Feb 24 2012

Sci-Fi Oscar Bias

On Sunday the Academy Awards will be presented and I really don’t care which film wins for best picture because I haven’t seen any of the nominated films. I’ll eventually watch some of the nominees on cable though. But looking at the list, I realize that as usual there isn’t a science fiction film nominated for best picture. Well, The Three Of Life features scenes of the Earth being set afire from our sun going supernova billions of years from now, but that film doesn’t dwell on those described moments. Then there’s Hugo, which has some arguably slight sci-fi elements, namely the dramatization of Georges Melies and his silent film Voyage To The Moon, but Hugo is more of a fantasy film and an ode to early filmmaking.

Some research reveals that in the entire history of the Oscars only six science fiction films have been nominated for best film. They are A Clockwork Orange, the original Star Wars, E.T. The Extraterrestrial, Avatar, District 9, and Inception. (On a side note, Inglourious Basterds is considered by some to be science fiction only because its ending establishes the film to be about alternate history.) Sure sci-fi films dominate the technical categories such as special effects and sound, but that’s about it when it comes to recognition from the Oscars.

Films like Blade Runner and 2001: A Space Odyssey have made the top 100 list from the prestigious American Film Institute’s AFI’s 100 Years…100 Movies, yet weren’t nominated for best film in the year they were released. Many other sci-fi films have stood the test of time, while some best picture nominees and winners have been forgotten by today’s audiences. For instance, we continue to talk about The Empire Strikes Back and Back To The Future, yet the movies that won for best picture in the years these sci-fi classics came out are largely ignored (1980’s Ordinary People-IMO, for the record, Raging Bull should’ve won that year; and 1985’s Out Of Africa-not even sure what that movie was about). How about the sci-fi films that were nominated? Does anyone actually believe that Annie Hall is a better film than Star Wars? Sure maybe a bunch of elitist snobs do but despite what George Lucas has done with the saga, the original film has stood the test of time and is a popular as ever. In the case of Avatar, there were stories of many Academy members having an axe to grind with James Cameron and had a rapid disdain for Avatar because of all the computer animation. For my money District 9 was a better film than either Avatar or the winning film, The Hurt Locker. With E.T., it was a better film than Gandhi, but by the time the awards came out there was an obvious backlash against Steven Spielberg’s film. You can thank the marketing departments that plastered E.T.’s mug on everything at that time. Plus Gandhi was considered more respectable, mainstream and IMPORTANT.

It’s vital to realize that the Oscars are really just popularity/political contests and marketing campaigns among Hollywood insiders who award the statues to sentimental favorites and buddies. The Academy Awards are awash with tales of snubs and cronyism and outright dumb selections which goes beyond sci-fi films. Take the pick of Crash in 2005 over the more popular and more controversial Brokeback Mountain. Or the trite comedy Shakespeare In Love over Spielberg’s classic Saving Private Ryan. That oversight was primarily due to a massive marketing campaign by the former’s executive producers.

Oddly this bias doesn’t extend to fantasy movies because those types of films have received best picture nominations since the 1930s (1937’s Lost Horizon and 1939’s The Wizard Of Oz were the first fantasy films nominated for best picture) right up to this year. One even grabbed the Oscar for best picture nine years ago; that was The Lord Of The Rings: The Return Of The King, which many fans felt was the weakest in Peter Jackson’s trilogy. It should be noted that the bias against animated films is even worse, but that’s another story.

The hostility against sci-fi films by the Oscars is clearly evident and will continue for the foreseeable future. It’s a shame really, since so many past sci-fi films are considered classics not just by fans but by mainstream viewers and critics. This prejudice may have begun with science fiction’s B-movie origins. But as anyone can tell you, sci-fi films have become more sophisticated and true pieces of cinematic art. Shockingly if you go to online sci-fi forums there are many members who put down sci-fi films and don’t consider them worthy of being nominated. So the bias even permeates among many so-called fans who just can’t see these films past their settings. The bottom line is that the Academy has to get over this bias and join the rest of the crowd. Until then we can only root for an occasional acting nomination or the reliable special effects category. Either that or wait for the Saturn or Scream Awards.

