IO


Not the bright future we were hoping for.

(2018) Science Fiction (NetflixMargaret Qualley, Anthony Mackie, Danny Huston, Tom Payne (voice), Justin Andrew Jamieson, Teagan Johnson, Emma Fitzgerald (voice). Directed by Jonathan Helpert

 

In times such as these it isn’t hard to imagine the world as we know it coming to an end. In this Netflix sci-fi ecological apocalypse flick, something has turned the Earth’s atmosphere toxic; millions are dying and there doesn’t appear to be a way to reverse the process. The human race is leaving in droves, for a space station circling the Jovian moon of Io.

One of the few people remaining on earth is Sam Walden (Qualley), daughter of scientist Henry Walden (Huston). She lives on a high plateau which still has a breathable atmosphere, although it doesn’t seem likely that it will stay that way for long. She tends to a colony of bees that she hopes – as her dad did before her – will pollinate plants and kickstart the eco-system. She relays the results of her work to Elon (Payne), her boyfriend on the orbiting Io station.

Then out of the sky drops Micah (Mackie), out of a makeshift dirigible. He’s there to see Henry – except Henry’s not available. And that’s just the beginning. Both Micah and Sam are keeping secrets from each other, secrets that can have major ramifications. Meanwhile, time is ticking down before the last shuttle leaves Earth, stranding whoever is left behind there forever.

This is what’s called a “high-concept” science fiction film. It’s not that an ecological apocalypse has never been done on film before – Roland Emmerich made a living at those sorts of films in the last decade – but this one seems to be taking a more sober, science-based approach. At least, so it seems on the surface. The closer you look, the more the science doesn’t really bear scrutiny.

But the production design is nice, which I’ve been saying a lot more often about films lately, but we’ve seen some impressive leaps in that arena of film over the past half-decade. Sadly, though, there is zero chemistry between Qualley and Mackey, and quite frankly, Qualley emotes here like she’s making a YouTube film rather than a fairly major production.

There are some worthwhile moments here, but the movie is its own worst enemy, with stupefying dialogue and bizarre character choices. I found my attention wandering during the last half of the film, never a good sign. Fortunately, as this is only available on Netflix, you can always pause it to take a nap. It’s up to you, however, if you want to continue watching after you wake up.

REASONS TO SEE: A fascinating concept.
REASONS TO AVOID: A less-than-scintillating execution.
FAMILY VALUES: There is some profanity.
TRIVIAL PURSUIT: Elle Fanning and Diego Luna were originally cast in the lead roles.
BEYOND THE THEATERS: Netflix
CRITICAL MASS: As of 6/1/20: Rotten Tomatoes: 31% positive reviews; Metacritic: 40/100.
COMPARISON SHOPPING: Interstellar
FINAL RATING: 6/10
NEXT:
The Standoff at Sparrow Creek

Mnemophrenia


The revolution will be digitized.

(2019) Science Fiction (Indie Rights) Freya Berry, Robin King, Tim Seyfert, Tallulah Sheffield, Jamie Laird, Robert Milton Wallace, Dominic O’Flynn, Angela Peters, Anna Brook, Michael Buckster, Gary Cargill, Steve Hope Wynne, John Morton, Cally Lawrence, Lisa Caruccio Came. Directed by Einni Konstantinidou

 

What is real? Is it what we perceive it to be? Experts will tell you that memory can’t really be trusted; we tend to remember things through our own peculiar filters, often changing the nature of those memories or omitting important context to them altogether. So if memories are unreliable at best, would artificial memories and the inability to tell that they were artificial be such a bad thing?

Mnemophrenia is a portmanteau of mneme and schizophrenia; it is a condition posited by writer-director Konstantinidou (an academic at the University of Essex making her feature film debut) in which memories made in virtual reality environments take on the status of living memories, even though we didn’t experience them in the real world.

The story is told through three different time periods. The earliest takes place in the near-future in which Jeanette Harper (Berry) has memories of a summer with a nearly perfect man named Douglas (Seyfert) which only occurred in a virtual reality environment. Nevertheless, she fell in love with him and held all other relationships to his standard, which led to a failed marriage and a feeling of emptiness. She is engaging in group therapy for other sufferers of the condition, and making a documentary about the process.

