Category Archives: SF

SF Movie: Attraction (2017 – Russian)

After seeing clips of this film on a special effects YouTube program my sweetie-wife and I became interested in seeing Attraction. This was the same show that sparked out interest in the WWII Russian movie T-34 which was silly but fun.

Attraction is about a large alien spacecraft that crashes to Earth causing massive destruction and loss of life in the Chertanovo district of Moscow. The protagonist is Julia daughter of s senior military leader from whom she is estranged over the death of her mother. When Julia’s friend is killed in the alien’s crash landing, she and her boyfriend, along with his street gang, become fixed on the ‘invaders,’ though the aliens have remained unseen and taken no overt hostile actions.

What follows is a decent SF movie that manages to avoid most of the over used tropes while exploring Julia’s relationship with her boyfriend, her father, and herself. The movie at point looks to be retreading the tired excuse that the aliens are ‘here for out water,’ but then manages to subvert that expectation. With decent acting, writing, and impressive special effects Attraction is well worth the two hours of screen time. We watched it in the original Russian language

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Lifeforce: 35 Years Later and Still a Terrible Movie

Sometimes I will revisit a movie I disliked and check-in if it was the movie that was bad or my take on it. Usually the movie is at fault and Lifeforce, currently streaming on HBO, is no exception.

Released in 1985 and part of Cannon Films’ attempt to expand into big budget cinema Lifeforce, adapted from the novel The Space Vampires, is about a derelict alien spacecraft discovered in the coma of Halley’s Comet by a joint American and European manned space mission. The commander of the mission Col. Tom Carlsen (Steve Railsback), and seriously as a friend of mine once clued me in you can pre-judge a film’s quality by the haircuts of the ‘military’ characters and Carlsen’s is terribly non-regulation. Carlsen and his crew discover three aliens with human forms within the craft and bring back to Earth. Something goes wrong and the European space vessel Churchill arrives in Earth orbit but itself now a derelict. A rescue mission finds everyone aboard dead but the three aliens, still in their suspended animation, unharmed and the aliens are brought down to ground. The aliens are of course not dead and ignite a sweeping plague of energy vampirism, and not the cool kind that you get from Colin Robinson, that threatens humanity.

With a budget of 25 million dollars and box office receipts of under 12 million, which I and two friends were part of, Lifeforce crashed and burned on its release gathering neither critical nor commercial success. In some circles the most memorable aspect of the movie are the numerous exploitive nude scenes by the actress Mathilda May. ( I am pleased to report that this did not derail the young woman’s acting career and still is currently still working with nearly six television and film credits.) Lifeforce is a movie that cannot make up its mind as to what it wants to be. At times it’s a sensual vampirism flick, at other times it’s an invasion of body snatchers paranoia movie and by the end it’s an apocalyptic zombie movie with a tacked on happy ending.

There is scarcely an aspect of this movie that works, not in direction, casting, writing, or production design does this film make any sort of sense. Though I will admit that the end credit score by Henry Mancini is a terrific march.

While Lifeforce has found a following as a cult film it is not something anyone really needs to watch.

 

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Why Love Some Bad Movies and Not Others?

Recently I re-watched on HBO, though I own the Blu-ray, 1980’s Xanadu. This film along with Can’t stop the Music is credited with the inspiration that created The Golden Razzie award for bad cinema. Now I can both recognize that Xanadu is in many ways a terrible film, miscast, no character arc, very nearly plotless, but it is also a film that is near and dear to my heart. It is a romantic film centered on dreams and the message that dream don’t die we kill them. And what Xanadu is to me other bad movies are to other people, but it’s the rare bad film that really generates this sort of feeling.

Star Trek: Insurrection is a terrible film that is also essential a romantic film, not in terms of Eros but in rather prioritizing inner emotional life over reason, with a central message but that movie is a tedious bore and its message if examined closely is one that advocate murdering those who do not think as you do.