José Soto

Feb 21 2012

Hey Hasbro, Make These Star Wars Toys!

Here’s GEO’s Cool Pick of the Week. Vintage World War II-era Star Wars toys! I came across this website while searching online for Adam Hughes’ art (BTW I just found out that some of my fellow Starloggers’ articles are popping up on the first page of a Google search, way to go!) and these toys just captivated me.

I am really intrigued by this concept created by a toy enthusiast known only as Sillof. These toys are mockups from other toys that are remade into our favorite Star Wars characters as World War II/1930s-era figures. They’re really cool and a retcon of George Lucas’ saga. See much of Star Wars was inspired by the old pulp movie serials like Flash Gordon that played during the 1930s. But naturally, he updated the look of the characters to be more appealing to today’s audiences and it worked.

With these toys, any fan can see the influences much more easily and it is a truly imaginative concept. What if Star Wars had been a movie serial from that era?

My favorite character in this line is Han Solo with his bomber jacket because this toy figure keeps the essence of Han Solo and easily transplants him into the era. I thought the Darth Vader re-imagining was perfect with his stylized gas mask and his chest piece is just awesome. As for Chewbacca, while he looks more human it does illustrate how the wookie would’ve been executed by Hollywood in those days. Chewbacca reminded me of the Wolf Man makeup as worn by Lon Chaney, Jr.

The website links to Sillof’s website where other creative figures are showcased such as Star Wars re-imagined as a western and a medieval fantasy. They’re worth a look and made this fan, who’s a bit burned out on the regular Star Wars toy line , take notice. They’re not on sale but Hasbro and Lucasfilm should seriously consider commissioning a line like this, at least on a trial basis. I’ll bet they would be very popular.

GEO

Feb 19 2012

Abraham Lincoln: Vampire Hunter Has One Whacky Trailer!

Hoo boy, I’ve seen some outrageous trailers and heard of outlandish premises but Abraham Lincoln: Vampire Hunter sets the bar for the bizarre. Based on the mashup novel by Seth Grahame-Smith, it’s produced by Tim Burton and directed by Timur Bekmambetov (director of the kinetic Wanted, a pretty decent adaptation of the comic book mini-series). I’ll be frank and admit I haven’t read the book so I don’t know if it’s a comedy, I hear it isn’t. But this trailer had me peeing in my pants! This was one big WTF!

For anyone who hasn’t seen it yet (just click on the link and have a look) it shows actor Benjamin Walker made up as our 16th president doing his usual statesman-like schtick of standing tall and giving speeches. Intermixed are the typical Civil War scenes. But also tossed into the mix are these dark Gothic scenes and slow-motion action shots of vampires and Lincoln doing Matrix-like acrobatics as the Johnny Cash classic “When The Man Comes Around ” plays on the soundtrack. My favorite shots are of President Lincoln swinging that mighty axe and laying waste to the creatures of the night.

Take that Buffy!

When I first heard of the film and book, I didn’t think much. Actually both sounded kind of stupid, with the film sounding like that awful thankfully forgotten flick Young Einstein. But after seeing this trailer, it’s now a must-see summer film. It may wind up being a stinker, but it’s not likely to be forgotten! (Now if only we can sic Old Abe on those Twilight losers. :D)

Waldermann Rivera

Feb 14 2012

Top Ten Sci-Fi Film Couples

It’s that time of year lovers! In commemoration of Valentine’s Day, here are the silver screen’s most romantic couples in the world of science fiction. The films they appear in aren’t always romances, actually, one of the entries on this list comes from a gritty, action-packed movie. The fact is there aren’t many sci-fi romantic films, so the focus is on the characters in a sci-fi film. Either way, these characters made for memorable couples and romances.

10. Sarah Connor and Kyle Reese (The Terminator): OK this is a bit of a stretch. Romance in The Terminator? The one with all the explosions and darkness? Yes, it isn’t apparent when Kyle Reese (Michael Biehn) first saves Sarah Connor (Linda Hamilton) from the T-800, but as the movie progresses, the two begin to bond, culminating in a tender and passionate love moment. Their brief encounter comes as a welcome relief in the midst of all the gore and gunfire and leads to humanity’s savior, their son John Connor.

9. Jake Sully and Neytiri (Avatar): Blue alien love baby! This film presents every sci-fi geek’s wish of having a big blue alien as a girlfriend. The love between Jake (Sam Worthington) and Neytiri (Zoe Saldana) builds gradually. Initially she’s disgusted by him but then starts to admiring him until love took hold. And towards the end, viewers see that her love for him is transcendent even after she sees Jake in his frail human form.

8. Superman and Lois Lane (Superman and Superman II): From the moment that Superman (Christopher Reeve) saved intrepid reporter Lois Lane (Margot Kidder) from the helicopter accident and made his world debut, she only had eyes for the big boy scout. The sweeping romance continued in the sequel but ended in one big copout.

7. WALL-E and EVE (WALL-E): This is one unconventional romance, it’s between two robots but that’s science fiction. Ultimately the two exemplify the notion of opposites attract. WALL-E is a curious, Chaplinesque garbage robot, EVE is a suave, tough, and pristine scout robot. Naturally, he falls head over tank treads for EVE but she only comes to love him during the film as they save humanity.

6. Henry and Claire DeTamble (The Time Traveler’s Wife): Relationships are hard, but how much harder is it when your husband has a genetic abnormality that makes him time travel uncontrollably throughout his lifetime? That’s what viewers see when Henry (Eric Bana) literally pops in and out of the life of Claire (Rachel McAdams), even on their wedding day! Warning: the ending is a tearjerker.

5. H.G. Welles and Amy Robbins (Time After Time): This underappreciated sci-fi film has H.G. Welles (Malcolm McDowell) time traveling to San Francisco in 1979 to track down Jack the Ripper. Along the way, the sweetly naive Welles meets strong-willed, modern bank teller Amy (Mary Steenburgen) and they soon have an affair. The chemistry the actors shared was obvious (they even got married in real life for a time) and made the film more special.

4. Cornelius and Zira (Planet Of The Apes and Escape From The Planet Of The Apes): Their relationship wasn’t the center of attention in the first film but forms a strong foundation in the third film. Across the first three Apes films viewers see a tender, loving simian couple who strongly respect and cherish one another. Sadly, this makes the end of the third film so heartbreaking when they are brutally killed. It’s still hard to watch Zira’s (Kim Hunter) final moments when she embraces Cornelius’ (Roddy McDowall) body as she dies.

3. Doc Brown and Clara Clayton (Back To The Future, Part III): Marty McFly’s time-traveling partner (Christopher Lloyd) is trapped in the 1880s but finds existence there to be rewarding thanks to a chance encounter with schoolteacher Clara (Mary Steenburgen again). She gets extra bonus points from us since she’s a big science fiction fan! The tortured choices that Doc faces on whether or not to return to the present or stay with his true love really do a number on him. But alas, love conquers all.

2. Han Solo and Princess Leia Organa (Star Wars Episode V: The Empire Strikes Back): Who would’ve thought of it? A scruffy, unpolished smuggler and a headstrong, independent space princess falling for each other. Han (Harrison Ford) and Leia’s (Carrie Fisher) relationship lift the first Star Wars sequel with their romantic tension and squabbling that reaches a climax when they first kiss passionately while fixing the Millennium Falcon. Plus, as every fan knows the film has one of the greatest comeback line to “I love you.”

1. Starman/”Scott Hayden” and Jenny Hayden (Starman): Poor Jenny (Karen Allen) is still mourning the death of her husband when she gets the shock of her life when he is reborn in front of her. Actually the resurrected Scott is a stranded alien (Jeff Bridges) who takes her husband’s form and enlists her help to get back to a rescue spaceship. Like any romantic road trip picture, the two don’t quite connect at first but begin to like then love each other. What helps the romance are the passionate performances by both actors, John Carpenter’s direction and the haunting yet uplifting score by Jack Nitzsche.

Finally, let’s give a shout out to those without a beloved on Valentine’s Day and mention the big screen’s best would-be lovers. In an ode to unrequited love in the realm of science fiction that honor goes to Mal Reynolds (Nathan Fillion) and Inara Serra (Morena Baccarin) from Serenity.

Annette DeForrester

Feb 11 2012

Secrets And Death In The Walking Dead

Episode Five: The pre-credits scene of The Walking Dead’s season two’s fifth episode, “Chuapacabra”, opens with a flashback that takes place during the time when Rick Grimes (Andrew Lincoln) was in a coma and presumed dead. In a nighttime traffic jam, teeming with refugees, his wife Lori (Sarah Wayne Callies) waits with their son Carl (Chandler Riggs). Shane Walsh (Jon Bernthal) flips the radio dial, searching for news about the refugee center, but is frustrated by recorded messages and uselessly repeated emergency broadcasts. Suddenly an air convoy flies overhead, and as the stunned crowd watches, napalms nearby Atlanta. Lori breaks down into Shane’s arms…

Post-credits, we return to the present. Camped out on Hershel’s farm, the survivors have settled into a routine. While doing laundry, Carol (Melissa McBride) confesses to Lori that she needs to keep her mind off her still-missing daughter, Sophie (Madison Lintz), and suggest that they cook dinner for Hershel (Scott Wilson) and his family. Lori agrees.

An eager Glenn (Steven Yeun) confronts Maggie (Lauren Cohan) in continuing their tryst. Maggie spurns his offer, and mocks their lovemaking as a waste of time. Glenn is left hurt…

Rick maps out new ways to search for Sophie, and the search parties arm themselves and split up. While searching out in the woods, Rick and Shane share a little private time between old buddies. What starts out as good-natured “guy talk” of sexual prowess and high school conquests turns ugly. Shane, angered, feels that Sophie must be dead by now, and that the sane thing to do is to head for Fort Benning; Rick disagrees.

Daryl (Norman Reedus), on Hershel’s horse (taken without permission), heads out by himself. From a ledge, the experienced tracker scans a river below and notices a doll lying limply in the water. Wading in to retrieve it, and assuming Sofia must be nearby, he calls out for her. With no response, he heads back to the trail with the doll. A snake startles the jittery horse, who throws him. Daryl slips and rolls down the steep rocky hill, but not before one of his arrows pierces him in the side. Bleeding and in pain, he uses his torn shirt as a tourniquet and begins the herculean task of climbing back up the mountain, but he slips and falls back down. Laying in the river banks, a dazed Daryl hallucinates that his brother Merle (Michael Rooker) – not seen since the early episodes of The Walking Dead – approaches him and mercilessly taunts him into showing his resilience. Merle’s final words and vision fade out as a walker tries chewing on Daryl’s booted feet. Daryl snaps to consciousness and beats the walker to death, ripping out the arrow in his side just in time to use it to kill a second walker. Daryl sets out again, and after Merle’s vision re-appears, he scales the hill successfully. Later, as he approaches Hershel’s farm, a trigger-happy Andrea (Laurie Holden) mistakes a bloody Daryl for a walker and shoots him…

Please click on the link to Deadloggers to continue reading Episode Five

Episode Six: The pre-credits scene of episode six of The Walking Dead’s second season, “Secrets”, shows Patricia (Jane McNeill) entering the farm’s henhouse. Grabbing a few chickens, she breaks their legs as they squawk in pain. Quietly entering the barn, she throws the helpless birds into the walkers’ pit. The snarling creatures scramble hungrily after their food…