Her grandson, Nicholas Morgan (King) is developing a next-gen virtual reality environment called Total Cinema, which will allow a much more complete VR experience. He and his assistant Will (Laird) have some misgivings that the system seems to trigger mnemophrenia in those not generically pre-disposed to the condition. Nicholas, who was born with the condition, is acutely aware that others will perceive that should the product be released to the marketplace (and the release date is hurtling towards them with terrifying speed) that he will be accused of creating the condition on purpose, since he is on record as believing that mnemophrenia is not a condition to be feared but embraced, which goes largely counter to society’s disdain of those who suffer from it. However, the corporate bigwigs are having none of it, not caring what the potentially catastrophic effects of releasing this product to market would be so long as they get return on their investment.

The third story takes place in the far future when terminally ill academic Robyn (Sheffield) is studying the effects of an implanted chip that would allow her to experience the memories of both Nicholas and Jeanette as an “empathy study,” while her husband Charlie (Wallace) has misgivings that this would change his wife into another person entirely.

Considering the budget the film had to work with, the visuals are impressive. The mid-period story of Nicholas utilizes impressive graphics that give the viewer the experience of viewing the world through the Total Cinema environment. The film stands up with science fiction films with budgets many times larger than this one must have had.

The concept is a thought-provoking one as we enter an era in which VR is becoming increasingly prevalent; there are many who foresee it as the medium of the future, replacing film, television and gaming entirely. Are those memories that we create in virtual environments any less real than those we create outside of them? Will we be able to distinguish between the two? This is no less a study of the war that is waged between technology and naturalism. Even the score reflects that dichotomy, blending the real with the synthesized.

The acting is above par for an indie feature; there are no “name” actors to anchor it, but all of the cast do their jobs well and to a certain extent, the relations Jeanette, Nicholas and Robyn even have a faint resemblance to one another.

This is the kind of science fiction that academic sorts love; it explores the possibilities of the human experience and forces us to confront what makes those experiences real to us. While we haven’t gotten the technology to the point where VR avatars seem real to us, that day is coming and soon. One wonders if living in a virtual reality might not be preferable to existing in the real world.

REASONS TO SEE: An imaginative, intelligent concept. Nice special effects for an indie.
REASONS TO AVOID: A little bit disjointed.
FAMILY VALUES: There is some profanity.
TRIVIAL PURSUIT: Much of the film was improvised, Konstantinidou believing that would make the characters more realistic. To facilitate that, she shot the film in chronological order, so that characters in succeeding time periods would have the “memories” of previous time periods to use as a base.
BEYOND THE THEATERS: Amazon, AppleTV, Google Play, Tubi, YouTube
CRITICAL MASS: As of 5/26/20: Rotten Tomatoes: No score yet, Metacritic: No score yet
COMPARISON SHOPPING: Brainstorm
FINAL RATING: 7.5/10
NEXT:
Vice

Bumblebee


A girl and her bug.

(2018) Science Fiction (ParamountHailee Steinfeld, John Cena, Jorge Landeborg Jr., John Ortiz, Angela Bassett, Justin Theroux, Pamela Adlon, Jason Drucker, Megyn Price, Rachel Crowther, Grey Griffin, Gracie Dzienny, Peter Cullen (voice), Len Cariou, Marcella Bragio, Steve Blum, Vanessa Ross, Glynn Turman, Kirk Bailey, Jon Bailey, Kevin Kent, Michael Masini, Fred Dryer, Mika Kubo. Directed by Travis Knight

 

After a decade of Michael Bay’s sturm und drang Transformers movies comes a different take in the franchise’s first spin-off…or is it prequel? I guess either appellation works.

With the Decepticons having overrun the Autobots in their ongoing war (if you don’t know what that sentence signifies, you should probably go no further and look for something else to rent), Bumblebee is sent by Optimus Prime (Cullen) to Earth to protect the human race. Unfortunately, he’s tailed by a couple of Decepticon warriors who basically kick the gears out of him, disabling his vocal functions and leaving him nearly dead. He makes like a VW Bug to hide from the evil robots, who are looking hard for him so they can find out where the Autobots are hiding and destroy them once and for all.

