The year is 2017. Orange Hitler is the president. And as Mamo predicted at the turn of the decade, movies are on their way out. Let’s discuss.
Team ‘Mo gathers once again to discuss the 2017 Oscar nominations, which are fairly boring, but as ever, we are not.
The “separate the art from the artist” debate rears its head once again, as allegations arise against Star Trek creator Gene Roddenberry. Star Trek says we’ll evolve: can we?
We’re back! Team Mamo checks in on the summer of 2016 with comments on Pixar, Ghostbusters, Star Trek Beyond, Kong: Skull Island, Wonder Woman, and Justice League. Plus: we bring the gavel down on Barco Escape, and coo about Brie Larson.
As if you need further proof that the rebooted Star Trek universe is flash-in-the-pan pop cultural action-blockbuster-mush instead of boldly attempting any kind of science fiction or social ideas — something more or less ended with Star Trek VI: The Undiscovered Country — here is Rihanna fiddling while Rome burns.
While the nerd collective throws an over-the-top hissy fit about the all-Female Ghostbusters, I continue to quietly lament the Star-Wars-Too-Fast-Too-Furious-ification of this third go-around on Trek in the multiplex.
(Also, on a serious, perhaps inappropriate note, at least a more morbid one, this is twice now that Justin Lin inherits a big budget franchise, one of the leads dies tragically via car. Two data points doesn’t make a trend, but I wonder if Star Trek Beyond will have a Yelchin-bump in terms of audience interest in the same way the Furious Franchise did with Paul Walker.)
Prolific video essayist, The Nerd Writer, tackles the subject of not just Intertextuality, but emotional responses in the age of sequels, reboots, remakes, and shared universe mega-franchises. Or as he puts it, “Weaponized Intertextuality.”
“Let’s never do this again.”
Star Trek keeps J.J. Abrams as a producer, and brings on the Furious franchise’s Justin Lin as director. Lots of people fall from and/or hang onto cliffs. The U.S.S. Enterprise is destroyed (again, *yawn*) and the Beastie Boys are still getting radio play with Sabatoge, in the 23rd century. Karl Urban still has ace comic timing, and is increasingly only damn reason to bother with a franchise that once inspired millions, and is now reduced to forgettable pop-corn munching distractions. A trailer tells one a lot about these things.
I will keep re-iterating, “Why do Star Trek reboots need to be action films?”
Yea, let’s never do this again. Humbug.
Sone famous once said that a person’s character can be defined by what he chooses to complain about. What do you despise? Is it Max Brooks? Is it Steve Guttenberg? The video streaming entity such as Vudu? Or is it someone/something else? By all means sound off! So yes, we explore the depths of our personal hatreds on this week’s Cinecast, but equally so, we also share some fondness, nay love, for Charles Grodin, Jean-Marc Vallée, Brent Spiner, Chris Tucker, Louis C.K. and yes, even Mel Gibson.
Documentaries and Ozploitation occupy the bulk of this week’s conversation. Steve James’ documentary, Life Itself (aka you’re better off just reading the book) and Russell Mulcahy’s creature feature, Razorback. But, and this is important. don’t even bother downloading this show until you’ve purchased your 4-pack of Midnight Run sequels. Yeah, it’s that kind of show.
As always, please join the conversation by leaving your own thoughts in the comment section below and again, thanks for listening!
The first prequel-sequel in the Star Trek reborquel lands with a wet thud and Team Mamo assembles to discuss what went wrong with Star Trek Into Darkness…
To download this episode, use this URL: http://rowthree.com/audio/mamo/mamo304.mp3
[There are more than a few *Spoilers* in here, so beware of both the following text, as well as the comment section if you are concerned about such things]
I have been falling off the summer movie blockbuster for some years now, there are fewer reviews of such in these pages, and the discussion revolves more around the box office and cultural acceptance of these things than the films. Prometheus excepted. So this is not a review as such of Star Trek: Into Darkness, but rather what the Rebooted Trek universe, hereafter, NuTrek, is about. The writers and creative team wrote themselves out of a continuity corner with the first entry by using (creatively) the old time-travel saw to offer themselves a tangent universe. Now all of a sudden, there is a bright open canvas to paint new Star Trek movies, with a different tone and different versions of the lead characters. So why come back and play shadow puppets with Star Trek II? The line of prequel, sequel, sidequel, reboot has never been more blurry than it is here.
