A strange conversation on Facebook today led me to discover this short film. It’s a rather disturbing and dark sci-fi exploration of robots and feelings. Great production values.
A strange conversation on Facebook today led me to discover this short film. It’s a rather disturbing and dark sci-fi exploration of robots and feelings. Great production values.
I was going to blog about the awesomeness that is Pacific Rim. Seriously, guys – giant robots smashing the shit out of giant kaiju! What is there not to love about that? I wanted to talk about the amazing effects, the reason it works even though it’s absolutely fucking ridiculous. In fact, right after the movie, I tweeted:
My Pacific Rim review: Absolutely fucking ridiculous. Absolutely fucking tremendous. 5 Stars.
And really, that does say it all. But I wanted to blog about why. Thankfully, I don’t need to, because the excellent Peter Watts has done it for me. He says exactly what I thought about this film, so go and read his post here.
The joy of dumbness.
…in terms of sheer dumb popcorn-munching fun, no other movie I’ve seen in the past year comes close to Pacific Rim.
I’m very pleased with these. My publisher, Gryphonwood Press, has put together these two simple video trailers for my dark urban fantasy novels, RealmShift and MageSign. I’m very much of the opinion that a simple trailer for a book is the best option. If you have loads of money to spend on a really professional, slick video, then great. But if you do it on the cheap, it looks tacky and… well, cheap. And that does no favours for your book. But Gryphonwood Press commissioned top notch voice actor Jeffrey Kafer to voice these trailers and just used the book covers for the visuals. The result is simple and effective. At least, I think it is! What do you think?
And here’s MageSign:
Dredd is the second attempt to make a movie from the incredibly enduring 2000AD comic strip, Judge Dredd. The last attempt, with Sylvester Stallone in the title role, was such a smouldering pile of crap that I refuse to say any more about it. Does the new version make up for that? Actually, yes it does.
Dredd is the story of a future Earth where nuclear holocaust has reduced the vast majority of the planet to radioactive wastelands full of mutants, generally referred to as The Cursed Earth. The surviving, unaffected members of humanity live in massive, sprawling cities that cover thousands of square miles, called Mega-Cities. The biggest of these, covering the vast majority of the east coast of the US and home to some 800 million people, is Mega-City One. Most people live in Blocks, mega structures of some 200 stories each. As you can imagine, people crammed in those kind of numbers into that kind of space means crime and violence are everyday dangers. The only line between the people and utter chaos are the men and women of the Hall of Justice, known as Judges. They are judge, jury and executioner, dispensing justice and sentence wherever they go. Of all the Judges, Judge Dredd is the Judgiest. An absolute law man, with a perfect working knowledge of every aspect of Mega-City One’s fascist and brutal justice code and a black and white eye for resolution.
This is a world and a society that has grown incredible detail over the decades, so to tackle the subject in a single 90 minute film is daunting, to say the least. The makers of this film, however, were smart and, after some opening sequences through Mega-City One, they locked two judges in one block and the rest of the film played out there. It’s the story of one particular crime boss, known as Ma Ma, and her control of the new drug Slo-Mo. When you take Slo-Mo, you perceive the world as passing at 1% its normal speed, which gives the filmmakers an excuse for some awesome and beautiful super slo-mo sequences. Also some truly brutal ones, but we’ll get to that.
Judge Dredd is saddled with a new rookie judge, Anderson. The rookie failed her test to become a judge, but only just. She does, however, have a pretty powerful psychic ability and the Chief Judge tasks Dredd with taking her out for a day’s assessment to see if the slight fail can be ignored if Anderson’s psychic abilities prove her to be a good judge on the streets. On investigating a triple homicide in Peach Trees Block, they find themselves trapped in Ma Ma’s web and the crime boss seals off the block with war protocols and orders everyone inside to find and kill the judges. Thus begins a Die Hard-esque fight for survival while Dredd and Anderson try to stay alive and dispense justice.
Seeing as I’ve been a fan of Judge Dredd since before my age hit double figures, I was scared about how faithful to the comics this film would be…
I’ve been a fan of Guillermo Del Toro for a long time and his films are usually well worth the time. In this case, the Pan’s Labyrinth director is a producer for director Juan Antonio Bayona’s gothic horror about an old orphanage that is being reborn under the care of an ex-resident. As a child, orphaned Laura lived in the big old house by the Spanish seaside and has fond memories of her time there. She was adopted and left the home. Now in her mid-30s, Laura returns to the dilapidated institution with her husband, Carlos, and their seven-year-old son, Simon, to reopen the orphanage for just a handful of special needs children.