But teen Charlie (Steinfeld), mourning her late father, takes a liking to the Bug when she spies him in a scrapyard and decides to rebuild him. You can imagine her surprise when he rebuilds himself. The trouble is that those evil Decepticons have managed to convince the American government that Bumblebee is a threat and the gov’mint sends out iron-jawed Agent Burns (Cena) to locate the wayward Autobot and take him down. All that stands between the human race and total annihilation is a badly damaged robot and a plucky teenage girl. How much more 1987 could you get?

Quite a bit, judging from the wonderful soundtrack here. Still, this is a refreshing tonal change for the series which had fallen into self-parody with the last movie, Transformers: The Last Knight. While the movie starts out with a Bay-esque scene of mayhem and massive robot carnage, the movie abruptly shifts gears and becomes something of a buddy movie. Steinfeld is a very talented actress and not many could pull off doing a buddy movie with a car, but she does it pretty well, playing the 80s tomboy despite not having been born until the following decade.

But it’s the mayhem that most people buy tickets to these movies for, and there’s plenty of that. Knight, who has mostly worked with stop-motion animation with Laika, has a good sense of how to stage an action set piece but also has a good sense of balance with character development and plot. He even manages to inject a little pathos and humor into the mix, something Bay wasn’t known for.

REASONS TO SEE: Excellent action sequences. Steinfeld gives an affecting performance.
REASONS TO AVOID: A fair number of clichés are present.
FAMILY VALUES: There is plenty of sci-fi action and violence.
TRIVIAL PURSUIT: Steinfeld was born nine years after the movie was set, so she had to be taught how to use some of the props such as the Walkman.
BEYOND THE THEATERS: Amazon, AMC On Demand, AppleTV, Epix, Fandango Now, Google Play, Hulu, Microsoft, Redbox, Sling TV, Vudu, YouTube
CRITICAL MASS: As of 5/18/20: Rotten Tomatoes: 91% positive reviews; Metacritic: 66/100.
COMPARISON SHOPPING: Big Hero 6
FINAL RATING: 7/10
NEXT:
Union Bridge

Mortal Engines


A dystopian vista.

(2018) Science Fiction (UniversalHera Hilmar, Hugo Weaving, Robert Sheehan, Jihae Kim, Ronan Raftery, Leila George, Patrick Malahide, Stephen Lang, Colin Salmon, Mark Mitchison, Regé-Jean Page, Menik Gooneratne, Frankie Adams, Leifur Sigurdarson, Kahn West, Andrew Lees, Sophie Cox, Kee Chan, Sarah Peirse, Mark Hadlow, Caren Pistorius, Poppy McLeod. Directed by Christian Rivers

 

Bigger, as we have all come to learn, is not necessarily better. More often than not, bigger is just…not as small. When it comes to movies, we do love our big loud blockbusters, but sometimes we take a gander at the trailer, mutter “I can’t even” and move on to another podcast.

Based on the four-book young adult series by Phillip Reeve, Mortal Engines is set a millennium into the future when the surface of the earth has been razed by wars. Cities have become motorized literally – they are on wheels – and roam the landscape like pirate ships, absorbing smaller cities and using their innards for fuel. Think the opening sequence of Monty Python’s Meaning of Life but on a grander scale

Young Hester (Hilmar) lives in the dystopian future and she has a thirst for revenge against London’s heroic leader Thaddeus Valentine (Weaving) and attempts to assassinate him but is foiled by historian Tom Natsworthy (Sheehan) who discovers Valentine’s terrible secret. For this he is ejected from the city along with Hester, both of whom are left to make their way in the blasted landscape. The two hook up with swashbuckling Anna Fang (Kim) while trying to elude homicidal cyborg Shrike (Lang).

