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THE HYPOCRISY OF JEAN LUC PICARD   Leave a comment

Honetly, I never did like this guy – too Establishment, all rules and regs, and way too convinced of the Federation’s superiority. Anyway, how can you trust a guy who claims to be French but speaks with an obvious Yorkshire accent?

Personally, I’m more of a Ferengi sort of bloke. Give me good honest greed any day.

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Posted February 17, 2012 by Stuart Heal in Uncategorized

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THE AVENGERS – 1952!   Leave a comment

I recently became aware of the YouTube phenomenon of “premakes” – trailers for films as if they’d been made years ahead of their actual production dates, and stitched together from unrelated films.  Here’s one for a 50s version of “The Avengers”.  I wish this film had been made:

It’s been really cleverly put together. I recognised some of the films and movies serials used as sources, but not all of them. It’s a nice touch having Emma Peel stand in for the Black Widow.

Can you spot all the Marvel Comics characters featured? Here’s my list:

Captain America
Iron Man
Giant Man
The Wasp
Hawkeye
The Black Widow
Peter Parker aka Spider Man
The Hulk
Thor
Rick Jones
Professor X
Cyclops
Nick Fury
Doctor Strange (or possibly Fu Manchu, I’m not sure)

I’m sure I’ve missed a few, can you do any better?

It’s also nice to see the inclusion of The Daily Bugle, Skrulls and the SHIELD Hellicarrier (aka the Spectrum Cloudbase). Clearly a labour of love by a true fan, I’ll have to watch out for more of these.

There is actually a real “Avengers” film coming up soon, if it’s half as much fun as this trailer it’ll be worth seeing.

Posted October 15, 2011 by Stuart Heal in Uncategorized

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Batman Live   1 comment

Batman Live

The cast of Batman Live

I went to a stage show today, but this one was a bit different from the norm.  It’s “Batman Live”, which is currently touring the country.  It’s showing at the MEN Arena in Manchester from 20-24 July, but a friend of mine acquired two free tickets for today’s dress rehearsal.  I have to say that I was pretty impressed with it.

If you’re not familiar with the Arena, it’s a pretty fair sized venue.  Apart from the usual rock and pop concerts etc, it also used to play host to ice hockey games – I’m not sure if it still does or not.  There must have been plenty of those free tickets in ciculation, because the event was pretty well-attended.  I’d say the available seating was about two-thirds taken, bearing in mind that the circle seats weren’t used for the dress rehearsal (I expect they will be for the main shows, but I don’t know for sure).  The stage was surrounded on three sides – we were sat directly in front, so had a pretty good view.

The stage was really well put together.  As it was first set up, it contained a set of miniature buildings representing Gotham City, and an image of the skyline was also projected onto a bat-shaped screen at the back.  That screen was a vital part of the play.  The props on the set itself were moved around according to what scene was being played, and tended towards simplicity.  But the projection screen filled in the background and helped draw the audience into the action.

The story itself gives a brief synopsis of the events leading to Bruce Wayne becoming Batman – coming home from a cinema showing of Zorro (a good touch this, as Zorro is supposed to have been one of Batman’s influences), Bruce Wayne sees his parents gunned down by a mugger and swears revenge.  The main part of the story starts years later, with Bruce Wayne and his friend Commissioner Gordon attending a circus where Dick Grayson and his parents are performing as trapeze artists.  When Dick’s father refuses to pay off a protection racketeer, the trapeze is sabotaged and both Dick’s parents are killed.  Dick Grayson swears revenge and seeks to emulate his hero Batman.  Instead, he gets taken into the care of Bruce Wayne, who he thinks is a worthless playboy.

The story then follows Batman’s hunt for the protection racketeer, which in turn brings him into conflict with most of his regular rogue’s gallery of enemies – namely Catwoman, Two Face, the Penguin, the Riddler, Poison Ivy, Harley Quinn and the Joker!  Having said that, the Joker’s the main antagonist in this story, dominating every scene he’s in.  Most of the others are very much supporting characters.  Pretty soon the Joker and his gang have taken over the circus and are holding Dick hostage.  Dick’s rescued by Batman, who ends up confiding his identity.  Realising tha Dick is not going to give up his quest for revenge, Batman reluctantly agrees to train him as his sidekick, with the help of his uniquely talented butler Alfred.

