Film Review: Gravity

When the trailer for Alfonso Cuaron (Children of Men, Prisoner of Azkaban)'s latest film floated into  cyberspace, it was immediately thought of as a simple, buffonish survival movie in the same vein as Open Water and Frozen (not the Disney one) - it would be a straightforward thriller relying on star power and cheap scares in the minimal of surroundings. The reality is a film that is not only avoiding this paradigm completely, but is a masterclass in film making, an acting tour-de-force, and one of the most emotionally charged movies of recent memory.

Astronauts Ryan (Sandra Bullock) and Matt (George Clooney) are finishing off job circling the Earth's atmosphere, when their craft is suddenly hit and wrecked by flying shrapnel. Ryan begins to spin away uncontrollably into deep space. Aided by Matt, she has to somehow summon the courage and wits to get herself back home. This is essentially the film's narrative, and to delve into any more detail wouldn't do the film any justice.

Gravity is really a character study, an examination into the power of fear and determination to live. Unfortunately for Ryan, this is her first ever space mission, and she is tightly gripped by her deep anxieties. We follow her as she strives to overcome a terrifying prospect - being lost in space, alone, with limited precious oxygen.

The first thing that strikes you when the film starts is the camerawork, staggeringly impressive and bold. The shots are incredibly long, but never dull or drawn out. This is particularly the case in the opening, which is an astonishing 17 minute shot, swerving between the spacewalking astronauts and taking titanic glimpses of planet Earth in all its beauty. Many others are over a minute long, sometimes longer. 

We feel everything the characters feel, without the distractions of cuts and editing. At one point, it focuses on Ryan's face before entering her helmet and looking around at what she sees. Throughout almost the entire film, the camera seems to be spacewalking itself, floating like an inquisitive explorer, flipping and somersaulting in ways that will make you wonder how on Earth (or in space) they actually did it. We feel disorientated, the screen clouds up with her breath, and we follow her side in everything that happens.

 

Playing video games in space wasn't as fun as she thought it would be.

Cuaron has said in interviews how serious he was with the idea of actually sending his actors into space and filming it on location, which had the studios worried (they generally do not have a budget for that sort of thing). Gravity's concept and story had been circling for about 20 years, never being made simply because the technology did not exist at the time - not only because of the extraordinary camera and the actor's anti-gravity movements, but also the astounding CGI. When the machines are ripped to shreds by space debris, we see every shred, every floating particle. Earth also looks better than the real thing.

While a thriller in structure, it truly is an exploration of hope and fear. This is created by the presence and performance of Bullock, who is in every shot of the film and is deservedly so. She is a character convinced that at any moment her life is going to end, that she will be lost forever into the abyss. Her life experiences, which have shaped her to this point, rear their ugly head throughout her struggle, as she grows into a person very different to the one we are introduced to. It is a gripping performance that grabs you by the gut and won't let go.

Clooney is also in good form, charming the pants off everybody and providing some light comic relief. Perhaps some may think his character is almost too relaxed, too in control, in spite of the situation, but it seems that this is Cuaron's point - Ryan and Matt are polar opposites, yin and yang, fear and hope. As disaster strikes, he changes from colleague to father figure and counselor. As he supports Ryan, it feels like he is also encouraging the audience, comforting us to not be afraid. This may sound banal here, but in the light of the film's intensity, it is well placed and in good measure.

Let's hope they got a good deal for spaceship insurance.

The tension is increased by the film's score, with chords that rip and throb gradually, seeping into everything like a racing pulse thumping in our head. Silence is also used to reinforce our sense of isolation - there is no sound in space, so all the carnage occurs in total silence, which feels almost nightmarish, yet also very real.

If you are considering becoming a space tourist, watching Gravity is a much cheaper alternative - Cuaron, Bullock and Clooney will take you into space in a way no other film has done before.

10/10

Classic Movie: Alien

Apologies for lack of posting lately - I have been distracted by a larger writing project that is (hopefully) almost finished. 