There lies the answer to the conundrum, it is in the emotional resonance that a bad movie can rise to something special. There are those for whom Star Trek: Insurrection is a beloved film, no doubt due to deep emotional connection to the characters of the cast. (I’m an old fart and more emotionally tied to the original series than and subsequent entry.) So, while Xanadu is mostly a string of expository scenes linking musical numbers it is in my own heart that its emotions truly lie. I love the film not because of what it is but because of who I am.

 

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Quick Hits

I’ve started outlining a new novel proposal. I have already stepped through the five acts and bullet pointed all the major beats, Now it is time to produce a prose document synopsizing the story and show that to my editor. It’s another dark cynical SF story.

Also, I am working my way, finally, through Netflix’s Marvel Limited series The Defenders but so far, and I have watched six out of eight episodes, I am far from impressed. The writing on this one fails to lock into the voice for the various characters and they instead feel like that they have the shape of the personalities but lack the depth. There has been a tendency, possibly created by time pressures, to go for the most obvious plot turn or bit of dialog. Several times I have mentally delivered the upcoming dialog before the character on screen actually utters it.

San Diego has recieve3d the go ahead from the State Government to move forward into loosening social distancing restrictions and Saturday I will be at Mysterious Galaxy Bookstore to sign stock of my novel Vulcan’s Forge.

 

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Revisiting Previous Works

For various reason I pulled out of duty digital storage a novel that I had written ten years ago back in the distant annals of 2010.

This novel was the first attempt to set a story in the fictional universe where Vulcan’s Forge takes place. In fact, without that previous setting creation I doubt that there would ever have been a Vulcan’s Forge as the setting gave me the answer as to what the McGuffin and core plot elements I had been searching for.

However, that manuscript when presented to the first batch of beta readers fell flat and I determined that the flaws were so deeply seated it would require a complete re-write from the ground up and place it aside.

Thinking it might be worth revisiting that story I loaded the manuscript up on my iPad and began my re-read.

The flaws from 2010 are still there and the book would have to be written over again from page 1 to be salvageable. Moreover, I can see where I rushed through sentences and scenes hastily putting things down without taking the time to let them breathe and create the tone that would have been required to sustain the tale. Still, the core conflict, characters, and plot elements all work. This is a book I can make work and now with a decade’s more experience I can see how to do that.

I am also in the middle of craft a new outline for a new story. The couple of sentence description interested my editor and so I have at least two worthy projects to chase.

 

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Looking Back on Star Wars

Today, May the 4th, is the date that fans traditionally celebrate the Star Wars saga of movie.

Star Wars was released in 1977 into a cinema environment so different from the current one, COVID-19 issues excluded, that fans today could have a distinctly difficult time envisioning it. When the first film appeared, it was not the standard practice to open in thousands of theaters across the country and now the  world on the same date. Rather movies opened in perhaps a few hundred locations and then the printed moved from city to city making people wait for highly anticipated films. So, it was weeks and weeks after the movie’s premier before I saw Star Wars. I was already a science-fiction fan and thoroughly enjoyed the movie despite it being more akin to fantasy than any sort of SF. Few could have foreseen that this adventure film was going to radically change motion pictures.

1980 brought The Empire Strikes Back and proved that the audience reaction to Star Wars was not a fluke. Despite a darker theme a different director, and lacking a proper ending, the sequel proved as successful of the original and planted the seeds for a fan community with both good and bad actors and rampant plot speculations that we live with today.

Return of the Jedi arrived in 1983 and concluded the central plot of the three films. Though the weakest of the original trilogy with many of the characters reduced to simplistic versions and its climatic final battle a  thinly disguised commentary on the Vietnam war, one that misunderstand how that war was finally resolved, Jedi produced an emotionally satisfying resolution to Luke’s character arc leaving him in a place of emotional maturity and moral soundness.