The images here are fantastic and the premise is imaginative, if impractical and somewhat illogical. Peter Jackson co-wrote this and was a producer on the project which explains it’s nine figure budget. Unfortunately, the plot is so convoluted and full of outright thievery from other franchises (Star Wars in particular) that once you get past the overwhelming visuals you are left with a plot that isn’t very good and characters that aren’t very interesting.

While I admit to being a junkie for Hugo Weaving (and he does elevate the movie significantly), he is offset by Hilmar who is the lead. She has almost no personality which is the fault of the writers, and no charisma which she has to look inwardly for. Putting a young person at the forefront of a big budget tentpole is always risky, but in this case that risk didn’t pay off.

This is still wonderful eye candy but little else. It the writers had put as much creativity to the story and characters that the special effects teams did to their craft, this would have potentially the start of a bold new franchise. Instead, it will go down in the annals of Hollywood as one of the biggest flops of all time.

REASONS TO SEE: The visuals are impressive and imaginative. I’d see Hugo Weaving in anything.
REASONS TO AVOID: The story is nonsensical and borrows too liberally from Star Wars. Hilmar has almost no presence whatsoever.
FAMILY VALUES: There is sci-fi action and violence.
TRIVIAL PURSUIT: Leila George, who plays Katherine Valentine, is the daughter of Vincent D’Onofrio and Greta Scacchi.
BEYOND THE THEATERS: Amazon, AMC On Demand, AppleTV, Fandango Now, Google Play, Max Go, Microsoft, Movies Anywhere, Redbox, Vudu, YouTube
CRITICAL MASS: As of 4/30/20: Rotten Tomatoes: 26% positive reviews; Metacritic: 44/100
COMPARISON SHOPPING: City of Ember
FINAL RATING: 6/10
NEXT:
Welcome to Marwen

The Predator


There’s predators and then there’s prey.

(2018) Science Fiction (20th Century FoxBoyd Holbrook, Trevante Rhodes, Jacob Tremblay, Keegan-Michael Key, Olivia Munn, Sterling K. Brown, Thomas Jane, Alfie Allen, Augusto Aguilera, Jake Busey, Yvonne Strahovski, Brian Prince, Mike Dopud, Niall Matter, Javier Lacroix, Gabriel LaBelle, Nikolas Dukic, Lochlyn Munro, Alisson Amigo. Directed by Shane Black

 

A buddy of mine is a huge fan of Shane Black and with good reason. Black has written some of the best action films of the last few decades. Now, he tries his hand at a franchise that he has a history with – as an actor.

Sniper Quinn McKenna (Holbrook) has a run-in with a Predator in Mexico (why they seem attracted to Latin America I have no idea) and after a debriefing by the military, is locked away in a sanitarium to keep him quiet but not before he FedExes some alien tech to his ex-wife (Strahovski, sadly underused) and autistic savant son (Tremblay) who sets off a beacon that brings down a hunter after his family. Along with a group of misfits also in the military prison, Quinn must escape and save his family – and by extension, the rest of the human race – before it’s too late.

I will say this; the movie does have the courage of its convictions. It sets you up as being a gore-fest and that it remains from beginning to end. Nobody writes tough guy dialogue like Shane, and he outdoes himself here. However, this isn’t one of his finer works as the plot is exceedingly derivative – do we really need another brilliant but emotionally challenged kid to save the day – and by the end of the movie has become so ludicrous that your best bet is just go with it and don’t try to think too much about the logic behind what you’re seeing.

 

The cast is pretty star-studded and for the most part delivers satisfactory performances, or at least about what you would expect for a movie like this. Some of the CGI is a little grainy and likely won’t bear up under the next generation of UHD screens. Holbrook in the lead is no Arnold Schwarzenegger – I thought the movie might have been better served if he and Thomas Jane would have switched roles.

Still in all, this makes for some mighty decent popcorn entertainment. And that, my dear reader, is something we can all use more of in these stressful times.