My original plan was to review new releases I manage to see, but people have suggested I look at older movies as well; why not? What better film to start with than an absolute classic, and one of my all-time favourite films.

Alien (1979)

Picture the time. Two years before, the first Star Wars crash-landed and changed film-making, and film fanaticism, forever. Science Fiction cinema had become an extremely profitable market (leading to numerable Star Wars clones, such as The Black Hole). At the same time, Horror was also taking huge stalking strides with the start of the slasher genre, through films such as Black Christmas (1974) and Halloween (1978). The genre would pick up relentlessly throughout the 1980s.

This time seemed to be perfect for Ridley Scott's Alien, a film that succeeds both in Science Fiction and Horror, creating harsh debates on which genre it actually belonged to (Why can't it be both?).

"In space, no one can hear you scream."

Imagine seeing this poster for the first time in 1979.  

The story is simple, apparently similar to the slasher film formula, but without any irritating and stupid characters, and with many interesting turns. The Nostromo, a hulking mining ship with a crew of seven, is on a return trip to Earth when it is disturbed by a distress beacon from a nearby planet. The beacon wakes the crew, and after much debate, they decide to visit the source of the message to investigate. While exploring the planet an unfortunate member gets attached with an alien parasite, leading to a bit of bother on board the ship. The crew have to use their wits to survive, and the rest is history.

The key component that makes this film incredible is its tension. All through the running time is an underlying sense of dread, isolation, imminent danger, which is created by Scott via every potential avenue. There are no moments of creatures jumping out unexpected to the camera - every death, every alien encounter, is pre-warned with long shots or drawn-out sequences, often with a lot of shouting, creepy music and decent acting.

The title font appears in obscure pieces, slowly coming together. The camera shakes, chasing running victims down smoke-filled corridors. The astronauts walk warily through alien architecture resembling a giant ribcage or the inside of an insect hive. The ship's cat gets caught up in some kind of shedded skin. While we hardly see the alien itself, the film is constantly unnerved by its underlying presence. The music itself, composed by frequent sci-fi contributor Jerry Goldsmith, glides between classical  romantic cues and obscure warbling and percussion. It matches the sequences perfectly. Some of the most frightening scenes are actually music-less, making any screams and echoes ring louder in our gut.

No, it's not reaching for the cap.

Enormous kudos has to go to Swiss surrealist artist H.R.Giger, who designed the main antagonist (in all its forms), making it one of the most iconic extra-terrestrials in film. Think of any movie alien, and you'll soon realize it looks like an Earth creature, or at least a mixture of Earth creatures. Giger's creature looks like nothing of this world; like a surreal nightmare. The six-fingered hands, acid blood, eyeless head and mouth-within-a mouth. How can you fight something that is nothing like anything you've experienced before? Even the way it moves is disconcerting, either gliding slowly across the floor or uncurling from the ceiling. It is little wonder it has appeared in around eight movies and various video games.

Naturally the cast works well, all diverse and interesting without any filler characters that plague so many horror or sci-fi films these days (Prometheus, also by Scott, is a sad example of this). No sex-crazed teenagers. No awkward relationships. These are mature professions doing a job. A close-knit crew. Sigourney Weaver's beloved Ripley doesn't even dominate the set. John Hurt is pensive. Ian Holm is mysterious. Tom Skerrit is a cautious captain. Veronica Cartwright is cynical. The two ship engineers are jovial yet hard-nosed. Everyone's banter feels completely natural, as though we are observing a real-life crew rather than watching something scripted (some of it, including the more frightening scenes, was barely scripted at all).

 

Hindsight is a beautiful thing, when you're thinking of exploring weird looking holes in the floor.

To find faults would be to merely nit-pick. The alien and space effects have aged slightly, however it is a blessing that 20th Century Fox has not re-released the film, Star Wars style, with all new CGI. Perhaps also the lone survivor of the Nostromo is not the most likable of characters, but we can't help but admire the intense struggle to survive. This is ultimately a beautifully executed film by all involved.

