Category Archives: Dystopian

SIFF 2019: Fantastic Planet (****)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on May 25, 2019)

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Director Rene Laloux’s imaginative 1973 animated fantasy (originally  La planete sauvage) is about a race of mini-humans called  Oms, who live on a distant planet and have been enslaved (or viewed and treated as dangerous pests) for generations by big, brainy, blue aliens called the Draags. We follow the saga of Terr, an Om who has been adopted as a house pet by a Draag youngster.

Equal parts Spartacus, Planet of the Apes, and that night in the dorm you took too many mushrooms, it’s at once unnerving and mind-blowing. SIFF is adding a unique twist: Seattle DJ “NicFit” will provide a live, “carefully curated soundtrack” of Flaming Lips tracks as accompaniment. Mushrooms not included.

Blu-ray reissue: 12 Monkeys ***1/2

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on December 15, 2018)

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12 Monkeys – Arrow Video Blu-ray

Another wild ride from the vivid imagination of Terry Gilliam, this 1995 sci-fi thriller (inspired by Chris Marker’s classic 1962 short film, La Jetee) has become a cult favorite.

Set in the year 2035, it’s the story of a prison inmate (Bruce Willis) who is “volunteered” to be sent back to the year 1996 to detect the origin of a mystery virus that wiped out 99% of the human race. Fate and circumstance land Willis in a psych ward for observation, where he meets two people who may be instrumental in helping him solve the mystery-a psychiatrist (Madeline Stowe) and a fellow mental patient (Brad Pitt, in an entertainingly demented performance).

I like the way the film plays with “reality” and perception. Is Willis really a time traveler from 2035…or is he what the psychiatrist is telling him-a delusional schizophrenic actually living in 1996? There are many more surprises up Gilliam’s sleeve here.

Arrow Films’ 4K restoration is a marked improvement over Universal’s previous Blu-ray; picture and audio quality are outstanding. The commentary track (by Gilliam and Charles Roven) and an 87-minute documentary (The Hamster Factor and Other Tales of Twelve Monkeys) have been ported over from the Universal edition, but Arrow adds several new features-including a video appreciation by Ian Christie and an image gallery.

Blu-ray reissue: Escape from New York ***1/2

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on December 15, 2018)

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Escape From New York – Studio Canal Blu-ray (Region “B”)

John Carpenter directed this 1981 action-thriller set in the dystopian near-future of 1997 (ah, those were the days). N.Y.C. has been converted into a penal colony. Air Force One has been downed by terrorists, but not before the POTUS (Donald Pleasence) bails in his escape pod, which lands in Manhattan, where he is kidnapped by “inmates”. The police commissioner (ever squinty-eyed Lee van Cleef) enlists the help of Snake Plissken (Kurt Russell), a fellow war vet who is now one of America’s most notorious criminals.

Imaginative, darkly funny and entertaining, despite an obviously limited budget. Carpenter and co-writer Nick Castle even slip in a little subtext of Nixonian paranoia. Also with Ernest Borgnine, Adrienne Barbeau, Isaac Hayes (the Duke of N.Y.!), and Harry Dean Stanton (stealing all his scenes as “Brain”). Carpenter also composed the memorable theme song.

Boy, is this new sharp 4K scan ever a wondrous gift to fans of the film! This is probably the 3rd (or 4th?) dip I’ve made over the years; all previous DVD and Blu-ray editions have suffered from transfers so dark and murky that I’ve spent every screening squinting like Lee Van Cleef as I attempt to make out details. Granted, it’s nearly all night shots for the exteriors, but I have never seen the film looking so…film-like (outside a theater). Cinematographer Dean Cundey approved the restoration and color grading, and it shows.

Studio Canal’s new edition features 3 audio commentaries to choose from, and several featurettes and interviews with cast members. I haven’t been able to track down any information on a domestic (Region “A”) Blu-ray release; but given the popularity of the film I’m sure one is in the pipeline (this review is based on the Region “B” version only).