REASONS TO SEE: Gleefully entertaining.
REASONS TO AVOID: Predictable plot points way up there on the ludicrous scale.
FAMILY VALUES: There is plenty of violence, a fair amount of gore and persistent profanity including crude sexual references.
TRIVIAL PURSUIT: Black wrote Thomas Jane’s character with Tourette’s syndrome because Black has Tourette’s in real life.
BEYOND THE THEATERS: Amazon, AppleTV, Fandango Now, Google Play, Microsoft, Movies Anywhere, Redbox, Vudu, YouTube
CRITICAL MASS: As of 1/14/20: Rotten Tomatoes: 32% positive reviews: Metacritic: 48/100.
COMPARISON SHOPPING: Predator v. Alien
FINAL RATING: 6.5/10
NEXT:
Chichinette: The Accidental Spy

Kin


Some ordinary boys hide extraordinary secrets.

(2018) Science Fiction (SummitMyles Truitt, Jack Reynor, Dennis Quaid, Zoë Kravitz, James Franco, Carrie Coon, Ian Matthew, Gavin Fox, Stephane Garneau-Morten, Michael B. Jordan, Lily Gao, Lukas Penar, Carleigh Beverly, Milton Barnes, Michael Grisley, Khalid Klein, Sean Fowler, Carson Manning, Dave Lewis, Bree Wasylenko. Directed by Jonathan and Josh Baker

Some movies create their own genres by being something original. Others try to create their own genres by taking aspects of others and forcing it into a mold. This film is one of the latter.

Eli (Truitt) is the adopted son of construction boss Hal Solinski (Quaid) whose biological son Jimmy (Reynor) has just gotten out of jail. Hal is full of hope for the 14-year-old Eli (who is smart but introverted) but disappointed on the older Jimmy. However, it is Eli who discovers an alien weapon when scrounging around for scrap metal in an abandoned factory near his Detroit home.

Jimmy owes crime boss Taylor (Franco) a whole lot of money and in order to protect his dad and kid brother (whom he genuinely cares for) decides to steal the cash to pay Taylor. Things don’t go according to plan and soon Jimmy and Eli end up on the road (with Eli blissfully ignorant of the real reason why) being chased not only by vengeful gangsters but also by mysterious aliens who want their gun back.

This late summer sci-fi action crime road coming of age film actually has some things going for it. For one, the special effects – a combination of the digital and the practical – aren’t half-bad. For another, Franco makes for a truly hissable villain. A late-film cameo by A-list habitue Jordan is also a welcome sight.

But the movie is, oh, so predictable. The plot feels unnecessarily manufactured and none of the characters seem particularly personable. They’re all pretty one dimensional without much depth to them at all. The story feels like something you’ve already seen – and yeah, there haven’[t been a lot of alien weapon movies in the archives, but there have been a few.

There isn’t a lot here to recommend it but then again, there isn’t a lot here either to discourage you from seeing it. This is the kind of movie you watch and forget about ten minutes later. If that sounds like something you need, have at it. Otherwise, there are plenty of much better sci-fi action films out there to occupy your time.

REASONS TO SEE: Decent special effects.
REASONS TO AVOID: Predictable plot and generic characters.
FAMILY VALUES: There is violence of both the gangster and sci-fi variety, some sexually suggestive material, profanity and adult thematic material.
TRIVIAL PURSUIT: The Solinski home in the film was the same one used for the 2005 John Singleton film Four Brothers.
BEYOND THE THEATERS: Amazon, AppleTV, Fandango Now, Google Play, HBO Go, Microsoft, Vudu, YouTube
CRITICAL MASS: As of 1/6/20: Rotten Tomatoes: 32% positive reviews: Metacritic: 35/100.
COMPARISON SHOPPING: A.X.L.
FINAL RATING: 5.5/10
NEXT:
Crazy Rich Asians

Xenophobia


Why is it that aliens always get the pretty girls?

