Sci-Fi / Fantasy

The Siege was made and released in 1998, a little less than three years before the 9/11 attacks. There are some things about this film you should know before you decide to see it, if you haven’t already. The film depicts a series of Islamic fundamentalist groups carrying out a series of terrorist attacks in New York City. While none of the plots mirror the actual events of 9/11, there is enough imagery here that you might wish to avoid if you are one of those persons who are still quite sensitive to those horrifically real images. The images here are quite realistic and might be hard to take, particularly for those of you who lost loved ones or witnessed the attack firsthand.

With that said, Fox makes a very unfortunate choice on the back case description of the film. It touts the film of being “eerily prescient” of the 9/11 attacks three years later. It’s simply not true. First of all, it was not anyone’s intent in this film to make some kind of bold prediction. These guys were simply trying to make an action thriller. That it might be more thoughtful than most does not mean that it was intended as any dire warning that went unheeded. In a bit of irony, the film was severely criticized by the group CAIR (Council on American Islamic Relations). They were appalled that the filmmakers would suggest that terrorists from the Islamic world would think of using their sacred beliefs as a motivation for such destruction. Again this wasn’t a new prediction. The Twin Towers themselves had been the subject of an Islamic fundamentalist attack years before this film was made. CAIR was merely putting out the line they felt they had to, and the film used a profile that was in no way groundbreaking or “eerily prescient”. The mistake we make with such statements is the myth that 9/11 was somehow the beginning of this whole Jihad thing. It certainly was not. To fault or credit the filmmakers with this idea is ludicrous. The film also correctly makes the point that these actions, just as the real ones, were not representative of the Islamic world has a whole. Most stand against such action, even if they don’t do so publicly and loudly enough. While you might blame them for their silence, and I often have, one has to realize that they are paralyzed by the same fear that the terrorists intended for us. When the Pope remarked that there was a “history of violent tendency” within the Muslim community, the radicals attempted to prove him wrong by bombing Catholic churches and through the brutal torture and murder of nuns. That showed us how nonviolent they were, didn’t it? But, again, these people were just a small number from a relatively peaceful people, many of whom have fought and died to protect this country. The film makes that point as well, and it should not be ignored when handing out the politically correct admonishments.

Neither of the Predator vs. Alien films were as successful at the box office as was hoped. And this film has had its share of detractors since its release in 1990. I, for one, find it to be as good as, if not better than, the original film. Watching the two governors Arnold and Jesse take on the Predator in the Columbian jungles was certainly a hoot. Let’s be honest, however. Who didn’t cheer, if only inside, when the big bad ugly started to take on LA’s drug lords in Predator 2? This sequel is more than just a romp with a monster. The story is far more compelling. The cast of Danny Glover, Bill Paxton, Kent McCord, and Gary Busey team up well. The film’s production partner Joel Silver’s influence hangs heavy over the film. Glover’s Harrigan is really just Lethal Weapon’s Murdock without Riggs. The LA street firefights and car explosions are ready-made for the Silver cop buddy series. Don’t get me wrong. This is not great filmmaking here. It is a lot more fun than it has been given credit for, however. Now with the release of the movie in high definition on Blue-ray, I advise you take another look at this one.

An alien warrior is back on Earth for another safari. This time the jungle is the mean streets of LA. The prey happens to be ruthless drug lords. Federal Agent Keyes (Busey) heads a secret government team to track and capture the creature. Det. Harrigan (Glover) wants to avenge his partner’s murder even if it means clashing with the feds.

“I’m Special Agent Kessel, in charge of the FBI and Department Of Justice’s joint task force on deranged and violent criminals. In the most extreme and violent cases traditional forensic investigations can be inadequate. In these instances, to hunt down the most vicious and elusive killers and psychopaths, we solicit the assistance of civilians with extraordinary gifts. Catherine Deane was one of them… now there’s another.”

