I was at the Star Trek Las Vegas convention when the El Paso and Dayton shootings happened. Conventions and film festivals are strange bubbles, separated from the rest of the world, but when something like this happens, the bubble is penetrated. It can be disorienting to go from reading the news on your phone to walking through the dealer’s room and marveling at the cosplayers – there’s real emotional whiplash happening.
But maybe there’s nowhere I’d rather be when two such overwhelming examples of reckless hate are unleashed on the world. There’s no fandom like Star Trek fandom; there’s a positivity and a kindness inherent in the most hardcore of these people. I know that in the year 2019 all fandoms are suspect, and there are certainly elements of Trek fandom who are not great, but the core of this group reminds me of Midwesterners – polite, friendly, deeply uncool. And I don’t say deeply uncool as some kind of a putdown; the lack of pose or ironic distance is part of the charm. No matter how hard CBS or JJ Abrams have tried, nobody has ever, ever been able to make Star Trek cool.
Continue reading ““Let Me Help””
Every week at the Cinema Sangha Patreon I recommend something to subscribers at the $5 and above level. Sometimes it’s a book, sometimes it’s a song, sometimes it’s a movie. Every time I try to write in depth about the thing and what it means. This week I’m recommending the classic film Rosemary’s Baby. This is an excerpt; to read the entire review, become a Patron at www.patreon.com/cinemasangha.
Mia Farrow might give the best horror movie performance ever in Rosemary’s Baby. I’m hedging my bets a little here because I’ve learned that any declarative statement is nothing but a dare for a series of “what about” responses, but if Farrow’s performance isn’t the best, it’s certainly top three. It’s monumental, it’s profound, it’s harrowing, but maybe most of all it’s got a metatextual texture that I find absolutely compelling.
Continue reading “On Patreon: ROSEMARY’S BABY”
When Rutger Hauer died last week social media lit up for one brief moment with a thousand iterations of his tears in the rain speech from Blade Runner. It’s the best bit of the film (a film to which I am not partial), and it’s great despite the clunky scifi nonsense weighing it down.
I’ve seen things you people wouldn’t believe. Attack ships on fire off the shoulder of Orion. I watched C-beams glitter in the dark near the Tannhäuser Gate. All those moments will be lost in time, like tears in rain. Time to die.
(It’s worth noting that Hauer himself wrote the “All those moments will be lost in time, like tears in rain,” which is what we’re going to be talking about here)
This monologue comes at the end of the movie, as Roy Batty has defeated Harrison Ford’s Deckard but has opted to save his life. Here, on a DTLA rooftop in the rain, Batty passes the Voight-Kampf Test, flipping this turtle rightside up. And as Deckard sits, astonished, Batty gives that speech… and then dies.
It’s become a monumental little monologue because the existential howl at the center of it is so familiar to us all (and because Hauer’s delivery of these few lines is coursing with intense power and pathos). We live in a modern world, and few of us believe in eternal souls. We have come to accept that when we die, that’s it – lights are out, the show is over and there is nothing else. Every unexpressed thought, every feeling, every experience we have ever had is snuffed out as the neurons go dark and cold.
Continue reading “Tears In Rain”
Nobody puts on an announcement like Marvel Studios; since the death of Steve Jobs Kevin Feige has become the number one “standing on a stage and announcing thing” guy in the world, and this year’s slew of reveals at San Diego Comic-Con was no different. Feige laid out Phase Four of the Marvel Cinematic Universe, although I don’t love this – we only got two years worth of releases, and no climaxing team-up as we have had in the previous three Phases.
If Phase Four is just a bunch of movies, what even is a Phase anymore? I certainly would like this cleared up, because one of the things that has been great about the MCU to date is that each Phase has felt like a chapter, and they have all been leading up to something. Unless the Doctor Strange or Thor movies are some sort of culmination film, we’re dealing with a little wayward Phase here. An intermediary phase. Intermezzo Phase. And it could be Intermezzo because it lost the big player it was counting on Guardians of the Galaxy Volume 3.
Continue reading “Intermezzo Phase: A Look At Marvel’s Phase Four”
Every week subscribers at the $5 and above level on my Patreon get a new recommendation. Sometimes it’s a movie, sometimes a book, sometimes a song, sometimes a self-help technique. Each week I not only recommend something, I write about it with some depth. This week I’m recommending the show Years and Years, now playing on HBO. This is a peek at the piece; to read the entire thing, which is much longer, become a $5 or above subscriber at Patreon!
Have you ever, in these past three years of the Trump administration, said to yourself “I wouldn’t believe this if it were in a movie/book/TV show!”? Russell T Davies has taken that up as a challenge with his limited series Years and Years, the scifi TV show so absolutely relevant and believable that it has given me a number of anxiety-related stomach aches in just three episodes.
The premise: we follow a British family over the course of 15 years, starting in 2019, as the world continues on its current path. Each episode fast-forwards through a year, replicating the breakneck sense of our current society hurtling out of control. And holy shit, does Davies think we’re going to dark places.
