By Jason Apuzzo. The wait is nearly over. Transformers: Dark of the Moon arrives in theaters as early as this evening, depending on location. I will admit that I haven’t looked forward this much to seeing a film in quite a while. Check out the ad above to get a sense of why I’m so excited.
I’m also excited because all indications are that Bay & Co. are pushing the technological boundaries of native 3D filmmaking out to a new level. Plus the UN appears to be among the villains. Plus Buzz Aldrin appears in the film, along with Bill O’Reilly.
And most importantly, we get Victoria’s Secret super model Rosie Huntington-Whiteley. In 3D.
So if you’re not interested in seeing this film, especially as the 4th of July weekend approaches, please have yourself checked for anemia.
By Joe Bendel. Life on Earth has become untenable. It is not so much environmental conditions, per se, but man’s own inhumanity towards man that is destroying the planet. With drug cartels taking over Europe and Chinese militarism running unchecked, war is the only terrestrial constant. As a result, many have evacuated in giant space arks. Those lucky enough will find refuge on the planet Carpathia (named for the ship that stopped to rescue Titanic survivors). However, the colonists of Forthaven will find their new home is not exactly an Eden in Outcasts, a new eight-episode science fiction series that premiered on BBC America this past Saturday.
Though still a relatively young community, Forthaven already has a tragic history. During its early years, a mystery disease called C-23 nearly wiped out all of its children. The steps President Richard Tate took to deal with the disease will haunt the geneticist turned political leader in future episodes. With post-C-23 birthrates perilously low, the arrival of a new ship from Earth is understandably big news. Forthaven needs to replenish its future generations. Bringing down the transport safely is Tate’s highest priority, but a domestic incident will have macro implications for the colony.
Viewers quickly learn Carpathia’s dirty laundry. Tate had initiated and then canceled an ambitious genetic engineering program to create cloned humans, or “Advanced Cultivars” (AC’s). Presumed dead, those AC’s now live a nomadic existence outside Forthaven, which they most definitely hold a grudge against.
After a strong start, episodes three and four get somewhat bogged down with the dour ethical implications of the AC program. Fortunately, Outcasts rebounds thereafter (no sense crying over spliced genes), as the nefarious Julius Berger, a prominent survivor of the transport ship (and both a New Agey religious zealot as well as a moral relativist), plots a coup d’état against Tate. Series creator Ben Richards establishes a suitable environment for intrigue, with the PAS officers (the cops in charge of internal security) remaining loyal to Tate, while the XP’s (the military Expenditionaries) are inclined to side with Berger. As if Tate did not have enough to worry about, he also learns in dramatic fashion there is a reason the Carpathia’s indigenous hominid life forms died out eons ago. As they say in science fiction, they are not alone.
Richard Tate is a great sci-fi character and the key reason why Outsiders works so well. Initially he appears to be a commanding humanitarian in the Jean-Luc Picard vein. Yet Tate is a darker, more complicated figure. Profoundly touched by tragedy, he is still able to make hard decisions and sleep relatively well at night. Character actor Liam Cunningham has the perfect hard-nosed gravitas for the part, as well as the sonorous voice that plays so prominent a role in episode one.
From the BBC's "Outcasts."
In a bit of a misfire, Hermoine Norris plays PAS chief Stella Isen, Tate’s closest ally, with frosty reserve – much like her character Carol Jordan in Wire in the Blood. That worked much better playing off the manic squirreliness of Dr. Tony Hill than the steely resolve of Tate. Conversely, Amy Manson and Daniel Mays are rather engaging as Fleur Morgan and Cass Cromwell, respectively, our primary POV PAS agents, who harbor a Tracey & Hepburn attraction to each other – but are also burdened with secret pasts.
Though the special effects of Outcasts are eminently presentable, the series is more concerned with social speculation and character development. Sadly, it appears that the first eight episodes are all we are getting, at least for the time being. While the conclusion offers a measure of satisfaction, it provides little closure, leaving Forthaven poised on the brink of a multi-front war for survival. Indeed, one could easily envision the story continuing in a hard-driving action film. It is worth hoping for. Indeed, Outcasts is one of the better conceived and executed science fiction series featuring a genuinely compelling lead protagonist. It is recommended for all sf fans and Anglophiles, and it debuted this past Saturday on BBC America.
By Jason Apuzzo. Take a look at a new trailer above that aired during the NBA Finals for Transformers: Dark of the Moon, and tell me if you’re not left with the impression that this film will feature the UN collaborating with an alien invasion of planet Earth. If that’s the case … thank you, Michael Bay! You get better with each film.
In other news, Relativity Media has apparently just picked up distribution rights to Act of Valor, described as a “very patriotic” action thriller about the Navy SEALs, starring a cast of unknowns … along with actual, active-duty SEALs. The film was written by 300 screenwriter Kurt Johnstad, and may also be getting an IMAX release. You can read more about the project here, and there are already some production photos available.
