Movie Review: “Star Wars: Episode V-The Return of the Jedi” (Irvin Kershner, USA 1980)


Just as a fun project, I’m going to watch all previous Star Wars films except for Episode I and write reviews. I’ve seen the original trilogy before but I’ve never seen Episodes II and III. However, even the original trilogy I have not watched for a very long time, so this is definitely my first look at them with adult eyes.

I do not own the films, so I will not be watching the despecialized editions, though I would certainly prefer to do so. I really hope that Disney doesn’t continue Lucas’s refusal to release the original theatrical versions, because the corny digital additions really stand out as awful. I hated them in the mid ’90s and I’m not feeling any better about them 20 years later. Since they really stand out, I’m essentially going to ignore them in the reviews and just say here that they’re terrible, cartoonish, and unnecessary. And yes, I feel safe saying that even before I’ve finished re-watching them all. The prequels obviously do not have this issue–Lucas got to fill them with digital ugliness on first release. Continue reading

Movie Review: “The Martian” (Ridley Scott, USA 2015)

Ask most people to name their favorite science fiction films, and many of the answers you’ll get aren’t really science fiction. Blade Runner (Ridley Scott, USA/Hong Kong/UK 1982) is film noir set in the future. Alien (Ridley Scott, USA/UK 1979) is a horror film set in space. Gravity (Alfonso Cuaron, USA/UK 2013) is a chase film set in space. Even Star Wars (George Lucas, USA 1977) is really a traditional sword-and-sorcery fantasy film set in space. Science fiction is one of the most misunderstood phrases in all of film. Science fiction has to be about real or imagined technology, and the problems and results of that technology have to be central to the film.

The Martian, on the other hand, is a real science fiction film. What is it about? The difficulties of getting a man back home after he is left on mars following a manned mission that is cut short. It doesn’t have a deeper point to make (to its detriment) and it doesn’t use Mars as a backdrop to make a film that has little to do with its setting. It really is two and a half hours of watching to see how he survives long enough for NASA to get him back to earth. Continue reading

Movie Review: “Interstellar” (Christopher Nolan, USA/UK 2014)

*Update: Phil Plait has an article up about the science involved in Interstellar. He’s obviously of a very different opinion about the film’s artistic quality than I am, but he really is an astronomer, so trust him about the science. I certainly knew the system orbiting the black hole was wrong and the time dilation didn’t seem right, but he actually knows what he’s saying. He also wrote a book that has a description of what it would actually be like to fall into a black hole if you’re interested. I will add a link if the Skeptics’ Guide to the Universe does a review, which I’m hoping for.

I never actually wrote a review of Gravity (Alfonso Cuaron, USA/UK 2013), because I couldn’t really make sense of it–it was so full of religious images that it clearly had some point to make about belief, religion itself, or something related, but I could not figure out what it was. However, something I would definitely have said about it is that it bored the hell out of me because it was just a whole bunch of long chase scenes in space and its extreme over-reliance on CGI made it look like a Pixar film as far as I was concerned. It was also rather a scientific mess. Interstellar plays almost like a response to that film, one that brings back the wonders and other-ness of space as well as using photographic effects and real sets. People kept insisting that Gravity was a visual wonder, but I heartily disagree–this is a visual wonder.

Where Gravity was almost entirely made of digital effects, Nolan and cinematographer Hoyte Van Hoytema not only focus on photographic effects–they revel in the fact that they are shooting on film and using real lights and sets. Even when they need to use fake backgrounds (a requirement of the story), they are actually projected onto the set behind the actors, so that they become photographic (a trick Kubrick previously used). The film is full of lens flares and overexposures. Is it a bit showy and perhaps even pretentious? Maybe. But it looks amazing. When the starlight glints through the window in the back while the crew discusses which planet to visit next and briefly obscures the view of the scene, then moves slowly out of view and the light slowly fades away, it’s the type of detailed, beautiful photographic effect that Stanley Kubrick would have brought to 2001: A Space Odyssey (Stanley Kubrick, USA/UK 1968). Science fiction films often have seems similar to 2001, which was a film about how humanity is defined by making mistakes that allow for evolutionary development, and yet they so often seem to want to cover up imperfections and turn everything over to technology (often something they are arguing against in their plots). Kubrick did one of the greatest jobs in history of marrying his point to his visual techniques, and Nolan mirrors him here.

The plot of the film is fairly standard science fiction fare, albeit one that pays attention to its own science: the earth has turned into a giant dust bowl and growing plants is thus becoming increasingly difficult, with crops becoming impossible to grow one by one until all humanity has left is corn and even that will only last so long. So, the government secretly brings NASA back to find a new world for humanity, since this world has turned against us. Cooper was NASA’s strongest pilot but responded to the need for food and shutdown of NASA by becoming a farmer, exactly what the world needed, but then a mysterious gravitational anomaly sends him to what turns out to be the secret base of the NASA he never knew had been brought back. Of course, these things collide and NASA sends him on a years-long mission to scout possible new homes for humanity, away from his children for what could be a lifetime. Meanwhile, his daughter angrily follows in his footsteps at NASA, trying to crack the physics problem that will save humanity and unsurprisingly growing up to be exactly like the father she hates.

The point of the film is pretty simple, bordering on facile, saying that it’s the connection to one another that makes humanity strong. Brand comments that love is “the only force that we know of that transcends all dimensions” (Yeah, it’s a rather gag-inducing line.). Mann says that it’s “survival instinct” and the ability to improvise that makes humanity special. Cooper says that humanity was able to save itself through its love of other humans, connecting Mann’s and Brand’s ideas into the cohesive point of the film.

The acting, with one exception, is excellent, though no one has much to do. Matthew McConaughey, the world’s leading actor du jour, is excellent in his lead performance, having to show a mix of intelligence, selflessness, and caring without letting any one of those things overwhelm the others. He is pretty simply a good man, but in this situation it would be easy to play him as a caricature, and McConaughey, who once did play essentially a caricature in a science fiction film that shares many ideas with this one, avoids that pitfall. Jessica Chastain has a rather thankless task, playing a character who is either ecstatic or angry at every moment and thus could easily be over the top, but she (unsurprisingly) makes it work. Mackenzie Foy, while clearly far older than her ten-year-old part, probably has the most difficult part in the film, and she pulls it off with aplomb, coming across as a very smart kid with some trust issues and an incredible stubborn streak. She also actually looks enough like Jessica Chastain that it’s believable that they are the same person (well, to the extent that it’s believable that anyone can grow up to look like Jessica Chastain).

The one problem is, unsurprisingly, Michael Caine. Christopher Nolan has shown a proclivity for falling in love with actors and just recasting them in every film. When it was Christian Bale, it made sense, because he’s just a fantastic actor. When it was Cillian Murphy, it made sense, because he has such a great face for film. Michael Caine doesn’t have anything that makes him worth casting repeatedly. I know he has two Oscars, but he is one of the worst actors who has ever won even one award, let alone two. Here, in what should have been a very easy part, he’s wooden and annoying, delivering his lines with weird pauses and showing no ability to express anything on his face.

Hans Zimmer’s score is surprisingly strong. While he was once an excellent composer, he long ago became so standard and repetitive that he started to sound as dated as Alan Silvestri. But here he throws out the conventional playbook, and what he gives us works. Nolan helps by utilizing the same lack of room sound and moments of complete silence that Kubrick used so well in 2001, but Zimmer’s score adds something to the film, and that’s all you can ask of a score.

Interstellar is an excellent film–clearly the best I have seen in 2014. It’s not perfect, but I was much happier sitting through three hours of this film than I have been sitting through two hours of most other films.