12 Monkeys is the latest sci-fi TV show from Syfy and an adaptation of the classic Terry Gilliam time travel classic film from 1995 (which itself was a remake of an obscure French short film called La jetée).
The TV show follows the same premise as the original film. Mankind has been driven nearly to extinction by a deadly virus that begins in the near future and a few decades from now, scientists send back in time a lone man to learn how the calamity started so that it can be undone. But there are many differences, many of which were done to fit a serialized TV format.
The time traveler, James Cole (Aaron Stanford), isn’t a prisoner forced to volunteer, but a drifter willingly recruited by a scientific group to undergo the temporal jumps. In the original film, when he voyaged to contemporary times the film had us guessing if he was insane. Not so here. In fact, he is quickly able to convince his present-day comrade, virologist Dr. Cassandra Railly (Amanda Schull) that he is a time traveler. In the course of the series, Cole and Cassandra track a doomsday cult called the Army of the Twelve Monkeys, who are responsible for unleashing the virus. That differs significantly from the film and as with these TV shows finding the cause of the virus and stopping it isn’t accomplished within two hours like in a film.
In each episode, Cole uncovers an important facet of the virus or the army and goes back to 2043 to report his findings. Of course, this hampers the TV show because if he is successful then the virus is stopped, humanity is saved, his timeline is erased and the show ends. However, to its credit 12 Monkeys has explored the headaches of time travel and it impacts on future timeline for better or for worse. For this reason, scenes that take place in the present aren’t nearly as interesting as those set in the future. It’s a well realized post-apocalyptic future with barren and broken buildings and roving armies of scavengers. One of the best episodes to date called “Atari” largely took place in the future and explored Cole’s tortured past.
The piecemeal revelation that Cole wasn’t exactly a good person in the past is a good twist and makes him a more interesting character. It’s fascinating to see some of his morally questionable acts and why he decided to help change the future in the episodes. A lot of that has to do with his close friend in 2043, Ramse (Kirk Acevedo), who acts as Cole’s conscious. Ramse is so well played by Acevedo that we have to wonder why he wasn’t chosen to play Cole. After all, with his bald head he looks more like Cole as portrayed by Bruce Willis in the original film and is a better actor to boot.
The other characters are hit or miss. Jennifer Goines (Emily Hampshire), an insane math whiz whose father is believed responsible for the virus, is overdone with her Hollywood crazy method acting. Meanwhile, Katarina Jones (Barbara Sukowa), the enigmatic creator of the time machine, is a mysterious, though sympathetic character that is quietly desperate to change time.
On the whole, 12 Monkeys seems at times to be your standard time travel show, but it is still generally entertaining despite its faults. It’s not in any way up to the level of the original film, but it’s a worthwhile adaptation.
Marvel Studios and Sony Pictures officially announced on February 9 that Spider-Man, the beloved flagship superhero of Marvel Comics, will now be a part of the hugely successful Marvel Cinematic Universe (MCU). It’s clear that the rumors and email leaks about this happening were valid.
This development obviously paves the way for Spider-Man to appear in other MCU films like Avengers: Infinity War and give Marvel tighter control over the character. In addition, this agreement between the two studios will also allow for characters from the MCU like Iron Man or Thor to appear in standalone Spider-Man films.
First the plan is for Spider-Man (who sadly will be recast–goodbye Andrew Garfield, you were a great Spidey) to appear in an unspecified future MCU film. Then another solo Spider-Man film will be released on July 28, 2017 that will be a co-production between the two studios with Marvel’s Kevin Feige and Amy Pascal overseeing the film. The announcement didn’t make clear which film Spider-Man will appear in, but undoubtedly he is a shoo-in for Avengers: Infinity War, Part I. That film is due to come out in 2018 so that means he can probably make his debut appearance in next year’s Captain America: Civil War! That would be just amazing (pardon the pun) since Spider-Man was an integral part of the comic book mini-series of the same name last decade. UPDATE: The Wall Street Journal has reported that Spider-Man will indeed make his MCU debut in the third Captain America film.
From glancing at the MCU and Sony’s original film schedule, the next Spider-Man film, originally scheduled for 2018, has been bumped up a year earlier. The new schedule pushes back the new Thor film, Thor: Ragnarok, to November 3, 2017 and the Black Panther debut film will now come out in 2018. The domino effect continues as Captain Marvel will now premiere on November 2018 and the Inhumans movie has been re-scheduled for 2019.
One film that may have been lost altogether is the Sinister Six film that was supposed to come out next year and directed by Drew Goddard. In the joint announcement there wasn’t any mention of that movie’s fate, which was to feature Spider-Man’s greatest foes teaming up to defeat him. Perhaps Goddard may be assigned to direct the next Spider-Man film instead.