I certainly had my nits to pick with a planetary organization such as Star Fleet show-building an aggressive preemptive strike military branch without any seeming public debate, but that is the state of the nation with NuTrek. Things just happen, and they happen very quickly. As best as I can determine the bulk of the films plot happens here within a 48-72 hour span. That’s two ships heading out to the neutral zone, a significant portion of the Starfleet brass executed, and a goodly portion of San Francisco destroyed. This is not to mention the understanding of arming and timing a host of bleeding edge experimental proton torpedoes and figuring out a curious side effect of a blood sample. Don’t get me wrong, Karl Urban’s portrayal of Dr. ‘Bones’ McCoy is once again a high-light of the film, he sells his throw-back lines with gusto, and offers an avenue towards the film suspending disbelief on the actions of the executive officers on the Enterprise, and somehow goes a long way to shielding his own tough-ideas-to-swallow. Bravo. But really, everything was said in the 2009 version of Star Trek about J.J. Abram’s ability to keep the plot moving so fast that it doesn’t allow the audience to over think what is actually happening. It’s not so much the ‘not opening the Mystery Box,’ but rather juggling five different boxes and asking you to guess which one to not open. Part of me is saddened that NuTrek is not about an optimistic future and a co-operative human spirit, but rather a bit of a short-con game in one-upping the movie-plot surprises – to seek out new gasps and new sleight of hand and to boldly re-create funhouse-mirror-images of things seen before. The audience seems quite satisfied with the slick reboot and high-budget gloss. This is the greatest trick the director ever pulled.
In spite of all of the running around and explosions, the actors continue to do the lions-share towards making NuTrek better than their woeful screenplays. Embodying the much prettier, leaner, aspects of the original cast’s bodies and personalities, they are, at this point on the verge of actually making the beloved (and familiar) characters their own. Bruce Greenwood once again brings a real touch of class to the proceedings as Kirk’s mentor and father figure. John Cho, Simon Pegg and Anton Yelchin all get their moment or two to contribute, but function here in a more reduced capacity from the previous film. This makes way for the addition of Alice Eve as wild-card science officer Dr. Carol Marcus, exist as a cipher and more than a bit fan-service (the character was mom to Kirk’s kid) more than as an actual realized character. Much like blonde Marcus and her connection to doing much of anything (in a previous life, she was chief scientist behind the Genesis project, also delivered by experimental proton torpedo, beyond being just Kirk’s main squeeze) here she takes off her close to show us she shops at La Senza. Hers is not the only short shrift. So too does the entire Klingon race just kind of sit there because the plot requires it. The NuCrew personality and character development are actually quite stagnant in terms of character arc – James T. is back in the bar drinking and flirting when the fall out from his rule-breaking prime directive stint stings his career – with the exception of Zoe Saldana and Zachary Quinto who get enough screen time together to build on their chemistry from first film. Spock and Uhura’s romantic squabbles are certainly a new addition to the character dynamics of this crew, and it certainly works onscreen, but it further underscores that these films are no longer science fiction films, but are now fully Space Operas in the Star Wars tradition. Han and Leia have been down this road before.
So, this brings us to the elephant in the room: Benedict Cumberbatch.
Mamo rounds third base with a potpourri discussion of Star Trek Into Darkness and Man of Steel (and their respective final trailers), Iron Man 3 (and its leading man), 42 (and the current state of sports movies), and the hows and whys of becoming a man. Summer ho! If you haven’t entered the box office contest yet, do so via this link here.
To download this episode, use this URL: http://rowthree.com/audio/mamo/mamo300.mp3