Continue reading “On Patreon: Recommendation: YEARS AND YEARS (TV Show)”
How to celebrate the birthday of America when the nation has become its worst self in the past three years, when the southern border is a nightmare that looks to educated eyes like the precursor to the worst European atrocities of the 1930s and 40s, when there is a kleptocrat wannabe martinet in office rolling out tanks in front of the Lincoln Memorial, when the ongoing reality of a sexist white supremacist system has become impossible to ignore? How do we look at the Fourth of July and feel good about any of this?
Continue reading “1776 And The Imperfection Of America”
You don’t have free will. One of the grand questions of philosophy is being answered today in laboratories as we come to better understand genes and the workings of the brain, and it’s becoming very clear that we actually do not have free will.
Sure, we get to make choices, but they’re incredibly constrained. It’s like in a video game RPG, where you’re given an onscreen prompt that allows you to make three different choices – yes, the choice is yours but is this really free will? In real life those choices are dictated by things like genetics (my love of sweets is likely handed down to me over the generations), time and place of birth (all of your woke beliefs wouldn’t exist if you had been born in Alabama in 1835, for instance), your biochemistry (people with toxoplasmosis, a parasite related to cats, have higher risk-taking behaviors and die in car accidents more often), and your upbringing. Yes, you get to pick from three options, but the entire world of options is never, ever available to you. That’s before we even get to physical, legal and economic constraints.
Continue reading “Resist The Algorithms”
My Dune-mania is in high gear. Having read, and loved, the script for Denis Villeneueve’s upcoming adaptation of Frank Herbert’s seminal and defining work of science fiction (or at least one half of an adaptation; the movie coming out next year will only get so far as Paul Atreides coming to Sietch Tabor, becoming Fremen and falling in love with Chani), I dove back into the original books. Herbert’s Dune series, six novels in all, is unlike any other science fiction epic and is, to my thinking, almost unadaptable in a modern landscape. Which, I believe, is why they must be adapted.
Spoilers for Dune to follow, but minor ones – ie, stuff you’d assume happens in a story like this.
Continue reading “Why We Must Ensure The DUNE Sequels Get Made”
Quick note up front: this site is currently being swarmed by trolls sent from anti-SJW/GamerGate type site, so all comments are being pre-moderated. Sorry for the temporary inconvenience.
Mike Flanagan’s The Haunting of Hill House on Netflix is a masterpiece. Wildly divergent from the book on which it’s based, Flanagan’s show is a brilliant examination of trauma, especially generational trauma, and how people react differently to it. Each of the adult Crain children represent a different method of coping – or in some cases, denial – with trauma. Plus, it’s really creepy and cool and fucked up. In fact I’d go so far as to say it’s scary, a word I too rarely use when describing horror films.
So with that under his belt I give Mike Flanagan the benefit of the doubt… even when it comes to Doctor Sleep. In fact, Hill House might be the thing that makes me believe Flanagan is the actual best director for this film.
Continue reading “Sober Up For DOCTOR SLEEP”
Trailer after the jump.
This blog (and my ability to pay rent) is supported by my Patreon, where subscribers get exclusive content. This is an excerpt of a much (much much) longer article that is available on the Patreon to subscribers at the $10 and above level. To read the whole thing, support Cinema Sangha at Patreon.com/cinemasangha.
Everybody knows that Star Trek II: The Wrath of Khan is the best in the franchise. And everybody loves the fun and silly vibe of Star Trek IV: The Voyage Home. But Star Trek III: The Search for Spock, released 35 years ago this week, is stuck in this terrible underappreciated place, the movie that paved the way for the concept “the odd numbered ones are bad,” and is almost totally dismissed. But it shouldn’t be! Search for Spock is great, if flawed, and it works remarkably well as a reaction to the darkness that defines Khan.
One part heist film, one part men-on-a-mission movie, one part sweeping epic romance, Search for Spock is the most intimate Star Trek movie ever made. The scale of these films kept reducing; Star Trek: The Motion Picture includes a 2001-riffing journey through psychedelic imagery, while Khan brings the story down to a beef between two old enemies centered around a planet-destroying superweapon. But Search for Spock goes even smaller, because there are only personal stakes here. In TMP V’ger threatened Earth, while in Khanthe Genesis Device was a threat to all life in the galaxy. But by the time we get to Spock, we learn the Genesis Device doesn’t really work. Yes, it’s a powerful destructive force, but in the world of Trek it’s not clear how important that is or isn’t (couldn’t the Klingons destroy a planet from orbit anyway if they wanted to?). No, what’s at stake in Spock is Spock himself, and he doesn’t hold some key to stopping a threat or the answer to a riddle that must be solved; he is being saved simply because he is Spock, and he is loved.
Continue reading “Now On Patreon: Love Beyond Death: STAR TREK III: THE SEARCH FOR SPOCK”