16 years after the trilogy’s conclusion Lucas returned to theaters with more films set in the Star Wars universe, a set of prequel movies dealing with the backstory of Darth Vader and the disintegration of the Republic into the Galactic Empire with the movies The Phantom Menace, Attack of the Clones, and Revenge of the Sith. These films proved to be a disappointment. Abandoning the earlier, ‘lived in’ art direction from the original trilogy for a polished, metallic, façade that had no life of its own and with characterization reduced to nothing for the sake of plot propulsion. Still a younger generation of fans embraced the new movies and the franchise proved to be economically a powerhouse in two different centuries.

2015, ten years after the conclusion of the prequel trilogy and the sale of the property to Disney Studios, a new slate of Star Wars movies began with The Force Awakens. Set a generation after the original films the movie returned to the space opera roots of the franchise and repeated core plot elements of Star Wars while introducing a new cast. This was followed by the divisive but brilliant The Last Jedi a film that divided the fan base inciting heated, passionate commentary from admirers and critics of the new thematic ground it broke. 2019 saw the end of the Skywalker Saga with the release of The Rise of Skywalker a movie that was more chase and escape that character and theme. Along with the release of two standalone feature films, Rouge One a film that in mood had more to do with the 1970s that the original Star Wars and Solo another backstory and backfill installment the franchise took in more than 10 billion dollars in box office revenue no counting television, specials, shows, and a flood of merchandising but the long last effects of this amazing profitable franchise will not be found in the growing bank accounts or the endless derivative cinematic followers but in the changing technology of film production. Non-linear editing enhanced theatrical sound systems, photorealistic digital effects, and digital projection are just some of the breakthroughs pioneered by Lucas and his companies. No matter the varying quality of the films as cinema Star Wars and all of its spin-off and sequels have created a new and limitless world for all of us.

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A Prolog and Chapter One Are Not Interchangeable

I’ve started reading a new novel, no I am not going to name the book because as this is not a review site I only name titles when I love the work, and I am concerned about how the whole thing has started.

This novel opened with Chapter One and spent about 12,000 words on a set of characters that I realize we are unlikely to ever see again. The event of those pages clearly was important to the plot that unfolds in the rest of the story and set up many crucial details that I can see the author intends to use through the adventure. However, since none of our principal characters are around in these scenes this feel terribly like a prolog to me and not the opening chapter of a story.

I may have spent 12,000 words getting to know characters, understanding their emotional lives, and concerned about the troubles they face, but now all that emotional investment feels wasted.

This is related to the troubles with stories that end with ‘it was all a dream’ an its variations or sequels that undo all the emotional stakes from previous installments. (I’m looking at your Alien 3.)

Ideally when people engage with your fiction, by reading, listening, or viewing, they should become emotionally invested in the characters and the outcomes of their struggles. The resolution of the story and the plot and the return on that investment with catharsis or pathos being the final reward. When it ends as a dream then it’s like that check bounced and we’re left with nothing for the emotional currency we’ve spent. The check has bounced. In the case of Alien 3 after we’ve come to really care about Newt and Hicks in Aliens and desperately wanting for Ripley to save them both the sequel comes along and repossesses out victory making us into suckers for caring.

This novel has pulled me into these characters lives and now has waved a hand and said, ‘Don’t think about them anymore. Here’s new people to get emotional about.’ But I’m now burned and I am more likely to keep my emotional distance wary of the author is going to again steal characters away. Had this been labeled a prolog I would have been emotionally ready to learn things but not become attached. The poor doomed rangers at the start of A Song of Fire and Iceare not our main characters and telling us that it is a prolog allowed us as the readers to learn the vital information their story needed to tell us without playing us for suckers.

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Why Doctor Strangelove is a Better Anti-Nuclear Film Than Fail Safe.

Since the early 1950s fear of nuclear conflict has been a major element of both American culture and popular entertainment. Science fiction films such as The Day the Earth Stood Still or The Space Children were Movies with a message warning of the dangers of nuclear war.