Also unclear is whether or not plans to do a film about the Black Cat will go forward. Given the crowded production plate, there may not be any room for that character now, which is probably for the best. While a vital character in the Spider-Man mythos, the Black Cat may be unfairly compared to the more well-known Catwoman by average moviegoers who don’t follow comics.
Overall, this is hands down very exciting news that pumps new blood into the floundering Spider-Man film franchise. Now he is back where he belongs with the right people making sure we get the best Spider-Man on film. And that is how it should be because Spider-Man is Marvel’s best known and popular superhero. So, it only makes sense that Marvel Studios handle Spider-Man. Just look at what they have accomplished to date. Starting with Iron Man and continuing with Guardians Of The Galaxy, Marvel Studios have shown that they produce the most faithful and spirited big-screen adaptations of their superheroes. In the end, it benefits both studios. Sony still retains their film rights to Spidey, but pass on the logistics of putting out a quality film to another studio that has proven they have the talent to produce a topnotch Marvel superhero film. Marvel Studios gets a bonafide superstar added to their roster who can help pave the way for a Phase Four of their MCU because let’s face it by the end of the decade some of the actors currently playing our favorite heroes may either want to move on or be too old by then to realistically play the characters. Who better than Spider-Man, who will probably be recast with a much younger actor, to help spearhead the MCU in the future?
This development also demonstrates the tenacity of Marvel Studios and Disney. Systematically, they have steadily regained the film rights for many of their characters. With Spider-Man now in their clutches, the only big name characters not under Marvel’s direct control are the X-Men and the Fantastic Four. Trying to regain the rights to the X-Men from 20th Century Fox will be much harder to pull off if not impossible given the frosty relations Marvel has with Fox and the continuing success the latter film studio has had with the revitalized mutant film franchise. That could be the main reason why Marvel seems to be de-emphasizing the mutant heroes lately. But as for the Fantastic Four…that would depend on how Fox’s reboot is received. If it flops, then Marvel has a stronger hand in getting them back. If it succeeds, then it will be quite some time before the Fantastic Four joins Spider-Man and the rest of the Marvel Universe on film.
For now though, let’s celebrate this film development.
The recent announcement by Netflix that it will be developing an original TV series bases on the iconic TheLegend of Zelda video game series has caught many by surprise including myself. Nintendo’s only other foray into live action movies or TV based on their games was the not so well received Super Mario Bros. from 1993.
Another odd fact is that there is no major voice acting in the games. Link, the hero of the story doesn’t talk. You only hear him scream or grunt. It will be very interesting to hear him say something for the first time, let alone seeing him portrayed in live action by an actor. Having said that, the fact that their next project is based on Zelda while unexpected, actually makes a lot of sense.
The Zelda universe has a vast and rich mythology that spans almost 20 games released over a span of almost 30 years. Each game is a tale set in a fantasy world called Hyrule, which is somewhat reminiscent of J.R.R. Tolkien’s Middle-earth, populated by goblins, wizards, all sorts of fantastic creatures, and a race of elf-like beings that struggle against the evil Ganon. He is a huge villain obsessed with obtaining the all powerful Triforce, a relic from an ancient time that bestows ultimate power to anyone who has it. Again, very much like the One Ring to rule them all from the epic The Lord of the Rings saga.
The success of both Peter Jackson’s The Lord of the Rings and The Hobbit movies and the HBO TV show Game of Thrones, demonstrate that there is a market for live-action epic fantasy stories. The key to the success of any Zelda show will be who Netflix hires to translate the great stories told in each game to the TV screen. As with movies that are based on books demonstrates, this can be a tricky task. However, since this will be a TV series, it will have many hours to tell any such story, instead of the restricted two- hour-plus limit of a movie. This can definitely be a positive since the saga of The Legend of Zelda is as complex as it is interesting. Hopefully, whoever is hired will be able to do justice to the highly regarded Zelda series, which has set a very high standard for quality in all of its games. Nintendo, who is known for protecting all of their characters should be able to make sure this happens.
As I’m getting ready to watch the Super Bowl (mostly for the trailers and commercials, I have no stake in the Patriots or the Seahawks), I keep thinking about the trailer for The Fantastic Four that was recently released.
Twentieth Century Fox released it I think to quiet all the complaining from the genre community about how we didn’t have any info (not even an official image) from the controversial reboot. Seriously, they needed to have done that for the longest time and I think some of the animosity towards the film can be blamed on the lack of marketing.