Stealing the sun from the day: Top 10 Eco-Flicks

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on April 21, 2018)

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Come on you world, won’t you give a damn?

Turn on some lights and see this garbage can

Time is the essence if we plan to stay

Death is in stride when filth is the pride of our home

-from “Powerful People” by Gino Vanelli

It’s hard to believe that this year marks the 50th anniversary of humankind’s first collective selfie…the “Earthrise” photo from the Apollo 8 mission. It may seem “ho-hum” now, but it provided a profound moment of “cosmic perspective” (if I borrow one of Dr. Neil deGrasse Tyson’s favorite phrases) for anyone in the world who gave a damn.

The iconic portrait was taken on Christmas Eve, 1968 by Apollo 8 crew member Major William A. Anders. The story behind the photo is recounted on NASA’s official website:

Anders said their job was not to look at the Earth, but to simulate a lunar mission. It was not until things had calmed down and they were on their way to the moon that they actually got to look back and take a picture of the Earth as they had left it.

“That’s when I was thinking ‘that’s a pretty place down there,'” Anders said. “It hadn’t quite sunk in like the Earthrise picture did, because the Earthrise had the Earth contrasted with this ugly lunar surface.”

Anders described the view of Earth before Earthrise “kind of like the classroom globe sitting on a teacher’s desk, but no country divisions. It was about 25,000 miles away where you could still recognize continents.”

Yes, that is a “pretty place down there.” Be a shame if anything happened to it:

The Trump administration’s tumultuous first year has brought a flurry of changes—both realized and anticipated—to U.S. environmental policy. Many of the actions roll back Obama-era policies that aimed to curb climate change and limit environmental pollution, while others threaten to limit federal funding for science and the environment.

It’s a lot to keep track of, so National Geographic will be maintaining an abbreviated timeline of the Trump administration’s environmental actions and policy changes, as well as reactions to them. We will update this article periodically as news develops.

Needless to say, many “updates” follow that intro (the most recent one is from April 6, and there will be more to come). Bookmark the link, if you dare (sick bag on standby).

So…are you doing anything special for Earth Day (April 22)? It almost seems counter-productive to have a once-a-year Earth “day”, because when you stop to think about it for about 5 seconds, shouldn’t every day be “earth day”? It sort of devalues the importance of taking care of our planet (since we appear to have only been issued the one “pretty place”, best to my knowledge).

At any rate, in honor of Earth Day, here are my picks for the Top 10 “eco-flicks”. Per usual, my list is alphabetical; no ranking order. As long as you don’t print out a hardcopy, this week’s post is 100% biodegradable (it’s a com-post!).

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Chasing Ice– Jeff Orlowski’s film is glacially paced; meaning: these days, “glacial pacing” ain’t what it used to be. Glaciers are moving along (”retreating”, technically) at a pretty good clip. This does not portend well for the planet. To put it in a less flowery way…we’re fucked. After all, according to renowned nature photographer (and subject of Orlowski’s film) James Balog, “The story…is in the ice.”

Balog’s fascinating journey began in 2005, while he was on an assignment in the Arctic for National Geographic to document the effect of climate change. Up until that fateful trip, he candidly admits he “…didn’t think humans were capable” of having an effect on weather patterns in such a profound manner. His epiphany gave birth to a multi-year project utilizing specially modified time-lapse cameras to capture irrefutable proof that the tangible effects of global warming had transcended academic speculation.

The resulting images are beautiful and mesmerizing, yet troubling. Orlowski’s film itself mirrors the dichotomy, being in equal parts cautionary eco-doc and art installation. The images handily trump the squawking that emits from bloviating global climate deniers in the opening montage, and proves a picture is worth 1000 words.

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The Emerald Forest– Although it may give an initial impression as a heavy-handed (if well-meaning) “save the rain forest” polemic, John Boorman’s underrated 1985 adventure (a cross between The Searchers and Greystoke: The Legend of Tarzan) goes much deeper.

