Category Archives: Sci-Fi

Blu-ray reissue: Metropolis (2001) ***1/2

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on July 22, 2017)

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Metropolis – Eureka Blu-ray (Region “B”)

Japanese director Rintaro’s visually resplendent 2001 anime is based on Osama Tezuka’s manga re-imagining of Fritz Lang’s 1927 silent film classic. The narrative (adapted by Akira director Katsuhiro Otomo) is framed as a detective story (not unlike Blade Runner), with a PI and his nephew attempting to unravel the mystery of Tima, a fugitive robot girl who has become a pawn in a byzantine conspiracy involving a powerful and corrupt family that rules Metropolis. Intelligent writing, imaginative production design and beautifully realized animation make this a must-see. Extras include interviews with cast and crew, and a “making of” documentary.

[Note: Region “B” edition; a multi-region Blu-ray player is required]

Blu-ray reissue: Man Facing Southeast ****

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on July 22, 2017)

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Man Facing Southeast – Kino-Lorber Blu-ray

I originally caught this 1986 sleeper from Argentina on Cinemax 30 years ago and have been seeking it ever since. Kino-Lorber’s Blu-ray edition signals the film’s first domestic availability in a digital format.

Writer-director Eliseo Subiela’s drama is a deceptively simple tale of a mysterious mental patient (Hugo Soto) who no one on staff at the facility he is housed in can remember admitting. Yet, there he is; a soft-spoken yet oddly charismatic young man who claims to be an extra-terrestrial, sent to Earth to save humanity from themselves. He develops a complex relationship with the head psychiatrist (Lorenzo Quinteros) who becomes fascinated with his case.

While sold as a “sci-fi” tale, it’s hard to pigeonhole; the film is equal parts fable,  family drama, and Christ allegory (think King of Hearts meets The Day the Earth Stood Still). Powerful and touching. Extras include interviews with Subiela, Soto, and DP Ricardo de Angelis.

SIFF 2017: Time Trap *

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on May 27, 2017)

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The discovery of a rusted-out VW van near the entrance of an underground cavern prompts a Texas professor/spelunker to investigate what happened to his parents, who mysteriously vanished decades before. Concerned that the professor himself may have now disappeared, two of his students organize a search party, dragging several other friends and young siblings along. From that point forward, it’s an everything-but-the-kitchen-sink miss-mash of time portals, Spanish conquistadors, Neanderthals, aliens, The Fountain of Youth, a magic ring and the end of the world. The only thing missing is a cohesive narrative (and perhaps a MST3K riff track?). Co-directors Mark Dennis and Ben Foster desperately want us to connect the dots with 1980s films like The Goonies. So I’ll play along: this is the most indecipherable sci-fi mess since Tobe Hooper’s Lifeforce.

SIFF 2017: Rocketmen **

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on May 20, 2017)

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Well, if you (like me) have completely missed out on the web series concerning “…the deranged comedic adventures of Seattle’s little-known protectors, The Department of Municipal Rocketry”, have I got news for you. It’s now been distilled into a handy feature film. The result? A feature film that looks like a web series. On film. As someone who loves cheesy 50s sci-fi and the old Republic serials, I “get” what writer-director-animator Webster Crowell was going for here; his cast is obviously having fun, and his self-animated special effects are cleverly interwoven, but-it never quite takes off.

Blu-ray reissue: The Quiet Earth ****

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on December 10, 2016)

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The Quiet Earth Film Movement Classics Blu-ray

In the realm of “end of the world” movies, there are two genre entries in particular, both from the mid-80s, that I have become emotionally attached to (for whatever reason). One of them is Miracle Mile (my review), and the other is this 1985 New Zealand import, which has garnered a huge cult following.

Bruno Lawrence (Smash Palace) delivers a tour de force performance, playing a scientist who may (or may not) have had a hand in a government research project mishap that has apparently wiped out everyone on Earth except him. The plot thickens when he discovers that there are at least two other survivors-a man and a woman. The three-character dynamic is reminiscent of a 1959 nuclear holocaust tale called The World, the Flesh and the Devil, but it’s safe to say that the similarities end there. By the time you reach the mind-blowing finale, you’ll find yourself closer to Andrei Tarkovsky’s territory (Solaris).

