sci-fi

REVIEW: Upgrade (2018)

After a brutal attack that leaves his wife (Melanie Vallejo) dead and himself a quadriplegic, Grey (Logan Marshall-Green) feels his life isn’t worth living. When an artificial intelligence implant called STEM is offered to him, Grey is able to move again and with his newfound abilities he seeks revenge for his wife’s murder.

Upgrade is really clever while never being obnoxious with it. The basic premise is something we’ve all seen before – having a man seek revenge/justice for his wife/girlfriend/family’s murder is the starting point for so many action/thriller films. With Upgrade it it takes that starting point and takes it to new and interesting places.

Upgrade is set in the new future where technology is so advanced. There are self-driving cars, smart houses, and the integration between humans and machinery seen as the norm. Grey is a guy who prefers to not rely on technology and to build things himself, so when he’s suddenly put in the position where he’s near enough defenceless without technology it makes things challenging for him as he has to relearn his body – both when he’s paralysed and when he can suddenly move again thanks to STEM.

STEM is like its own character. Grey can here its voice in his head and they have these conversations, discussing how to find the people who killed his wife. Stem can also take complete control of Grey’s body which lead to some very violent and innovative fight sequences. They really are great, and Marshall-Green does a great job as his body is moving robotically but brutally but the expressions on his face (which he always has complete control over) are often scared, confused and shocked by what he’s doing. His performance is all around great as you can clearly see the difference between not only when STEM has control and not, but also how Grey was before the attack.

Upgrade is a great revenge action flick but it’s also one of those films that has a decent amount of substance to it. In this world where reliance on technology is so great, there’s ethical dilemmas about what Grey has done to his body and how he can allow something to take control of it. And even outside of Grey’s situation the little bits of world-building that show how everyone is reliant on technology, surveillance and AI is interesting.

Upgrade is tense and thrilling and the action sequences really stand out due to how well they’re shot and how creative they are. The violence is sometimes pretty gruesome so be aware of that, but it’s also surprisingly funny thanks to the dynamic between Grey and STEM. Upgrade really is one of those films that you hear a load of great stuff about, and it does indeed live up to the hype. 4/5.

REVIEW: Fast Colour (2018)

After years in hiding, Ruth (Gugu Mbatha-Raw) is forced to go on the run when her superhuman abilities are discovered. Years after abandoning her mother Bo (Lorraine Toussaint) and her young daughter Lila (Saniyya Sidney), the only place Ruth has left to hide is with them.

The three generations of this family all have abilities and while there’s similarities between them, they each have a different level of control to them. The abilities themselves, to break things down and rebuild them, to see the colours of the universe, for being a mythology that’s so different from the big blockbuster superhero films we are used to seeing, it’s explained well and it is captivating.

Fast Colour is one of those quiet sci-fi films. It’s a film about superpowered characters, but their abilities are not really the driving force of this story, instead it’s the relationships. It’s the moments where you get to see these three people just inhabit the same space that really work. There’s a static shot of the kitchen and slowly the three of them come in at different moments, easily moving around one another as they make breakfast together that hits home how even though Ruth hasn’t been with her mother and daughter for so long, they’re still a family and are connected to one another.

Gugu Mbatha-Raw is the standout here. Her guilt, fear and regret when it comes to how she acted in the past towards her family is palpable and I would say she gives a star performance, but to be honest she’s been giving great performances for years and it’s everyone else who needs to take notice. Lorraine Toussaint is also great. Her world weariness and desire to do anything to keep her family safe, her calm guidance when it comes to trying to teach her daughter and granddaughter their abilities, it all hides a pillar of strength and power more than those who’d seek to harm her daughter could imagine.

Fast Colour is just a beautiful film about familiar ties and inner strength. It has a beautiful and often haunting score by Rob Simonsen, that compliments the open, deserted spaces of a middle America where so many people are struggling. Fast Colour is a striking and impressive film, and it’s one that’s likely to stick with me for a while. 4/5.

Sci-Fi Month 2020

ARTWORK by Tithi Luadthong from 123RF.com. QUOTE from Seven Devils by Elizabeth May & Laura Lam.

Even though 2020 seems to be dragging on forever, we are getting closer to the end of the year and November brings Sci-Fi Month, hosted by Lisa and Imyril.

