Astute (or extremely activity-challenged) readers will remember I watched 1973′s Westworld again back in July. This evening I saw its later (and lamer) sequel, Futureworld, circa 1976.

So – before I ‘review’ this movie I’m just going to say – I’m not worried about any of you going to rent it (turns out even the Mecca of Movies only had it on VHS) so all plot points (as may exist – and there aren’t many) will be spoiled herein.

So – basically fast forward several years from the events in Westworld – Delos has been rebuilt, bigger and better than ever. Now they have Roman World, Medieval World, Spa World and FutureWorld – no more WestWorld – although they visit its remains in this movie. Given the tragedy of before, Delos needs better PR to encourage people to come back, so they enlist a TV reporter (Blythe Danner) and the newspaper reporter who broke the story the first time around (Peter Fonda). But prior to heading out to Delos, Peter Fonda gets a clue from an informant (who is killed just before PF meets him to discuss the scoop) that something is still very ‘wrong’ at Delos this time around, too.

So they go there, and far too much time is taken up showing all the high-tech stuff, people walking here, people walking there, and there are two bit-characters (a Russian General + wife, and a famous Japanese person, probably a politician) who get some minor screen time. Very little of this advances the plot, save some (seemingly) random sequences showing people very interested in computer recordings and simulations of the main four characters.

It develops that Delos is making (effectively – they don’t name it directly) clones of world leaders and politicians because they don’t trust humans to keep from blowing themselves up. The visitors come to Delos, and the clones are sent out into the world to replace them, under Delos’ control. The movie never says if the robots hatched this plot on their own (one of the major Delos characters, Duffy, turns out to be one) or if they have mad-scientist backers (it is never revealed whether Dr. Schneider is human, robot, or something else) working with them.

At any rate, PF and BD find a (still-human) mechanic named Harry who helps them discover the truth, and then there is more running around with guns until the end, where they both escape Delos and (presumably) tell the world. Yul Brynner is wasted in a weird dream sequence with BD as a fantasy lover – I’m sure I was impressed by this back in 1976 (as a nine-year old) but it’s pretty silly now.

So….without dwelling on what the movie does wrong (mostly far too much tedium in advancing the meager plot) – i’d rather mention a few things that could have made it MUCH more interesting by contrast.

1) Futureworld never explains how the robots figured out how humans always want to destroy themselves (and thus hatched a plot to stop it and save themselves from our stupidity). By way of comparison, the recent BSG remake trickled this info out over the entire length of the series – of course to keep you coming back until the end, but partially because it kept you guessing and interested and inventing your own ideas about where the plot was going, then to watch it and confirm (or see where they went instead).

It might have been very interesting to see the ‘between’ story explained in more detail with more motives and the ‘how’. FW talks about the ’700 series’ robots as being far more advanced than those in the prior movie/robot generation, but it’s only a few lines of spoken dialog at best and nothing beyond that.

2) Just like in the previous movie, the big ‘seller’ behind the concept of Delos is ‘sex with robots’ – but at $1200/day – would that really do it? And I would think more stuff (even Disneyland has Pirates of the Caribbean, and The Haunted Mansion) than just the Middle Ages or Roman times would be required to get people there (the lack of showers and actual cooking comes to mind, but I digress ). Westworld itself might have had some attraction, I agree – but even in 1976 I’d think more would be needed (and Disney had both POTC and THM back THEN, too).

3) It would have been interesting also to see robots who didn’t ‘agree’ with the crazy clone strategy to take over the world, and if they helped PF and BD succeed to blow the story open. Here, BSG did this in various ways and various characters – creating a mosaic of character motives (if done well) can really serve to spice things up, no?

4) finally – what if Delos had actually ‘won’? What if they largely succeeded and THEN a reporter came back say, 20-30 years in the future and found out what had happened? And here comes the broken record, because now that I think of it (literally) BSG did this too – in a way – with the whole idea of Cylons being all-but human in appearance, etc. But they limited its scope by keeping it a limited number of models – in FW’s case, it might have been *many* world leaders over time – what if the clones ushered in a time of peace and world achievement, and then we found out we had all been tricked for 20-30 years? What then? I can’t help thinking of Kent Brockman saying “And I, for one, welcome our new ant overlords” with the paper sign on the wall behind him – too funny.