Powers Boothe plays an American construction engineer working on a dam project in Brazil. One day, while his wife and young son are visiting him at his job site on the edge of the rain forest, the boy is abducted and adopted by an indigenous tribe who call themselves “The Invisible People”, touching off an obsessive decade-long search by the father. By the time he is finally reunited with his barely recognizable, now-teenage son (Charley Boorman), the challenge becomes a matter of how he and his heartbroken wife (Meg Foster) are going to coax the reluctant young man back into “civilization”. Tautly directed, lushly photographed and well-acted.

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Godzilla vs. the Smog Monster-I know what you’re thinking: there’s no accounting for some people’s tastes. But who ever said an environmental “message” movie couldn’t also provide mindless, guilty fun? Let’s have a little action. Knock over a few buildings. Wreak havoc. Crash a wild party on the rim of a volcano with some Japanese flower children. Besides, Godzilla is on our side for a change. Watch him valiantly battle Hedora, a sludge-oozing toxic avenger out to make mankind collectively suck on his grody tailpipe. And you haven’t lived until you’ve heard “Save the Earth”-my vote for “best worst” song ever from a film (much less a monster movie!).

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An Inconvenient Truth– I re-watched this recently; I hadn’t seen it since it opened in 2006, and it struck me how it now plays less like a warning bell and more like the nightly news.  It’s the end of the world as we know it. Apocalyptic sci-fi is now scientific fact. Former VP/Nobel winner Al Gore is a Power Point-packing Rod Serling, submitting a gallery of nightmare nature scenarios for our disapproval. I’m tempted to say that Gore and director Davis Guggenheim’s chilling look at the results of unchecked global warming only reveals the tip of the iceberg…but it’s melting too fast.

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Koyannisqatsi– In 1982, this innovative, genre-defying film quietly made its way around the art houses; it’s now a cult favorite. Directed by activist/ex-Christian monk Godfrey Reggio, with beautiful cinematography by Ron Fricke (who later directed Chronos, Baraka, and Samsara) and music by Philip Glass (who also scored Reggio’s sequels), it was considered a transcendent experience by some; New Age hokum by others (count me as a fan).

The title (from ancient Hopi) translates as “life out of balance” The narrative-free imagery, running the gamut from natural vistas to scenes of First World urban decay, is open for interpretation. Reggio followed up in 1988 with Powaqqatsi (“parasitic way of life”), focusing on the First World’s drain on Third World resources, then book-ended his trilogy with Naqoyqatsi (“life as war”).

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Manufactured Landscapes-A unique eco-documentary from Jennifer Baichwal about photographer Edward Burtynsky, who is an “earth diarist” of sorts. While his photographs are striking, they don’t paint a pretty picture of our fragile planet. Burtynsky’s eye discerns a terrible beauty in the wake of the profound and irreversible human imprint incurred by accelerated modernization. As captured by Burtynsky’s camera, strip-mined vistas recall the stark desolation of NASA photos sent from the Martian surface; mountains of “e-waste” dumped in a vast Chinese landfill take on an almost gothic, cyber-punk dreamscape. The photographs play like a scroll through Google Earth images, as reinterpreted by Jackson Pollock. An eye-opener.

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Princess Mononoke– Anime master Hayao Miyazaki and his cohorts at Studio Ghibli have raised the bar on the art form over the past several decades. This 1997 Ghibli production is one of their most visually resplendent. Perhaps not as “kid-friendly” as per usual, but many of the usual Miyazaki themes are present: humanism, white magic, beneficent forest gods, female empowerment, and pacifist angst in a violent world. The lovely score is by frequent Miyazaki collaborator Joe Hisaishi. For another Miyazaki film with an environmental message, check out Nausicaa Valley of the Wind.

