More artificial futures in ‘Ex Machina’ (A24)
Last Friday’s Wall Street Journal featured in its arts and culture section an article by Don Steinberg about the prevalence of robots and artificial intelligence in movies coming soon to a multiplex near you. It’s a subject that filmmakers just don’t seem able to stay away from.
Don very nicely included a few quotes from myself on the subject in the story: “Invasion of the Friendly Movie Robots.” Check it out.
‘Jupiter Ascending': Check it out, hover boots! (Warner Bros.)
A preposterously silly and overbudgeted space opera from the Wachowskis, whose Cloud Atlas was one of the more exciting sci-fi/fantasies of recent memory, Jupiter Ascending would seem to have it all: Laser battles, baroque outer-space architeture, Eddie Redmayne in full camp mode, Channing Tatum with wolf ears. Disappointingly, such is not the case.
After a poorly-considered surprise screening at Sundance (wrong crowd), Jupiter Ascending opened wide on Friday, for a likely very brief run; my review is at PopMatters:
There was a time when beautifully begrimed working-class movie heroines would be delighted to discover they had royal blood coursing through their veins. While those Cinderella stories focused on the romance between girl and prince,Jupiter Ascending changes the stakes. Here, the princess must save the world and the prince has had his DNA spliced with that of a wolf.
Ah, love, Wachowski-style…
Here’s the trailer:
The future is past in ‘La Jetee’ (Criterion Collection)
Everybody’s definition of unknown films differs, based on their depth of knowledge. This is particularly so with science fiction. Some people delve into the genre like moles and others avoid it at all costs. There are those who barely know anything past Star Wars and others who can cite the full Gamera canon chapter and verse.
To illuminate the multitudinous discoveries found in the update I did for newly released Sci-Fi Movie Guide, the team at Barnes & Noble Review very kindly ran this short piece of mine where I make a few suggestions for some less-remembered but still worthy sci-fi films.
“Way, Way Out There: The 10 Greatest Science-Fiction Movies You Haven’t Seen” is at The Barnes & Noble Review here.
Now, a moment from The Apple:
And, lest we forget, The Adventures of Buckaroo Banzai Across the Eighth Dimension:
Production art from Alejandro Jodorowsky’s never-produced ‘Dune’ (Sony Pictures Classics)
Sometimes it can be better to think about the possibilities of those great unrealized what-if film projects of legend than to actually see them made. Stanley Kubrick’s Napoleon, Ridley Scott’s I Am Legend, Quentin Tarantino’s Reservoir Dogs spinoff; there’s a lot of possibilities there for genius, but also insane overreach.
In the interest of indulging the what if side of things, I posted a highly subjective list at Short Ends & Leader of the “Top 5 Sci-Fi Movies That Never Were“:
Even were it not for the mental anguish brought about by the revival of the Teenage Mutant Ninja Turtles, it would be obvious we live in strange times, cinematically speaking. To wit: Every other movie playing in theaters features alien invasions, bionic bodysuit weaponry, time travel, or a half-dozen other elements that make a geeky kid’s heart beat just that much faster. You would think, then, that studios would be dusting off every science-fiction script their D-girls passed on over the past couple decades and working out how to put Matthew McConaughey in it…
Elisabeth Moss and Mark Duplass get a surreal bit of marriage counseling in ‘The One I Love’ (RADiUS-TWC)
The One I Love is playing now in highly limited release. My review is at Film Racket:
How well can we ever know each other? That’s one of the less interesting questions posed by Charlie McDowell’s willowy and romantic science-fiction two-hander with a Twilight Zone twist about a couple with marriage problems whose sojourn at a therapeutic retreat takes a quirky turn. When the story is fully locked in, it wrestles with some more gripping issues of identity and a Machiavellian spin on relationship dynamics. But all too often, it falls back on easygoing relationship drama that saps the underlying premise of its more meaningful promise….
You can see the trailer here:
In ‘The Purge: Anarchy’ all crime is legal for one annual twelve-hour free-for-all (Universal Pictures)
Just last year, a little sci-fi/horror film called The Purge lit up theaters with its canny blend of exploitation thriller jolts and subversive agitprop. Now comes the inevitable sequel, which ramps up the class-conscious revolutionary rhetoric in an expanded story about a near-future America where one night a year all crime is legal for 12 hours.
The Purge: Anarchy opens this Friday everywhere. My review is at PopMatters:
In the first film, the ridiculous rationale left open the suggestion that the Purge’s real purpose was even uglier. What if the big night isn’t a means to purge unwanted impulses, but rather, a way to get rid of unwanted people? In Anarchy, the politics read loud and clear. Sergeant and his carload of charges face down everyone from flamethrower-wielding ATV rednecks to storm troopers cruising around in armored big rigs and nihilist skateboard punks with ghostface makeup and machetes…
You can see the trailer here:
Michael Pitt and Astrid Berges-Frisbey in ‘I Origins’ (Fox Searchlight)
A few years back, Mike Cahill made one of the more ghostly sci-fi movies of recent years with Another Earth. Now he’s back with that film’s enigmatic Brit Marling and Boardwalk Empire‘s Michael Pitt for a globe-spanning story about, well, eyes.
I Origins opens this Friday in limited release. My review is at Film Journal International:
A haunted-looking Michael Pitt is the main attraction in Mike Cahill’s curious fandango of a science-fantasy story about fate, destiny, genetics and love, and that’s unfortunate. Pitt can usually excel when playing dreamers or tortured types befitting his sensuously languorous mien. But for I Origins, Pitt has to put on a sweater, adjust his glasses, and play a molecular biologist. For the many scenes that call for a sense of true obsession, he can’t quite summon the proper focus, deploying a Johnny Depp-like dourness. Without that, an already disjointed film drifts further apart…
You can see the trailer here: