Not only is Legion by far the worst movie of the budding new year, it is the most morally reprehensible film of the decade, and quite possibly of my lifetime. Was I the only one expecting the filmmakers to subvert expectations and make a film about shooting Angels with guns somewhat conscientious by the end?
Archive for Post-Apocalyptic
Looking back on the past 30 years of his career, it’s hard to imagine Sean Connery actually made this movie. Featuring scantily clad female dictators, giant talking statues flying through space, and a post-scientific hippie burnout theology, I’m sure he looks back on this as the youthful indiscretion of his filmmaking career, much as I regret the time I chugged milk until I threw up or tried to cough up french fries through my sinuses. That being said, Zardoz reflects a paranoia about the End of The World Due to Irresponsible Human Industry that has seen a huge resurgence in popularity these days, as we consider our power to destroy ourselves, and the need to rebuild humanity. Hopefully when it happens we won’t all be forced to don his bikini-brief costume.
The Book of Eli, the newest movie from ghetto (filmmaking) celebrities the Hughes Brothers, is better than any January film has any right to be. As you are probably well aware, January is generally understood as a cinematic graveyard, a time during which all films theatrically released are expected to die short, unpleasant deaths. This is due to the fact that Oscar gambits come to a close at the beginning of the New Year – any film released after December 31st won’t be considered for the previous year’s Academy Awards. Hence, though Peter Jackson’s The Lovely Bones wasn’t released nationally until January 15th, it played in Los Angeles and New York starting in mid-December, so that it could hopefully garner the desirable Oscar nod. Those films that are released theatrically on a national scale during January are expected to be entirely off the cultural and Academy radar by the time the next round of nominations are picked. Continue reading
Gory, thoughtful and stylish, Daybreakers, starring Ethan Hawke and Willem Dafoe is way better than it should be. Even with an inferior second half, the film boasts old-school thrills and a sense of zeitgeist.
Zombieland, the new zombie-comedy by Ruben Fleisher, aims to add deliberate laughs to the zombie corner of the horror universe. Instead of pulling of this tricky balancing act (like Shaun of the Dean or the original Dawn of the Dead), Zombieland feels more like an elaborate video game narrated by the guy from “Scrubs.”
There is something comforting and familiar about 2012. For a film about the complete destruction of the Earth’s crust and mankind’s near-extinction, it is very sentimental. You could say that Roland Emmerich (Independence Day, The Day After Tomorrow) is the Normal Rockwell of apocalypse movies. Continue reading
Is Mad Max affecting the Health Care debate? Road Warriors, Blade Runners, futursangst and America’s MindspacePosted in Ruminations and Dedications, Timothy Parfitt with tags Death Panel, Post-Apocalyptic, SciFi, Timothy Parfitt on September 19, 2009 by Timothy Parfitt
When people bring up these so-called “death panels,” I can’t help but chuckle. I think opposing heath care reform for fscal reasons is perfectly valid, but this ubiquitous idea of death panels seems to rely heavily on individuals’ imaginations; specifically, an imagination weaned on the filmic treatments of future dystopia. I am putting forth here that America is so media and movie saturated that we can no longer imagine the future without using the sci-fi movies of the 70′s and 80′s as reference. Continue reading
For all the praise soon to be heaped upon The Road, make no mistake: it will also be one of the hardest films of the year to watch. It is certainly not for the faint of heart; suicide, cannibalism, nudity, limb-chopping, and soul-crushing depression are but a few troublesome human vices recurring throughout. However, there are moments of profound tenderness, introspection, and humanity which support the more extreme tendencies. A stupendous script and some fantastic acting all around bring the desolate world of the suffocating, postapocalyptic America boldly to life – and while the tragedy which destroys nearly all life on the planet is never explained, the taut narrative never misses a beat and never dilutes, compromises, or apologizes for the novel’s ambiguous setting. The film gets under your skin and hypnotizes with its powerful, plaintive message, and doesn’t let go until the final moments with a jarring, provocative ending.