns as a malicious spirit. When rumors of alleged sightings began in 1979 around Nagasaki, it spread throughout Japan and caused panic in many towns. There are even reports of schools allowing children to go home only in groups escorted by teachers for safety, and of police increasing their patrols.

Flash forward to 2013, to an ad agency somewhere in Japan who are tasked with making snow tires interesting.

The results are awesome (especially the guy with the high-pitched scream toward the end), though I’m not sure afterwards I’d remember someone is trying to get me to buy tires.

Take that, Michelin Tire marshmallow man…

Post a comment or drop a line to sue@blackgate.com.

The Hobbit: The Long-Awaited Movie, Part One

The Hobbit: The Long-Awaited Movie, Part One

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The Hobbit the Desolation of Smaug poster2-smallLet me begin with a confession: I’m an unabashed Tolkien fan. Since the first time I read The Hobbit as a wee lad, I’ve been hooked. When The Lord of the Rings movies came out a few years back (which I loved), my next question was, “When is Peter Jackson going to make The Hobbit?”

Finally, after legal battles and years of waiting, we got the first installment, The Unexpected Journey.

While I’m in the confessional mood, I’ll add that I wasn’t completely sure about the decision to split the book into three movies. After all, Mr. Jackson & Company did a pretty good job capturing the entire LoTR trilogy in three films. Why do they need the same amount of time to cover a single book? However, I had faith that the films’ creators knew what they were doing. Now, with the second movie about to be released, I’ve been ruminating about what I’ve seen so far.

What I desired most from The Hobbit movie(s) was to be transported back to the lush, mythic realm that had been created in the LoTR movies. And I got it in spades. Jackson even includes some scenes with Frodo and “old” Bilbo that serve as both a framing device and an introduction to the LoTR movies.

The movie also adds a bit of background to the story, showing how Smaug came to the mountain and evicted the dwarves. Usually, these kinds of pre-story narratives don’t interest me, but this one was so well-done that I didn’t mind. It actually gives us a brief glimpse of the dragon upfront and, in a stroke of genius, introduces the Arkenstone, which plays a big part at the end of the story, but which the book doesn’t explain much.

Once the actual story begins, I was locked in. (*cue tractor-beam sound*) The first thing that struck me was how cool and different the dwarves were. In the novel, the dwarves are portrayed as… well… buffoons. The movie included plenty of comic-relief, but it also gave us dwarves with more diverse personalities. The dinner party scene was just as fun and raucous as it is in my head when I read the book. It was also a nice touch how Gandalf attempts to convince Bilbo to go on the quest at the same time Balin is trying to talk Thorin out of it.

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Goth Chick News: The Devil and Leonardo DiCaprio in the White City

Goth Chick News: The Devil and Leonardo DiCaprio in the White City

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image002The last time we heard anything about a possible film version of one of my very favorite books, Erik Larson‘s The Devil in the White City: Murder, Magic and Madness at the Fair That Changed America, Leonardo DiCaprio‘s company had just optioned it and attached the actor to the project.  Way back then DiCaprio had yet to shoot either J. Edgar or The Great Gatsby, both of which have already come and gone.

And that’s what the industry refers to as “development hell.”

However, recently it was confirmed that DiCaprio was, and still is, set to play H.H. Holmes, the serial killer who haunted the creation of the 1893 World’s Fair in Chicago. We still haven’t heard all that much about the film, but Warner Bros. says they are still working to make it a reality, and have hired Graham Moore to script.

It might help to move things along that fellow Chicago native Moore is a huge fan of the book, and has been for some time.  As he told Deadline Hollywood,

[I’ve been] obsessed with Devil in the White City for a decade. My high school was 50 yards away from where the Chicago World’s Fair was held, and I played soccer on a field near where Holmes murdered about 200 people. It was a truly horrible crime, but it’s a very Chicago story. Though I moved to LA, I think of myself as fundamentally Mid-Western, and in a weird way, this is a dark and twisted tribute to my hometown.

Nicely put Mr. Moore, I couldn’t agree more.

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See the First Glimpse of Maleficent, a Dark Fantasy from Disney

See the First Glimpse of Maleficent, a Dark Fantasy from Disney

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Who is Maleficent?

Maleficent was the name Disney gave to the wicked witch in the classic animated film Sleeping Beauty (1959). She is one of the superb creations of 20th Century film and the character has endured well beyond the original movie. Maleficent has appeared in numerous other Disney books and movies, including the TV series House of Mouse, Ridley Pearson’s Kingdom Keepers novels, the ongoing ABC series Once Upon a Time, and perhaps most notably as a major character in the popular Kingdom Hearts video games. When the Ultimate Disney website hosted their top 30 Disney Villains countdown, Maleficent ranked #1.

Now her story is being told properly, in a big-budget live action release from Disney scheduled to arrive May 30. Described as both a prequel and a remake of Sleeping Beauty, the film presents the story from the point of view of Maleficent. Brad Bird (The Incredibles, Mission: Impossible: Ghost Protocol) is behind the project; it was written by Paul Dini and Linda Woolverton, and directed by Robert Stromberg. Imelda Staunton, Miranda Richardson, and Elle Fanning star, and the title role is portrayed by Angelina Jolie.

Watch the first trailer below to get a taste of this new dark fantasy from Disney. It promises to be a wholly different take on a famous story.

Revisiting the Scene of the Crash: John Carpenter’s Ghosts of Mars

Revisiting the Scene of the Crash: John Carpenter’s Ghosts of Mars

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Ghosts of Mars One SheetI thought writing two John Carpenter articles in a row was sufficient. I had a strong enough excuse to go two-for-two with Carpenter because of the Blu-ray debuts of Prince of Darkness and In the Mouth of Madness, films that have developed a growing and appreciative fan base. The idea of doing a third article on a John Carpenter film, let alone one on the critically rejected Ghosts of Mars… no that never crossed my mind when I penciled in on my calendar, “Blu-rays for PoD and ItMoM! Write for Black Gate!”

However, enthusiastic comments on both Black Gate and Facebook made it imperative I complete a John Carpenter on Blu-ray trilogy of articles.

(Oh, wait: Assault on Precinct 13 arrives on Blu-ray today. Should I go for four in a row? Or instead do that examination of the Russian animated film The Snow Queen in time for the release of Frozen? I wish more of life’s dilemmas were of this type.)

Watching Ghosts of Mars on Blu-ray was my first time seeing the movie since August 2001, when it managed to hold onto multiplex screens for a week. The horrific opening weekend — coming in ninth place — meant Ghosts of Mars rapidly evaporated into the thin atmosphere, leaving a carbon blast mark people interpreted as the end of John Carpenter’s career. The $28 million science-fiction action/horror film managed a dismal $14 million global gross. Yes, global. Even in a career like Carpenter’s, filled with disappointing box-office returns, Ghost of Mars crashed epically. The critical and audience reaction was also murderous; it seemed unlikely the film would join some of Carpenter’s other financial disappointments like The Thing and Big Trouble in Little China in future fan appreciation.

Yet Carpenter has always had a reputation for being ahead of his time. Was it now time for Ghosts of Mars? Did the passage of twelve years give the film a better sheen, offer more to digest?

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