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Dan Persons

Star Wars: The Clone Wars’ General Krell Arc Is a Treatise on Humanity, Loyalty, Duty, and War

Despite being a cultured, sophisticated film journalist/critic—the kind of person who when dining out resolutely eschews any use of dipping sauce for fear that it’ll mar the purity of the McNugget—I have to admit I’m not immune to going full fan-mode when the occasion arises. I became all schoolgirl giggly when I got the opportunity to interview special effects master Douglas Trumbull; when the PR people were giving me the “wrap it up” signal during my video session with Stan Lee, I came close to snapping, “No! This is my moment!”; when Star Trek: The Experience was still running in Las Vegas, there was I, grinning like a fool and thinking, I’m standing on the bridge of the Enterprise!

And, to be honest, I have a bit of a fan’s defensiveness when it comes to Star Wars.

[But beware the fannish mindset when the object of affection strives to grow beyond expectations…]

Nope Gazes Cautiously at the Perils of Seeing and Being Seen

[There are going to be lots of spoilers for Jordan Peele’s Nope in this article. Best you watch the film first—which you should, anyway, ‘cause it’s great.]

Film (1965) is playwright Samuel Beckett’s only original work for the screen. Directed by Alan Schneider, the twenty minute, largely silent short features an elderly Buster Keaton—shot only from behind for a good portion of the running time—desperately trying to avoid the gaze of passersby, the pets he keeps in his run-down apartment, and, ultimately and unsuccessfully, the camera (and, by extension, the audience). While Beckett was a master at theater’s most potent tool, dialogue—not just for conveying information, but also for its rhythm and shape as an art in itself—in Film he strips away spoken word to explore the power of the camera. An ominous power, in Beckett’s read—its unflinching gaze compelling characters to cower, and flee, and in one case, presumably, to die. [But this is about NOPE, not WAITING FOR JEAN JACKET. What’s the connection?]

Ten Classic Science Fiction Cartoons From the Last Century

I’m going to take a contrary position here. Here we go: It’s conventional wisdom that science fiction and animation are two forms ideally suited for each other. Makes sense—the unbounded palette of the cartoon allows for the creation of technologies, worlds, and scientific concepts that are unrestricted by the limits of live-action filming. (This is not exactly true, by the way—animation tech and production budgets impose their own constraints. But close enough.)

But did you ever consider that, maybe, science fiction is too grounded a genre for the likes of cartoons? After all, animation customarily traffics in talking animals and magic kingdoms; having to adhere to such principles as physics and chemistry can put a damper on the medium’s more fanciful impulses. Why deal with rocket ships when you can just as easily have characters sprout wings and fly to Mars?

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Doctor Sleep Turns the Horror Genre’s Victim Playbook on Its Head

Alfred Hitchcock had a simple but inviolate rule: If a child was being threatened in one of his films, that kid could not die. Hitch didn’t arrive at that prohibition on a whim; he had to learn it the hard way: In his film Sabotage (1936), a young boy is tasked by his father with delivering a package that, unbeknownst to the child, conceals a time bomb. But kids being kids, the boy dallies in his trip to the intended target and, sadly for him, the detours are just long enough for the clock to run out. British audiences were, to put it mildly, not entertained. They objected. Strenuously.

It’s not hard to figure out Hitchcock’s miscalculation. He wanted to shock (and set up the motivation for the film’s finale), but it turns out that audience empathy for the innocence and trust of childhood is a powerful thing, not to be toyed with. When the director put into peril a soul without the capacity to comprehend the danger, much less defend himself from it, his sin was almost as profound as that of the boy’s father. Once was enough for Hitchcock—he vowed never to toy with audience sympathies in precisely that way again. And most filmmakers have been wise enough to follow his lead.

[But when can you break a rule?]

Prey Knows That Sometimes an Alien Invader Is a Matter of Perspective

Let me say this right off: I checked out of the original Predator (1987) at the arm wrestling. And yes, that means I was a lost cause mere minutes into the film. When the mercenary soldier Dutch (Arnold Schwarzenegger) lays eyes on old friend and CIA operative Dillon (Carl Weathers) and they greet each other with a warrior-bro handclasp that devolves into an impromptu competition for supremacy (and how do you arm wrestle without a table for leverage?), my personal warning flares went up. It was as if the film was saying, Yah, this is what we’re going to be serving up for the next two hours. You want nuance? You want an iconoclastic subversion of jingoistic action cliches? You’ve come to the wrong place, boyo.

[Is there a cure for all that testosterone?]