Director Geoff Murphy never topped this effort; although his 1992 film Freejack, with Mick Jagger as a time-traveling bounty hunter, is worth a peek. Film Movement’s Blu-ray features a gorgeous 2k transfer, and a commentary track by critic Odie Henderson and astrophysicist Neil deGrasse Tyson (although-even Tyson can’t explain that ending!).

Blu-ray reissue: The Man Who Fell to Earth ***1/2

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on December 3, 2016)

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The Man Who Fell to Earth: 40th Anniversary Collector’s Edition                  Studio Canal Region “B” Blu-ray*

 If there was ever a film and a star that were made for each other, it was director Nicolas Roeg’s mind-blowing 1976 adaptation of Walter Tevis’ novel The Man Who Fell to Earth, and the late great David Bowie. Several years after retiring his “Ziggy Stardust” stage persona, Bowie was coaxed back to the outer limits to inhabit Thomas Jerome Newton, an alien from a drought-stricken planet who crash-lands on Earth. Gleaning our planet as a water source, Newton formulates a long-range plan for transporting the precious resource back to his home world. In the interim, he becomes an enigmatic hi-tech magnate (kind of makes you wonder where Bill Gates really came from).

A one-of-a-kind film, with excellent supporting performances from Candy Clark, Rip Torn and Buck Henry. The Studio Canal Edition has a gorgeous new 4K transfer, a second disc packed with extras, and a bonus CD of “Papa” John Phillips’ soundtrack.  Lionsgate will be releasing the domestic version of this set in January 2017.

*Note: Region “B” requires a region-free player (they’re getting cheaper!).

SIFF 2016: Vintage Tomorrows **

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on May 14, 2016)

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I’m not going to liken Byrd McDonald’s doc about hardcore steam punks to an extended Portlandia vignette, and I’ve nothing against a little harmless role-playing fun amongst consenting adults. That said-the more out of their way interviewees go to defensively insist they are not just privileged, white Victorian Era nostalgia junkies who dig Jules Verne and love wearing goggles and pith helmets…the more so they seem. Or perhaps I’m just the stick in the mud that can’t see the ball players but for all the corn.

SIFF 2015: Beti and Amare ***

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on May 23, 2015)

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It’s an old story: In the midst of the Italo-Abyssinian War, teenage Ethiopian girl meets mute alien boy, who has hatched from an egg that has appeared out of nowhere next to a desert well. Girl brings boy to her uncle’s isolated home, where she is hiding out from Mussolini’s invading forces and marauding members of the local militia while her uncle is traveling. Romance ensues (how many times have we seen that tale on the silver screen?). German writer-director-DP-editor-producer Andy Siege has crafted a fairly impressive debut feature that is equal parts harrowing war drama, psychological thriller and sci-fi fantasy. I don’t know if these were conscious influences, but Siege’s film strongly recalls Roman Polanski’s 1965 psychodrama Repulsion, and 1970s-era Nicolas Roeg (more specifically, The Man Who Fell to Earth and Walkabout).

I bling the body electric: Chappie ***

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on March 7, 2015)

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The mathematician/cryptologist I.J. Good (an Alan Turing associate) once famously postulated:

Let an ultra-intelligent machine be defined as a machine that can far surpass all the intellectual activities of any man…however clever. Since the design of machines is one of these intellectual activities, an ultra-intelligent machine could design even better machines; there would then unquestionably be an ‘intelligence explosion’, and the intelligence of man would be left far behind. Thus, the first ultra-intelligent machine is the last invention that man need ever make, provided that the machine is docile enough to tell us how to keep it under control.

Good raised this warning in 1965, about the same time director Stanley Kubrick and sci-fi writer Arthur C. Clarke were formulating the narrative that would evolve into both the novel and film versions of 2001: a Space Odyssey. And it’s no coincidence that the “heavy” in 2001 was an ultra-intelligent machine that wreaks havoc once its human overseers lose “control” …Good was a consultant on the film.

While the “A-I gone awry” prototype dates as far back as the metallic “Maria” in the 1927 silent Metropolis, it was “HAL 9000” that took techno-phobia to a new level, spawning a sci-fi film sub-genre that includes The Demon Seed, Colossus: The Forbin Project, Blade Runner, The Terminator, Robocop, I, Robot, and (of course) A.I. Artificial Intelligence.

There are echoes of all the aforementioned (plus a large orange soda) in Chappie, the third feature film from South African writer-director Neill Blomkamp. In this outing, Blomkamp returns to his native Johannesburg (which provided the backdrop for his 2009 debut, District 9). And for the third time in a row, his story takes place in a near-future dystopia  (call me Sherlock, but I’m sensing a theme).