Ridley Scott's Alien is a masterpiece is both Science Fiction and Horror, working on all kinds of levels, and inspired countless filmmakers. It is a masterclass in atmosphere. You'll think twice before ignoring any strange chest-pains in future.

Note: The more recent Director's Cut is improved on the original and easier to follow. Also google Giger for some of the strangest pictures on the web. Perhaps the man is actually an alien himself.

Technophobe! is now FREE on all devices!

Due to various complications with ebook websites (i.e. they want to earn a bit of money), I have not been able to publish my book (and future ones I'm currently working on) for free. 

Until now...

Smashwords.com is a great website for finding free ebooks, as well as publishing them - unlike sites such as Amazon, iTunes, Google, Kobo et al. Smashwords is actually an ebook publisher.

Here is the link to Technophobe!, which is available to download free on all devices.

https://www.smashwords.com/books/view/363901

I am working on it becoming free directly on the other sites, and will update accordingly...

Review: Marvel's Agents of S.H.I.E.L.D. (Pilot)

After the superhuman success of last year's Avengers Assemble (or Marvel's The Avengers in the US), it was inevitable that Marvel Studios would spread their mythology over different mediums, so over the past year they put together a TV spin-off. It finally aired this week, naturally with Avenger's director and geekdom hero Joss Whedon taking directing and co-writing duties. Thankfully it does not wear Marvel firmly on its sleeve, but rather establishes itself as an interesting franchise in its own right.

Narrative is rather vague in the pilot, focusing more on establishing character relationships and the show's overall themes: Highly classified agency S.H.I.E.L.D. seek to monitor and control activities of humans with enhanced capabilities - referred to outrightly as 'Superheroes'. For the pilot, they investigate a hard-on-his-luck, single father Mike Peterson, who shows increasing super strength and agility, to stop him harming others as well as himself. Along the way, new agents are recruited and old ones reassigned.

Coulson: The new face of indoor shades

The episode showed an interesting and commendable sense of overall direction. Despite being set in the world of Marvel, the related superhero films and characters are only lightly referenced. Not even Nick Fury is featured. The most obvious link is Agent Phil Coulson (Clark Gregg), the ringleader of operations and by far the best part of the program (it's not much a spoiler to say he is no longer dead). Not only does he show a dry, yet heartwarming sense of humour, there are moments when he shows intense professionalism and authority, mixed with humanity and concern. You almost feel saddened that he wasn't given bigger screentime in the Marvel movies. The chased superhero Peterson wears no fancy uniform, just a hoodie. CGI elements are impressively minimal (except for a cringe-worthy final shot, but we'll try to forgive that). Agents of S.H.I.E.L.D. is a show about superheroes, without actually being a superhero show.

The set up ultimately has elements of espionage (Spooks), crimelab drama (CSI) and supernatural drama (X-Files). The script is largely mature while being snappy and fun at the same time. Action sequences, though brief, show impressive stuntwork rarely seen on television. The scenes within the workings of S.H.I.E.L.D. feel fresh and intriguing. These are aspects that successfully grasp our attention.

Unfortunately, at times the writing and direction waver in its tone quite jarringly, as though the studio were unsure how best to approach the superhero elements. It could have taken more inspiration from Nolan's Dark Knight Trilogy (albeit with a lighter tone), exploring the identities of superheroes and villains in a believable, real world way. This is done to a small extent with Peterson's rather tragic personal story, but the script feels incredibly self-aware. Peterson, as well as S.H.I.E.L.D recruit Skye, are well aware of comic book archetypes, (which feels odd since they are essentially living in a comic book world anyway), and they both speak as if they are running a commentary on the subject. For example, when he is confronted by a certain authority figure, he claims (word for word), "You are the bad guy, I am the hero." When the origin of his powers are described as a disaster, he states, "No, It's an origin story." These sort of lines and hints pepper the episode, spelling out the themes in such a glaringly obvious and baffling way, as though the audience does not understand basic comic book concepts that have been around for decades (why would you be watching the show if you didn't?).