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Queen of the Sun- I never thought that a documentary about honeybees would make me laugh and cry-but Taggart Siegel’s 2010 film did just that. Appearing at first to be a distressing examination of Colony Collapse Syndrome, a phenomenon that has puzzled and dismayed beekeepers and scientists alike with its increasing frequency over the past few decades, the film becomes a sometimes joyous, sometimes humbling meditation on how essential these tiny yet complex social creatures are to the planet’s life cycle. Humans may harbor a pretty high opinion of our own place on the evolutionary ladder, but Siegel lays out a convincing case which proves that these busy little creatures are, in fact, the boss of us.

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Silent Running– In space, no one can hear you trimming the verge! Bruce Dern is an agrarian antihero in this 1972 sci-fi adventure, directed by legendary special effects wizard Douglas Trumbull. Produced around the time “ecology” was a buzzword, its message may seem a little heavy-handed today, but the film remains a cult favorite.

Dern is the gardener on a commercial space freighter that houses several bio-domes, each dedicated to preserving a species of vegetation (in this bleak future, the Earth is barren of organic growth). While it’s a 9 to 5 drudge gig to his blue collar shipmates, Dern sees his cultivating duties as a sacred mission. When the interests of commerce demand the crew jettison the domes to make room for more lucrative cargo, Dern goes off his nut, eventually ending up alone with two salvaged bio-domes and a trio of droids (Huey, Dewey and Louie!) who play Man Friday to his Robinson Crusoe. Joan Baez contributes two songs on the soundtrack.

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Soylent Green– Based on a Harry Harrison novel, Richard Fleischer’s 1973 film is set in 2022, when traditional culinary fare is but a dim memory, due to overpopulation and environmental depletion. Only the wealthy can afford the odd tomato or stalk of celery; most of the U.S. population lives on processed “Soylent Corporation” product. The government encourages the sick and the elderly to politely move out of the way by providing handy suicide assistance centers (considering the current state of our Social Security system, that doesn’t sound like much of a stretch anymore, does it?).

Oh-there is some ham served up onscreen, courtesy of Charlton Heston’s scenery-chewing turn as a NYC cop who is investigating the murder of a Soylent Corporation executive. Edward G. Robinson’s moving death scene has added poignancy; as it preceded his passing (from cancer) by less than two weeks after the production wrapped.

…and singing us out, Gino Vanelli:

 

But not to last: Blade Runner 2049 ***½

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on October 14, 2017)

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Empathy, evidently, existed only within the human community, whereas intelligence to some degree could be found in every phylum and order including the arachnida.

—from Do Androids Dream of Electric Sheep? by Philip K. Dick

What truly defines “being human”? Philosopher Jean-Paul Sartre wrote that “existence precedes and rules essence”. One must assume that he was talking about human beings, because after all, he was one, offering his (“its”?) definition as to what “being human” is.

Which begs this question: what sparks “existence”? To which people usually answer some “thing” or some “one”. I opened my 2015 review of Neill Blomkamp’s Chappie with this quote from mathematician and cryptologist I.J. Good (an associate of Alan Turing):

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.

Such questions and suppositions form the core of Blade Runner, Ridley Scott’s 1982 sci-fi noir about a dystopian near-future where the presence of commercially manufactured “replicants” (near-humans with specialized functions and a built-in 4-year life span) has become routine.

Should there ever be a need to ascertain whether “someone” is a human or a replicant, a procedure called the Voight-Kampf Test is administered. In essence, this series of questions (in conjunction with careful monitoring of autonomic physical responses like heart rate) determines whether or not the subject has empathy for others.

In one scene, “blade runner” Deckard (Harrison Ford), whose job is to hunt down and “retire” aberrant replicants, reluctantly indulges the creator/CEO of the company that manufactures them by giving the test to the CEO’s assistant (a woman Deckard has no reason to suspect as being anything but human).

When “Rachel” (Sean Young) does turn out to be a replicant, the usually unflappable Deckard is agog; once he’s informed “she” (an advanced prototype) is completely unaware she’s not an employee of the company but rather its “product”, he’s perplexed. “How could it not know what it is?” he demands.