Anyway, if you find the book of this movie on a seedy bookshelf somewhere, and you are killing time on the beach, read it. Otherwise, just rent BSG and get the same thing only done far, far better. They should have quit while they were ahead with Westworld.

candybowl

What is it about Alan Rickman that rocks? Well, for starters I think I’ve liked nearly every movie he’s in (or at minimum, his part in it). Despite being ‘genetically predisposed’ to like Galaxy Quest in being a big nerd – I could only put up with the first half hour or so. However, Alan Rickman’s bit as an alien with the catch phrase (‘By Grapthor’s Hammer’) uttered both at critical plot points – and at the grand openings of car lots – is TOO classic.

Who else goes from German terrorist (Die Hard) to guardian angel (Dogma) to sarcastic, doomsayer robot (Hitchhiker’s Guide to the Galaxy) to Professor Snape (not all the HP movies have near enough of him in them, but most have a good amount )?

I think it’s the combination of subtle, voiced exasperation, sarcasm without even trying, and just his mannerisms that do it for me. The guy just cracks me up!

candybowl

(Re)watched the ancient sci-fi classic WestWorld late last night. It was shorter than I remember (in other words gets to the killing spree/chase scenes/etc. faster than I remembered), but definitely some classic performances in there, most notably Yul Brynner in the title role as The Gunslinger.

Since this is an old movie, even for me (in 1973, I was 6) let’s recap – a very expensive ($1,000/day), exotic resort (Delos) opens up in a distant desert (they never say where, but looks like the American Southwest), where there are three distinct ‘worlds’ people can visit – Roman World, Medieval World, and West(ern) World – each is tailored to fulfull guest fantasies based on advanced robots to cater to their every whim, within the theme of each ‘world’. In an early part of the film, an announcer talks about enjoying the ‘relaxed morality of earlier Roman times’ (meaning guilt-free sex with lifelike robots, let’s be clear here ) And this is consistent with the other ‘worlds’ – the main two characters (james Brolin and Richard Benjamin) visit WestWorld (and at least one brothel therein). Then, things subtly start to go wrong, and mayhem ensues in a variety of ways.

So, this is a pioneering and influential sci-fi film in many ways. It is very well made for its time, obviously a bigger budget than some of its contemporaries (yeah, Omega Man, i’m talking to you). The decor, sets and computers/effects are spartan, but still look decent, and unlike many sci-fi movies, don’t get in the way of the plot. Not on the level of the earlier 2001: A Space Odyssey – but almost NO movies (sci-fi or otherwise) compare to that one even now.

WW has to be considered one of the first ‘relentless, unyielding stalking killer’ movies – Yul Brynner’s Gunslinger – used to great effect many times later in countless horror movies but also every Terminator movie ever made, elements of The Matrix movies, etc. Even Javier Bardem in No Country for Old Men is reminiscent of this theme (and also very scary). In WW, this may be considered more remarkable because The Gunslinger stalks Richard Benjamin throughout the day – never at night – so his power over the intended victim grows not through cheap special effects or misdirection, but ultimately on the strong, almost silent performance of Yul Brynner (who hardly has more than maybe 3-4 sentences of dialog in the whole movie).

WW’s story also builds one of the earliest ‘no matter how perfect our technology gets, it will get us in the end’ themes – and does it about as subtly as the 16-ton weight from the classic Monty Python sketch. But the early ’70s was definitely a time of ‘man is doomed’ themed-sci-fi movies (Soylent Green, the earlier Omega Man, Silent Running, etc.) so not really surprising in hindsight.

Another thing that struck me this time around has to be the interaction between the resort guests and the robots who serve them. At one point after a barroom shootout, James Brolin remarks about ‘the beauty of the place is you never know if it’s real’ (or words to that effect). The guests feel free to just shoot the place up, start bar brawls, have sword battles (in effect act like a pillaging pirate – no Pirate World? ) etc. – and let someone else pick up the pieces. I guess at $1,000/day, i’d expect the same – but it’s interesting how easily they just slot into it and tear it up with no consequences (well, that was the Delos sales pitch anyway). Given that the director/screenwriter was Michael Crichton – author of this theme many times over (The Andromeda Strain, Jurassic Park, etc.) again, not a big surprise.