Anyway, looking around the Internet I keep viewing videos and reading articles stating how good the film looks and how we can all breathe easier knowing that director Josh Trank is going to deliver a superb film with a new take on the Fantastic Four.
Honestly, I wasn’t impressed.
When Fox announced the cast last year, I was very skeptical about the film right away from looking at the cast. And I still am. Yes, I do admit that the actors are well regarded like Miles Teller (for his role in Whiplash) and Michael B. Jordan. But as I said in my old post, these actors look too young. It’s undeniable that this reboot is taking its inspiration from the lackluster Ultimate Comics version of the Fantastic Four from last decade. In that version, the team was made up of young prodigies who travel to another dimension and get their powers by doing so. It didn’t work because that family dynamic from the original team was missing. Reed is supposed to be the distant father figure, Ben the grumpy uncle, Sue the mother figure and soul of the team, and Johnny being the young kid brother. I didn’t get that impression from the comic book and I don’t see it in this trailer.
Obviously, something like that can’t be shown in a teaser, but the team is made up of youngsters to attract the Twilight/The Hunger Games crowd and that is a big mistake. Why? This choice to go young undermines a basic core of what made the Fantastic Four work.
Another vital aspect missing or at least not shown in the trailer was a sense of wonder and good nature. Another reason why the Fantastic Four worked in the comics was for its light humor, fanciful sci-fi, and adventure. Those were missing in the trailer. Instead we were treated to a grim, dour and generic-looking sci-fi film that looks like it could’ve been directed by David Fincher. In past press releases, the filmmakers kept saying this film is supposed to have a more grounded and gritty approach, but that doesn’t work for the team. It seems like Trank and company wanted to copy the look and feel of Christopher Nolan’s Batman films. The film should’ve emulated Guardians of the Galaxy which gave off a fun, adventurous vibe. That would’ve being a better match. Perhaps Fox should’ve offered the film to James Gunn instead. While I’m at it, for all the complaints lodged at Tim Story’s Fantastic Four films at least they captured the essence of the team. It’s just that those films were doomed with bad casting, low budgets and weak scripts.
I’ll admit The Fantastic Four trailer is well shot and doesn’t look like a disaster, but it hit all the wrong buttons for me. I’m not excited about seeing this and I doubt I’ll go to the trouble of seeing it in a theater.
This month marks the 20th anniversary of Star Trek: Voyager, the saga of a lost Federation starship in a distant corner of the galaxy trying to make its way home. Ever since the third Star Trek spinoff made its debut on the UPN channel it’s been considered as an inferior Star Trek show. That is a somewhat unfair claim, although many episodes were formulaic there were many that were worthy of the Star Trek name. These are twenty of the best episodes of Star Trek: Voyager.
20. “The Chute”Voyager crewmembers Tom Paris (Robert Duncan McNeill) and Harry Kim (Garrett Wang) undergo a harrowing ordeal while being held prisoner in brutal space prison.
19. “Lineage” B’Elanna Torres (Roxann Dawson) grapples with accepting her half Klingon heritage during her pregnancy since she doesn’t want her unborn daughter to face the same persecution she underwent as a child.
18. “The Thaw” Harry and B’Elanna are mentally trapped in a virtual reality by a malicious clown computer program (Michael McKean), who tortures them to gain release from its cyber trap.
17. “Maneuvers” First Officer Chakotay (Robert Beltran) tries to track down his former lover Seska (Martha Hackett) and her Kazon colleagues after they raid the Voyager and steal transporter technology.
16. “Scorpion, Parts 1 and 2”An exciting two-parter introduced the popular Seven of Nine (Jeri Ryan) as the Voyager is forced into an uneasy alliance with the evil cybernetic Borg against an even deadlier threat–Species 8472.
15. “Relativity” Seven of Nine is recruited by a Federation starship crew from the distant future. Her mission: travel through different time periods to prevent the destruction of the Voyager.
14. “Latent Image” The ship’s Emergency Medical Hologram (EMH) a.k.a. The Doctor (Robert Picardo) discovers that for some reason certain parts of his memories are being erased. His investigations lead to uncovering a tragic moment in his past and his reaction afterwards was very engrossing to watch.
13. “Basics, Parts I and 2” The crew of the Federation starship Voyager have a final conflict with the barbaric Kazons, who coveted the advanced Starfleet ship and its technology. This two-part episode had many thrilling moments and cliffhangers as most of the Voyager crew were defeated and stranded on a primitive world.
12. “Equinox, Parts 1 and 2” The Voyager comes to the aid of another Federation starship also stranded in the distant Delta Quadrant. What is supposed to be a joyous occasion at encountering kindred spirits turns into conflict when the Voyager crew learns of the other crew’s unethical actions against an alien race.
