Enthusiastically Ambiverted Hopepunk
The shows and movies I like (or don’t).
Mary Poppins (1964): ⭐️⭐️⭐️⭐️⭐️
Always a wonderful film to watch, but it was especially fun watching it in our hotel room with a view of Tower Bridge after spending a couple days wandering around London. The painting used for the opening and closing credits could almost have been painted using the roof of our hotel as a vantage point!
Speed 2: Cruise Control (1997): ⭐️
Wow, that was bad. I didn’t even go in expecting very much, and it didn’t even close to meeting my lackluster expectations. But it was an entertaining choice to watch while on an ocean voyage, so, one star for existing and giving us something to snark at one evening.
Bridget Jones’s Diary (2001): ⭐️⭐️⭐️
Late ’90s/early ’00s Hugh Grant is always fun (Hugh at his peak Hugh Grant-i-ness), and this (along with one other) was a perfect choice to watch on an evening in during our New York to London voyage.
Late ’90s/early ’00s Hugh Grant is always fun (Hugh at his peak Hugh Grant-i-ness), and this (along with one other) was a perfect choice to watch on an evening in during our New York to London voyage.
Strange Days (1995): ⭐️⭐️⭐️⭐️⭐️
Almost 30 years later, and this still packs a hell of a punch, and is still amazingly topical for the present day. I remember when this came out being pretty convinced that, save the sci-fi device, it was quite possibly an eerily accurate prediction of where we’d be societally at the turn of the century. Turns out that while the SQuID hardware still isn’t a thing, the rest was somewhere between right on point and just a couple decades too early. Plus an all-around stellar cast (I mean, come on: Ralph Fiennes, Juliette Lewis, Michael Wincott, Tom Sizemore, William Fichtner, Vincent D’Onofrio, Glenn Plummer, and Angela Bassett at her badass best, all in one film?) and a killer soundtrack.
Day 97: At yesterday’s Norwescon picnic, I got a couple fun gifts from one of my friends. A full set of Star Trek glassware, with four glasses representing different planets and a shot glass representing a Borg cube, and a very cool but terribly impractical pizza cutter in the shape of the original NCC-1701 USS Enterprise. My friends know me well!
35/2023 – ⭐️⭐️
This one starts with an interesting premise, as the Enterprise is sent to negotiate with aliens only briefly encountered before, the Jarada (the unseen, highly demanding aliens that were the B story in “The Big Goodbye”). But while there are hints of an interesting society, the rest of the book doesn’t hold together well. Actions are taken by the aliens that are never really explained, and Enterprise characters are either reduced to repetitious mannerisms (Dr. Crusher brushes locks of her flaming red hair out of her face nearly every time she’s mentioned) or simply badly portrayed (I know Keiko and O’Brien have difficulties, but in this book they’re both rendered nearly incompetent by their insecurities). Toss on a rather abrupt end to the whole thing, and this is one I wasn’t disappointed to reach the end of.
Invitation to a Murder (2023): ⭐️⭐️⭐️
This starts as a very fun homage to Agatha Christie movies, with a very 10 Little Indians basic setup and a lot of other classic Christie tropes wrapped up all together. But somehow by the end it just sort of feels like it fizzles out, with the final resolution depending on some things that felt very out of place and anachronistic. Mostly a lot of fun, but needed a better way to wrap things up at the end.
More spolieriffic details follow…
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.
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.