Almost gets three stars, because it was entertaining, and really, how high were anyone’s actual expectations for this? But though I enjoy the cast, Cage is just as ridiculous as you’d expect him to be, Hoult somehow (very amusingly) channels 90s era Hugh Grant (seriously, Renfield Nicholas Hoult : 90s Hugh Grant :: Heathers Christian Slater : 70s Jack Nicholson), and there are a lot of clever lines that made me laugh, the whole is lesser than the sum of its parts. The editing during the fight scenes is far too quick and choppy, resulting in fights that are sometimes hard to track and often give the impression that the fight choreography just wasn’t there and they had to try to save them through the editing. And the decision to go with 70s-martial-arts/horror-style over-the-top fountains of gushing blood somehow didn’t quite work for me. I don’t regret watching this, but it’s not one I’ll ever have much need to watch again.
Geekery
Whatever I’m geeking out about at the time.
Year 50 Day 93
Day 93: We have a silly Lego nautical theme above our fireplace. On this side is a Lego pirate ship sailing through shark-infested waters by a small desert island with a castaway in his shack. We’ve decided that he was more interested in protecting his treasure chest than being rescued.
Goth | Visigoth
Updating an old meme with this gorgeous high-viz corset!
(An imperfect photo edit, but then, I’m an imperfect photo editor.)
Corset by Wyte Phantom:
Corset first spotted in a screenshot posted by @ned@mstdn.ca.
Original meme (author unknown, linking to the most recent place I saw it).
📚 The Fall of Hyperion by Dan Simmons
34/2023 – ⭐⭐⭐⭐
A good second half to the far-future grand-scale space opera of Hyperion, moving away from the Canterbury Tales-inspired pilgrim’s tales to spend more time with the rest of the universe as the story progresses. Definitely best seen as the second half to a singular work than as a sequel.
NOTE: Given Simmons’ descent into right-wing politics, including Islamophobia and publicly attacking Greta Thunburg, he has earned a space on my “milkshake duck” virtual bookshelf, collecting those authors whose work I discovered, enjoyed, and might still enjoy, before later realizing that they are what I consider to be rather horrible people.
Turn on the lights!
This YouTube video shows how impressive of a job the Strange New Worlds/Lower Decks crossover did with reworking the opening credits in the Lower Decks style.
But part of what stands out to me is how well this highlights how woefully under-lit the live-action Enterprise is. There’s a ton of detail in the animated version that I’m sure is drawn directly from the live-action version (especially since, really, they’re both animated versions, just in different styles), and it’s gorgeous!
I understand that it’s a stylistic choice on the new shows (Discovery and Picard also did this a lot) to go for more “natural”/”realistic” lighting on their ships, and a ship traveling through deep space isn’t likely to have a convenient light source nearby to make it all pretty and shiny.
But — spoiler alert — none of this is real! (I know, I know, I struggle with this as well.) I’m entirely okay with adding “we can actually see the ships even when they’re in space” to the same base-level suspension of disbelief necessary for enjoying visual science fiction in general.
Update: Thanks to @kamartino@mastodon.online for pointing me to this video from Douglas Trumbull where he discusses directing the space dock sequence in The Motion Picture. At four minutes in, he specifically notes that they wanted to create a lighting design so that the Enterprise appeared to light itself, so even when the Enterprise was out in deep space, it would still be visible.
🎥 Barbie
If you’d told me a year ago that I’d be excited enough about a Barbie movie to see it on opening day, or that I’d come out of it this impressed, I’d have likely laughed and waited to wake up so I could tell you about the weird dream I’d just had.
However, the marketing has been spot-on, the articles have been intriguing, and the reviews have been excellent (well, most of them — but if every review is positive except those from right-leaning organizations or people, I consider that a good sign), so off we went.
And it absolutely lived up to and surpassed my expectations. It’s an impressive veneer of completely over-the-top ridiculousness laid over a remarkably aware, intelligent, and subversive core. Even after having read several articles with the general theme of “how did this even get made?’, you still walk out of it wondering how they managed to do it. It’s a bubblegum pink, glittery explosion of everything that makes todays political right explode, it’s wonderfully aware of that, and it pokes at them with great glee.
I don’t want to say too much more, because really, the less you know about the overall plot or the specific gags, the more fun it will be. If you’re at all curious, it’s well worth seeing. And if you think you aren’t curious because it’s Barbie, well, get over yourself and give it a go.
Year 50 Day 80
Day 80: I’ll say a little more in a separate post, but in brief, Barbie is excellent. The less you know going in, the better, but even if you’ve been reading reviews and articles about it, there’s so much in here that will surprise you. If you’re even remotely curious, it’s worth your time.
📚 Hyperion by Dan Simmons
33/2023 – ⭐️⭐️⭐️⭐️ 1990 Hugo Best Novel
Still as engrossing as when I first read it, many years ago. Far-future space opera on a huge scale, but presented through a series of vignettes shared by members of a band of pilgrims (if this sounds rather like Chaucer’s Canterbury Tales, be glad you got a good education in classic literature) heading toward what seems to be an unpleasant fate for all of them…and possibly billions more. Amusingly, while I knew that this was part of a series (originally two books, then four) because I have all of them on my shelf, I’d forgotten that the next book is not so much a sequel as the second half of a single story. Good thing I can just head upstairs and grab the next book to keep going!
NOTE: Given Simmons’ descent into right-wing politics, including Islamophobia and publicly attacking Greta Thunburg, he has earned a space on my “milkshake duck” virtual bookshelf, collecting those authors whose work I discovered, enjoyed, and might still enjoy, before later realizing that they are what I consider to be rather horrible people.
🎥 Mission: Impossible – Dead Reckoning Part One
Mission: Impossible — Dead Reckoning Part One (2023): ⭐️⭐️⭐️⭐️
Tom Cruise may be something of a bizarre personality, but he and the people he works with sure know how to put together a great, big, ridiculous summer action movie.
While I’d watched the trailers a while ago, I must not have paid that much attention to them, as I didn’t realize (remember) that both Hayley Atwell and Pom Klementieff were in this; both of whom, of course, I’m most familiar with from the Marvel universe. Both are fun additions to the franchise; Atwell as a thief who gets pulled into the general shenanigans, and Klementieff as a henchwoman whose absolute glee at the destruction she causes is wonderfully infectious.
The action set pieces, as promised, are a blast. There’s a car chase that even got my wife (notoriously unimpressed by car chases) invested, and a huge set piece on a train that was as close to literally nail-biting as I’ve seen in a long time. And the Big Bad for this film (and the next, since this is a two-part story) is a clever approach, and rather perfectly topical.
The M:I movies may not be “great cinema” — but (with the exception of the second in the franchise) they’re reliable fun, and easily one of the stronger action franchises going right now, and this one keeps it all moving quite handily.
🎥 Missing Link
We realized after seeing the Laika exhibit at MoPOP that there were two films we hadn’t seen yet, so we watched this one today. It’s a fun film, quite cute, and had us snickering pretty regularly. Nothing amazing story wise, but the artistry and craftsmanship of Laika’s work is always worth watching (and fun to see things on screen that we’d just seen on exhibit).