Stepping back (to a soapbox) it’s also interesting here is that despite continually warning us of the dangers of technology and how we overreach ourselves far too often in his books and films – MC was one of the biggest global warming deniers on the planet, right up there with Big Oil and James Inhofe! Like Mel Gibson of recent past, MC shows that many times in Hollywood – appearances can be VERY deceiving. Was he having fun at our expense on either side of the issue? I’ll have to look around to see if anyone ever asked him that question – he’s dead now (2008) so we may never know. End soapbox.

All symbolism and soapboxes aside – WestWorld is still an entertaining movie despite being now almost 40 years old. Yul Brynner makes the movie for me – without him, i don’t think WW would have been near as effective – his Gunslinger really is a Hollywood icon, sci-fi or otherwise.

candybowl

just got back from seeing IM2 – pretty good! Was *slightly* disappointed to not see Terrence Howard back in this one, but Don Cheadle is about the best sub they could have hoped for (otherwise, we might have seen Chris Tucker or Eddie Murphy? – I like them both, but not here!) One pleasant surprise was Mickey Rourke as the bad guy Ivan Venko – I think he’s been on a roll since Sin City, really – and seems to have left loser movies like Wild Orchid far behind, thank god. Sam Rockwell is always funny and entertaining, too, and I’m glad they didn’t really try to have him be the second coming of Jeff Bridges from the last movie, either.

While at least one situation was a bit too much (ok, yeah TS owns the F1 car, but kicking out the driver just before the race is to start and having Tony Stark drive it instead? Yeah…..) – but all in all, this was a good summer movie, good performances all around and they tell us more about Nick Fury and SHIELD, too, so that’s not a bad thing either.

here’s another review (spoiler alert on it) – IMHO it’s way too cynical – lighten up! This is a COMIC BOOK MOVIE, for pete’s sake – not Saving Ryan’s Privates! Just go to IM2 and count the days until TRON Legacy

candybowl

I’m not watching any other trailers for this. I’m just glad they made a sequel! Dec. 17 2010, welcome to Cinerama…….

candybowl

Pretty d*** cool – if you haven’t ever read him – he was one of the ‘big three’ way back in Weird Tales days – the other two (better known than CAS) were H.P. Lovecraft (Cthulhu sushi, anyone? Tastes better than Soylent Green! ) and Robert E. Howard (creator of Conan the Barbarian).

I had never heard of CAS myself until reading Stephen King’s ‘Different Seasons’ many many years ago – Different Seasons is really four novellas, the first 3 of which have since been made into movies – bu the fourth story – ‘The Breathing Method‘ – has not. If you’ve read it, you probably know why. But several times through the story King references CAS alien landscapes and settings, which got me interested in finding some stories to read.

Given no convenient ‘internets’ to check out at the time – I went to the next best thing – Powell’s Books – which actually had some used paperbacks (imagine that) – CAS is often as hard to find on the stacks as Philip K. Dick and for a while there, I was thinking CAS was harder to find than Kilgore Trout books. But, thankfully other fans exist out there too and besides the existing paperbacks here and there, a few hardback story collections have been put together. CAS didn’t write novels – only short stories and poetry.

Anyway, check out some of the stories here and enjoy – after which you may be ready to find a copy of The City of the Singing Flame all your own…..

candybowl

So I finally watched Akira recently. This is one of the anime movies that started it all, way back in 1988. It shares many (now) typical anime plot devices (angry head cop going-it-alone against the system, devil-may-care central characters that live (and often die) completely in the moment, a post-apocalpytic Neo-Tokyo that has more than one section of the city living in all but anarchy, subtle yet pervasive technology throughout everything the characters see and experience, etc.) – many of these themes, however, originated in *this* movie, so small wonder these influences persist to this day – Akira is by far among the best anime I’ve seen to date.

Like the first Ghost In The Shell movie, this one doesn’t seem to have any CGI in it – given that TRON and The Last Starfighter weren’t too many years before this movie, the lack of CGI (or, CGI integrated into anime) isn’t very surprising. The scenery and drawings are fairly impressive with a meticulous attention to detail, and the characters are drawn with a wide range of emotion throughout.

There are definite external inspirations within Akira in turn. The super-bikes all the main biker gang characters own are obviously influenced by the TRON light-cycles (and 80s ‘crotch rocket’ street bikes from the real world of the same era). And there has to be a shout-out given to Escape From New York (and similar but far cheesier early 70s post-apocalyptic sci-fi) as influential upon the burned-out city in Neo-Tokyo.

