Skip to main content

Posts

Why You Should Watch Star Trek

“Space… the Final Frontier.” It’s a provocative phrase, isn’t it? The Final Frontier, the last great mystery of exploration. In 1966, one of the most popular television genres was western adventure - Gunsmoke , Bonanza , Rawhide , episodic stories about life on this particular romanticized frontier were everywhere. What’s a competitive show to do but take it a step further? Where do you go once the west has been thoroughly demystified? How about a Wagon Train to the Stars? That was the phrase that one Gene Roddenberry used when pitching a series concept to Desilu Productions that would go on to be Star Trek , the basis of a sixty year television franchise (and occasionally film too ) , that would have one of the greatest out-sized impacts of a cultural phenomenon of the twentieth century. Desilu green-lit the idea (founder Lucille Ball specifically) and the rest is history. Three seasons that struggled in the ratings but gained an enormous fan following, a short-lived animated follow...
Recent posts

Flat Perseverance is Edged Out by Bleakness in The Dog Stars

About twenty minutes into The Dog Stars , Jacob Elordi’s Hig loses his beloved German Shepherd Jasper. And the movie never recovers. It is called The Dog Stars , based on the book by Peter Heller, and whatever reasoning for that title there actually is (the film never reveals it), one would expect the dog introduced as chief companion to the protagonist would have some major part to play. But even posthumously, Jasper isn’t particularly significant to this apocalypse story about struggling to go on and find reason to live amidst societal collapse. I’m broadly an agnostic where dogs in movies are concerned, but this one is markedly dimmer once the dog exits the picture. Director Ridley Scott however tuckers on just like his lead, yet fails to make the point that character and those who matter to him are meant to. It’s the nearest Scott has come to making a zombie film, and it bears more than a little passing resemblance to 28 Years Later , in both its hordes of nebulously-infected dehu...

The Debilitating Defensiveness of Finding Emily

The romantic-comedy genre is not what it used to be, for good or bad. Its tropes are extremely understood by now, and it is a genre that seems to turn more people off than any other. I know folks who will watch any kind of movie except a rom-com. And that may be a part of the reason the genre has fallen out of fashion in recent decades. When we do see them, they have to be wrapped in either undeniable movie stars like Anyone But You or conceptual gimmicks like One Night Only or Palm Springs or just be attached to other priorities alongside the romance like Voicemails for Isabelle or The Idea of You . And it also helps if they can work in a number of flashy antics. The filmmakers behind Finding Emily , director Alicia MacDonald and writer Rachel Hirons, by contrast seem to really believe in the sincere rom-com that doesn’t need any of that stuff, and are also perhaps annoyed by what they perceive as a more cynical culture that has wounded it. Specifically it is a movie that points t...

The Unforgiving, Existential Dread of It Ends

As the credits roll on It Ends , you realize how clever a title that actually is. There is some foreshadowing in it and some reassurance, tied in with both the plot of the movie and the existentialism it evokes. It is a horror film about deeper more uncertain fears than we are used to seeing, at least in this format. It is almost like a film equivalent of Beckett’s Waiting for Godot or Sartre’s No Exit -repackaged for a Gen-Z sensibility. And it is uniquely unsettling in that. What conventional modes of horror it does engage with, and only out of some logistical necessity, takes a backseat to the unexplainable psychological torment it subjects its characters to. It is a remarkable debut feature from Alexander Ullom that got a limited VOD release late last year via the Letterboxd Video Store of all things. A perfect choice perhaps, this does feel made for a Letterboxd audience. Fortunately that didn’t preclude a theatrical run, and once its time on Letterboxd was up, Neon managed to ac...

Coyote vs Acme: Of Course You Realize This Means War

David Zaslav is an idiot. That’s pretty common knowledge at this point but it is good to have such a forceful demonstration of that as Coyote vs. Acme , the movie his regime at Warner Bros. tried to have buried as a tax write-off only for it to eventually be rescued and at long last released -turning its David and Goliath story into a strikingly meta-textual screed on its own gestation and ultimate triumph. Perhaps it’s better the movie isn’t distributed by Warner Bros. -it would be too embarrassing for them to bear. A reason for the lack of confidence in the film, which I don’t know of Zaslav or his board said so directly, is the lack of faith at Warner Bros. in their own cartoon icons. The Looney Tunes are arguably the most vital staple of that studio, mascots nearly as ubiquitous with Warner Bros. as Mickey Mouse and the gang over at Disney. And yet they have not bothered to utilize these characters over the past few decades, risking their evaporation in the cultural lexicon of ...