Being the pilot, perhaps this is just the show's way of establishing itself. However, as much of this talk comes from Skye, it makes her quite frustrating and almost unlikable, when we are clearly meant to feel the opposite. She is however an interesting, multi-layered character with possible potential in future episodes. Two British scientists Jemma and Leo give nothing to the show except their knowledge and conveniently built technology (and a bit of diversity) - hopefully they will actually gain voices. Melinda is the show's combatant. Super-spy Grant, despite being described as having bad people skills, is very engaging and charismatic - it is a shame he is given less screentime than Skye, though all his scenes are well done. It is disappointing that the characters are so hit and miss, despite the character element usually being top form in Whedon's works.

Ultimately, despite its uneven tone, the episode was entertaining and fresh, opening up plots and relationships with future potential. It is a spin off with a strong sense of self, which does not require seeing Avenger's Assemble to understand it (though you should have seen it by now anyway). Roll on next week, and let's hope Agent Coulson does not leave us too soon.

7/10

SyFy and Late Night Shark Attacks

Over recent years, the Syfy Channel's late night monster movies have become something of an urban legend, rising to the surface, the cult of good/bad films. These are of course the films that are not only terrible, they are great at being terrible. They relish in their terrible ways, with horror bordering on slapstick, ridiculous female body shots and excruciating acting. These films are made by committees, with specially chosen writers and actors that have become experts in their field (Asylum Pictures is often the proud perpetrator).

Do not expect a second of quality from this genre. It is the pure essence of dreadful. However, there are times when we may have a craving for something that is a bit bad for us, rather like ordering a deep fried burger while we have been doing well at Weightwatchers.

For some unknown reason, much of the more popular films focus on the jaws of the deep. Here are some of the more interesting shark attack flicks that Syfy have graciously bestowed on us.

1) The Megashark Series

This has included such classics as 'Megashark versus Giant Octopus', 'Megashark versus Crocosaurus' and more recently 'Megashark versus Mechashark'. It is essentially the chronicles of the world's biggest shark. Watch out how between scenes the shark seems to change its size, though its probably not something intentional.

Highlight: Megashark helping a 747 plane land into the ocean. Or rather jumping up and grabbing it in its jaws.

2) Sharktopus
The U.S. military fuses shark DNA with that of a giant octopus, creating the ultimate fighting creature. But what? It escapes? And they can't stop it as it rampages through town (even as it walks about on land)? Count us in.

Highlight: After two ship workers have a badly written discussion on how they would like to die, a tentacle reaches out of the water and pulls one down, who screams "Oh no, not like this!"

3) Sharknado
When the title was announced, the hype grew to such colossal measure that they quickly greenlit a sequel. A vicious storm hits land just as a large number of sharks swim to the shore, resulting in tornadoes that literally throw the animals at the terrified people below. Good job our heroes find a hardware store to find and build their own weaponry.

Highlight: The alpha male of the group slices open a flying shark with a chainsaw to the mouth. He must have been practicing for moments like that.

4) Two Headed Shark Attack
It's double the jaws, double the horror! The title tells you the whole plot, while the action involves creative ways for the shark to eat two things at the same time. Oh look, Carmen Electra!

Highlight: The shark rampaging through hordes of unlikable teens.

5) Ghost Shark
The motherload. A shark is mortally wounded, but brought back to life as a ghost that can appear anywhere there is water. This includes swimming pools, fire hydrants, even a drink cup. I always thought drinking too much water was bad for you...Our heroes must keep dry while seeking supernatural help from a local drunk to send the beast back to the afterlife.

Highlight: Too many to mention, but particular kudos goes to a scene involving a painful trip to the toilet.

On a final note: When my wife found out about Sharknado, she misheard the name and called it Sharkpedo, thinking it was about a maniac who shoots sharks from a torpedo. It actually sounds like she is on to something - Asylum, are you listening? Although the name 'Sharkpedo' does sound more like a film about a shark fetish...

Retrospective: Mighty Morphin Power Rangers!

Unless you have(n't) been living in a cave for years, you would be well aware that the American powerhouse known as Power Rangers has reached its 20th anniversary this year. Better make room for some extra DVD box-sets. 