Without revealing very much – essentially one of the main biker-gang members, Tetsuo, is inadvertently exposed to a mutant on the run from a secret army agency. This exposure (of course) begins to create powers in this kid and one can begin to predict what happens next – although it’s still not near as predictable as you might think, and just when you think the movie is ending, another plot twist moves in another direction – nice!

To repeat, definitely one of the best anime I’ve seen yet – others have amazing animation/CGI but largely flat characters (Appleseed); interesting stories that sadly create inherent plot contradictions over time that aren’t resolved (Witch Hunter Robin); or very simplistic (but fairly entertaining) plots in a completely fantastical setting (Mars Daybreak – all hail talking Belugas!). Akira stands way above all of those – if you only ever see one anime – make it this one.

candybowl

Generally speaking, I’ve loved animation since well, forever. Over the past several years, besides the rise of Japanese anime in US pop-culture, another worthwhile offshoot of animation has been a variant of (arguably) good ol’ claymation - except with Lego bricks. Saw this Lego Matrix homage today, reminded me of the White Stripes Lego video of several years ago – enjoy!

candybowl

Finally popped up on my hold list at the library, and was able to watch the original Ghost in the Shell movie (again – saw it several years ago once before) tonight.

While the first two GITS movies have the same characters but an almost completely different storyline than the two series and much later 3rd movie, it’s interesting now to go back and watch this one again, having seen all the rest. It’s obviously older – there isn’t any CGI in this one, all classic animation (although I guess it has since been remade itself and incorporated some CGI). The characters, excepting Aramaki, all seem somehow ‘younger’ – almost as if you are seeing The Major in her late 20s or something. It’s not impossible to believe that her merger with The Puppetmaster program by the end of this movie made her into the arguably colder, more calculating/mature and ‘older’ Major of the later series? Interesting to think about at any rate. Batou seems younger too, as if he’s all but ready to *tell* The Major he loves her, but as per usual, seems torn up about it? Hard to say. He’s definitely a colder fish in the first TV series, if not the second.

As the story here (and in the second original movie) are again, not part of the rest – seeing them before/after everything else is fine, you aren’t losing out – there are only really five characters here from the later series – The Major, Batou, Togusa, Chief Aramaki, and Ishikawa. Saito gets mentioned but they never show him, and Borma/Paz don’t exist here.

I think of the three movies, I like this one best. Its story can stand alone, even though of course it was easy to build a sequel and later series from it. Of the two series, the first one was better for me (see earlier post on this). Great stuff, definitely top-tier anime, for sure.

candybowl

Well, after 2-3 weeks of off-on watching, I finally finished the second Ghost In the Shell anime TV series – S.A.C. 2nd Gig. This series is a continuation from the previous Ghost In The Shell: Stand Alone Complex (see earlier post on that one here).

This second series is more of a political thriller than the first. Both series have a long story-arc that persists until the end, but they don’t seem to ‘explain’ as much in this one by the end – there are still at least a few motivations and actions I didn’t quite understand. There is more straight up ‘battle’ and conflict in this one too – and I liked the fact that they gave the other members of Section 9 (Paz, Boma, Saito and Ishikawa) a lot more to do in this series, than just focusing on the main four characters (Togusa, The Major, Batou and The Chief) as seen in the previous series.

There is a great villain in this one too – Kazundo Gohda, the head of the Cabinet Intelligence Service. Besides being facially disfigured and scarred (like all great over-the-top villains) this guy has plans within plans within plans, something every other main character finds out all too often along the way. While personally I thought The Laughing Man from the previous series was a more interesting foe for a variety of reasons – I had small hopes he’d show up in this one at some point – Gohda is definitely a man with a complex and hidden mission.

The main ‘anti-hero’ in this series Hideo Kuze, who remains at least in part a semi-major enigma. It would have been neat to see another episode of flashback(s) to his wanderings in Eurasia and how he came to his revolutionary stance portrayed in the series. They explore some of this through dialogue, but IMHO not enough. The Tachikomas even get a bit more to do – there are computer simulations of them used for the various episodes centered around computer hacking, besides their usual role as battle-backup for Section 9.

All in all, another great and interesting series – the animation is again excellent, The Major isn’t near as invincible in this one, and even Batou has to face up to a number of his own demons by the end.

candybowl.