Showing posts with label movie. Show all posts
Showing posts with label movie. Show all posts

Tuesday, 22 April 2025

Black Mirror Season 7 review - Good to excellent Sci-fi TV!

These are very quickly bashed out over/reviews. Please excuse missed details, etc. But new Black Mirror is something specially to be noted down! The episode order was certainly cathartic, making us work through the rough to finish with the fun...

1 - Common People - Depressing satire of predatory subscription models. Like, "Brain River" maybe a reference to Microsoft's digital river (torrenting Windows updates between users to save on server cost, etc). Also degenerate live streaming taken to a depressing low of basically crowd sourcing self torture porn. Talking to extreme the unhealthy practices of being a 'channel', eg multi-day 'subathons' that Twitch game streamers run, at the shallow end.

Some on r/cfs (Reddit) said they were somewhat triggered by the portrayal of the wife, choosing to end her life due to being exhausted all the time, with long unrefreshing sleep and continually loosing bodily control (with forced adverts channelled *through* her). Given that this depressing quality-of-life is still better than theirs, with this living torture disease.

2 - Beté Noir - A dark side of multiverse transitioning, a bit like "Everything Everywhere All at Once". The ultimate for revenge manipulation and gaslighting. Of course, they transition through a lot of impossible universe spaces and make no attempt to explain why their minds transfer over. 'Quantum Compiler' magic.

Friday, 6 May 2022

Why "Matrix Resurrections" is so terrible...

This new Matrix film is less a resurrection, more intellectual property necrophilia. It doesn't just break the fourth wall, it bursts through the screen and slaps you around the face with franchise merchandise! While a boardroom montage gibbers about how mind blowing a 4th instalment would need to be...

I'm gonna stop you right there; don't watch this!
My expectations were very low; movie sequels selling out is par for course, and Revolutions was already a disappointment. But this new piece had failed to recapture any of the magic.

A major reason the first film seemed so creative is the Wachowski's cobbled it together from a lot of pieces of other great sci-fi works, which most views won't have known: anime, e.g. Ghost in the Shell (1995) lent much cyberpunk look and feel, with small sequences recreated shot-for-shot.


A shocking amount of concepts, plot arc and specific terms (e.g. "Matrix" and "Squidies") came from Dan Simmon's 1989 novel "Hyperion" and its sequel "Fall of Hyperion". Which I read recently and think still stands up OK today. Recommended, for historical genre significance.


But in Resurrections, they seem to be feeding, ouroboros-like, exclusively on their *own* works. Thematically, the result is mediocre fan fiction, vomiting up clips of the original's more memorable (and more inspired) bits.

Saturday, 29 September 2018

Why the Thanos plot is dangerous in real life (Infinity War)

Review:

I liked the movie. It did a really great job of bringing together all the accumulated characters and story arcs in a meaningful and satisfying way. Great fight scenes. Implausibility only becoming physically painful in the scene with stellar re-ignition via elbow grease.

The movie's most notable success was subverting expectations by making the genocidal big-bad into an empathetic and rational protagonist. In fact, the central protagonist of the movie.



The problem:

Thanos' plan, through the whole Avengers timeline, is to wield the combined potency of all the 'infinity stones' to wipe out half the population of the universe in an instant.

His motivation for this is to save all civilisations from implosion via resource depletion, brought on by over-population. As happened to his home world, after he personally failed to convince them to randomly cull themselves.

It doesn't really matter that this is a stupid plot mechanism, in that...

(a) Caveman or medieval civilisations, elsewhere, aren't in any danger of exhausting planetary resources. Maybe we should assume he only culled human level, globalised civilisations. (But then also, what about the various, seemingly stable societies we see in Guardians and Thor?)

(b) Clearly a one-time cull is only going to delay the inevitable by a couple of generations (if it is inevitable).

... It's made to work in the movie. There is suspension of disbelief.

The dangerous part is that the only reason this plan is presented as undesirable is the killing itself. "Murder = evil" is such a universally evocative idea that no one can avoid making that the main counter-argument.

But that's not enough in reality, where the ends tend to justify the means: we have large, expensive organisations dedicated to making and utilising weapons to kill potential threats to our civilians and nations.

When we, as humans, feel our lives are threatened, we tend to acquiesce to amoral measures. In the last decade, nationalist xenophobia has been fuelled by increasing financial and physical hardships on individuals. (Not mattering that this is primarily from unrelated, rising wealth inequality.) This collective sentiment has already enabled callous right-wing/authoritarian politicians to implement horrible policies that would normally have been seen as too inhumane.

With further, deeper economic crashes seeming ever more pressing (in the West), the tale of woe so far could easily be eclipsed, in terms of increased suffering catalysing far further reaching humanitarian disasters, even war, etc.

Add to this ferment the popular notion of global over-population, with such bastions of scientific authority as Sir David Attenborough pushing discussion of the need for population reduction.

When bellies are empty and people are terrified, maybe a little genocide can slide, if it's helpful in the grand scheme of things...



Why it's wrong headed - because it won't work!:

Morality, even in the extreme, is malleable. Practicalities, not so much.

Sunday, 16 March 2014

Ender's Game and the STEM Crisis

Ender's Game feels like a super-cut of itself - relentlessly focused on completion. I'm presuming that pace is meant to mirror the story's sleep deprived timeline. However, it may well leave the viewer unconvinced of various (particularly social) leaps in the protagonist's (arrow straight) story arc.
Harry Potter in space? I was quickly reminded far more of The Methods of Rationality. No coincidence - Orson Scott Card's novel must certainly have had huge influence on the later and my enjoyment of the zero-g training matches was largely borrowed fire from scenes in Eliezer Yudkowsky's fan-fic subversion.
Screen Grab from Ender's Game (2013)
Star Trek Into Darkness (2013) was another story about a perfectly Machiavellian intellect (Cumberbatch's type-cast). Well, 'competence porn' has long had strong audience appeal: witness the popularity of detective and forensic TV drama series. But, more interestingly, this theme mirrors a very real issue in contemporary society: as our technologies advance in complexity they demand ever greater levels of abstraction.

The Social Network (2010) would be a third movie example, while The real Mark Zuckerberg can certainly feel the pinch of contemporary cognitive workplace requirements, whittling down the pool of potential employees. Hence lobbying for immigration of STEM (science, technology, engineering and mathematics) graduates.

Monday, 22 July 2013

The End of the Cornetto (Trillogy)


Having (re)watched all three Wright/Pegg/Frost films within the same 24 hours, I will venture that:

1. Shaun of the Dead has the most classic lines and references.
2. Hot Fuzz was the funniest and most generally enjoyable to watch.
3. The World's End seemed the highest budget with the most action:...
Their self proclaimed "Pub-Fu" stylings lend original flavour to the carnage, with enjoyable moments, but there's so much smashing of blue robot/aliens that it gets very tiring to watch by the end. Overall it's in danger of crossing the line from being a Garden City subversion of the action/sci-fi genre, to embodying typical Hollywood production values - where fight scenes are as bread-and-butter as big dance numbers in  Bollywood flicks.

Aside from fleeting cameos from conical iced cream lollies, The World's End imported little from it's predecessors, beyond the falling over a fence gag and the cast (notably Bill Nighy as the authority figure who Pegg's lead rebels against). Apparently there was a deliberate exclusion of external references and influences in production, so be warned, this is not a Spaced style geek-out.

I might have found more delight by entering the cinema totally plot naive; while the trailer did a very faithful job of portraying the nature of the film, it did so at the expense of telling most of the jokes and the entire story, baring the stilted conclusion, which I found dull - too earnest to swallow as satire.