Hamley's in Oxford Street: A power ranger made from power rangers! Try saying that fast 10 times.

For everyone who grew up in the globalised western world, there are particular treasures that will stay with us. '80s kids were spoilt for choice, with Transformers, Thundercats, and Masters of the Universe to name a few. Power Rangers ruled the '90s, and the Noughties were indoctrinated by Pokemon and its many clones. We watch, we buy, we imagine. It's a magical thing that somehow shapes part of our understanding of who we are. As a kid, these things are important. 

Then there's that awkward moment as an adult when you glance at your childhood franchise in nostalgia and realize that 1) It's actually pretty terrible, and 2) It's actually just a 20 minute toy advert. Why were we so misled, so naive? But then after a while we realize that these points don't actually matter. The franchise was truly special to us back then, so in a sense it will always be special. We can't bring ourselves to badmouth it.

It's interesting hearing people talk nostalgically about Power Rangers. A common phrase is that "The first series (i.e. 'Mighty Morphin') was the best. The rest of them were terrible." This is the power of childhood experience, because if you sit and watch every series you will see that in actuality, they are all basically the same - in our minds, a particular series is supreme. Even today we can ask the same questions as it started two decades ago, such as:

• Why, when the heroes are out of uniform, do they always wear clothes matching their ranger color? 
• Why did the alien monsters attack the same, uninteresting city every week, despite it being the one place they could be beaten by pesky teenagers?
• And by the way, how old were they supposed to be? The show seemed to use the casting director from Grease.
• Where was, you know, the police? Or the military? Or whoever deals with, you know, stuff that is actually dangerous? What would people do if the rangers didn't happen to be there?
• The final part of each episode would include a Kaiju battle between a giant monster and the ranger's transforming robot warrior (you can't hide the fact that the show is actually Japanese). Why wasn't the whole of the city destroyed in these fights? And why didn't the robot warrior (a zord) be around permanently, squashing any incoming monsters with its foot?

At the party, everyone wanted to be the red one.

Despite all this, for many people it is something truly special. The internet is loaded with fansites aimed at a mature audience who are interested in all the mythologies, character backstories, the monsters, and the toys. THE TOYS! Check out ebay for collector's treasures. 

Every fan had their own favourite ranger. Admittedly, when I got caught in an awkward telephone conversation with someone trying to get a monthly charitable donation off me, the long topic of Billy vs Tommy came up (he started it, honest). 

There was also a strange feeling of pride when the message appeared on the screen after each episode, explicitly warning us not to copy the violence we have just watched, because the power rangers were specially trained martial arts experts (apparently because there's a special school for that). In hindsight, it is interesting to hear about the moral panic that swept America concerning how violent we would all become as a result of watching it.
Really, it made us feel like we were onto something daring and rebellious - not only could we rob our parents' savings for the latest toys, we could become furious fighting machines, like miniature Bruce Lees. It was a childhood subculture of rebellion and anarchy, and all we had to do was get up and watch on a Saturday morning. 

Do you have any fond Power Rangers memories, or a favourite ranger? What was your childhood franchise? Let us know, and don't go round kicking each other!


Note: I must clarify the first paragraph before anyone corrects: 'Power Rangers' is American. The program it is based on (and that provides most of the footage) is the much older Japanese show 'Super Sentai'.

Time Travel in the Movies, Part 2

As promised, here is another look at time exploration in the movies - curiously I am writing this in the year 2020, and will email this to my younger self in 2013. The Tokyo Olympics are really heating up...

7) Twelve Monkeys (1995)

Terry Gillian's intriguing thriller is still fresh today and asks for repeated viewings. Bruce Willis travels back from an apocalyptic future to get a sample of the deadly virus and create a lifesaving antidote. Unfortunately for him he ends up at the wrong time, although he does bump into some intriguing and potentially world changing individuals. 

The ending is great, creating a spiralling circle in the hero’s story, while simultaneously leaving a sense of possible closure. 