As the name suggests, Sci-Fi Month is all about celebrating all things sci-fi, whether that’s books, films, TV show, games or podcasts. It’s the chance to focus on the sci-fi stuff you’ve been putting on the backburner, whether it’s speculative fiction, epic space operas, time travel adventures or parallel worlds.

There’s a couple of readathons happening during the month if that’s your kind of thing. Jorie Loves a Story is hosting a readathon of Unconquerable Sun by Kate Elliott while Imyril is hosting a readathon of Golden Witchbreed by Mary Gentle.

While there’s the readathons and some challenges still to be announced, there’s no requirements or goals to take part in Sci-Fi Month, the main point is to consume some sci-fi, a little or a lot, and have some fun. See imyril’s blog for more information and to sign up to Sci-Fi Month and follow @SciFiMonth on Twitter and use the hashtag #SciFiMonth to take part in all the chats or when sharing your posts.

While I like sci-fi books, I don’t currently have a lot of them on their TBR, in fact I only have two: Brilliance by Marcus Sakey and Gemina Amie Kaufman and Jay Kristoff. I’ll try and read them both in November but Gemina will be the priority as that chonky book has been on my shelf for far too long.

I also plan to watch and review a lot of sci-fi films next month. I’ve had a look through what sci-fi films I’ve got in my Netflix and Prime watchlists and pulled together a selection of what it’d like to watch. There’s a whole load of different types of sci-fi, superpowers, aliens, and AI, and from different countries too. Here’s some of the films I’ll hopefully be watching next month – any thoughts or recommendations based on this list would, as always, be much appreciated:

What are some of your favourite sci-fi media? I’m always looking for sci-fi book and film recommendations. My favourite kind of sci-fi (or sometimes it’s science-fact) is when people are really competent at their jobs e.g. The Martian, Apollo 13 and Hidden Figures.

REVIEW: Ready Player One (2018)

When James Halliday (Mark Rylance), the creator of a popular virtual reality called the OASIS dies, a virtual contest is created to compete for his fortune and for control of this virtual world.

Ready Player One is based on the book of the same name by Ernest Cline. I read the book back in 2016 when the hype for it was at its peak and to be honest, I didn’t really like the book. I thought the main character was creepy towards and obsessed about the main female character as well as being very arrogant and all around unlikable – and then there was this over reliance on pop culture references that ended up being more annoying than anything else. So to say I had low expectations for the film version is an understatement.

The film follows Wade Watts or, as he’s known in the OASIS, Parzival (Tye Sheridan) as he and his friends search through the OASIS for the clues to finding the keys that will lead to Halliday’s fortune. There’s car races and battles and so many pop culture references. Some references are very blatant while others are blink and you’ll miss it types where if you get it that’s cool but it if you don’t you’re not missing anything. Or at least, I feel that what the film was going for but as it relies so heavily on nostalgia and computer game and movie references, there’s a whole other level of enjoyment to potentially have with Ready Player One if you get all these references. Otherwise, when Wade is in the virtual world it does look great and there’s all these cool looking characters or items, but you don’t get any meaning from them – they’re just there.

Wade’s not as unlikable here compared to his book counterpart and that’s probably because while we do get voice over narration from him explaining what the OASIS is, you don’t spend all his time with his thoughts. There’s still a very rushed “romance” that’s terrible and Wade’s friends turn out to tick the ethically diverse box.

As well as Wade and his friends competing with other players to find the keys to OASIS’s future, there’s a big bad corporate businessman played by Ben Mendelsohn who wants to win the challenge in order for his company to take it over. It’s such a cliché and Mendelsohn is pretty great as the over the top businessman who’ll stop at nothing to stop those pesky kids, but it’s something we’ve all seen so many times before and they don’t do anything interesting with it.

In the virtual world, Ready Player One looks great and some of the battle sequences are engaging but on the whole the characters and story just seem flat. It’s also a pretty depressing future (it’s set in 2045) where people escape into the OASIS because everyone’s stopped trying to make the real world better. Ready Player One plays out like a video game and if you enjoy them and know a lot of the pop culture references, you’ll probably have more fun with this film than I did. 2/5.

REVIEW: The New Mutants (2020)

The saga of The New Mutants production and release is almost legendary at this point. Different cuts were made, reshoots happened and the release date got pushed back by at least two years and was then released after the supposed peak of a global pandemic. What a legacy this film has.