(2019) Science Fiction (VisionKristen Renton, Manu Intraymi, Rachel Sterling, Brinke Stevens, Angie Stevenson, Kelly Lynn Reiter, Alexander Kane, Alan Maxson, Nick Principe, Dilynn Fawn Harvey, Mark Hoadley, Karlee Perez, Keavy Bradley, Jed Rowen, Baker Chase Powell, Shaun Blayer, Scott King, John Karyus, Jack McCord, Douglas Epps, Sheila Brandon Allen. Directed by Thomas J. Churchill, Steven J. Escobar and Joe Castro

 

Sometimes, a filmmaker’s reach exceeds their grasp. That’s just the way things go sometimes; someone comes up with a good idea but doesn’t have the expertise or the budget (or both) to pull it off. As a critic, those are the most disappointing movies of all. You might think that we critics get off on ripping a bad movie a new one but speaking for myself, that’s simply not the case. Truthfully, I want every movie to be a home run. Sometimes they strike out swinging, though.

A support group for alien abduction victims meet to tell their tales of woe. The members are at turns terrified and hostile, paranoid and sympathetic. They’ve all been through hell and are trying to help one another make it through to the other side, but what could be waiting there might well be worse than what they’ve already been through.

This is told anthology-style with each abduction tale getting a different director, so there are tonal shifts from segment to segment. The segments include a photographer who gets abducted and probed while taking pictures in the desert, a group of young women who have a captive audience, a camping trip that turns deadly when an alien artifact is discovered, and a house in which a dog-sized alien stalks a babysitter.

Despite the presence of one of my all-time favorite Scream Queens in Brinke Stevens (who plays the mother of an abduction victim here), the acting is almost uniformly bad. The digital effects look like something you might see on an early PlayStation games, but much of the effects are practical and even though the aliens look a little bit on the rubbery side, the aliens are still nifty enough (some of them Gigeresque) to be enjoyable.

The trio of directors also wrote the film and they could use some work on their dialogue; much of it is written like nobody bothered to actually speak any of it out loud before giving it to the actors to read. It sounds thoroughly unconvincing and not at all the way people actually speak to each other.

I wanted to like Xenophobia a lot more than I did and I will have to confess that my score is probably a bit generous but I hate to thoroughly eviscerate a movie like this one. Clearly there  was some pride and passion put into the finished film but this was certainly a case where ambition overrode realism.

REASONS TO SEE: The aliens are fairly nifty in a B-Movie kind of way.
REASONS TO AVOID: The acting is subpar. The story is disjointed.
FAMILY VALUES: There is plenty of profanity as well as violence and gore.
TRIVIAL PURSUIT: Veteran Scream Queen Brinke Stevens originally got a Masters in Marine Biology and briefly worked as an environmental consultant for a nuclear power plant before venturing into modeling and acting.
BEYOND THE THEATER: Amazon, Fandango Now, iTunes, Vudu
CRITICAL MASS: As of 8/18/19: Rotten Tomatoes: No score yet: Metacritic: No score yet.
COMPARISON SHOPPING: Communion
FINAL RATING: 4/10
NEXT:
Perception

The Man with the Magic Box (Czlowiek z magicznym pudelkiem)


Did you hear the one about the star-crossed lovers?

(2017) Science Fiction (Artsploitation) Piotr Polak, Olga Boladz, Sebastian Staniewicz, Helena Norowicz, Wojciech Zielinski, Bartolemej Firlet, Bartosz Cao, Anna Konieczna, Agata Buzek, Arkadiusz Jakubik, Bogdan Koca, Roma Kox, Bartosz Bielenia, Bartosz Adamczyk, Kamil Tolinski, Modest Rucinski, Marcin Sitek, Piotr Farynski, Kasia Koleczek, Maria Patykiewicz. Directed by Bodo Kox

 

There are movies that spell things out for you and then there are movies that force you to figure things out. I don’t have a problem with the latter kind of cinema but there’s an occupational hazard that the film can lead you down the primrose path without giving you the payoff you deserve for your efforts.

Adam (Polak) wakes up in 2030 with no memory of who he is or what he’s doing in Warsaw. He is given a job as a janitor in a high-tech office building where good-natured Sebastian (Staniewicz) shows him the ropes. It is at work that he encounters Goria (Boladz), a beautiful but somewhat aloof manager – at least she seems to be as she is one of the few who has an “office” of her own – and with whom he falls deeply in love. At first she rebuffs his advances (somewhat caustically, I might add) but during an explosion and fire in a neighboring building causes the panicked workers to flee their own building, the two engage in sweaty, manic sex.

