Detail is king in Prospect, the debut feature from writing/directing duo Christopher Caldwell and Zeek Earl. There’s little to latch onto in the opening minutes that could be called “familiar” outside the general setup: two human characters, father and daughter, in a ship floating through space. But the young girl is writing in an alien language, her father is administering a strange drug, and the process they both engage with to launch their pod down to the surface of a nearby planet is about as complicated as the entire mission in First Man. There’s a device that the father holds in place and continuously winds like it’s a jack-in-the-box, though its purpose is never actually articulated.
World-building is the key to good science-fiction, whether that world is wholly foreign or just slightly askew from our own. The level of detail present in Prospect has garnered comparisons to Moon and even to Star Wars, both of which are high praise indeed. It’s evident from the very start of Prospect, though, that we’re diving even deeper into unfamiliar territory, making the film of stronger kin (visually, at least) with indie sci-fi like Automata, Young Ones, Monsters or District 9.
Continue reading Prospect (2018)
- Universal has announced a Robert Ludlum Cinematic Universe, an announcement which would only be more ridiculous if they retroactively incorporated The Osterman Weekend. Dwayne Johnson will star in the first film The Janson Directive, due out sometime in between Dwayne’s other fifteen in-production movies.
- On the other end of the productivity spectrum is Terry Gilliam’s Don Quixote project, famously trapped in development hell and now (re-)reinvigorated with Adam Driver in a leading role. Stay tuned for another go at the film ten years from now.
- Comic scribe Geoff Johns and WB Executive VP Jon Berg will be supervising DC’s Cinematic Universe post-Batman v. Superman (post-Justice League, really, as that’s already in production) and hopefully doing for DC what Kevin Feige did for Marvel. Or — here’s a thought — doing something different.
- And in news unrelated to connected universes or massive franchises…just kidding. Sherlock Holmes 3 starts filming this Fall.
Continue reading Film & TV News: May 19
Kevin: Gregg Araki’s mesmerizing White Bird in a Blizzard has all the initial trappings of a typical coming-of-age drama. Kat Connors (Shailene Woodley) longs to leave her idyllic hometown life, while her mother, Eva (Eva Green), feels overburdened by her role as a doting housewife. When Eva mysteriously disappears, Kat is haunted by persistent dreams of her, and reassesses their tumultuous relationship through therapy and an affair with a cop assigned to her missing person’s case. The premise is familiar, but the film draws upon the melodramas of Douglas Sirk to convey how Eva feels shackled by the hardships of marriage and motherhood. Aided by cinematographer Sandra Valde-Hansen and composer Robin Guthrie, Araki abstains from the histrionic tendencies of his earlier work, opting for an understated color scheme and score that firmly establishes the themes of alienation in 1980s suburban life. Following her widely praised turn in The Spectacular Now, Woodley demonstrates assertiveness in the lead role, but it’s Eva Green who leaves the greatest impression. Green’s steely flourishes invite comparisons to Joan Crawford, but feel closer to Barbara Stanwyck in their unrelenting swagger. Other notable performances include those of Gabourey Sidibe and Mark Indelicato, whose lively exchanges with Woodley provide a needed respite from the drama, and Shiloh Fernandez, who complements his character’s fetching looks with a charming half-witted persona as Kat’s boyfriend Phil. In a standout sequence that takes place in a local underground club, Kat and Phil seductively dance to Depeche Mode’s 1987 classic “Behind The Wheel”. Through a breathlessly shot and edited montage, Araki injects this scene with infectious spontaneity and groove. White Bird in a Blizzard is Gregg Araki’s most restrained directorial effort since Mysterious Skin, but is punctuated with many spirited moments that reaffirm his reputation as a genre-defying, risk-taking filmmaker.
Continue reading Netflix Picks #2
– The legendary Leonard Nimoy passed away this week, spawning many a Star Trek marathon. We’ll have a logical time in his honor.
– Denis Villeneuve, auteur behind the dark and moody Enemy and the dark and moody Prisoners, is being touted as the director for the likely dark and moody Blade Runner sequel. It’s a weird prospect having Villeneuve direct such a massively commercial movie, but then again it’s kind of a weird prospect doing a Blade Runner sequel at all.
– Leonardo DiCaprio joined The Crowded Room, in which he’ll play a man with 24 different personalities. We don’t know much about the story, but it’s an awesome title at any rate.
Continue reading Film & TV News: March 2