The Orville’s “From Unknown Graves” Asks Us to Consider the Flawed Logic of Prejudice

These are the woes of Slaves;
They glare from the abyss;
They cry, from unknown graves,
“We are the Witnesses!”
—Henry Wadsworth Longfellow, “The Witnesses”

Villains don’t form in a vacuum. The bad guys have their reasons and, of course, they consider themselves the heroes of their own stories. The Klingons and Romulans were cool adversaries in original Trek; they became even more compelling when Next Gen fleshed out their worlds and gave personalities to their characters. You came to understand why they did what they did, even if you saw the kinks in their thinking; even if their acts were unconscionable. And, as a corollary, you began to realize that not every creature who pounded fist to chest and spoke in an aggressive, staccato tongue adhered to the same reasoning.

[How did the philosophy of Next Gen carry forward to some New Horizons?]

The Dark Knight Invited Us to Embrace the Chaos

I had a minor epiphany during my most recent viewing of Christopher Nolan’s The Dark Knight (2008): Despite the posters prominently featuring Heath Ledger’s Joker, despite even the film’s own name, The Dark Knight is really about Two-Face.

“No duh,” you say. “You got Two-Face’s origin story in it, of course it’s about him.” But that isn’t what I mean.

What I mean is that, while a good chunk of The Dark Knight does focus on the crusading, politically ambitious D.A. Harvey Dent (Aaron Eckhart), and how having half his face gruesomely disfigured in an explosion twists him into a homicidal maniac, the super-villain’s influence suffuses the film beyond just his own story. As has been established in the comics, animated series, and his previous, campier incarnation in Batman Forever (and the less we dwell on that, the better), Two-Face is all about that twoness. In previous versions, he’s hired twins as lackeys, picked his victims based on some connection with the number two, and—in the most prominent trope that gets ported over to this film—leaves the fate of said victims up to binary chance, flipping a two-headed coin to decide whether they live or die.

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Brazil Weaponized Audience Identification for All the Right Reasons

At the risk of being branded a heretic, let me say that I am not completely unsympathetic to Sid Sheinberg.

(And at the risk of being pilloried by those who still haven’t seen Terry Gilliam’s masterpiece, Brazil, in the thirty-plus years since its release, let me alert you that there will be copious spoilers about the film from here on out.)

Gilliam’s battles with Sheinberg over the U.S. release of Brazil are nearly as well-known as the film itself. Sheinberg, then the president of MCA—the parent company of Brazil’s American backer Universal—was not shy about expressing his displeasure with the movie’s running time and, especially, with its dire, mind-fake ending. It took the Los Angeles Film Critics Association declaring the film the best of 1985, plus Gilliam’s ballsy move of taking out a shaming ad in Variety, to get the exec to throw in the towel, scuttle a made-for-television re-edit that has since been sarcastically dubbed the “Love Conquers All” cut, and give Gilliam’s vision its much-deserved—and justly celebrated—theatrical release.

[What exactly made Sid so nervous?]

Arrival Wonders What We’d Do If Life Came with Spoilers

At the risk of sounding self-indulgent, let me point out that film criticism is not born in a vacuum. Much as I try to keep myself “pure”—not reading reviews, not consulting PR synopses (at least before my first viewing), going all the way to tackling people who say they’ve already seen the film to keep them from revealing what they thought of it—I still go into a screening with expectations and prejudices. I carry my personal baggage wherever I go, and there’s a lifetime in every word I write—including, to radically paraphrase Mary McCarthy, “if,” “and,” and “but.”

Cognizance of where I’ve been steers where I’m going. If I feel that A Monster Calls (2016) is a grievously undervalued film, I can’t discount that that opinion may well have roots in a particularly devastating event in my own life. The question I’m obligated to confront is: Do I factor my personal biases into my reviews and temper my evaluation accordingly, or do I accept them as a part of the things that form me, and stand by my judgement? How much do I let cognizance of the past alter my present…and future?

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Star Trek: The Motion Picture Wonders If the Human Adventure Is at Heart a Solitary One

Here’s why I think there’s yet hope for humanity: Paramount+ just debuted the 4K remaster of Star Trek: The Motion Picture—The Director’s Edition (1979), and it was greeted with joy, excitement and acclaim. And that’s great, that’s deserved. Admittedly, it hasn’t always been so—the film’s torturous genesis is well-known and, speaking personally, it took years for me to come around to its strengths. (In my case, the problem may in part have been that my first exposure to the film came at an afternoon screening where a class trip of grade schoolers thought every appearance of the quasi-foetal EVA suits was absolutely high-larious). While the film still has its flaws, the Director’s Edition—initially released in 2001 and overseen by director Robert Wise himself—overcame most of the serious shortcomings, to the point that ST:TMP has been able to take its place as one of the franchise’s best cinematic efforts.

So it was with no shortage of eagerness that I was on my couch bright-and-early the morning of April 5th, ready to watch Admiral James T. Kirk get the band back together for what was at the time their newest adventure. And I wasn’t disappointed.

