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Archive for the ‘Science Fiction and Space Shit’ Category
“It’s weird how they built a huge franchise off of the first film. I can’t quite understand it. It’s like they say in the film ‘There can only be one. ‘ In a genre film you can create any scenario you like, but once you break your own rules, the audience feels betrayed, which is what happened with HIGHLANDER II.”–Russell Mulcahy to Money Into Light, 2016
“The more cornered we were, the more stupid things we had to come up with.”–Christopher Lambert
From the dawn of 1986 they came…moving stylishly down through the decades. Movies, TV shows, cartoons, struggling to reach the time of The Reviewing, when Vern will look back at the whole franchise
I missed out on being disappointed by HIGHLANDER II: THE QUICKENING with the rest of the world in 1991. Somehow I never watched the HIGHLANDER movies until the 21st century, at which point I’d lived many years knowing part II had been universally rejected and mocked. And when I did watch it it was the re-edited and 19-minutes-longer “Renegade Version” put together for DVD in 1997, and I’ll be honest – I liked it! I’ve always been one for weird, not-taking-the-easy-road sequels like BABE: PIG IN THE CITY, BATMAN RETURNS, TEXAS CHAINSAW MASSACRE 2, MAD MAX: BEYOND THUNDERDOME, BRIDE OF CHUCKY, RETURN TO OZ, JASON X, etc. So I was into the idea of Connor MacLeod in a dystopian future city working with rebels to, uh… blow up a shield around the earth, because it’s not necessary anymore. I mean — sure. Why not? (read the rest of this shit…)
VERN has been reviewing movies since 1999 and is the author of the books SEAGALOGY: A STUDY OF THE ASS-KICKING FILMS OF STEVEN SEAGAL, YIPPEE KI-YAY MOVIEGOER!: WRITINGS ON BRUCE WILLIS, BADASS CINEMA AND OTHER IMPORTANT TOPICS and NIKETOWN: A NOVEL. His horror-action novel WORM ON A HOOK will arrive later this year.
ALIEN AGENT is a 2007 made-for-Sy-Fy collaboration between Mark Dacascos and director Jesse V. Johnson. For Dacascos it might’ve been the type of quickie affair he could do for fun and profit between hosting Iron Chef America and appearing in occasional higher profile movies like CRADLE 2 THE GRAVE* and CODE NAME: THE CLEANER. For Johnson it was definitely a gig for hire, his fifth movie as a director but still a learning experience a decade before he started dominating the low budget action world with SAVAGE DOG, ACCIDENT MAN, THE DEBT COLLECTOR and TRIPLE THREAT. So it’s not a career best for either, but it’s a scrappy, entertaining little cheapie with some pleasingly odd touches stirred through the humble sparseness of its production.
Dacascos plays Rykker, a guy who drives around acting like a fed, even flashing a badge, but then steals a police car and sleeps with his tie on in a closed church. He seems to be in an ongoing one-man guerrilla war against a gang of leather-jacket-wearing thugs led by a hot tattooed badass lady named Isis (Amelia Cooke, SPECIES III). In truth they’re all aliens from the same dying planet, and Rykker is sort of a conscientious objector trying to stop Isis’s group from enslaving the human race. Apparently they used to date, and they seem to still kind of like each other, but he believes their people can find an uninhabited world to colonize, and she thinks that’s not enough of a sure thing, so they fight. (read the rest of this shit…)
VERN has been reviewing movies since 1999 and is the author of the books SEAGALOGY: A STUDY OF THE ASS-KICKING FILMS OF STEVEN SEAGAL, YIPPEE KI-YAY MOVIEGOER!: WRITINGS ON BRUCE WILLIS, BADASS CINEMA AND OTHER IMPORTANT TOPICS and NIKETOWN: A NOVEL. His horror-action novel WORM ON A HOOK will arrive later this year.