In The Philosophy of Neo-Noir (edited by Mark T. Conard), there is an essay with a unique angle on the film by Judith Barad, called “Blade Runner and Sartre”. She writes:

Although the replicants of Blade Runner are engineered to act and reason as humans, they can’t choose their own essence. This inability is, in Sartre’s view, what differentiates any manufactured being from humans. The replicants fulfill a certain function; as members of a series, they didn’t choose their essence. […]

To be human means to create oneself–the emotions one chooses to feel, the beliefs one chooses to retain, and the actions one chooses to perform. […]

In Sartre’s terms, Deckard thinks of replicants as things that exist only to fulfill the essence, the purpose created for them by human beings. At the same time, he is unaware that he has allowed his society to program this belief, a prejudice, into his mind. […]

Blade Runner and Sartre urge us to escape this programming and become authentically human.

If you are a fan of the film, you are likely aware that the two biggest unanswered questions left hanging in 1982 were 1) Was Rachel’s “authentically human” sense of empathy programmed…or was she truly the breakthrough that her “creator” seemed to infer by his cryptic comment that she was “special”? and 2) the biggie I’ve seen people nearly come to blows over: Was Deckard himself a replicant?

Questions…

I imagine the most burning question you have about Denis Villeneuve’s Blade Runner 2049 is: “Are the ‘big’ questions answered?” Don’t ask me. I just do eyes. Which is to say, this is a difficult film to review without risking spoilers, so I am not going into any great detail on plot points (the least I can do for those of you who have made it this far into my “review” and are starting to worry you’ve stumbled into a Philosophy 101 class).

I can assure you that I am not a replicant, because when I heard someone was going to tackle a sequel to an idiosyncratic sci-fi  classic with a rabid cult following like Blade Runner, I was fully prepared to have empathy for whoever ended up at the helm. Ridley Scott was originally slated to do it himself, but for whatever reason or circumstance ended up as producer, with Villeneuve directing. I can’t help but speculate that he felt the same pressure that Peter Hyams surely experienced making 2010: The Year We Make Contact.

As implied in the title, the story is set 30 years after the events in the original film. The protagonist is a blade runner named “K” (Ryan Gosling) who, like Deckard, works for the LAPD. Newer-model replicants are more docile (like electric sheep?). However, there are still enough of the older, buggier models lurking out there in the ether to warrant keeping the blade runners on active duty. This is evidenced right out of the gate, as we watch K being left with no choice but to “retire” a truculent gentleman out in the boonies.

When K detects skeletal remains on the recently retired replicant’s property, it sets off an investigation that catches the keen interest of many parties, from K’s commanding officer at the Department (Robin Wright) to the powerful CEO of the monopolistic android-manufacturing Tyrell Corporation (Jared Leto). And yes, one Rick Deckard as well (Harrison Ford). What ensues actually has less in common with the original Blade Runner…as it does with Children of Men, Logan’s Run, and Angel Heart.

Bad news first? The story line is not as deep or complex as the film makers undoubtedly want you to think. The narrative is essentially a 90 minute script (by original Blade Runner co-screenwriter Hampton Fancher and Michael Green), stretched to a 164-minute run time.

However, the “language” of film being two-fold (aural and visual), I must say the visual language of Blade Runner 2049 is mesmerizing. This is due in no small part to the artful eye of cinematographer Roger Deakins (Sid and Nancy, Stormy Monday, Fargo, A Beautiful Mind, Skyfall, et.al), who really knocks it out of the park.

While I alluded to the lengthiness of the film (and you will need to clear some time), I was never bored. In fact, I savored the leisurely pace and immersive visuals; so many sci-fi films these days needlessly assault the eardrums and are so jarringly flash-cut as to induce vertigo (keep in mind that cerebral sci-fi films like Kubrick’s 2001 and Tartovsky’s Solaris were panned upon initial release as being slow-moving or overlong…like this 1000+ word review).