The show builds up to a climactic battle in Arkham Asylum, which has been taken over by the inmates – Joker and co.  I won’t give away the ending, but if you’re familiar with the characters you can probably guess anyway.  It’s still fun.

This is a really impressive show visually.  I’ve mentioned the projection screen at the back of the set – this shows a combination of computer-generated animations (as in when the Batmobile is racing through the streets of Gotham), virtual sets (the inside of the circus, Wayne Mansion etc), and pages from comics to illustrate scenes that just couldn’t be shown on the stage (the Graysons falling to their deaths) etc.  The music itself was also well done, an orchestral score reminiscent of the Tim Burton films and the animated series of a few years ago.

Most impressive was the athleticism of the cast.  Because of the prominence of the Joker in this story, and the circus setting, there was a lot of circus-type action – tumblers, jugglers, a trapeze act, even a couple of magic tricks.  It was all very well done.  The costumes were also good, except that Batman’s costume was obviously modelled to a certain extent on the one in the 80s Batman films – all rubber and padding, it must have been as hot as Hell in there, as well as restricting.  This hurt some of the fight scenes, I think, as Batman’s range of movement was severely limited.  The guy’s supposed to be a top-class street fighter – logically he’d wear an outfit that gave him the maximum freedom of movement, but he might as well have been wearing a suit of armour.  This became particularly obvious in the big battle finale when Robin and Catwoman were kicking the **** out of most of the rest of the cast (using fairly authentic martial arts methods), but all Batman could do was deliver the odd backfist or straight punch.  Batman needs to be seen to be good at duffing up villains.  The director should have given this issue more thought.  This lack of mobility on Batman’s part was possibly one of the causes of the interruption that occured towards the end of the play.  During a melee scene, the Batman actor appeared to have hurt his leg – probably twisted his ankle or banged his knee, something of that nature.  Whatever happened, the play was brought to a stop for a few minutes while the actor was taken backstage and presumably his leg was looked at.  After a few minutes, an announcement went out that he’d be back on shortly.  You’d think the audience would have shown some patience, but some people started doing the slow handclap – I hate that kind of behaviour, it lacks consideration for the cast, who were involved in some fairly dangerous stunts. 

Anyway, Batman appeared back on stage after maybe ten minutes (at the most) and the show continued to a triumphant conclusion.  Of course I can’t be absolutely certain that it was the same guy playing Batman at the end – being as he was wearing a mask, he could have been his understudy for all I know.  I hope the actor’s alright though.  As I said, there’s a lot of stuntwork in this play, people dangling from wires, stage fighting, acrobatics etc – plenty of chances for actors to get hurt.

Overall though, it was a pretty good night out, and all we spent was £2 on car parking.  Both the kids and the adults in the audience seemed to enjoy it.  If you can afford a ticket, or get offered a free one you probably will too.  See it if you get the chance.

The Green Hornet – Trouble Hits The Trolleys   Leave a comment

“He hunts the biggest of all game!  Public enemies that even the G Men cannot reach!”

One of the more unusual fictional crimefighters is the Green Hornet. The Green Hornet started as a radio series created by George W Trendle and Fran Striker, which ran from 1936 to 1952. The great-nephew of the Lone Ranger, the Green Hornet fights crime in the contemporary (for then) setting of an anonymous big city somewhere in America, which is troubled by the usual problems of organised crime and political corruption (plus Axis spies and saboteurs during the war years).

Although the character started out on radio, he has also appeared in various comics, two movie serials in the 40s, a TV series in the 60s, and a feature film which has just been released.