8) Meet The Robinsons (2007)

One of the more interesting CGI Disney flicks. In a modern day orphanage, a budding child inventor feels unwanted and a failure, until a boy from the future arrives in a time machine to show how great (and eccentric) things will become. The film suffers from too many characters, most of which seem rather insane, as apparently we will all be in the future. 

As a feel-good family film, it has a positive message showing that we can all accomplish great things in life - tissues at the ready.

9) The Terminator Series (1984, 1991, 2003, 2006)

An iconic quadrilogy, recently announced to soon become an (overstretched) heptalogy. The films include grandfather effects, paradoxes and too many plot-holes to mention. 

Despite the action and effects brilliant to behold, the story juggles more and more confusing threads with each film, sinking the overall story deeper into head-scratching chaos. Let’s hope the next trilogy will somehow tie things together.

10) Harry Potter and the Prisoner of Azkaban (2004)

A frustrating time paradox saves Harry from death. Harry is saved by a spell cast by a mysterious stranger, then he travels back via a magical trinket, and upon seeing his previous self, knowingly creates the very spell that saved him before. 

Various trials in the film are solved like this, in a way that feels frustratingly lazy and nonsensical. Ultimately in the Harry Potter series, anything can happen, and the key word is 'magic'.

11) Source Code (2011)

Jake Gyllenhaal unwillingly repeats the same 8 minutes over and over again to investigate the location of a train bomb. The process and technology allowing him to do this is barely explained, except with quantum-physical jargon, but it is exciting seeing the many possibilities arising from a small span of time, similar to Run Baby Run or Grounddog Day. 

The story takes some great turns, with Gyllenhaal changing his focus from his mission and trying to escape, as well as amending for past mistakes.

12) Doctor Who (1963-Present)

Sorry, not exactly a 'movie' as such, but the world's longest running science fiction show (50 years in November), a number of TV movies and spin offs (and books, radio plays, and oh you get it...). It seems that every aspect of time travel has been explored brilliantly. Perhaps part of the series’ longevity is in the Doctor's ability to go to any time and place, meaning the scenario possibilities are endless. 

In the past few series, producer Steven Moffat has written some particularly mind-bending episodes: All of time happens at once. Stone angels kill by sending people back to the past, wiping their existence. The Doctor, awaiting his imminent death, sends a message to his previous selves to warn and prepare.

It will be interesting to see how Peter Capaldi tackles the role next year.

Any more suggestions for time travel in the movies? Post your suggestions here...

Film Review: Riddick

Film Review: Riddick

Following the impressive Pitch Black (2000) and the awkward The Chronicles of Riddick (2004), the mythology of Vin Diesel's antihero is given a defibrillator through a gnarly, back to basics tough guy movie. 

I'll get the obvious out the way - from the trailer, this looks like a copy of Pitch Black, so much so that many people have suggested that it is a 'remake' (did they even watch it??). Though it has a similar feel, in that there are some bloodthirsty aliens and a barren desert setting, that's as far as the similarities get. 

While in Pitch Black the film was largely focused on surviving flying shark bats, Riddick focuses on a rival bounty hunter gangs hunting the title character to claim a prize. 

Much of it is a character study, the first, intriguing act showing a sole Riddick surviving in a world of horrors, and the second act displaying his skills of intimidation, stealth and combat. In the third act, when the remaining hunters are forced to cooperate with him in order to leave the planet, it starts to feel somewhat disappointing and cliche. 

This three part structure makes the overall story feel confused, unsure of its own identity - it is a character piece, an action movie or sci fi horror? The disappointment of the third act however is made up for by the two prior. But what happened to the writing?

This is the main gripe with Riddick, as it is hard to find fault elsewhere - performances are all decent, the overall tension is engaging and the look and feel of the alien world is well done. 

But while the trailer suggests survival horror, it is deceptive, as the scenes with the aliens are about as frightening as an episode of Tintin - you never lose the sense that Riddick is in complete control, even when he is saved from a few desperate situations by deus ex machina luck. Riddick himself is the epitome of 'badass', but he is also incredibly blessed with fortune. The ending itself will make you feel like you've only paid for half a movie.