Post-credits, Carl Grimes (Chandler Riggs) and Daryl Dixon (Norman Reedus) – the latter shot by Andrea (Laurie Holden) in the previous episode after being mistakenly for a walker – are recuperating. Glenn (Steven Yeun) – the only one in Rick’s group that is aware of the hidden and captive walkers – confronts Maggie (Lauren Cohan) about this gruesome development. Maggie reveals nothing but asks Glenn for secrecy. Later, Glenn confronts Lori Grimes (Sarah Wayne Callies) about her pregnancy, offering to go on another run for vitamins and other needed pregnancy supplies. Lori – like Maggie – asks only for secrecy.

As Rick Grimes (Andrew Lincoln), Jimmy (James Allen McCune), and Shane Walsh (Jon Bernthal) pore over maps in their search for the missing Sophia (Madison Lintz), Patricia and Beth (Emily Kinney) request shooting lessons, explaining that they have Hershel’s consent. Carl, with his mother Lori’s grudging permission, joins. Shane and Rick take them and Andrea to a makeshift shooting range for instruction. Andrea turns out to be a natural shooter, hitting a stationary target with ease, but finds it difficult to hit moving targets. Shane presses her into bearing down harder, but angers her by mentioning her murdered sister, Amy. After calming down, the two go to look for missing Sophia in a nearby suburb. Paralyzed by the horrific sights – they find decaying and charred bodies scattered throughout the upscale homes – hordes of walkers appear in the streets, alerted to their presence…

Please click on the link to Deadloggers to continue reading Episode Six

Episode Seven: The pre-credits scene of episode seven, “Pretty Much Dead Already” shows the survivors early in the morning, eating breakfast in their outside camp. The sky is overcast and the overall mood is glum, as the group silently munches on pancakes prepared on the makeshift stove. Glenn (Steven Yeun) suddenly stammers the truth about the walker-filled barn as the survivors stare at him, shocked. Approaching the barn warily, they stay at a safe distance as Shane Walsh (Jon Bernthal) peeks in through the cracks and sees the creatures shuffle aimlessly in the dark. Shane gets ticked off, demanding that the survivors clear out the barn or leave Hershel’s farm; Rick Grimes (Andrew Lincoln) objects, reminding him that they are Hershel’s (Scott Wilson) guests and need to stay and find Sophia (Madison Lintz). In the ensuing argument, Shane and Daryl Dixon (Norman Reedus) almost come to blows until Rick steps in. The noise alerts their presence to the walkers, who suddenly strain against the barn door from the inside. The survivors reel back in shock…

Post-credits, Shane later returns, fixated on the barn. After gingerly testing the lock and chains, the aroused walkers push suddenly against at the barn door. An ominous glimpse inside the barn shows the hungry creatures watching Shane, waiting…

Hershel’s daughter Maggie (Lauren Cohan) is upset with Glenn’s open revelation of the trusted secret and expresses her displeasure by smashing a raw egg on his head. Meanwhile, Carol (Melissa McBride) confronts a recovering Daryl as he saddles up to search for Sophia. Warning him that he can worsen his injuries, even she begins to openly express doubts about the search. Daryl, angry, curses Carol and storms off. After calming down somewhat, he takes her to a pond, showing her another Cherokee rose, a symbol of Sophia’s imminent safe return. Her spirits are lifted somewhat.

As Hershel is eating a quiet lunch alone, Rick comes by and reveals that they discovered the barn and captive walkers, raising Hershel’s ire. In a curt, assertive tone, the country vet demands that the survivors leave at the end of the week. Rick argues that the world is different now and begs Hershel not to send them out there again, arguing that his wife is pregnant and they need the safe refuge that Hershel can provide. Rick storms out and finds Shane, still watching the barn and brooding about clearing it out. They argue and as Rick walks away, he tells Shane all about Lori’s pregnancy…

Please click on the link to Deadloggers to continue reading Episode Seven

Evan Rothfeld

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Take that Buffy!

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