The Green Hornet’s civilian identity was Britt Reid, proprietor of the Daily Sentinel newspaper. The only living person who knew that he was also the Green Hornet was his oriental valet/chauffeur/henchman Kato. There were a lot of crime fighters on the radio and in pulp magazines in those days, it was a bit of a golden age for that kind of character, but the Green Hornet’s modus operandi was a bit out of the ordinary. Instead of going toe to toe with criminals and fighting them directly, he let the local police and general public think that he himself was a criminal. Having this reputation enabled him to gain the trust of the real crooks and thereby entrap them, enabling the local police to arrest and prosecute them while the Green Hornet “got away in the nick of time”. Gadgets and gimmicks were limited, at least in the original radio series. The Green Hornet was armed with a gas gun which could knock people out without harming them and he and Kato had a souped-up car called the Black Beauty. His main weapons were his devious mind and intimidating manner – plus a good pair of fists if he was backed into a corner.

If you’d like to listen to an early episode of this classic, click hear to download an MP3 of “Trouble Hits The Trolleys”, starring Al Hodge as The Green Hornet. First broadcast on 27 February 1936, this episode concerns corruption in local government and a crooked businessman’s attempt to win the franchise to run a bus service by sabotaging his rival’s business.

“Ride with Brit Reid as he races toward another thrilling adventure! The Green Hornet strikes again!”

It’s A Wonderful Life by Michael White   1 comment

You’ve probably seen or at least heard of the classic Frank Capra film “It’s a Wonderful Life”. As far as I’m concerned, it’s one of the best fantasy films every made, and a good one to watch if you’re feeling down (as a lot of people do at this time of year especially). Maybe I’ll write a review of it one of these days.

In the meantime, I found a good music video based on this film, performed by a singer called Michael White. Not a guy I’m familiar with, but he’s a good singer. It probably helps to appreciate this song if you’re familiar with the original film:

Posted December 25, 2010 by Stuart Heal in Uncategorized

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Film Review: The Day the Earth Stood Still   Leave a comment

Made in 1951 and loosely based on the short story “Farewell to the Master” by Harry Bates, this is one of the classic SF movies of all time. I was lucky enough to pick up the special edition on DVD (released by 20th Century Fox) for less than £3 in a charity shop, and this is my review.

I’ll get the bad news out of the way first. The bad news is that the cover of this DVD is not as good as it could have been. It shows a close up of Gort looming over a picture of Earth, while he unleashes his “death ray”. It’s not a terrible cover, but it’s a bit too ordinary for a classic film like this. Personally, I generally prefer to see reproductions of the original poster art on the covers of classic film DVDs. Another thing about the cover is, it doesn’t make it clear that this is the special edition DVD, which is strange from a marketing point of view.

That’s the bad news, the good news is that this is an excellent DVD presentation of one of the all time classic SF films. First of all because this edition has been digitally remastered – in fact I’ve never seen this film looking so good, and that’s including one time I saw it on the big screen. It also has a decent set of extras, but I’ll get to them in a minute.

If you’re reading this review, the chances are that you’re already familiar with this classic, but on the offchance that you haven’t seen it yet, I’ll avoid giving away the ending. It’s a simple tale, simply told, and all the better for it. The film opens with the unexpected arrival of an alien spacecraft in Washington DC. The army is scrambled and troops surround the spacecraft. The pilot, a humanoid called Klaatu (Michael Rennie) emerges but is shot and wounded by a nervous soldier. This action triggers a violent but controlled retaliation by Klaatu’s robot companion Gort (Lock Martin). Klaatu is taken to a military hospital and explains to a representative of the State Department that he is on a diplomatic mission, but will only deliver his message to a meeting of representatives of all the Earth’s governments. When the State Department representative tries to explain the difficulty of organising such a meeting, Klaatu begins to realise that he needs to know more about how our culture works in order to carry out his mission. So he escapes and takes lodgings in a boarding house under the alias of “Mr Carpenter”. Here he meets a war widow called Helen Benson (Patricia Neal) and her young son Bobby (Billy Gray). The friendship he strikes up with Helen and Bobby helps to show Klaatu that there’s more to our culture than violence and aggression. However, Klaatu still has his mission to complete and a message to deliver – and in the meantime, Washington is in a state of alert, the security forces are hunting him and the general public are in a state of near paranoia. Can Klaatu complete his mission, despite the risks? And what will Gort do to the world if he fails?