The New Mutants follows Danielle Moonstar (Blu Hunt) who wakes up in a facility after her home is destroyed. There she’s told by Dr. Reyes (Alice Braga) that she’s a mutant and she and the four other teenagers are there to learn how to control their powers.

The New Mutants gets props for attempting something different within the comic book/superhero genre. There’s a small group of superpowered people (something we’re all familiar with by now) but instead of being in a safe and nurturing environment to learn about their powers like we’ve seen in previous X-Men movies, these teens are in what is called a hospital but is more like a creepy mental institution from a horror movie. There’s cameras and microphones everywhere and Dr Reyes likes to do tests on them and send them to solitary confinement if they misbehave. And that’s before each of the teens start to see and experience unexplainable horrors.

These mutant characters aren’t ones that are so easily recognisable. Personally while they’re regular human names didn’t instantly mean something to me, like Scott Summers would for instance, as their powers were slowly revealed I realised that all but one of the five were in the latter seasons of the X-Men: Evolution cartoon series. I highly recommend that series (it does the Apocalypse storyline brilliantly) especially if you want to see more of these characters as I feel it’s unlikely they’ll get a movie sequel.

Danielle is a nice enough character but isn’t particularly compelling. Her scenes with Rahne (Maisie Williams) are the best as their hesitant but blossoming relationship is an unexpected bright spot in a film where all the characters have or currently are experiencing great trauma. Anya Taylor-Joy often steals the limelight as the cutting Illyana, while Sam Guthrie and Henry Zaga aren’t given much to work with as their characters are the stereotypical quiet but nice guy and the brash jock type respectively.

After all the wait, The New Mutants is just fine really. It could’ve been scarier, and it could’ve delved more into these characters, so it doesn’t end up fulfilling the potential of its concept. It has a 90 minute runtime and you do feel that, an extra 20 minutes could’ve done wonders for character development and allowed for scenes to breathe as it was hard to gauge how long Danielle and the others had been in the facility before everything went wrong. Overall, The New Mutants is perfectly serviceable but not one to rush out to see during a pandemic. 3/5.

REVIEW: Victor Frankenstein (2015)

Told from Igor’s (Daniel Radcliffe) perspective, the troubled young apprentice tells the tale of his unhappy life before being rescued and befriended by Victor Frankenstein (James McAvoy) and how they worked together to create life where it should not be.

The story of Frankenstein is so well known – it’s the blueprint for the monster genre – that it is nice to see a film that does try and put its own spin on things, however that doesn’t mean it’s successful in doing so. Having Igor being the main character is new and having him being intelligent and not a snivelling sidekick to Frankenstein was interesting. He goes from being downtrodden and never having anyone care about him, or even see him as a human being, to being more self-assured thanks to Frankenstein’s friendship and belief in him – that turn around is very quick though.

McAvoy as Frankenstein is good fun, the way he annunciates certain words or gets into other characters personal spaces is unsettling as he seems like he’s living life on a knifes edge. His Frankenstein is obsessive and volatile and is indeed the quintessential mad scientist. The characteristics of this Frankenstein seems to take a lot of inspiration from Robert Downey Jr.’s Tony Stark and Robert Downey Jr.’s Sherlock Holmes. In fact, the tone and filming and editing style seems to be trying to emulate the Guy Ritchie Sherlock Holmes films. There’s the bickering relationship between Frankenstein and Igor, the random slow-motion shots in action sequences, the illustrated title cards, and one scene where Igor runs through a forest seemed to be a poor imitation of a sequence in A Game of Shadows.

Besides from the ethical dilemma of what Frankenstein and Igor are trying to achieve, the main antagonist for them is Inspector Turpin (Andrew Scott) who is investigating the thefts of human and animal bodies parts. He is also obsessive and unfortunately quickly becomes a cartoonish villain – though a verbal sparring session between him and Frankenstein is one of the more compelling parts of the film.

The editing in the scenes where Frankenstein and Igor have successfully animated a dead body and then everything goes wrong is not good. Especially in the final showdown it is difficult to keep track of where characters are in relation to each other and to generally have a good idea of the space they are currently inhabiting. It’s hard to keep track of what’s happening and minor antagonists are dispatched so quickly it’s laughable.