Johannesburg is a crime-riddled hellhole, ruled by ultra-violent drug lords and roving gangs of thugs. The streets are so dangerous that the police department is reticent to put officers on the front lines. So they do what any self-respecting police department of a near-future dystopia does…they send droids out to apprehend criminals.

The popularity of these programmable robocops has created lucrative contracts for Tetravaal, the company which employs mild-mannered designer Deon (Dev Patel). In his spare time, Deon has been working on an A.I. chip that approximates “consciousness”.

Jacked on Red Bull, Deon pulls an all-niter and makes his breakthrough. Excited, Deon approaches Tetravaal’s CEO (Sigourney Weaver) with a proposal to work up a prototype. Unfortunately, she doesn’t share his vision, and Deon is laughed out of her office. Who needs a police droid with “feelings”, right?

Determined to carry out his experiment, he re-appropriates a damaged droid scheduled for destruction. Before he can make it safely home,  he is carjacked and abducted by a trio of inept gang bangers (Ninja, Yolandi Visser, and Jose Pablo Cantillo) who figure they can coerce Deon into securing them a remote control that shuts down police droids (they are only speculating such a device exists).

What they do end up with is a droid with self-awareness, and the ability to absorb and mimic human behavior. Will he “grow up” as the enlightened being that his Gepetto-like creator intended, or will he turn into the “gangsta” that his thug “Daddy” wants him to be?

Through their creation of the character “Chappie”, Blomkamp and co-writer Terri Tatchell have managed to put a fresh spin on a well-worn trope. When you cut through all the obligatory action tropes, “his” story resonates at its core with a universal, timeless appeal. The film has more in common with Oliver Twist than with Robocop.  Chappie is, by definition of his inception, an “orphan”; innocent and pure of heart. The child-like droid is shuffled by fate into the thug life, where he is tutored in street smarts and criminal behavior by “Ninja”, who plays Fagin to his Oliver (on one level, Blomkamp and Tatchell are exploring the “nature vs nurture” theme).

This is a return to form for the director, especially after his slightly disappointing sophomore effort Elysium. I really got a kick out of the performances, especially the scene-stealing Ninja and Visser, who are slumming from their day job as rap outfit Die Antwoord (apparently popular with the “zef” crowd…I’ll let you look that up, like grandpa had to prepping this review). Hugh Jackman hams it up as a heavy, and Blomkamp’s favorite leading man Sharlto Copley does a marvelous job breathing “life” and personality into Chappie (move over, Andy Serkis). BTW, despite my references to Pinocchio and David Copperfield, this one is definitely not for the kids; it’s rated ‘R’ .

Move over, Smaug: Ragnarok **1/2

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on August 23, 2014)

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According to my exhaustive research on Norse mythology (OK…one-clicking to Wikipedia), “Ragnarok” was the Viking version of Armageddon; warning of an apocalypse that culminates in a worldwide flood, after which all begins anew (not to be confused with “Raga-rock”, which was a sub-genre of wild, far-out hippie music that Grandpa used to zone out to after a hit of Windowpane).

In the context of Norwegian director Mikkel Braenne Sandemose’s eponymous new film, it’s a major concern to a harried, recently defunded archaeologist widower (Pal Sverre Hagen) who specializes in Viking artifacts. He’s been attempting to translate mysterious runes found amongst remains of an ancient shipwreck.

When he and a fellow researcher (Nicolai Cleve Broch) become convinced that Ragnarok may 1) not in fact be a myth, and 2) be imminent, he grabs his teen daughter and young son and heads north to an uninhabited part of Finnmark, where he and his colleague hope to find the missing pieces of the puzzle. After adding a sexy-tough love interest…I mean, assistant researcher (Sofia Helin) and a crusty yet benign guide to the team, the expedition is afoot.

While what ensues in Sandemose’s film can be called out as a shamelessly derivative mash-up of Raiders of the Lost Ark and Jurassic Park, it’s still kind of fun, in a contentedly mindless way. Actually, amid all of the typically big, dumb, loud and over-produced action-adventure summer fare currently flooding the multiplexes, it stands out as a refreshingly old-fashioned yarn. The story clips along without unnecessary padding, most of the violence is (thankfully) off-screen, and it says everything it needs to say in 94 minutes.