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Shin Godzilla Turned a Monstrous Eye on Bureaucracy in the Wake of Fukushima

I am unabashed in proclaiming that Shin Godzilla (2016) is downright majestic. The production values are great, and the film is a thrill from first second to last. The special effects are some of the best of the franchise, and that includes the recent mega-budgeted, CG-besotted American versions.

That’s not what I’m here to talk to you about.

When you look at it from its high-concept synopsis, Shin Godzilla is nothing radical: Mysterious disturbance in Tokyo Bay; followed by initial rampage through the city; followed by an abrupt exit and brief respite; followed by a return, bigger, badder, and now armed with nuclear breath. Conventional weapons are useless; a nuclear strike is ominously threatened; only the harnessed efforts of Japan’s greatest minds can defeat the blah blah blah.

It turns out that’s not a bug—it’s a feature. [When is the same not really the same? Read on.]

Special Effects Artist Doug Trumbull Made Humanity’s Adventure Luminous

On March 27th, the lights will dim in the Dolby Theatre in Hollywood. A screen will roll down, and as somber music plays, a parade of film clips and still photos will commemorate those in the movie-making industry who have passed in the preceding twelve months. Somewhere in there, probably not at the beginning nor near the end, will be the name of special effects artist Douglas Trumbull.

Maybe the people who assemble the compilation will go the extra step of honoring Trumbull with the title “Special Effects Master,” though that’s doubtful. Hopefully they’ll append some footage of his work, most likely his most famous creation: the infinite corridor of lights from 2001: A Space Odyssey (1968) that came to be known as the stargate. Possibly, if the special effects technical category gets any airtime at all, it’ll be preceded by an extended tribute for the man.

Whatever homage Trumbull gets, it will not be enough. Not just for those who worked with and loved him, but for anyone who’s followed his career across five-plus decades. For Doug Trumbull was more than just a proficient technician, he was an artist in his own right, one whose unique vision altered the world of science fiction filmmaking forever.

[One of film’s greatest wizards has passed.]

Rick and Morty’s “Total Rickall” Understood an Uncomfortable Truth About Human Relationships

So what was your decision this past holiday? Did you say, “Omicron be damned,” and make your way back home? Was the trip uneventful, the family reunion joyous? And finally, were the medical repercussions non-existent? I sincerely hope so. As for the rest of you—the ones who got up to the wire, saw the infection rate spike, and said, “Naw, not this year”—I have a few more questions…

How did you feel, making that decision? Was there disappointment, frustration, anger even? Was there a voice in the back of your head saying, “Shit, not again?” Did you feel trapped in a continuum where the traditions you’ve known since childhood were once more ripped away from you, thwarted by threats that were at best ambiguous but that you could not ignore?

And then, think about this: Was there a part of you, a teeny-tiny fraction of your soul, that was just a little bit relieved? Maybe even happy?

[Not all gatherings can be as pleasant as we’d like, and maybe that’s a good thing.]

Ten Zombie Comedies That Won’t Rot Your Brain

And this is the way it could all end: With humanity confronting an implacable force, virulent beyond any imagination. We cower and cling to the tenuous security of our homes, helplessly watching as friends and loved-ones succumb. The government, ill-equipped to cope with the challenge, eventually flounders and fails, and social norms collapse, surrendering civilization into the hands of the brutish and ignorant.

But enough about 2020. Let’s talk zombies!

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Andrei Tarkovsky’s Stalker Understands the Capricious Nature of Human Desire

In William Saroyan’s The Human Comedy, there’s a passage where the Eastern European immigrant owner of a grocery store is hectored by his young son for a variety of treats. The kid asks for an apple, an orange, a banana, a candy bar—quite a bounty considering this is taking place in the thick of WWII. Then, finding them all wanting, the child abandons the goodies, half-eaten. Exasperated by his son’s capriciousness—and the kid’s assumption of a random customer’s demand for not-in-stock, raisin-filled cookies (W.C. Fields, had he been more yiddishe, could’ve inserted this whole bit into It’s a Gift)—the grocer breaks down, begging the child to find satisfaction in the good things life has given him. Saroyan leaves ambiguous whether the entreaties have any effect on the child, and we can only hope that the desperate customer—on a mission for his own, sick kid—eventually finds another resource for those hallowed raisin cookies.

We’re all looking for the secret key to happiness, the one, true thing that will end our wanting. I suspect that few of us know exactly what that one thing would be—we have inklings, vague notions, but no clear vision. Part of that may be self-preservation—if we ever attained that goal, what need would there be to carry on? Part of it might be pure common sense, an understanding that the One True Thing doesn’t really exist, that it’s best that the goal be kept ill-defined and ever out-of-reach, so we have a reason to get out of bed every day.

[But some people don’t know what’s good for ’em.]

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