But, naturally, there is something weird going on in the beautiful old house. Simon’s behavior begins to grow increasingly strange and Laura and Carlos start to think the boy is getting carried away with his imaginary friends. On the opening day of the new orphanage, Simon’s bizarre behavior is written off as a bid for attention until truly strange events occur and Simon disappears. The search for Simon leads Laura deep into her memories of the orphanage and she begins to uncover troubling things that occurred after her own adoption…
To mark the one year anniversary of his passing, and to continue to bring his work to the wider audience it so richly deserves, Angry Robot Books are offering a bundle of Colin’s ebooks – his two Angry Robot novels, Damage Time and Winter Song, plus his flash fiction mini-collection – for the special price of only £6.00 (approximately US$8), via the Robot Trading Company.
All proceeds from the sale of this bundle will be donated to Colin’s favourite charity, Above and Beyond.
You can get all the details in this heartfelt post from Angry Robot‘s Lee Harris. That post also has a short film by Sam Lemberg embedded, based on Colin’s short story, Chameleon. It is a brilliant film, well worth 6 minutes of your time.
You know how much I love a bit of Batman action. Well, thanks to @RedBakersen on Twitter for pointing this one out to me. It’s a 6 minute film using action figures and toys from Christopher Nolan’s Batman films (and a cameo from somewhere else). It’s some pretty clever work, even if it does go a bit haywire in terms of story! Enjoy.
This is a new one for me and it seems very cool. Aussie voiceover artist and friend, Kevin Powe (@voiceover_au), put me onto this as he has the incredible honour of supplying the voice of Judge Dredd himself in this new gamebook for iOS. Dredd! It’s the first Dredd iOS gamebook and it comes from Tin Man Games. Here’s the official blurb:
Drokk! It’s an adventure game. It’s an interactive book. It’s an RPG. You are Judge Dredd, the toughest judge to patrol Mega-City One, a vast futuristic city, set in the 22nd Century!
Sector 106 of Mega-City One is short of senior Street Judges and only the most experienced Judges have been reassigned to fill this shortfall… foremost among them yourself, Dredd! What begins as a routine patrol arresting juves and skysurfers, turns into a race against time, as mysterious “Voices of Dredd” find their way into the hands of the local perps. Riding your Lawmaster bike and armed with your trusty Lawgiver, you must pit yourself against Sector 106′s brutal criminal underworld. Quick Dredd! The countdown has begun…
It’s basically an interactive story where you play the role of Dredd and choose your path. Remember the old “Choose your own adventure” books from Steve Jackson and Ian Livingstone? This is the modern incarnation of those. With voiceover by a local boy, no less. Sounds brilliant.
It looks like loads of fun – I’ll be checking it out. I have to say, I’m pretty pleased to see the current resurgence in Dredd and 2000AD. I read the comic throughout my teens and still read it to this day, and have a deep affinity with many of the characters. My friends and I have spent many hours playing the Judge Dredd: The Roleplaying Game as well. This iPhone app strikes me as a sweet little nostalgic revisit to those days. And the new mnovie looks like it’s a pretty solid homage to the original vibe of the comic stories, so I’m cautiously hopeful about that too.
You can learn more about the game here: http://gamebookadventures.com/gamebooks/judge-dredd-countdown-sector-106/
There aren’t any spoilers in this post, but there are some spoilers at the places I link to at the end, so be warned.
It’s no secret that I’m a Batman fan. In fact, that’s an understatement – I fucking love Batman, in a totally platonic way. I’ve often said that Batman and the Joker are the two greatest fictional characters ever created and I stand by that. So when talk of a new Batman film started back in 2003 or 4 or whenever it was, I was dubious. But it was to be made by Christopher Nolan, a man whose talents I already admired. The result was Batman Begins, the first of a proposed trilogy. I was very pleasantly surprised.
The first thing to remember when films are made from established literary canon, be they novels, comic books, games or anything else, is that a film is a self-contained thing. It’s finite. Batman comics have been going since 1939 and there’s a metric fuckton of established canon and ongoing story with which a film can’t hope to compete. Nor should it try. So a film will always make changes to established canon and we fans can’t be precious about that. It’s how the film plays with that canon that matters.
