tron-12 Reviews

Sunshine (2007)

Beautiful, epic, dark, and almost great. But not quite.

[7/10 · 27 July 2007]

You know the premise. I love thoughtful sci-fi and was really excited by the trailer. Sunshine collects many of the genre clichés into a nice package.

There is the crew of specialists who are their own worst enemies (Alien, Aliens), the EVA scene and the ubiquitous suiting up, the "hurry! get back in the ship!" moment, the airlock as plot device (2001, Aliens), the talking computer(every sci fi movie), the noble sacrifice, loss of communications with home, the huge pans across the ship's axis to show you how big it all is (every spaceship movie), the conversations about life and death (Solaris) and yes, the computers that "beep-beedie-beep" when text passes across the screen (every movie with a computer).

This also has the oft-seen derelict ship from the previous mission that they thought was lost (Black Hole, 2010, Event Horizon), hand wringing and blame over big decisions, a lonely distress call, a last journal entry from the captain with a pixelated screen warning them of scary stuff, and the tunnels with flickering flourescents (Alien). Do I sound jaded? Maybe. But I do love this kind of stuff, and director Boyle makes it look so beautiful. There are just certain things that every space voyage would have to deal with. Mafia movies, westerns, submarine flicks have their clichés, so space opera can too.

The good: The ship seems very realistic. No streamlining needed so it's basically what a real space station would look like: functional. The garden is great and would be very necessary on a real voyage. Michelle Yeoh is the plant expert and she is visably shattered by a fire in the greenhouse. The FX are seamless and appear often. Great art direction and set design. The characters are well written and I was sad to lose a few of them. The cast does a nice job with each one. The sun is a star in this film (hah - a pun!) and the crew is fascinated with their close up views, but also terrified by its power to destroy. A real sense of wonder here. Great music to go with the visuals. No musical montage scenes! And everyone dies - no survivors - thank you for not teleporting the hero back to safety. Influence of other films: 2001, Alien, Silent Running, Solaris, 2010.

The bad: The communications officer was a solid character, but then he has this freak-out moment when he realizes he's going to die. It's poorly written and poorly played. Gravity is a factor in the film, but they seem to have the ability to switch it on and off. Ex: everybody walks around the ship, except when they float out for an EVA, and there is lots of spinning architecture but none of seems to be for creating gravity. The characters all seem way too young for the important roles they are playing. The most top nuclear physicist in the world looks like he's 23. The pilots are both about 20. It's like Friends in space. Real astronauts would be the veterans of the program, not some mod squad of hipsters. Also, real astronauts from Apollo and Gemini knew the risks were so well trained that fear hardly played into it. The drama with films is in these life and death situations, stuff that real pilots handle with a cool head always - it's part of the culture. When you read The Right Stuff, and astronaut autobiographies of men like Alan Shepard, Jim Lovell, Gene Cernan, and Tom Stafford, these guys are totally at home in a crisis. There wouldn't be all this wigging out and getting sketchy or wanting to commit suicide. The movie turns into a horror flick in the 3rd act, and it gets lame. Naked dude who got all religious on the outbound flight - he's the heavy. Big damn deal. You know how space opera sets itself up for disaster - they set the bar so high in act 1, that nothing can meet the payoff. Even the great 2001 builds and builds and builds and then .... a baby floating in space. That's it. Remember Mission to Mars (that turd bomb from a few years ago?) They build it up and the payoff is some white light and skinny grey aliens like you see on a Roswell bumber sticker. Here, this burn victim is the best they could come up with. He's been alive on his ship for 7 years getting a sunburn and now he kills for Jesus. Run, it's the human scab! What the hell? When the payload is dropped into the sun, up-down-sideways lose all meaning. In the finale, hero hangs onto spacecraft while thrusters fire, prompting grimaces and feats of strength. In reality, you could hold on with one finger. Wearing the heavy EVA suit in the ship while in gravity is just not happening either. In one scene, two crewmen wrap themselves in foil and get shot out of an airlock through space and into another open ship (a la 2001). Their blood would boil instantly from the zero pressure and then they'd explode, but we're shown one guy frosting over into a popsicle when he misses to hole, while another who makes it just gets frostbitten. They do an EVA to the derelict ship wearing little more than bandanas over their mouths instead of environment suits.

Admittedly, Sunshine aims to show us the inner struggle; that the human mind may be the most dangerous factor when isolated far from home on a trip into the sun. Watch it on a big screen and with the sound way up, like space opera should be viewed. Check out Solaris for a real journey into the space traveler's head.

Windtalkers (2002)

Couldn't finish it

[18 March 2004]

I was asking for pain tonight. I knew this would be a horrible movie, but my wife was out of town and I grabbed a few war movies at the video store.