Adam stumbles upon an old-style radio that picks up mysterious broadcasts which might be coming from the year 1952. He also begins to have visions of that era, visions that he struggles to understand. As it turns out, like Billy Pilgrim, he is unstuck in time and whether he will stay in a past ruled by dictatorial communists or in the dystopian future ruled by a KGB-like secret police but which includes Goria, is anybody’s guess.

I’m not 100% sure that this synopsis does the plot justice. Bodo Kox has created a future that looks very lived-in although to be blunt, the technology seems a might more advanced than ten years hence seems likely to produce. Water is severely rationed (which given the situation with climate change seems like a distinct possibility) and privacy is non-existent (which given how little privacy we currently have given that everything we do is recorded). People live in fear of a secret police that are aware of everything they do. It’s not the sort of Brave New World that we signed up for.

The chemistry between Polak and Boladz is a bit complicated; at times there is a genuine bond apparent between them but at others there’s a distance that’s just as tangible. That chemistry is central to the success or failure of this film and I can’t say that it works completely. This is the film’s most glaring flaw; there are also some logical missteps in the story.

I have to give the filmmakers points for trying to deviate from standard time travel and dystopian future formulae. The script could have used another go-round of polish and the leads maybe recast although to be honest I’d keep Boladz; she has star quality. Polak is a bit bland, leading one to wonder what the Polansky she sees in him. Cerebral sci-fi fans should give this one a look.

REASONS TO SEE: The production design depicts a lived-in future.
REASONS TO AVOID: The chemistry between Polak and Boladz is inconsistent.
FAMILY VALUES: There is violence, profanity and some sexuality.
TRIVIAL PURSUIT: The film was nominated for two Polish Oscars in 2017, for Best Production Design and Best Music Score.
BEYOND THE THEATER: Amazon, Google Play, Microsoft, Vimeo, Vudu, YouTube
CRITICAL MASS: As of 7/13/19: Rotten Tomatoes: No score yet: Metacritic: No score yet
COMPARISON SHOPPING: Brazil
FINAL RATING: 5.5/10
NEXT:
The Incredibles 2

Pacific Rim: Uprising


Giant robots are inherently cool.

(2018) Science Fiction (Universal) John Boyega, Scott Eastwood, Cailee Spaeny, Burn Gorham, Charlie Day, Jing Tian, Max Zhang, Rinko Kikuchi, Karan Brar, Wesley Wong, Ivanna Sakhno, Mackenyu, Lily Ji, Shyrley Rodriguez, Rahart Adams, Levi Meaden, Dustin Clare, Chen Zitong, Calvin Yu, Qian Yongchen, Zeppelin Hamilton, Jiaming Guo, Lyric Lan. Directed by Stephen S. DeKnight

 

This sequel to Guillermo Del Toro’s 2013 giant robots versus giant aliens Japanese cult film lovefest Pacific Rim isn’t going to overtax your intellect nor excite your imagination much; rather it operates on a completely visceral level, relying on eye candy special effects and chest-thumping militaristic dialogue from every action film ever.

]Set ten years after the original, the world is emerging from the invasion of the kaiju behemoths that nearly wiped out humanity. The fleet of giant robotic jaegers, piloted by two humans with minds linked by a neural bridge, are largely for show as the world rebuilds. Then, a rogue kaiju shows up and the world is woefully unprepared. Not only that but there is a giant conspiracy afoot. What is a war-weary world to do?

\Most of the cast of the original is absent, notably lead Charlie Hunnam whose character is mentioned in passing. Boyega plays the son of the first film’s Idris Elba character. Kikuchi, Gorham and Day are the only returnees of note. More importantly, Del Toro was off winning himself an Oscar and therefor had no time for the sequel.

The first film did boffo box office in China, rescuing it from red ink so the sequel is set mainly in China and has a predominantly Chinese cast. Fair enough. However, there is a Chinese reliance on oversold humor and shouted dialogue. This is a very loud movie indeed. It is also predictable as it seems cobbled together from a variety of movies. Having four writers will do that to a would-be blockbuster.