People sometimes talk about this film as if Klaatu is some kind of Christ-like hippy do-gooder, here to spread the gospel of peace. This is missing the point. On a personal level, Klaatu is good person, but the mission he is on is pure realpolitik – or even gunboat diplomacy – his job is to protect the interests of his own people as they see it. He has a message to deliver – a warning and an ultimatum, to quote the film’s publicity. If the message is ignored, steps will be taken.

Most of the acting in this film is excellent, especially the core trio of Klaatu, Helen and Bobby, but also most of the supporting cast do a good job. The camera work also can’t be faulted, with very good use of light and shadows (reminiscent of German expressionist cinema) adding to the sense of threat. The special effects mostly stand up well even today, the only exception I can think of being one scene in which Gort carries Helen off and you can clearly see wires supporting her weight. That’s only one scene, though. The rest is practically flawless. The film also has an excellent score, with good use made of the theramin. I must sound like I’ve got shares in this film, but really it’s hard to find anything to fault. Some films are just as close to perfect as humanly possible, and this is one of them.

This DVD comes with a great set of extras. There’s the theatrical trailer and a Movietone news reel from the time (which includes a short segment in which The Day the Earth Stood Still is given an award at an SF convention, as well as a beauty contest and more serious reportage of the Cold War). Watching both the trailer and the newsreel before watching the film helps you to get a feel for the time in which this film was made. There’s also a short segment comparing this restoration with previous editions of the film, which is alright but not particularly interesting to me. The jewel of the crown of this DVD is what is described on the cover as a “Feature Length Commentary”. What the blurb doesn’t tell you is that this commentary consists of the director of this film (Robert Wise) being interviewed by Nicholas Meyer (who directed “The Day After” and “Star Trek 2”). This commentary is worth the price of the DVD on its own, as Mr Wise has very clear memories of making the film (which seems to have been a very happy and harmonious production) and also gives his thoughts on film making in general. It’s hard to see how they could have improved on this edition.

If you like science fiction and you like intelligent thrillers, this DVD is well recommended. Buy it. Don’t think about it, just buy it. You won’t regret it.

Film Review: Gattaca   Leave a comment

First released in 1997 and written and directed by Andrew Niccol, Gattaca is an intelligent science fiction film that’s never had the recognition it deserves, at least not in my opinion. Certainly I only became aware of it when I bought a second-hand VHS in a charity shop.

How far would you go to achieve your dream? Would you lie? Cheat? Risk a criminal conviction? Adopt a new identity? Change your appearance? Resort to major surgery? You’d have to be either crazy to do that, or just very, very motivated. Vincent isn’t crazy.

Vincent (Ethan Hawke) lives sometime in the fairly near future, probably towards the end of this century. The world he lives in is ours, but with one key difference – genetic engineering to produce “designer babies” has become commonplace. Parents can have their unborn children engineered, not just to eliminate birth defects, but to select for desirable qualities such as intelligence, good health and even good luck. Genetic profiling at birth can predict any problems and give a pretty accurate life expectancy. Not everyone opts for “designer babies” though – some parents, for religious or other reasons, go the natural birth route and leave the genetic makeup of their babies to chance.

Vincent is one whose parents opted for a natural birth. This is a decision that they regret almost immediately, since routine genetic profiling shortly after his birth indicates that he’ll have tendencies towards various imperfections, including manic depression, a short temper, and – worst of all – a 99% probability of developing heart problems and being dead at age 30. None of this deters Vincent from growing up nurturing a dream of going into space one day – but unfortunately for him, the society he lives in won’t even give him a chance to try to achieve that dream.