I had no idea it was this bad. John Woo has made a truly trite, shallow, Z-grade, 1940's war movie. Please kill the writer! It's beyond description how leaden and cliche'd the dialogue is. Witness the crying child, reaching out as his father gets on the bus (of course he's the last one to get on as the door closes and he looks back... GAG!) See the well-worn exchange between the "nurse" and the "grizzled vet." Watch as the Norwegian guy from Fargo & Big Lebowski plays a Marine officer with a very strange accent. It just keeps going down the comode.

I can't help but wonder if the Chinese influence is at work here. Woo's early films, and others in that genre (HK gangster action) rely on the conventions and cliches of American film noir and action cinema. They try very hard to be Western movie stars in a vaguely eastern context. Is that what is happening here?

It's the voice in Windtalkers that gives it away for me. It's so clear that Woo wanted to make a film like "Sands of Iwo Jima" or "Battleground". But he simply copied the surface and not the spirit of those classics. He takes the easy way out.

I have to bitch about the introduction of Cage's character because it will make me feel good to get this out. After watching Thin Red Line, Terrence Malick's flawless film of the Pacific War, I can't help but make comparisons. As Cage is hiking through the jungle, his men are chopped to pieces by bullets, bayonets, and swords. Cage and 3 other forgettables are gathered around a tree trunk to make their last stand. After 2 characters have yelled, "we're out of ammo!", the men continue to pour lead from their eager weapons into the swarming Japanese. As they were on patrol and moving moments ago, Cage now informs the 3 survivors that , "We're MARINES, and we've been ordered to hold the position!" Everyone is handily killed except for Cage (who's name is JOE, perfect for this era of chest-thumping film). After this trauma he works hard to be cold-blooded killer of "Japs". (Actual line of speech from the movie.)

Well it sucked hard. Avoid, avoid, avoid!

Gods and Generals (2003)

Thanks for good history Mr. Maxwell

[10/10 · 23 February 2003]

If you've been catching the reviews of G&G this week, many people seem to think that only Civil War re-enactors and masochists would enjoy this film. Hardly. I teach Texas History, consider myself deeply interested in the American Civil War, and have read several of Mr. Shaara's books. But I also love movies and understand their language, and that's where I'm coming from. That said, I'd like to congratulate Misters Shaara, Maxwell, and Turner for a job well done. Gods & Generals is great moviemaking and good history. Watch it for entertainment and an introduction to the major players, but then go to the library and grab an armful of books and dig in!

This is one of the great American stories, and it has finally been respectfully put to film. These 3 men (and every actor and technician that worked on the picture) deserve our thanks for keeping this very special tale alive for another generation. Their dedication to accuracy and awareness of storytelling pitfalls gives this film a voice that will speak for decades to come.

Gods & Generals is special in that it really reaches for the truth in everything it does. The dialogue may seem leaden to our 21st century ears, the reasons for rebellion may contradict our understanding of the war, and the characters fight for their lives without an enemy that is truly evil. This is because the director has avoided the usual storytelling devices that are so commonplace. This story is told not through the lens of our sensibilities, but in an honest, fair, and unpartisan style. While many films seek to hold a mirror up to modern society, this picture is realy about the war; not now, but in 1861. There is no hunky white leading man (a la Pitt, Gibson, or Crowe) to growl, "Let's lock and load!". There is no black co-star to interject witty lines like "You got to do somethin' 'bout that beard... I mean, Damn!" And of course, the total absence of a heavy villain with a British accent (Jeremy Irons, David Warner, Alan Rickman) to say "Destroy them all!" is going to be a real problem for many movie goers. Sorry, most of the "babes" you will see are under 5 years old. Mira Sorvino has a bit part as a dutiful wife, but she has all her clothes on. Angelina Jolie and Kate Hudson will be in theaters next door.

Ron Maxwell and the Shaara family have spent more years preparing and telling these tales than it took to fight the entire war. They are a special breed of historian, in that they are committed to finding the truth about these great people that made our country. Their biases lean only towards Americans, not north or south.

Leave your notions at the door. The dialogue is real, not some prescribed feel-good schlock that powers most historical films (see Patriot, Pearl Harbor, or The Alamo). The costumes are impeccable. The commitment to accurate geography alone sets this movie in a world above other films. This story is worth telling, and more importantly, worth learning and remembering. We should seek the truth in our past like these filmmakers have done, and tread with caution when we try to impose our morality onto the past. Although it is good criticism to reflect on the weaknesses and mistakes of the past, it just isn't good history to do so. When you go to see this picture, leave yourself out of it. Let the characters speak for themselves, and they will enlighten us.