While Victor Frankenstein does attempt to breathe new life (ha!) into a well-known story, in the end the final act becomes a clichéd monster movie and the lead up to it often feels like you’ve seen it before due to character and stylistic choices being so similar to previous big franchises. 2/5.

REVIEW: See You Yesterday (2019)

Two teenage scientists C.J. (Eden Duncan-Smith) and Sebastian (Dante Crichlow) who have built portable time machines use them to try and save C.J.’s brother Calvin (Brian ‘Stro’ Bradley), who was wrongfully killed by a police officer.

See You Yesterday is a very relevant film. Before Calvin is killed there’s moments where it’s clear that the police aren’t to be trusted. For instance, C.J. and Calvin have an argument in the street, just like any brother and sister do, and two police officers ask them what’s the problem in an intimidating manner. There’s tension in the scene that comes from the script and from just knowing what is happening to Black people at the hands of the police now and for years before.

C.J. and Sebastian are great characters and their friendship is at the heart of the film. It’s refreshing to have a film where romance is firmly at arm’s length with both of them scoffing at the idea of being anything over than best friends.

Naturally there’s a lot of the usual time travel tropes; not wanting to run into your past selves, accidentally changing things for the worst, but they work because we know the tropes. As a viewer, there’s a good chance you’ve seen a lot of time travel media, or at least have an idea of the “rules of time travel” so it’s how C.J. and Sebastian either fall into those traps or try and avoid them that is interesting. The fallout from some of their time travel adventures is emotional and both the direction and the young cast make those emotional beats land.

Having looked at the comment section under the trailer I can see the ending of See You Yesterday isn’t to everyone’s liking. I can see why as it’s sudden and leaves you wanting a more definitive answer. However, I feel it does suit the story and C.J.’s character. It perfectly encapsulates her desperation to save her brother and highlights how time travel is a fickle thing and may not give you the results you want.

See You Yesterday is fun, imaginative and emotional as it combines the socio-political issues of today with a time travel adventure. 4/5.

REVIEW: Bloodshot (2020)

After he and his wife are murdered, Ray Garrison (Vin Diesel) wakes up with no memories, having been resurrected and enhanced by a team of scientists. The nanotechnology in his blood makes him a super soldier and near indestructible. But as flashes of what happened to his wife come back to him, he seeks revenge, not realising that there might be more to his resurrection than he was led to believe.

Bloodshot is an action/sci-fi film that doesn’t quite now if it wants to be cheesy and fun or overly serious. Vin Diesel is his usual growly self. Is decent in the fight sequences and does a good job at being confused when needed. The supporting cast are pretty fun, with them all fitting the usual tropes. After Ray wakes up, he meets Dr Emil Harting (Guy Pearce), the scientist who saved and enhanced him, along with other former military personal who have been given a new lease of life by Harting’s technology.

KT (Eiza González) is the former soldier that gets the most development and appears to have more of a moral integrity than the others. There are small moments with her that make you start to suspect there’s something more going on. Alas those moments are small because the answers are given far too quickly.

There is some intrigue to be had in Bloodshot but unfortunately due to the script being chockfull of exposition – honestly some characters just monologue on their motivations or backstory at the drop of a hat – the intrigue comes to nothing. It’s like the filmmakers didn’t trust the audience was smart enough to pay attention to some pretty big cues and to puzzle together what was happening themselves. Instead, anytime there seemed to be a moment where new information was being revealed, it was explained almost straightaway.

The action and special effects with the nanotechnology are pretty good. There’s an action sequence in a tunnel that really stands out. The action is contained to a small area and it really showcases the power Ray has at his fingertips. It’s also lit by red flares and the smoke and powder everywhere along with the dramatic score and slow-motion shots, makes it an aesthetically pleasing sequence.

That being said, another action scene stands out for the wrong reasons. There’s an action/chase sequence that’s supposed to be taking part in London, but it is so clearly not in London that it’s completely jarring. It doesn’t even look like the characters are in the UK anymore as they run down side streets and encounter police cars that look nothing like UK police cars. At a guess, I’d say it was filmed in a Mediterranean country because the houses and shops in the UK look nothing like the ones in that sequence.

The concept of Bloodshot is interesting and while the majority of the action sequences are well shot and engaging, the actual plot doesn’t live up to its potential. 2/5.

