Another World - Sci-Fi/Fantasy

Pandorum can best be described as the box-office bomb that is actually a satisfying sci-fi horror treat. If you have been fortunate enough to catch the remake of 3:10 To Yuma, you may recall Russell Crowe’s right-hand man, played by the excellent Ben Foster. Foster continues his good form in Pandorum, a freaky horror combining The Descent and Event Horizon to immensely satisfying effect.

Foster plays the astronaut Bower, accompanied by the ever-reliable Dennis Quaid as Payton. The two confused space-dwellers wake up from a long sleep aboard the ship Elysium with no knowledge of their mission, and no recollection of any prior events. There are no signs of any crew, and power to the vessel appears to be lost. The ship itself offers nothing but a mysterious, sporadic, hellish rumble; a sound akin to some kind of otherworldly monster in great distress.

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It’s 700 years in the future and earth has become a toxic wasteland. Centuries earlier humans were forced to leave the planet and move to outer space, because copious amounts of rubbish created through mass consumerism had made the place uninhabitable. The dusty cityscape shows the remnants of a civilisation: old billboards advertising cola and holidays, an empty bank, an engagement ring sparkling in the gutter.

Looking more closely, we notice that the tall skyscrapers aren’t buildings at all, but giant cubes of waste, compacted and stacked on top of each other. Save a lone cockroach just one thing stirs. This is WALL-E (Waste Allocation Load Lifter Earth-Class), a small, rusty robot who diligently trundles through the barren, dusty streets, scooping up rubbish into his belly, compressing it and stacking it. Occasionally he finds small gems among the trash - an old boot, a Rubik cube, a video of the musical Hello, Dolly! which he watches again and again on his ancient VCR. He is fascinated by a scene of a boy and girl holding hands and dancing.

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As a sworn non-Trekkie who generally detests science fiction, I was awaiting Star Trek with some trepidation. Could I take a story seriously which claimed that the evolution of languages on other planets had so exactly matched our own that their inhabitants spoke a perfect North American vernacular? Could a film about non-existent creatures with squashed-up faces who seem bent on destruction for destruction’s sake really hold my attention for a whole two hours and seven minutes?

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The first in series of planned prequels to the original X-Men films, Wolverine traces the violent history of the titular mutant whose knuckles conceal sharp, lethal blades. An aggressive marketing campaign will no doubt attract Marvel readers in droves, but viewing figures threaten to peter out when audiences realised they’ve been conned into watching what is merely a bland and unnecessary money-spinner.

The story begins in 1840 in the Northwest Territories of Canada, where a young Logan (aka Wolverine)  unwittingly kills his father and later throws himself into the turbulence of war. As it happens, Canada wasn’t founded until 1867, but why let historical accuracy get in the way of a ‘good’ plot?

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The title of this 2004 sci-fi thriller starring Ashton Kutcher and Amy Smart refers to the notion of sensitive dependence in chaos theory, whereby a change in something seemingly innocuous, such as the flap of a butterfly’s wings, can have enormous and unpredictable ramifications, such as a hurricane in Asia. The film applies this theory to four children growing up in American suburbia whose young lives have been marred by tragedy. When Evan Treborn (Kutcher), one of the group who is now a psychology undegraduate, discovers he can travel back in time he decides to alter the present by ‘undoing’ the harrowing events of the past.

The story begins with Evan as a child who, though a kind boy, shows definite traits of madness. Rather than sailing boats and flowers, his precocious primary school drawings depict cold-blooded murders; he has frequent blackouts, raids the kitchen cupboard for knives and is eventually referred to a psychiatrist (Nathaniel DeVeaux) for treatment.

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The newly released double box set of Ang Lee’s enigmatic epic Crouching Tiger, Hidden Dragon (2000) and Stephen Chow’s slapstick farce Kung Fu Hustle (2004) couldn’t offer two more different perspectives on the Wuxia genre of filmmaking.

Crouching Tiger, Hidden Dragon

Crouching Tiger, Hidden Dragon is a great deal more than a mere kung fu film. This sweeping, majestic fable is a near masterpiece, combining beautiful cinematography, fight scenes that will take your breath away and a two touching love stories with very different outcomes.