Gosling delivers another one of his Steve McQueen-ish performances (which some might call deadpan…but it works). In addition to Ford (who has 15 minutes or so of screen time), there is a cameo that should delight fans of the original (and his origami skills have not waned). Leto’s choices are…interesting; they may have better served him as a Bond villain; ditto for his “henchwoman” (played with aplomb by Sylvia Hoeks), recalling Famke Janssen’s “Xenia Onatopp” in Goldeneye. Ana de Armas does the best she can as a holographic companion that feels lifted from Steve De Jarnatt’s 1988 film Cherry 2000.

All in all, Villeneuve has made a sequel that faithfully adheres to the ethos and the physical universe of the original film. It doesn’t necessarily add anything to the original; nor on the other hand does it diminish its “stand-alone” status. You may not find answers to all of those questions I discussed earlier, but you could find yourself still thinking about this film long after the credits roll.

After all, as the acrobatic “Pris” declared in the 1982 film (by way of quoting Descartes), “I think, therefore I am.” Isn’t that what makes us human? OK, that character was a replicant, but that’s beside the point. At least she “lived”, right?

But then again, who does?

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]

SIFF 2017: Infinity Baby **1/2

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on June 3, 2017)

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Merely posing as a “near-future” dystopia tale, Austin-based director Bob Byington’s film is really an examination of modern romance. In other words, it’s only “sci-fi” in the sense that Woody Allen’s Sleeper was “sci-fi” (if you catch my drift). A douchey hipster (Kieran Culkin) with a fear of commitment works for a company that holds a patent on a genetic modification that creates “infinity babies”…human infants forever frozen at 3 months old who never cry and require only weekly feedings and diaper changes (which makes it a fantasy for a lot of first-time parents, I’m guessing?). Onur Tukel’s fitful screenplay works best whenever it steers away from the sci-fi elements and focuses instead on wry observation and passive-aggressive verbal jousting.

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’ .

Stop the world, I want to get off: Elysium *** & Europa Report **

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on August 10, 2013)

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It’s tempting to take the political allegory in Neill Blomkamp’s new sci-fi action adventure Elysium and run with it. But I am going to take the high road. I’m not going to shoot you a Palin-esque wink as I tell you the year is 2154, and the human race is reduced to two classes: the super-rich, who have ensconced themselves in a glorified gated community called Elysium (a gargantuan bio-domed space station in Earth’s orbit) and the rest of humanity, who have been ghettoized back on Earth, which has fallen into ecological and economic ruin.

The Earth rabble try to infiltrate the 1 per-centers’ big wheel in the sky via “illegal” shuttle crafts,  but those lucky enough make it past Elysium’s formidable Star Wars missile defense system and land are captured by police droids and deported back to Earth (note I’m still keeping a straight face). Screw it. I reveled in the political allegory.

I especially reveled in Jodie Foster’s turn as Elysium’s icy Secretary Delacourt, who usurps the President’s ineffectual requests to take it down a notch on these strident Homeland Security measures (and if she didn’t base her characterization on Governor Jan Brewer, then Stephen Colbert actually is a conservative pundit).

Meanwhile, back in the States, we meet Max (Matt Damon), an ex-con who works at a dreary droid manufacturing plant in L.A. The Los Angeles of 2154 resembles a giant favela (it makes the Blade Runner rendition of the City of Angels seem Utopian). Nearly everyone speaks Spanish (now…settle). Those lucky enough to have a job are mercilessly exploited by their employers (I said: settle!). While there are hospitals, they are understaffed and ill-equipped to treat catastrophic illnesses; whereas on Elysium, every mansion come equipped with a miracle medical appliance that seems to cure everything from paper cuts to cancer via cellular regeneration.

All of these mitigating factors are about to converge into a perfect shit storm for our protagonist. A work accident exposes Max to a lethal amount of radiation. He’s told he has 5 days to live and given a bottle of painkillers. His only chance for a cure is on Elysium.