That other is Maya (Santiago). It has been quite a few years since I saw The Cell. I was going to go back and watch the original again to get myself prepared for reviewing this direct to video sequel. Time didn’t allow for such conveniences, but in the end it wouldn’t have helped anyway. There are two reasons. The first is that the first film is only available on DVD and not yet out in a high definition release. It would have created quite a disparity, particularly when dealing with such visual exotic worlds as The Cell dealt with, and I assumed the sequel would as well. Unfortunately, there are no such visual stunning abstractions in this film beyond an irrelevant prologue scene. The second reason it would not have helped is that this film obviously has no connection to the original at all. The above introduction is about as close as the two films ever get. Maya does not enter dreams. She’s merely a psychic, with no more power or flair than Johnny Smith from The Dead Zone or Alison from Medium. Yes, she can enter our killers head, but it merely allows her to see what he sees. To feel what he’s feeling. Gone are the imaginative journeys deep inside the subconscious of the disturbed mind. This one is strictly in the mold of tracking down a rather brutal serial killer.

“Don’t forget that at the end of the day, it’s just a snake, a big messed up snake”.

Boy, if one word of dialog ever summed up a film before, this one does a pretty good job of it. Carnivorous is a low budget answer to the Anaconda series. Throw in the plot from Pumpkinhead and you pretty much have the entire film down, without ever having to have seen it. I wasn’t so lucky.

In a village where there is a great deal of time (there are months whose days are numbered in the 40s), the local witch gives birth to the title character. Twenty years later, Babine is the Village Idiot. Though he is a thoroughly gentle soul, he also becomes the scapegoat for every ill, real or imagined, that befalls the villagers. Fortunately, he has some champions, including Toussaint Brodeur (played by director Luc Picard), the local fly-raiser. But then the church burns down, and terrible trouble looms for Babine in the person of the new, fanatical village priest.

Obviously, as the above synopsis suggests, we are in the realm of the utterly fantastic here. Narrated by storyteller Fred Pellerin, whose tales form the basis of the script, Babine is endlessly inventive, at the cost of being a bit too episodic for its own good (something that Picard, during his commentary track, admits he struggled with) and giving short shrift to some of its striking characters. There is no denying, however, that its world-creation is very successful. The film is a visual feast, one very much on par with the likes of Tim Burton, and this achieved with a fraction of the budget of its Hollywood equivalent.

“So he Lord God banished him from the Garden Of Eden to serve the ground from which he had been taken.”

I love playing video games. I have since I was in my early 20’s and the first home console systems were being launched. Today I play platform games on my PS3. One of the unfortunate trends to come to modern video games is the ability to provide longer and more elaborate cut scenes. If you’re not familiar with the term, a cut scene is that little cartoon bit inside of your game experience. They often introduce the game and also serve as break points between levels or significant achievements. The first cut scene I was ever aware of was the little interludes in the arcade game, Ms. Pac Man. They were short and gave your fingers a quick respite to work out the cramps and prepare for more action. But larger data storage has led to longer and more elaborate examples of the scenes. Now, most gamers are hitting buttons hoping to bypass the event and get back to kicking some butt. There’s nothing more frustrating than watching one go on and on and on while you wait for some action. It’s become about as entertaining as waiting for a disc to load up. Why am I telling you this? Because, that’s exactly what Eden Log feels like through its entire run. It’s nothing more than one long cut scene. And there’s no action for your fingers when it’s over except the satisfying sound of the disc ejecting after you’ve worked some magic on your remote control.

"Space...The Final Frontier. These are the continuing voyages of the Starship Enterprise. Its ongoing mission: to explore strange new worlds, to seek out new life and new civilizations, to boldly go where no one has gone before!"

There sure has been a lot for Star Trek fans to cheer about of late. The new film has proven to be a commercial and critical success. The dawn of high definition has caught up with the original series, and there is the promise of much more before this year is out. Next up from Paramount we get the first 6 Trek theatrical films. This collection covers the original cast era. All of the films have been remastered in high definition, and The Wrath Of Khan has undergone a 4k restoration. Together the six films appear in two separate releases. You can buy all six as this review covers, or you can buy them in two sets of three. Whatever you decide, you are in for a treat. Almost all of the old bonus materials have been included along with new high definition material. It’s a lot of stuff, and that’s why the review has taken so long to get written.