The special effects are what rescue the film; they are indeed impressive. You also can’t go wrong with giant robots battling Godzilla-like creatures. However, this sequel gets perilously close to doing just that.

REASONS TO SEE: The special effects are pretty nifty.
REASONS TO AVOID: Sadly predictable and goes completely off the rails in the final third.
FAMILY VALUES: There is plenty of sci-fi action violence and a bit of profanity
TRIVIAL PURSUIT: Several of the supporting actors appeared in the Spartacus series, including DeKnight who created the cable TV show.
BEYOND THE THEATER: Amazon, AppleTV, Fandango Now, Google Play, HBO Go, Vudu,YouTube
CRITICAL MASS: As of 6/30/19: Rotten Tomatoes: 44% positive reviews: Metacritic: 44/100.
COMPARISON SHOPPING: Transformers: The Last Knight
FINAL RATING: 5/10
NEXT:
Bored in the USA

Tangent Room


Seeing double.

(2017) Science Fiction (Epic) Lisa Bearpark, Håkan Julander, Jennifer Lila Knipe, Daniel Epstein, Vee Vimolval. Directed by Björn Engström

 

The universe is a complicated place and we know jack about how it works. As a species we’re not unlike infants trying to grasp the linguistic rules of Sanskrit, or in this case, quantum mechanics – literally.

Four internationally renowned scientists are brought to a Chilean astronomy station into a basement room. They are honored to be there because they have been invited by Dr. Wahlstein (Epstein), a brilliant but somewhat neurotic scientist. Each one of the invitees have a different specialization in matters of understanding the cosmos from mathematics to physics. They wonder why they have been brought there and where their host is.

That is cleared up quickly when Dr. Wahlstein appears on a video screen and tells them that he is dead and so shall all of them be by 10 pm that very night. In order to save themselves – and indeed the whole world – they must solve the riddle of a variety of numbers. I don’t want to tell you about what catastrophe is occurring – suffice to say it involves parallel universes occupying the same place – but as the scientists at first think they are the victims of a colossal practical joke begin to realize that their dilemma is all too real and all too dire.

It is a locked room conundrum movie but also that is precisely not what this is. If I sound like I’m talking in circles, I’m trying to be deliberately vague as to not spoil what happens in that locked room too much. The problem is, if I break it down to its very basic level, Tangent Room is about four scientists in a locked room bickering and that sounds about as fun as a root canal. Tangent Room, however, is anything but simple.

This is an intensely cerebral science fiction movie, maybe the most academic you’ve ever seen. It leans very hard on science and while one critic groused that it had its mathematics and physics wrong, I can’t really take that on faith as I don’t know what the guy’s qualifications are to judge that. It wouldn’t surprise me though; cinema has never been shy about sacrificing accuracy for the sake of story.

The performances are decent enough but first-time director Engström (and the film’s writer) doesn’t really have enough time to give the characters actual personalities beyond that of argumentative academics. Michael Crichton’s The Andromeda Strain ran into much the same problem but managed to give us characters worth caring about so when the excreta hit the fan the viewers actually worried about them.

This is going to appeal to physics professors, scientists and academics pretty much exclusively, unless watching four scientists bicker about various aspects of cosmology are your idea of a fun evening out. That doesn’t mean this is a bad movie – it isn’t by any means – but with a little more creativity this could have hit both the gut and the brain but to be honest, anything that affects the brain these days is more than welcome.

REASONS TO SEE: The concept is fascinating.
REASONS TO AVOID: Occasionally red-shifts into pretentiousness.
FAMILY VALUES: There is some mild profanity.
TRIVIAL PURSUIT: Kate Bosworth, who is also a producer on the film, is married to Michael Polish; Polish also frequently collaborates with his brother Mark although Mark isn’t involved with this specific film.
BEYOND THE THEATERS: Amazon, Google Play, iTunes, Microsoft
CRITICAL MASS: As of 5/28/19: Rotten Tomatoes:60% positive reviews: Metacritic: No score yet.
COMPARISON SHOPPING: Fermat’s Room
FINAL RATING: 6/10
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Extra Innings