In 1964 two major films from two major film makers directly confronted the issues terrors and apprehensions The American people felt about nuclear Armageddon. The two films were Doctor Strangelove or How I Stopped Worrying and Learned to Love the Bomb and Fail Safe. The two films took radically different approaches to the subject with Doctor Strangelove being a farcical satire and Fail Safe being a bleak dramatic portrayal of an accidental nuclear exchange. Both films are critically well regarded with Doctor Strangelove having achieved a far greater amount of cultural penetration and relevance to this day. It is my contention that Doctor Strangelove is not only financially and critically a more successful film but a film which achieves its goal of delivering an anti-nuclear war message more effectively than the more serious and somber Fail Safe.

Doctor Strangelove directed by Stanley Kubrick from a screenplay by Stanley Kubrick Terry Southern and Peter George adapted from the novel Red Alertby Peter George started out as a dramatic interpretation of the novel But as Kubrick worked on the adaptation he found himself drawn to the absurdist nature of nuclear war and converted the project into a black satirical comedy.

In Doctor Strangelove American General Jack D. Ripper lost in paranoid delusions and obsessed with communist conspiracy theories launches an unauthorized nuclear attack on the Soviet Union by his bomber command. As the only person possessing the three letter prefix code which allows communications with the bombers Riper believes that once the administration understands that there is no hope of recalling the attack that The President and the Chiefs of Staff will follow up with a full scale nuclear attack annihilating the Soviet Union. Coordinating with the Soviets the Americans learned that the Soviet Union has constructed a doomsday weapon and that any nuclear attack upon the Soviet will trigger the weapon and end all life on earth. American military forces seize the base commanded by general Ripper and successfully obtains the three-letter prefix for recalling the bombers but one bomber due to battle damage does not receive the recall order proceeds to its secondary target and drops its nuclear payload. The film ends with a montage of nuclear explosion to Vera Lynn singing We’ll Meet Again. While the movie ends with the loss of all life on the planet it is at heart a comedy with broad over the top characters and absurdist situations drawn to exaggeration.

Fail Safe directed by Sidney Lumet written by Walter Bernstein and Peter George based on a novel of the same title by Eugene Burdick and Harvey Wheeler never veers into comedy or absurdity. In fact, throughout the movie’s 112-minute runtime I cannot recall a single scene which lighten the mood or had any comedic effect at all. The entire film is a dramatic intense pressure cooker of a story that never allows the audience a moment of easy breathing.

In Fail Safe American military forces are brought to a state of high alert with nuclear bombers dispatched to their fail-safe points due to a destressed and off-course commercial airliner. Co incidentally during the crisis a Soviet electronic warfare attack on the US strategic command called is a malfunction which sends an erroneous attack message to one bomber group at their fail-safe point. Once the bomber flight flies past their failsafe point their orders are such as to ignore all communications from the ground and continue on their attack. The president the Strategic Air Command coordinating with the Soviet Union are unable to recall the bombers and unable to destroy all of the flight with one bomber surviving to carry out its nuclear attack on Moscow. In order to prevent on all out nuclear exchange between the two countries the president offers up New York City to the Soviets ordering one of his own bombers to destroy the city to restore the balance. The film ends with the president asking the Premier of the Soviet Union, “what do we tell the dead?”

Between the two films Fail Safe on its surface looks to be more realistic, more grounded, more credible, but on any sort of closer inspection it’s clear that there are deep logical flaws in the plotting of Fail Safe that destroys its credibility. In Doctor Strangelove the administration is unable to recall the bombers because they do not have the prefix code for the encryption device that is used on all radio communications between Strategic Air Command and the bombers in the air this is an utterly credible and believable plot element.

In Fail Safe there is no encrypted communication system there is the simplistic order that once the bombers have proceeded past their fail safe point and begin their attack mission they are to ignore all communication from the ground as being potentially deceptive fraudulent forged attempts by the enemy to divert them. For purposes of a plot this sets up the dilemma quite nicely the bombers are on their way to attack Moscow and due to their orders, they cannot be recalled but it is a ridiculous and unrealistic set of orders that any military would ever implement.