In this near future society, the good jobs go to the genetically perfect (“Valids”) and those born with the routine imperfections that go with having a natural birth (“In-valids”) get stuck with the menial jobs – cleaning toilets and suchlike. This isn’t something that’s imposed by the government – just as in real life, anti-discrimination laws are in place. And just as in real life, these laws are ignored by employers. This new genetic class system is enforced through random testing of blood and urine samples (usually thinly disguised as drug tests). There are ways round any system though.

By way of an underworld contact, Vincent is introduced to Jerome (Jude Law), a “Valid” and former world-class swimmer who is now confined to a wheelchair. The depressed and embittered Jerome needs an income, and Vincent wants to pursue his goal of becoming an astronaut. A deal is struck. Vincent moves in with Jerome and Jerome agrees to supply Vincent with samples of his “perfect” genetic material so that Vincent can adopt Jerome’s identity and blag his way into getting a job as a trainee astronaut for an aerospace corporation called Gattaca. It’s the same principle as faking up your CV to look like you’ve got more qualifications than you have, but much more involved. Not only must Vincent go into work with concealed bags of Jerome’s urine and blood samples on his person in order to get through the regular DNA tests, he also has to alter his appearance to pass for Jerome. This includes dying his hair, wearing contact lenses instead of his regular glasses and – worst of all – he has to have his legs surgically lengthened by a couple of inches to match Jerome’s height on the official record. Fortunately, Jerome’s disability doesn’t appear on the records.

Once he’s working at Gattaca, Vincent settles into a daily routine. Shower every morning, taking care to scrape off as much loose skin as possible, so he doesn’t leave samples of his DNA at work, strap on a urine bag for the random “drug tests”, place a sample of Jerome’s blood under a false fingertip (the turnstile at work takes a blood sample every time someone goes through it, and checks the DNA against the database). Then he spends his days sitting at his computer running through endless celestial navigation simulations. Gattaca’s a strange outfit, with a corporate culture that’s so uptight, even their astronauts wear business suits to work. They even wear full business attire when taking off on missions! As with most big organisations, the pressure is on the staff to conform to the corporate image, with the result that most of Gattaca’s “elite workers” are only slightly more animated than the average shop window dummy. Vincent does his best to fit right in to this culture, with just one exception – he takes time out away from his desk to watch every launch from the nearby space centre – about a dozen a day. Thanks to the extreme lengths that Vincent goes to to avoid detection, plus the Gattaca management’s overconfidence in their own security systems, Vincent does manage to work his way up through the ranks and is selected to be part of the crew for the first manned mission to Titan.

A week before his flight, two complications arise.

First, a senior manager in Gattaca is brutally murdered. Vincent isn’t too upset by this, frankly, as the manager was trying to get the Titan mission cancelled. But it does mean that almost immediately, Gattaca is crawling with ill-mannered, over-inquisitive homicide detectives – and when one of Vincent’s eyelashes is found not far from the scene of the crime, they know to be on the lookout for an “In-valid” who has no apparent business being on the premises. Random DNA sampling is increased, giving Vincent plenty to worry about.

The second complication is that Vincent’s attractive co-worker Irene (Uma Thurman) starts to take a serious interest in him. Irene dreams of spaceflight too, but feels that she’s being sidelined from flight status because – even though she’s a genuine “Valid” – her physical specifications aren’t quite up to the 100% standard of health and fitness that Gattaca expects, although Vincent certainly considers her “fit” enough.

Can Vincent evade detection long enough to take off for Titan?

Can Vincent trust Irene or will she shop him to the bosses if she finds out he’s an “In-valid”?

Will Jerome ever get over his depression?

Will the real murderer be unmasked?

You won’t find out the answer to any of these questions from me, you’ll have to watch it and find out for yourself. This isn’t your typical Hollywood SFX-driven piece of fluff, it’s an intelligent, character-driven film based on a very plausible premise. It’s also a very individualistic film, since it shows that an intelligent, motivated human being can strive to reach his potential even when it seems the whole world has written him off. This is a good film for people who like intelligent SF. Well recommended.

Posted November 24, 2010 by Stuart Heal in Uncategorized

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