“It’s time to wake up and get a life. We live in a three-dimensional world. Until now, the world of computing has been a flat world consisting of two-dimensional imagery. Now through the use of exclusive breakthrough technology, ARC has made it possible for you to get a life. A-Life, where we can work and play in a lifelike world of three-dimensional reality. A-Life… the living monitor. Impressed?”

You should be. From the mind, or more accurately the pen or typewriter, of science fiction legend Philip K. Dick comes another big budget Hollywood film, Paycheck. The works of Dick have become impressive films in the past. From Do Androids Dream Of Electric Sheep we get Ridley Scott’s masterpiece, Blade Runner. Dick also penned the Steven Spielberg budget buster, Minority Report. But Paycheck is actually much more like the Arnold Schwarzenegger blockbuster Total Recall. Once again, Dick deals with his popular subject of downloading, or in this case removing memories. Combine that element with the seeing into the future concept of Minority Report and you have what should be a Philip K. Dick greatest hits film, with the added adrenaline rush of John Woo in the director’s chair.

Infected is one of those many made for television films that appear on the Sci-Fi, I mean Sy-Fy Channel almost weekly, I mean weakly. Most of them are relatively low budget affairs that utilize very low grade CG f/x and often actors that haven’t been getting a lot of steady work in the legitimate world. It amazes me, actually. How can a network dedicated to science fiction consistently produce some of the worst movies in the genre? You would think that after a hundred of these things that they would have to get it right once in a while. The law of averages almost demands it. Instead, week to week, month to month, and year to year, the worst the genre has to offer finds its way as “original” movies on the network.

Infected is a sort of V meets The Arrival. A band of evil aliens have arrived on Earth to help them to repopulate their species. The somehow arrive at the idea they can best do this by setting up a bottled water company and selling humans plague tainted water. Of course, no one catches on, and the company grows to conglomerate size in no time. Enter a pair of reporters. Ben (Bellows) and Lisa (Roy). Of course, they used to be an item and now have trust issues working together on a tabloid. When the mayor is killed, a sample of his blood is retrieved and finds its way to the couple. Tests prove it is some wacked out hemoglobin. The clues eventually lead to the bottling company and its boss, Peter Whitefield (Dinsmore) who is actually a big insect under his fake human skin. The plot unravels and Ben discovers he has a natural immunity which he can use to fight off those pesky grasshopper things. And we all live happily ever after. Naturally, there’s a government cover up. Invasion? What invasion? We know nothing about no stinkin’ invasion?

Galaxy Quest is an odd movie. It opened on Christmas Day of 1999 and did alright in the box office gathering roughly 71 million and some change. It was one of those movies that you went to go see and would laugh a lot but wouldn’t tell anybody in fear of people making fun of you. So it did respectable sales, but nobody knew the full potential of the movie until it hit the video format. The movie found a considerable audience and after many years, the movie holds up. Possibly better than it ever did nine years ago in a tiny theater. Now, with the release of a deluxe edition many years later, the movie can reach new audiences. Hopefully, they will be able to appreciate it as much as I did.

Once upon a time, Galaxy Quest was an entertaining space drama. It lasted only four seasons but found an audience that lasted many years later. The cast however has for the most part not been able to find reasonable work, reduced to conventions and lowly promotional work. There is Gwen DeMarco (played by Sigourney Weaver in a blonde wig) who played Tawny, the Computer Officer of the Protector and served as the beauty on the ship. Alexander Dane (played by Alan Rickman) plays Dr. Lazarus serves as the resident Spock/intelligent alien and is positively sick of his catchphrase (By Grabthar's hammer, by the suns of Warvan, you shall be avenged!).