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)
To my mind, two things played a major role in spawning a resurgence in post-apocalyptic storytelling in the past decade. The first is Cormac McCarthy’s The Road, a bombshell of a novel from 2006 that depicted an ashen, desolate earth struggling to grasp the faintest glimmers of hope. It became a decent John Hillcoat film a few years later, but the craze spun off into more than just that: The Book of Eli, I Am Legend, Tom Cruise’s Oblivion, last year’s brilliant Snowpiercer, last year’s crappy Young Ones, that crappy now-cancelled NBC show Revolution, etc. etc. They’re not all directly borne of The Road, of course, but the genre itself certainly received a huge boost from McCarthy’s novel. That’s why the time was right to revisit Mad Max with Fury Road, and why the likes of Blade Runner is getting a new treatment as well. Heck, just this week there’s talk of Christopher Nolan being involved with the long-awaited Akira adaptation.
The second influential piece of post-apocalyptic storytelling is The Walking Dead, the massively popular AMC show that launched a thousand other zombie-related things and an official spinoff of its own (Fear the Walking Dead, which is pretty good if almost exactly what you’d expect). The thing that pushed TWD ahead of the pack was the format of a television series: movies and books are comparatively finite, but the long-term storytelling at hand in a TV series (or a comic book series, like the one TWD is based on) serves the genre in the perfect way. In both cases — Road and TWD — the aim was to create a new world out of the old one, to watch characters deal with the differences, to play witness to what fantastic and terrible things might arise after something alters life as we know it.
Continue reading The Leftovers 1.5 – “Gladys”
-BAFTAs went to pretty much exactly who you’d expect last night, with Boyhood taking Best Picture, Eddie Redmayne taking Best Actor for The Theory of Everything, and Julianne Moore taking Best Actress for Still Alice. Stephen Hawking and Felicity Jones presenting Best Visual Effects to Interstellar was about as exciting as it got.
-Speaking of Felicity Jones, the actress has reportedly been cast as lead in Gareth Edwards’ Star Wars spinoff. Other notable casting news includes Keanu Reeves and Christina Hendricks joining Nicolas Winding Refn’s next film The Neon Demon.
-For anyone who hasn’t checked it out yet, the ridiculously detailed Jurassic World website is pretty cool.
Continue reading Film & TV News: February 9
These days future-set postapocalyptic fables are so common that anything such a movie can do to make the idea fresh and original is more than welcome. Cormac McCarthy’s popular The Road and John Hillcoat’s ensuing adaptation with Viggo Mortensen helped to cement the profitability of the genre after a distinct lag since the Mad Max/Blade Runner heyday, and now dystopias seem to be coming through the woodwork. The fact that both Mad Max and Blade Runner will be getting new treatments soon should attest to that desire to recapture the glory days of the genre.
One of the latest entries is Jake Paltrow’s Young Ones, set in a world where water has finally become a scarce and precious commodity. The film is divided into sections focusing on different characters, starting with Michael Shannon’s Ernest Holm, continuing with Nicholas Hoult’s rogueish Flem, and ending with Kodi Smit-McPhee’s son-of-Ernest Jerome Holm. They’re all changed irrevocably by the drought, guarding what little they have with violence and ruthlessness, and most shades of innocence are gone by the time Young Ones takes place. As in most dystopias, it’s the state of things that causes this darker and more animalistic aspect of humanity to come to the surface.
Continue reading Young Ones (2014)