While I’ve included the trailer like I always do, I’d not recommend watching it as it gives away the majority of the twists and turns in Bloodshot.

O is for Outlander (2008)

During the reign of the Vikings, Kainan (Jim Caviezel) a man from a far-off world, crash lands on Earth bringing with him a deadly alien predator known as the Moorwen. On Earth he meets King Hrothgar (John Hurt) and his people who he tries to convince that something a lot deadlier than warring tribes is out to get them.

Outlander is one of those films I’d seen pop up on Netflix for ages before I finally decided to watch it, and admittedly I thought it’d be pretty rubbish based on the premise. I mean, guy from a place with far superior technology has to deal with primitive Vikings? It sounded cringey. Luckily, instead of being condescending towards the townspeople, Kainan is actually a pretty chill and adaptable guy and looks for a way to work with these people, even if they don’t believe him straightaway.

While you might think that there may be humour derived from the culture clash between Kainan and the Viking people, that’s not the case at all. In fact, Outlander is serious and gets straight down to the action and it is often bloody action too.

The tension in Outlander comes from two places, the suspense of waiting to see the Moorwen and the conflict between Kainan and warrior Wulfric (Jack Huston). The two of them butt heads over how to deal with the threat facing them all as they struggle to trust one another. Surprisingly, while Wulfric is set up as an antagonist for Kainan the film does allow him some growth and their dynamic becomes interesting. The film makes you wait to see the Moorwen, showing you glimpses of the large creature and flashes of light as Kainan and the others go hunting. It also throws in a few red herrings as well, making you wait even longer for the big reveal.

The blend of sci-fi monster and Middle Age aesthetic works surprisingly well, and though sometimes the film does drag, Outlander ends up being an unexpectedly engaging monster movie. 3/5.

REVIEW: Star Wars: Episode IX – The Rise of Skywalker (2019)

With Emperor Palpatine (Ian McDiarmid) seemingly back from the dead, an old but deadly force threatens the galaxy. While Kylo Ren (Adam Driver) seeks him out, Rey (Daisy Ridley), under the guidance of Leia (Carrie Fisher), finishes her training.

The Rise of Skywalker is almost too much film. There is so much going on as Rey, Finn (John Boyega) and Poe (Oscar Isaac) go on an adventure together, the Resistance prepares for battle and new (and old) characters are introduced. It goes by at a relentless pace but it works because seeing these characters interact, working together solving seemingly insurmountable problems, is still one of the highlights of these films.

The cast are still as charming as ever. Unfortunately some characters are pushed to the side (Kelly Marie Tran’s Rose being the biggest casualty of this) while some new characters don’t get too much to do at all. Adam Driver continues to be a standout in the series, giving a nuanced performance as Kylo Ren and his continuous struggles with his heritage.

The Rise of Skywalker continues the Star Wars tradition of having interesting and quirky alien creatures, brilliant set design and costuming, and great cinematography. Every planet the heroes (and villains) visit is different and the space battles and lightsaber fights are a way to show off different sides to a characters personality while still being engaging.

The final act of The Rise of Skywalker is pure spectacle and completely Star Wars. There’s the battle of good vs evil, inner conflict, hope, and more spaceships than you could shake a stick at. It’s exciting and is such a rush of space wizard magic – especially when John Williams’s wonderful score kicks in.

Some of the issues I have with The Rise of Skywalker comes from the issues I have with the new Star Wars trilogy film as a whole, like how some plot/character elements I feel are a wasted opportunity. As they can be applied to all the films and not just this one, it feels unfair to solely judge The Rise of Skywalker on the fact it didn’t capitalise on elements that the series hasn’t really revisited since The Force Awakens.

It’s a joy being with the characters of this new trilogy again and while some aspects of this saga are wrapped up too neatly while others aren’t wrapped up enough, The Rise of Skywalker is thrilling, action-packed and a lot of fun. 4/5.

EDIT: I wrote and scheduled this review after seeing The Rise of Skywalker on Thursday. Since then I’ve been seeing all the debates and thoughts (both positive and negative) about this film on social media. Some of it I agree with to an extent or understand, some of it I don’t. My opinion of this film may change when I see it again, or it may not. I just know I was so very happy to see Rey, Finn and Poe going on adventures together and working together that I can forget about or forgive some of the things I might not have liked as much.