Riddick is a fun and interesting flick with Diesel at his best. Shame about the twists in tone and the awful end.
6.5/10

Time Travel in the movies part 1

Time Travel in Movies (Part 1)

In the brilliant sci-fi flick Looper, there is a memorable scene in a diner, where Bruce Willis' character explains (to his younger self, of course) the concept of time travel as something that is so confusing and baffling it will turn our brains to mush. This dialogue seemed to be the defining point in whether audiences loved or hated the film - many said it was a lazy way of not addressing any loose ends and time paradoxes, as it was saying 'erm, we don't know how time travel works, so we'll make it up as we go'.

Others said it was simply making a real and obvious fact - we don't know how time travel works, so it is a mysterious, intriguing force of change, which we may think we can control but actually we fail. 

This is undeniable. We do not have the technological capacity to travel through time, and (some would disagree through their own 'experiences') surely this gives storytellers scope to write their own rules. I for one get fed up with people saying 'time travel doesn't work like that'. Please, show me how you do it. Sometimes films and novels show it in a way that doesn't make sense, and it can make the story a bit bewildering. 

Here are some time travel examples in film. Possible spoilers alert.

1) Looper (2012)
As already mentioned, Looper simply acknowledges that time travel is difficult to understand. There is an issue of time paradoxes - Paul Dano looks at his hand seeing fingers disappear, followed by limbs, until his life is taken. This is because people have travelled to his past, essentially dismembering and killing his younger self. Why is he still alive to see his body change? Don't know. But it looks cool, and it is terrifying.

Notes appear on older Bruce Willis' arm because the younger self is writing them. Why are they suddenly appearing out of nowhere? Don't know. But it makes a good plot twist. 

Time travel is used as a way of shaping and changing the plot rather than simply changing the scenery or characters.

2) The Time Machine (1960)
The granddaddy of time travel stories. Rod Taylor creates a machine to travel to the future and see what humanity makes of itself. Answer: not much. 

As simple as you can get, because it only goes to the future, avoiding any paradoxes or timeline changes. It is also interesting that the far future is presented as a very simple, rural world rather than one like the world of Lang's Metropolis. The remake (2002) is okay but completely pointless.

3) Triangle (2009)
Here, time travel is so trippy and unpredictable, it isn't even referred to or seen - only its apparent effects. Melissa George is stuck on an empty cruise liner, apparently in the Bermuda Triangle, and is fighting future and past versions of herself and her friends. 

The clever trick of Triangle is that over the course of the film, she starts to see realize she is becoming those future versions, and that she has been those past versions, and though she tries to change everything and stop the mysterious time loops, she ends up causing the very events she is expecting to happen. Absolutely confounding, with a fabulous twist ending (I will not reveal!)

4) Back To The Future Series (1985, 1989, 1990)
A good example when time travel is used for fun and excitement, rather than high-brow brain mush. Doc Brown's scene when he explains alternate time lines with a chalkboard is iconic. It deals with the Grandfather Effect (Mcfly may become his own ancestor...) and time paradoxes (Mcfly and his siblings are bizarrely fading like ghosts because the past is wiping them away!). Mcfly plays Chuck Berry on his guitar, influencing Chuck Berry himself to make the sound, which Mcfly will hear in the present day, and play in the past, and so on (a Grandfather effect for music). 

Time travel is very confused in this trilogy, but it doesn't matter because it is played with tongues firmly in cheek by a brilliantly funny cast.

5) Primer (2004)
This film not only sparked debates about how time travel works, but more commonly, questions such as 'Does this film actually make any sense?' and 'what the hell is going on?'. While films like Donnie Darko and 2001 are made purposefully enigmatic to intrigue us into watching it more and more times, Primer seems to be just bad at storytelling, as so much of the dialogue and action is only character development, and important plot points are rushed over with the odd mumble of words. 