Based on the fourth part of a 1930s pentalogy by novelist Wang Du Lu with a script by James Schamus, Crouching Tiger is concerned with the theft of a holy sword, the Green Destiny, which belongs to the legendary warrior Li Mubai (Chow Yun-Fat). Looking for a quieter life, Mubai entrusts his sword to the gifted martial artist Yu Shulien (Michelle Yeoh), with whom he shares an unspoken love. Yu takes the sword to Beijing, where she meets Jen (Zhang Ziyi), the teenage daughter of a political bigwig, whose nurse bears a striking resemblance to the murderous witch Jade Fox (Cheng Pei-Pei). But when the sword is stolen, everyone leaps into action in a frantic search to retrieve it.

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It’s ten minutes to midnight.

Released over twenty years ago between 1986 and 87, to say that Watchmen was an influential success would be a pretty epic understatement. It cemented Alan Moore’s reputation as a writer in the graphic novel medium and since then, more than a fair few of his graphic novels have (much to his chagrin) been adapted for the big screen, most notably V For Vendetta, The League of Extraordinary Gentlemen, Constantine, and Jack the Ripper conspiracy theory yarn From Hell. His treatment of the Joker in his celebrated Batman one-shot The Killing Joke, is widely cited as being a major influence on both Tim Burton’s 1989 movie, the subsequent Batman animated series, and recent outing The Dark Knight.

No Watchmen, no Heroes. Simple as.

The comic book is set in an alternative universe where superheroes exist – it is 1985, and the Cold War is on the verge of becoming a very, very hot one.

In this universe, the USA won the Vietnam War, and Watergate never happened – Nixon is still the President. The West is defended by a small elite corps of licensed superheroes, the most powerful of which, Dr. Manhattan, has given the States an edge over the Soviets. However, things take a turn for the worse – the story begins with the discovery that The Comedian, an ultra-patriotic American superhero is found dead, having been hurled several stories from his apartment.

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Ever since Nintendo unveiled their wireless white wonder to the world (the Wii), practically everybody who saw the infra-red WiiMote control in action at some point thought the same thing: ‘Wouldn’t it be totally sweet if someone made a Star Wars game which allowed you to use the controller as a lightsabre?’

Well, turns out that someone did. The Star Wars ‘Expanded Universe’ – that is, stories set before, beyond and in between the narratives of the six films – is huge. There are hundreds of ancillary novels, comic books and video games set in the Star Wars universe, some of them great (see the Battlefront and the Knights of the Old Republic series’) some of them not so great (Empire at War). The Force Unleashed looks set to neatly slot into the former category.

The action takes place between Episodes III and IV, (so it’s technically Episode 3.241407 or something like that) and see players assuming the mantle of one Galen Marek, the secret apprentice of Darth Vader who is charged with hunting down the remaining Jedi after the Emperor orders their extermination.

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Today sees the release of the fully CGI animated Star Wars: The Clone Wars in UK cinemas, which we have to say is pretty good, despite initial misgivings, largely based on our opinion of the last film (Star Wars Episode III: Revenge of the Sith) particularly Hayden Christensen’s namby pamby depiction of the galaxy’s biggest badass, Darth Vader.

The Clone Wars is sort of like Star Wars Episode 2.5 in that its set in between Attack of the Clones and Revenge of the Sith, and shows the beginning of events of the eponymous wars that were briefly mentioned by Obi-Wan Kenobi in the first ever Star Wars film waaaaay back in 1977.

The plot follows Anakin Skywalker (voiced by Matt Lanter, who played the drunk college jock Brody in the first series of Heroes) who has reluctantly been lumped with his overeager new disciple – sorry, Padawan – Ahsoka (Ashley Eckstein) who looks like Christina Aguilera in an Egyptian head dress and too much fake tan, as they attempt to rescue Jabba the Hutt’s son from a mysterious band of bounty hunters. Old favourites Obi-Wan and Yoda appear alongside Christopher Lee who reprises his role as Count Dooku the main villain of the piece, and Anthony Daniels, who once again camps it up as stuffy protocol droid C-3PO.

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Will Smith, a sci-fi legend himself, stars in the latest version of Richard Matheson’s classic chiller I Am Legend. He plays the last human survivor in a post-apocalyptic New York City.

After the pretty average reviews, we at DVD Rental didn’t have high expectations of this film, but have to say, we were pleasantly surprised when we got out copy through the post.

For those who have not read the book, nor seen The Omega Man (the 1971 version starring Charlton Heston) the plot follows Robert Neville, who has only his dog Sam for company (and a few shop window mannequins he’s made friends with) and his struggle to both discover the cure for a virus that has spread throughout the world, and see through each day in the streets of an empty New York.
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