This is good news. I’m liking this new SEAL-movie trend because it indicates that Hollywood is finally becoming responsive to actual, present-day events. If only this had been the case ten years ago …
By Joe Bendel. Initially, the late Qing Dynasty’s new paper money is an economic boon, especially helpful facilitating transactions for the lower classes. Unfortunately, when the people come to suspect it is not fully backed by silver, it leads to bank runs. This is an ominous development for Lord Kang’s financial dynasty. Yet he will face even greater tribulations within his own family in Christina Yao’s Empire of Silver, which opens tomorrow in New York.
In 1899, the “piaohao” bankers of Shanxi were like Tom Wolfe’s “Masters of the Universe.” Lord Kang, or “Old Master” as he is often called, assumed four sons would be sufficient to ensure a safe line of succession for his venerable banking company. Of course, as a pious Buddhist deaf-mute, “First Master” never really counted. Unfortunately, when the Second and Fourth Masters are undone by calamity partly of his own making, old Kang is left with the dissolute playboy Third Master. Still, he is probably the most talented of the lot, but he has heretofore squandered his life out of resentment for his father’s Machiavellian management of family affairs. This is Third’s time to chart his ascendance, but it remains unclear whether he wishes to assume the mantle of leadership.
Needless to say, Old and Third Masters have very different management philosophies. However, his relationship to his young stepmother is even more strained. Quickly we come to understand Third and his former teacher had quite a bit of history before she became Madame Kang, which obviously explains much.
Silver is a big historical melodrama, but there is only a spot of actual fighting here and there. Still, the costumes, sets, and sweeping vistas are worthy of epics like Hero and Red Cliff. Jeremy Thomas, the producer of ambitious films like The Last Emperor, Little Buddha, and Merry Christmas Mr. Lawrence, served as executive producer, lending Silver further prestige.
While Silver is indeed a finely crafted period production, Aaron Kwok is surprisingly flat as Third Master. Yes, his character is emotionally damaged, but at some point we should see some signs of life percolating. Still, Hao Lei largely compensates as Madame Kang with her exquisite expressiveness. Frankly it is just nice to see her working, considering she appeared in Lou Ye’s bold Tiananmen Square drama Summer Palace, which was duly banned by the Communist authorities. Silver also boasts a number of rich supporting performances, particularly Ding Zhi Cheng and Lei Zhen Yu as two rival branch managers – one talented but dangerously independent, while the other is deemed controllable by virtue of his mediocrity.
Yao revels in the classical tragedy of her story, but she periodically offers up shrewd nuggets of insight as well. It is intriguing to look at a proud family and their celebrated house of finance – increasingly destabilized by China’s mounting anarchy – but it might well be too restrained and respectable for fanboys. An engaging feature directorial debut for Yao (if not a perfect star vehicle for Kwok), Silver opens today (6/3) in New York at the AMC Empire and AMC Village 7.
By David Ross. I first heard Bach’s choral prelude Ich ruf zu dir, Herr Jesu Christ (“I call to you, Lord Jesus Christ”) in Tarkovsky’s Solaris (1972). It seems to me one of the world’s most beautiful compositions, and Tarkovsky’s scene, in which the piece harmonizes with the camera as it plays over Brueghel’s Hunters in the Snow (1565), seems to me one of the most solemnly lovely scenes in cinema. The camera scrutinizes the details of Brueghel’s painting, at first coldly (as Kris must see it), but then with a certain wistful sorrow, as if in recognition of our hopeless estrangement from the natural life of the old village. The mournful precision of the piece by Bach (see here for Vladimir Horowitz’ transcendently lovely interpretation) underscores that there is only the beautiful sadness of our estrangement and longing. Kris stirs with new humility and humanity, and he and Hari begin to float, ostensibly in a state of zero gravitation, but actually in a state of grace.
Pieter Bruegel the Elder's "The Hunters in the Snow" (1565).
People often speak of Falconetti’s ecstatic expression in Dreyer’s La passion de Jeanne d’Arc (1928)as film’s most inspired synecdoche of the religious experience, but Tarkovsky, in my opinion, exceeds Dreyer artistically and spiritually. Tarkovsky seems engaged not in a pastiche of an archaic faith, but in the genuine struggle of modern faith, and his dense, intricately coded scene seems to compress everything integral to Western culture in its modern self-bewilderment and tentative hope.
In a 1986 interview, Laurence Cossé asked Tarkovsky whether he considered his films “acts of love towards the Creator.” Tarkovsky responded “I would like to think so. I’m working in it, in any case. The ideal for would be to make this constant gift, this gift that Bach alone, truly, was able to offer God.”
By Jason Apuzzo. It’s probably time to start talking about David Fincher’s forthcoming adaptation of The Girl with the Dragon Tattoo. A ‘pirated’ red band trailer of the film recently ‘leaked’ on-line – or was it actually ‘leaked’ by Sony? – created a lot buzz, and now … as if by magic … the official version of the trailer (above) has been released, along with a new website.
My own thoughts are these: on balance I think this is a good trailer, excellent for a thriller, but Fincher’s films have repeatedly let me down … always somehow promising a great deal more than is actually delivered. A case in point recently was The Social Network, a film that implied it would have a great deal to say about the phenomenon of social networking – but actually said little (other than: ‘nerdy Jewish guy seeks revenge against WASP elites who rejected him by creating non-hierarchical on-line social scene’). So I remain skeptical. Nice Led Zeppelin cover, though …