But it does seem to show Time Travel technology in a realistic and fresh way - as something people invent and discover by accident and try to figure out how it works along the way. The acting makes this believable.

6) Donnie Darko (2001)
A brilliant example of a 'cult film'. The plot is mysterious and always intriguing, opening up so many plot lines, red herrings (or are they?), unexplained events and supernatural visitations. You are never quite sure if it is all a dream, inside Donnie's fragile mind or in a twisted reality. 

Time travel seems to happen, but due to the film's nature we are not entire sure. However a friend of mine once described his view of the film's meaning, and though I didn't like it, it seemed to make the most sense. It is basically an 'emo' version of 'It's a Wonderful Life'. Instead of the angel, there is the rabbit. Instead of showing Donnie how much worse everything would be if he died, it shows the opposite - how worse everything would be if he stayed alive. With that knowledge, Donnie stays in his bed awaiting danger. 

It's grim, but fresh. 

More films to come soon...

Film Review: Elysium


The new sci-fi-social film by Neil Blomkamp (District 9) has made a film with similar look and tone to its predecessor - slums, dirt, guns and extreme urgency. Everything feels filthy and unrefined, but this is kudos to Blomkamp and his team, as Elysium's worlds are real, and completely believable. The culture, the landscape, the technology, all fully realized, to make you wonder how far away from reality the film truly is.

It follows factory worker Max (Matt Damon) who has a severe radiation attack at his work, and is given 5 days to live. The only way he can heal is by visiting Elysium, an incredible floating world where the rich live in luxury and reassurance of perfect health. But he will have to literally fight his way up there, because Elysium's inhabitants are very protective of their world and do not want 'ordinary people' messing it up.

If you visit the IMDB forums you will find Elysium has sparked a fiery debate over its main theme - the wealth gap between rich and poor. Posters have written about how they are living well, earning lots of money and have a great job, because they earned it. The movie addresses the wealth gap as corrupt, immoral, and causing mass suffering. Spoilers aside, Elysium is ultimately suggesting that we should not aspire to live like millionaires and celebrities, but appreciate our own culture and background, so the privileges of the upper classes should not be limited to them. This is a brave and bold message, especially as it is the entire point of the film, and not an afterthought. At the final few minutes, some audience members had tears. Elysium will split opinion with its social message, but perhaps this split is revealing the true gaps in our society. Sparking a debate is never a bad thing.

While Damon is solid and believable, we don't seem to learn much about him, except that he has 5 days to live and what he was like as an 8 year old. Jodie Foster, as the film's chief villain, is particularly disappointing. Her script and acting is hammy, like something from a pantomime, although this simply makes her more unlikable. A highlight is Sharlto Copley (also from District 9 and The A-Team), who plays the 'evil henchman' role with such gusto and nasty attitude that he completely steals the film.

If you can withstand over-the-top, sometimes cartoon excess of violence, the film is exciting and well put together, so definitely worth a look.
8/10

Technophobe! available now for ebooks.

There's a Plug going round....

I have recently published an ebook of short stories, that could be described as Soft Sci fi, Weird Fiction, and Suspense. Search for 'Technophobe!' by M. Crawley on Amazon or Kobo stores.

It's cheaper than a sandwich, and in easily digestible bites - please check it out and spread the word if you enjoy. Kudos to our friends the Chapman family for having a particularly frightening looking kettle.
Any comments are appreciated, but they must be nice! (Kidding! All feedback is good...).

More writing will appear over next few months so watch this space.


UK and USA Amazon links:

http://www.amazon.co.uk/Technophobe-ebook/dp/B00ECGKZLC/ref=sr_1_1?ie=UTF8&qid=1378073972&sr=8-1&keywords=technophobe

http://www.amazon.com/Technophobe-ebook/dp/B00ECGKZLC/ref=sr_1_4?ie=UTF8&qid=1378073998&sr=8-4&keywords=technophobe

(Also available in Australia, Brazil, India, China, Japan, and many others...)
(Now available on Kobo store...)

#Technophobe!

Finally, a blog! Awesome! Enjoy!

......Posts soon to come!