11. “Dark Frontier” Seven of Nine’s background is explored as Captain Kathryn Janeway (Kate Mulgrew) leads efforts to steal Borg technology that will hasten their journey home. During a pivotal raid, Seven is captured by the Borg, who plan a biotech attack on humanity. Meanwhile, Janeway mounts a rescue mission.
10. “Hope and Fear” The sudden appearance of an advanced, unmanned, supposed Federation starship could be the means to finish the Voyager crew’s years-long voyage home or a trap. Guest star Ray Wise excelled in his role as a tortured alien whose race was assimilated by the Borg.
9. “Blink of an Eye” The Voyager is trapped in orbit around a planet with a dense gravitational field. So what passes for hours on Voyager is actually centuries for the planet’s inhabitants, which means that the ship becomes part of that planet’s history as its people advance technologically and socially.
8. “Before and After” An elderly, dying Kes (Jennifer Lien) in the future begins to travel backwards in time to many events including her birth. Among the fascinating future moments explored included a foreshadowing of the Voyager crew’s encounter with the Krenim.
7. “Distant Origin” The premise that some dinosaurs on Earth actually evolved into a spacefaring race was intriguing enough. But this episode’s first contact scenario smartly focused on an allegory of Galileo’s plight as scientific progress and knowledge conflicted with societal and religious dogma.
6. “Deadlock” After going through a technobabble anomaly the Voyager and its crew are duplicated, but both ships are attached to each other. Events dictate that only one ship and crew can survive, but which one? The episode was a novel way of resetting the status quo after disastrous events without using time travel.
5. “Message in a Bottle” The Doctor is transmitted to an advanced Starfleet prototype ship in the Alpha Quadrant in order to make contact with the Federation. Once there, he must join forces with that ship’s EMH Mark 2 (Andy Dick) to fight off Romulans, who have captured the ship.
4. “Course: Oblivion” In this tragic episode, things seem fine at first onboard Voyager. Tom and B’Elanna get married and the ship will reach Earth in a two years. However, it’s soon discovered that the ship is deteriorating, as well as the people onboard. After realizing that they and the ship are just copies of the actual Voyager and crew, it’s a race against time to seek help before it’s too late.
3. “Bride of Chaotica!” A wonderful and whimsical tribute to old sci-fi serials in the tradition of Flash Gordon has the Voyager crew coming to the aid of photonic, extra-dimensional aliens, who are at war with the evil fictional characters from Tom’s holodeck program The Adventures of Captain Proton. Hilarity ensues as the crew assume the overdramatic roles of the program and endure old sci-fi clichés.
2. “Living Witness” In the far future on another planet, a copy of the Doctor is activated by a museum curator (Henry Woronicz), who is fascinated by the “warship” Voyager’s visit to his planet in the distant past. Appalled at the gross inaccuracies about the visit and the Voyager crew, who are shown to be basically space pirates, it’s up to the Doctor to clear his former comrades’ names for history’s sake.
1. “Year of Hell, Parts 1 and 2”Star Trek: Voyager had many epic two-part episodes and this one wasn’t only the best of those, but the best episode for the entire series. The Voyager passes through a region of space controlled by the despotic Krenim. Janeway and the crew soon find out that the Krenim uses time as a weapon by altering timelines. Leading these alterations is Arronax (Kurtwood Smith) a Captain Nemo type obsessed with time tinkering. Over the course of a year, the Voyager is badly damaged and falling apart, but Janeway must find a way to defeat Arronax. “Year of Hell” was riveting and presented a gritty view of a desperate Voyager crew on their own, plus Smith gave a great performance as the tortured Arronax.
The time traveler, James Cole (Aaron Stanford), isn’t a prisoner forced to volunteer, but a drifter willingly recruited by a scientific group to undergo the temporal jumps. In the original film, when he voyaged to contemporary times the film had us guessing if he was insane. Not so here. In fact, he is quickly able to convince his present-day comrade, virologist Dr. Cassandra Railly (Amanda Schull) that he is a time traveler. In the course of the series, Cole and Cassandra track a doomsday cult called the Army of the Twelve Monkeys, who are responsible for unleashing the virus. That differs significantly from the film and as with these TV shows finding the cause of the virus and stopping it isn’t accomplished within two hours like in a film.
The other characters are hit or miss. Jennifer Goines (Emily Hampshire), an insane math whiz whose father is believed responsible for the virus, is overdone with her Hollywood crazy method acting. Meanwhile, Katarina Jones (Barbara Sukowa), the enigmatic creator of the time machine, is a mysterious, though sympathetic character that is quietly desperate to change time.
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