“I prefer the second one because the first one I had no control over the content. I got into big fights with the producer because he wanted to make a kids film and I wanted to keep the tone of the original anime. In the end, the film turned out like crap in my opinion. I did GUYVER 2 on my own for less than 1/4 the budget of the first GUYVER, but in exchange, I had total control of the film.” –Steve Wang to Nerd Society, 2009
GUYVER: DARK HERO (a.k.a. THE GUYVER 2) not only improves on the Tokusatsu-inspired martial-arts-‘n-monsters fun of director Steve Wang’s earlier work, but does it with vastly improved cinematic storytelling and the confidence to take itself seriously. This is a legit sci-fi/martial arts movie that starts as a dark super hero vigilante story, veers into weird ancient alien alternate history, and builds to a bunch of monster battles that are kinda like Power Rangers except the monsters might get their eyeballs poked out or cough up a bunch of blood. I’m not saying an R-rated version of that is subversive, I’m just saying it’s fun to watch. (Note: stunt coordinator Koichi Sakamoto was and would continue to be a director, producer, writer and choreographer on Power Rangers shows for 20 years.) (read the rest of this shit…)
VERN has been reviewing movies since 1999 and is the author of the books SEAGALOGY: A STUDY OF THE ASS-KICKING FILMS OF STEVEN SEAGAL, YIPPEE KI-YAY MOVIEGOER!: WRITINGS ON BRUCE WILLIS, BADASS CINEMA AND OTHER IMPORTANT TOPICS and NIKETOWN: A NOVEL. His horror-action novel WORM ON A HOOK will arrive later this year.
GUYVER, a.k.a. THE GUYVER is a 1991 sci-fi/martial arts b-movie that I saw back in the day and decided to revisit when I did that Polygon piece on ’90s comic book movies. The idea comes from a manga that had also been turned into anime, which is pretty apparent just from the look of the main character.
Jack Armstrong (STUDENT BODIES) plays Sean Barker, a blandly handsome karate student who finds an alien super weapon hidden in some garbage (much like Stanley finding a magic mask in the river in THE MASK) and it merges with his body, giving him the power to encase himself in bio-mechanical armor and weaponry. We know he’s mixed up in an ancient intergalactic war because of some detailed text and narration that opened the movie. It started by saying:
“At the beginning of time, aliens came to the Earth to create the ultimate organic weapon. They created Mankind. By planting a special gene into man they created the ZOANOIDS — Humans who can change at will into super monster soldiers.”(read the rest of this shit…)
VERN has been reviewing movies since 1999 and is the author of the books SEAGALOGY: A STUDY OF THE ASS-KICKING FILMS OF STEVEN SEAGAL, YIPPEE KI-YAY MOVIEGOER!: WRITINGS ON BRUCE WILLIS, BADASS CINEMA AND OTHER IMPORTANT TOPICS and NIKETOWN: A NOVEL. His horror-action novel WORM ON A HOOK will arrive later this year.
You might’ve figured a new sci-fi/fantasy produced and written by Peter Jackson and his fellowship (Fran Walsh, Philippa Boyens), and directed by his storyboard artist/effects guy since DEAD ALIVE Christian Rivers, would be a pretty big deal. I had hoped to see it in 3D, but it came out the same week as THE MULE and SPIDER-MAN: INTO THE SPIDER-VERSE and then the next week I wanted to see AQUAMAN, MARY POPPINS RETURNS and BUMBLEBEE and since the movie flopped the showtimes dropped precipitously and it was gone before I got to it. Plus, everybody said it sucked.
Wrong! I am happy to report that MORTAL ENGINES is pretty fuckin cool! It’s based on a young adult book, and there are some costumes and characters that follow a sort of steampunk or HUNGER GAMES city dweller style that I’m not into it, but it’s an adventure in an interesting world with cool characters and the spectacular effects of Weta at their best.
The movie centers around futuristic London, which is a “predator city,” meaning the whole fucking thing drives around the wastelands like a giant tank looking for resources, which they get by “ingesting” smaller cities to steal their machines and citizens. In the opening scene they chase down a small mining town and swallow it up. When I saw the Londoners on the fancy top deck watching the chase and cheering I fell in love with the movie. (read the rest of this shit…)
VERN has been reviewing movies since 1999 and is the author of the books SEAGALOGY: A STUDY OF THE ASS-KICKING FILMS OF STEVEN SEAGAL, YIPPEE KI-YAY MOVIEGOER!: WRITINGS ON BRUCE WILLIS, BADASS CINEMA AND OTHER IMPORTANT TOPICS and NIKETOWN: A NOVEL. His horror-action novel WORM ON A HOOK will arrive later this year.