During the crisis a presidential advisor advocates to committing to a full nuclear attack on the Soviet Union. His reasoning is that the Soviet communists would surrender rather than be destroyed in the hopes that at some later date they could still achieve worldwide communist revolution and domination. Even if we set aside the idea that the enemy would simply surrender rather than annihilate their opponents his advice is at odds with the premise of how the story works. Once the bombers have flown past their fail safe point they ignore all additional orders you come out divert them to new targets you cannot recall them you cannot declare peace and stop the war even if the Soviets in this story surrendered as the advisor is advocating they would still be destroyed because you cannot stop your bombers. The plot requires that the bomber pilot ignore orders to be recalled setting up an absurd command situation that no military in the world would tolerate. Once this logical fallacy is exposed the film devolves into a didactic moralistic speech.

The best stories have messages, they have themes that are important but when the message overpowers the storytelling when the story must be broken in order to serve the message then it is like a stage magician that has revealed how an illusion is performed all the magic evaporates and nothing is left behind. Doctor Strangelove a film which ends with the destruction of all human life on the planet never fails to entertain and place fair with all the rules of its own fictional setting. In the end it is the film that is remembered for its talent it’s comedy and its message.

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The First Negative Review Has Arrived

Wednesday evening just before I slipped off to bed, I got a Google alert of a new review of Vulcan’s Forge. Yes, I have an alert set up over at Google to keep me informed of when people post things about my debut novel. The review came from a person in the United Kingdom which makes sense as the publisher is a UK entity.

It was my first unqualified negative review.

I say ‘negative’ and not ‘bad’ because I do not want there to be the slightest suggestion that I imply that the review itself is poor. As I have said often in my writers group meetings no honest critique or review can be wrong. It is how that person reacted to that piece on that day. It is the underlying assumption upon which is build the critique phrase ‘Your mileage may vary.’ What is wonderful for one person is terrible to another.

How did I react to my first truly ‘I did not like this book’ review?

Shrug.

It is part of the gig. Now, I am not suggesting that anyone else is wrong is they feeling more strongly when that get a negative review. Authors are people and people differ wildly but for me I can accept that someone really did not like by work and not feel any real emotional distress. If fact I read the review and then went off to bed and slept quite well.

If it didn’t matter to me then why did I read the review? why seek them out?

Well, taking criticism is a skill and it requires practice. It’s good to get hit and learnt that you do survive it.

I’m also curious. It is fascinating to see the wildly different interpretations people have about the work. This applies to positive reviews as well as negative ones. Everyone bring their own lenses to their reading and so the exact same text will never be interpreted the same way by any two people. I love seeing the various internal codebooks through which this is deciphered. (Of course, I bring my own to the reading of these reviews and not matter how diligently I try I can never fully escape them, but still I do try.)

Perhaps for other it is very good advice to never read reviews but for me it is a fascinating glimpse into the inner working of another person’s mind.

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Accessible Science Fiction

From Hugo Gernsback in the mid 1920s to today modern science-fiction has grown encompassing a number of fields, styles, and literary approaches that in some case are rather inaccessible to readers who are not extensively read in the genre. This is not necessarily a bad thing. The field, any field, grows at the bleeding vanguard edges not in the safety and comfort of what has been well established and explored. Stories that challenge notions about reality itself and what it means to be human are exciting frontiers for SF and we need them to expand our horizons.

Science Fiction also needs new blood, new readers and we can rarely entice them into the genre if the only selection available require a deep experience in the field. There must also be science-fiction stories that are inviting to new readers. Stories that people without experience in the genre can relate to and enjoy.

One of the persons who read my novel Vulcan’s Forge wrote me to share that she rarely reads SF. It is not her genre but she thoroughly enjoyed by book and found it difficult to put down. As an author that of course is very pleasing to hear but it has also made me realize that I want to write accessible science-fiction. I know my limitations both in imagination and in literary devices means I would do poorly trying to be the vanguard of the genre. There are many authors I admire and enjoy who are so much better at it that myself that I can leave that area of the genre to them. I’d be happy to be the sort of writer that can invite and introduce new people to this style of literature that I adore.

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