In Batman Begins, Nolan turned the notion of Ras Al Ghul a little bit on its head. He made Ras and Henri Ducard the same character, which they absolutely aren’t in the comic canon. He also made Ras an Irishman. But the things he then did with those characters, with Ras’s mission as an idealistic eco-terrorist, were bang on the money. Nolan did a brilliant job of retelling the Batman genesis and origin, and adding in a well favoured supervillain. Within that, he kept the darkness essential to the Batman’s story. He kept the gothic, noir edge of the characters and setting. He made Gotham an integral character in the film. So while he played with some aspects of established canon to make a film-sized story, he did it well and kept enough of what we already know intact to make a very impressive, cohesive whole. I was very happy with the film.
But all along it was touted as a trilogy. And this is where we go back to the nature of film compared to an ongoing series. This film was to be finite in three instalments. The second film, The Dark Knight, stands tall for many reasons. Not least of these is that amazing performance from Heath Ledger as the Joker, which is still the highpoint of the trilogy for me. And again, Nolan took some liberties with established canon, but stayed true to so many parts that we love that we went with him for the ride. I did, anyway. And most importantly for me, he totally got what the Joker is all about. The Joker is the worst monster imaginable, because he’s the embodiment of absolute chaos. No rhyme, no reason, no appealing to any sense or intelligence. Just pure, insane chaos. Some men, after all, just want to watch the world burn.
So I’d been waiting patiently and slightly nervously for The Dark Knight Rises, the third and final instalment. So often a third film is where a series can jump the shark. It can be the step too far. But Nolan always said this was to be a trilogy and I trusted him as a storyteller enough to hope that he would see it through well. Again, liberties were took. The big bad this time is Bane, and he’s very different from the comic book character. In the comics, Bane is addicted to and fuelled by Venom. But in this film, Venom doesn’t even get a mention. Bane’s origin is also played with, as are the origins of other key players (who I won’t discuss for fear of spoilers). But that’s okay, because Nolan is using Bane in his own way, like he used Ras Al Ghul in the first one. And he does a good job of it.
Nolan also does a very good job of using the Selina Kyle character. She’s never called Catwoman in the film, her cat ears are just her night goggles, pushed up onto her head and so on. But the core of the character is there. She’s a tough, sassy, very capable cat burglar. She’s a real-world foil to the Batman’s black and white view of crime and culpability. She’s so much more than a sexy accoutrement and Anne Hathaway does a brilliant job with a character that is very hard to play well.
And using these characters and settings, Nolan brings threads from both previous films together in The Dark Knight Rises and ties them into a truly epic story, worthy of its comic book roots and also worthy of its cinematic grandeur. He does tell a complete story in three films and he does it bloody well.
Each of the films is successively darker, more epic and more daring than the last and by far the best thing about them is that Nolan has made an absolutely self-contained trilogy. It’s not the same as the comic books, because the comics are still going on, and will continue to do so. Nolan has taken the characters and spirit of those stories and turned them into one complete and very clever tale. We see the full life of the Batman, from genesis, through origin, through rise and fall and rise again, right out to final closure. And it’s very satisfying.
Sure, the films have flaws. With The Dark Knight Rises there are illogicalities, there are strange timing issues, there are simple nonsensical things (like the one I mentioned the other day – how the hell does Bane eat? And he’s a big boy, so he must eat a lot.) There’s actually not nearly enough Batman in the third and final Batman film. There are often certain events in the movies which are entirely too convenient and plot-driven. But, these things are relatively few and far between and largely eclipsed by all the good stuff.
There are those who have suggested that this final instalment is a pro-fascist movie (although I disagree with most of that post and the author obviously doesn’t have any real understanding of the ideology of Ras Al Ghul). I mean, sure, all superhero stories are fundamentally fascist – the super power steps in with violence, operating outside the law, to battle the greater threat on behalf of the people. But that’s a whole other discussion and not one limited to Nolan’s interpretation of Batman.
There are those who have asked what the hell happened to the Joker after the second film. Although Ledger died and couldn’t reprise his role, it’s strange that there was never any mention. Though one possible answer lies here.
(Remember – spoilers at the above links!)
There are several other concerns raised in various reviews and posts I’ve read, some valid, some not so much. Regardless, Nolan has created in his Batman trilogy something rarely seen from Hollywood these days – an intelligent, complex, complete and satisfying story along with the incredible special effects and cinematic epicness we’ve come to expect. Effects are so often utilised at the expense of story, but not with these films. The Dark Knight Rises is possibly the best of the three when it comes to simply amazing set pieces of action and downright brilliant photography. But it’s the combined power of the three films together that really stands out as Nolan’s crowning achievement here.
Personally I can’t wait till The Dark Knight Rises is released on DVD so I can put aside a day to sit and watch all three films back to back in a beauteous Bat-filled marathon of cinematic awesomeness.