The tendency to evoke God in prayer was a real aspect of these men. Jackson was a deeply devout Christian, and the film reveals this to us very well. But his fury can be shocking; as when an officer asks mournfully "What shall we do?", and Jackson fires back "KILL them ALL!" Keep in mind, he is not a surrogate for us to live through the film, like most Hollywood histories. There is no character that walks through the movie with a 21st century mind and morality. It may be difficult for viewers to "identify" with anyone. It makes for good history, but it doesn't translate to most moviegoers.

The battle scenes are spectacular and harrowing. Don't expect "Black Hawk Down" or "We Were Soldiers" type of gore, but good, sturdy stand-up combat.

Several of the user comments that have been posted so far, seem to believe that Mr. Maxwell has purposefully left out the topic of slavery as a motivating factor for the combat that follows. This was no omission. By all means, the issue of the "peculiar institution" was a root cause of the differences across state lines. But as the year turned from 1860 to 1861, the sectional split between the states was motivated by feelings far more concrete than their frustration over slavery. The supreme irony is that, the South truly saw themselves as becoming "slaves" to Federal government and the populous North. They saw the election of Lincoln as an attack on their economy and way of life (It wasn't, but no one was listening by that point). The high tariffs on manufactured goods from Europe (to pay for road and bridge improvements) were seen as an unfair imposition by the industrial North. And above all, the right of states to determine their own laws and destinies was in question. They simply wanted out of the club; out of the Union. When those 7 Southern states left (and by their own admission, the perceived refusal to respect their property (slaves) was a reason for secession), and Lincoln called for troops to invade American soil, that was the last straw.

As Jackson calls the federal troops in the film "invaders", he and his contemporaries were clearly seen to be defending their homes and property. We have to remember that wrong as slavery was, it was LEGAL. An Alabama soldier was captured during the war in, of all places, Alabama. When asked by his federal captor his reasons for fighting them, he replied, "Because you're HERE." They weren't concerned with rights for African Americans, but they were dedicated to defending their homes. It's hard for us to separate the two, now that we know the outcome. Gods & Generals attempts to remind us of this fact.

I suppose some reviewers would have Jackson lead his men into battle shouting, "Let's keep others in bondage! Strike a blow for rich people to be able to own slaves! Hurrah!"

Let's hope that the controversy around God & Generals gets more people talking and debating the causes of the war. I hope everybody will dig in and find some great books about the people and events of that 2nd American Revolution. Turn off the TV and have a look at the real drama and action that made our country. In my opinion, Gods & Generals has done it justice.

Dead Man's Walk (1996)

TRUE Texas History, compressed for drama

[12 June 2001]

While the previous comments praise the actors' style and likeness in terms of their forebears (Jones and Duvall), this movie is a pleasure to watch by way of the incredible scenery and the presence of several veteran character actors like Harry Dean Stanton, Keith Carradine, and the always awesome, Edward James Olmos. Fans of "O Brother Where Art Thou" will be pleased to see Ray McKinnon and Tim Blake Nelson featured prominently. I also noticed all of the previous comments were written by Yankees, so I might point out that the landscapes are a bit flawed (albeit beautiful) in terms of Texas-New Mexico geography. I've been to all of the places described in the book... believe me, most of West Texas is flatter than they let on! The sunsets are accurate, as are the rocky buttes, but they're using the Davis Mountains of the Big Bend region as the backdrop for most of the film, and that's a bit of a stretch. If you ever want to see some of the most beautiful scenery in West Texas, visit there sometime. The real places they traveled weren't always so pretty. I found that the actors didn't seem to be struggling for food and water as much as the characters in the book. Survival (man vs. nature) is a big part of the novel, and doesn't feature too prominently here. I kept getting hungry and thirsty while reading it! McMurtry mixes in a lot of real events with the narrative. You might think this stuff is fiction... it's not! Bigfoot Wallace was a real character and was known to have done many of the things this character experiences. The real Bigfoot survived to tell the tales as a seasoned old fart. The Santa Fe expedition is real.. and what happens to them is real. The Comanches as the lords of the plains? You bet! The were the kings of the Llano Estacado for 200 years. Buffalo Hump was real Comanche chief... his real name, Hard Penis, was too much for 19th century Texans so they gave him the new moniker. The descriptions of torture? McMurtry uses real sources.. he doesn't have to make this stuff up to be shocking... it really happened! The timeline is a bit compressed for drama, but the Texans of the 1840's lived this stuff. The Black Bean drawing is also real, but it happened in Saltillo Mexico and 17 guys drew black.

For a dose of Texas History, you can't beat Dead Man's Walk. Read the book! But don't be afraid to read James Haley's "Texas: From Frontier to Spindletop". It's the real deal and includes just as much gore, drama, and adventure.