Desperate, he reaches out to an old acquaintance (Wagner Moura), now a successful smuggler, to see if he can arrange passage. As Max is somewhat short on funds, the smuggler offers a trade deal. If Max does a special “job” for him, he’ll get him on a shuttle. Max agrees, but the gig goes south, and he’s on the run from an odious mercenary (Sharlto Copley) who does covert operations for Secretary Delacourt.

What ensues is a mashup of Escape from New York with Seven Days in May (granted, Max is no Snake Plissken, but he’s in the same ball park). As he did in his 2009 feature film debut District 9, Blomkamp deftly delivers a strong political message and slam-bang sci-fi action entertainment all in one package. While Damon is unquestionably the star, I think Copley (who seems to be establishing a Scorcese-De Niro/Herzog-Kinski type partnership with the director) nearly steals the movie with his deliriously over-the-top performance (his character is the best scene-stealing sci-fi heavy since Dennis Hopper and his eye patch played to the back of the house in Waterworld).

Oh, by the way…the best part about this film is that the real show hasn’t even started yet. There is an unmistakable, marvelously unapologetic pro-Obamacare message in the denouement that is surely going to leave the “Aha! It’s another piece of Hollywood lefty socialist propaganda!” crowd apoplectic and sputtering with impotent rage. They are going to go absolutely spare (if they haven’t gone so already). Personally, I can’t wait. Pass the popcorn…

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Film makers who aim to create “realistic” sci-fi dramas are faced with a conundrum: While it may be true that “It’s not about  ‘destination’,  but rather the journey”, an inconvenient truth remains…real life space journeys are tedious (Apollo 13 aside). Even our nearest interstellar travel destination (the Moon) takes 4 days (I don’t know about you, but I get antsy after 4 hours on a plane). So if you want to do a realistic film about a Jupiter mission, how do you add drama? OK, Kubrick  did it  in 2001: A Space Odyssey, but that set a high bar.

To their credit, for about two-thirds of their hyper-realistic sci-fi drama Europa Report, director Sebastian Cordero and screenwriter Philip Gelatt seem headed for that bar. Framing the narrative with the “found footage” gimmick, the film is a faux-documentary that “reconstructs” a privately-funded mission to Jupiter’s moon of Europa to probe for signs of aquatic alien life beneath its ice pack. The six crew members have each been chosen for expertise in their respective fields. Shipboard footage capturing the workaday mission minutiae is interspersed with somber “present day” interviews telegraphing that it all ends in tears (don’t worry…not a spoiler).

Most of the filmmaker’s effort focuses on making us believe that this is all really happening, and indeed the overall “look” is right. Special effects are seamless; all the hardware, the radio chatter, EVA procedures etc. etc. suitably authentic and convincing, but there’s one thing missing…an interesting story. There’s simply no “there” there, and the sudden 180 into The Blair Witch Project territory in the third act cheapens the film and destroys all credibility.

The cast (which includes Michael Nykvist and the ubiquitous Sharlto Copley) do the best they can with woefully underwritten parts, but the resultant lack of emotional investment on my part as a viewer made it hard for me to care about what happened to whom once the mission (and the film itself) began to go horribly, horribly awry.

SIFF 2013: Die Wand **

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on May 25, 2013)

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Adapting first-person narratives like Marlen Haushofer’s dystopian novel Die Wand (The Wall) for the screen can be a tricky affair. Consider Julian Roman Polsler’s film, wherein our heroine (Martina Gedeck) wakes up one morning and finds that an invisible, encircling “wall” has confined her within the perimeter of an Alpine lodge, with only a dog, a cow and woodland animals for company. As she adapts to her Robinson Crusoe lifestyle, she begins keeping a journal. Since she has no one to converse with, we get voice over narration. A lot of voice over narration. Gedeck (a skilled actress) is left with little to do but stare into space. There’s a lot of staring into space. Atmospheric, nicely shot, but ultimately it is little more than a picture postcard-festooned exercise in tedium.