I’m back. My brain is a puddle of blancmange, swilling around in the back of my skull somewhere due to 25-odd hours of air travel and transit waiting I’ve just been through, so I’m not making much sense. But I have to stay awake till bedtime on the Australian clock to avoid jet lag, so here I am, rambling at you lot. The trip was fantastic, we saw great things in Paris and the UK and attended my cousin Joanna’s wedding to Chris. It was beautiful wedding and I drank a lot of wine and danced like an idiot all evening. Bloody brilliant.
You’ll find a random selection of photos from the trip if you go over to my Tumblr blog and scroll back to 6th July. You’ll see Notre Dame, cheese, Cornish coastlines, castles and handsome couples in love among many, many other things.
I thought I might say a few things here about each of the stories I consumed this trip, given that this site is story-powered. I tend to watch a lot of movies when I fly long haul. I read a lot naturally, but in short bursts between in-flight films. So, here’s a brief line about each thing:
Movies watched on planes:
JOHN CARTER – A rollicking sci-fi adventure in the old pulp style. Great fun.
WRATH OF THE TITANS – Truly, truly awful, but incredibly pretty to watch.
CHRONICLE – I was surprised by this one. I had no idea what to expect and it turned out to be really good. Three lads get inexlicable superpowers after stumbling across something (perhaps a meteorite – it’s never explained) and the film explores what happens to them. It’s a handycam, found footage piece a la Blair Witch, but done very well. I liked how it quickly went very dark.
SEEKING JUSTICE – A clever thriller about freelance vigilantes who start getting a bit out of control. I thought this one would be quite cheesy, but it was actually very engaging. Interesting questions about the morals of vigilantism were explored.
SAFE HOUSE – An exciting who’s-really-on-what-side espionage thriller. It was set in South Africa, which made a nice change from US-centric Hollywood movies and was very well put together. If you’re a thriller fan, I’d recommend this one.
GHOST RIDER: SPIRIT OF VENGEANCE – Even for a comic book movie, this was fucking ridiculous. It was absurd and kind of crazy, but did play up some interesting ideas. As a 33,000 feet high distraction, it was entertaining enough.
JEFF, WHO LIVES AT HOME – This was a surprise gem. A very clever and funny movie, excellently acted, that tossed around ideas of fate, destiny and coincidence.
MAN ON A LEDGE – The title of this film is exactly what it’s about. The man in question being a framed cop who is using the ledge antics as part of a great caper. It’s quite clever, but the caper is absolutely ridiculous.
THE RUM DIARY – A film based on the Hunter S Thompson book of the same name. Johnny Depp does an excellent job in this. In fact, the whole thing is brilliantly acted. Loads of fun.
RAMPART – A gritty police drama with Woody Harrelson as the most corrupt cop ever. The film explores corruption and morality. It’s very good but has a deeply unsatisying, ambiguous ending where some closure was really needed.
So that’s ten movies during a total of around 40 or so hours of flying. Not a bad effort. And no, my memory isn’t that great – I jotted them all down in my notebook as I watched.
While I was in England I saw two films:
CATFISH – A documentary about a social media friendship that quickly develops into something much greater and creepier than originally thought. It was a very entertaining film and a fascinating comment on the nature of our online identities, but I have a suspicion that the whole thing is a cleverly constructed hoax. (And a quick check on wikipedia shows I’m not the only one who suspects this!)
THE DARK KNIGHT RISES – I may well blog a lot more about this during the week, but suffice to say I really enjoyed it. It was certainly flawed (how the fuck does Bane eat, for example?) but nonetheless a very solid completion of a very solid trilogy of films. Throughout Nolan’s Batman trilogy there have been many changes made to canon, and I’m a Batman nerd, so I know of what I speak and I’m hard to please. However, for the sake of turning Batman into a single, coherent story over three films, I’m okay with those changes and these are the only Batman films to date that I think are worthy. It really is one of the strongest film trilogies ever, I think.
And then I read a couple of books while I was away:
THE SENSE OF AN ENDING by Julian Barnes – A philosophical story addressing life and consequence. It’s a very short book, but a good one (it won the Booker) and I enjoyed it a lot.
SUITED by Jo Anderton – This is the second in the Veiled Worlds trilogy – the first was Debris. I loved Debris and this was an excellent second installment. The world and mythology was developed in much greater depth and I can’t wait for the third book in the series now to see how it all wraps up.
So there you have it – the stories I enjoyed while I was away. And now, I’d betterzzzzzzzzzzzzzzzzzzzzzz…