Being John Malkovich (1999)

Brilliant piece of American cinema... SEE IT

[7 November 1999]

To rich to explain here, suffice it to say that if you love movies, you'll see this film. Wonderful acting, an original story riddled with fresh ideas, and a tight package by one of the greatest directors alive: Spike Jones! This is what good films should be. Music by Carter Burwell, collaborator of the Coen brothers.

You'll leave laughing and excited about this movie. Maybe the crown jewel of Malkovich's career...

SEE IT SEE IT SEE IT SEE IT SEE IT SEE IT SEE IT SEE IT

Truck Stop Women (1974)

Classic CAMP on the highways of New Mexico!

[10/10 · 30 August 1999]

A great piece of early 70's film: this gem has it all.

Some special moments:

•The beautiful Claudia Jennings in go-go boots or naked throughout most of the film!

•The truckin' music video inserted about mid film!

•The overt violence peppered throughout (from the opening execution in a bathtub, to the final battle featuring machine gun toting hookers and lots of tragic death)... all set to some great CB-era country music and a few bit that they had left over from "Land of the Lost"!

•The southern New Mexico locations that cradle our heroes in their struggle!

•The turncoat, Seago, getting trampled by 30 head of cattle in the back of a weaving truck!

Any way you slice it, this movie has it all. Sex, violence, bad acting, found locations, and a wacky plot that just keeps coming. I watch it often and inflict it on friends as a sort of, "bad-movie baptism".

As long as I can watch Truck Stop Women, Gator Bait, and Unholy Rollers, Ms. Jennings will not be forgotten.

The Iron Giant (1999)

GO SEE IT!!! GO SEE IT!!! GO SEE IT!!!

[29 August 1999]

I would only repeat what others have said already, so just get up and go see Iron Giant now! If you need more encouragement, then read the heartfelt and accurate reviews below. Otherwise, make a show of support for great moviemaking and storytelling by going to see The Iron Giant.

SPREAD THE WORD..... IRON GIANT is TERRIFIC!!!

Vernon, Florida (1981)

White trash expo launches Morris's career

[29 August 1999]

Mr. Errol Morris starts his documentary career off right with this peek into the lives of a sleepy southern town. Evenly paced monologues by the local folk keep you giggling all the way through this one hour gem. Favorite characters include the worm farmer, the obsessive turkey hunter, the vacationers with a growing jar of sand from New Mexico, the preacher with a van, and the patient cop. I'm a fan of the gentleman who is so well versed in neuro-science and all of its wonders. The best part is that we all know these characters so well. They are living in our towns all over America. Spend some time at the diner, the auto parts store, or the dump and you'll bump into them.

A quiet, real picture of the American south in the early 80's... good for a double bill with "Dancing Outlaw: Jessico White"

Mod Fuck Explosion (1994)

Teen angst was never so funny.

[16 July 1999]

Mr. Evans's comments (above) are great. (Boy, you can sure tell he's from Austin! he he he) Just to follow up, MFE is a fun, low budget romp through a teen wasteland that looks not too different from our urban world. Is it the future? present? USA? Japan? Is it social commentary or genre homage? In the end, what matters is fun, and Moritsugu delivers in spades. From the rival gangs to the doped-up mother who keeps coming on to her kids to the bad dubbing (purposeful), MFE is a great film in the Greg Araki-tradition. They are friends and contemporaries, so if you like Araki's stuff (Nowhere, Doom Gen, etc.) you'll love this.

Colorful, great early-90's indie-soundtrack, and loaded with bad acting that winks knowingly at you, MFE is the real deal. The lead, a pouty blonde named London (get it?), does a great job of combining the archetypical emotions of angst, depression, and the need to belong to a group, into a great package that makes fun of itself and celebrates how funny adolescence can be.

[deletion for content --mod]

Mod Fuck Explosion: if you read this far, see it.

Dracula vs. Frankenstein (1971)

Camp classic! So bad it's good!

[16 July 1999]

Dracula wears those plastic vampire teeth throughout this awful film that goes nowhere. There's an angry scientist who runs a carnival spook house (he's really Dr. F), the creature known as Grodin played by Lon Chaney Jr., and sci-fi guru Forrest J. Ackerman makes a cameo as a rival scientist who discredited Dr. Frankenstein! There's hippies and bad acting and a midget! (the same guy who played Master-blaster in Mad Max 3) This film has it all!

In one scene, Dracula (played cunningly by Zandor) appears suddenly in the car of the rival scientist. The man notices that a vampire is in his car and exclaims, in un-enthused B-movie fashion, "Who are you?" Drac responds, "I have been known as the prince of darkness- turn left here." Incredible how bad they can make 'em. See it soon if you love bad movies.