Recently when I ranked all the ’90s comic book movies for Polygon I rewatched TIMECOP for the first time since that decade. I decided to disqualify it when I read on the production notes extra that it was originally written as a script and then made into a Dark Horse Comics series, but I’m glad I watched it first, because it’s better than I remembered.
Jean-Claude Van Damme (BREAKIN’) plays Max Walker, a regular cop who’s about to be recruited to a new secret government agency that travels back in time to stop other time travelers from changing history. Knowing the future presents ample opportunities for get-rich-quick schemes (for example, in the opening a guy uses a futuristic machine gun to steal gold from the Confederate Army), but the government worries this could butterfly-effect shit up, so they try to control it. (read the rest of this shit…)
VERN has been reviewing movies since 1999 and is the author of the books SEAGALOGY: A STUDY OF THE ASS-KICKING FILMS OF STEVEN SEAGAL, YIPPEE KI-YAY MOVIEGOER!: WRITINGS ON BRUCE WILLIS, BADASS CINEMA AND OTHER IMPORTANT TOPICS and NIKETOWN: A NOVEL. His horror-action novel WORM ON A HOOK will arrive later this year.
Marvel has been on a roll for a while now. I guess it’s inevitable that when you release extra colorful and ambitious movies like GUARDIANS OF THE GALAXY VOL. 2, SPIDER-MAN: HOMECOMING, THOR: RAGNAROK, BLACK PANTHER, and AVENGERS: INFINITY WAR all within two or three years then some of the other stuff you put out is gonna seem less impressive. Like, DOCTOR STRANGE was pretty good fun and ANT-MAN AND THE WASP has plenty of laughs and now we have CAPTAIN MARVEL, a perfectly fine movie I enjoyed watching similar to how I enjoyed watching the first THOR. Like that one it’s a pretty cool, well-cast new character who comes to our world from sort of an iffy fantastical one, has some pretty cool, sometimes funny fish-out-of-water interactions with humans, and fights some bad guys from her world in a small town without many people around.
Not bad, but how are you gonna get ’em back on THOR once they’ve seen RAGNAROK? We take the cool characters for granted now and we expect better style, better jokes, better spectacle. At least that’s how I feel. It’s worth mentioning that most of the women I’ve talked to about it liked CAPTAIN MARVEL better than most of the men I’ve talked to, so there may be things we’re not appreciating. (read the rest of this shit…)
VERN has been reviewing movies since 1999 and is the author of the books SEAGALOGY: A STUDY OF THE ASS-KICKING FILMS OF STEVEN SEAGAL, YIPPEE KI-YAY MOVIEGOER!: WRITINGS ON BRUCE WILLIS, BADASS CINEMA AND OTHER IMPORTANT TOPICS and NIKETOWN: A NOVEL. His horror-action novel WORM ON A HOOK will arrive later this year.
HAPPY DEATH DAY was a well-executed take on a fun premise: a slasher GROUNDHOG DAY where mean sorority girl Tree Gelbman (Jessica Rothe, LA LA LAND) has to keep reliving her birthday until she figures out who the fuck keeps stabbing. As she investigates everybody around her she starts to understand their lives better and be nicer to them. Except the one who killed her, who she kicks out a window. I wished it had been Rated-R to take gory advantage of the “heroine dies repeatedly” gimmick, but they made it work, largely because Tree is such a compelling character. Like Bill Murray in that other time loop movie she gets to be a fun asshole, which is so rare for a female lead.
In the sequel we get to see a little bit of the creepy baby mask, but the mystery of who’s stalking her is pretty much irrelevant. Sure, they revisit it in alternate timelines where it’s different people behind the mask, but there’s not as much suspense to be wrung out of it, so it shifts a little away from the horror comedy and more into sci-fi comedy, again made fun by the character of Tree and the performance of Rothe. If anything she’s even a little better in this one. (read the rest of this shit…)
VERN has been reviewing movies since 1999 and is the author of the books SEAGALOGY: A STUDY OF THE ASS-KICKING FILMS OF STEVEN SEAGAL, YIPPEE KI-YAY MOVIEGOER!: WRITINGS ON BRUCE WILLIS, BADASS CINEMA AND OTHER IMPORTANT TOPICS and NIKETOWN: A NOVEL. His horror-action novel WORM ON A HOOK will arrive later this year.
Man, we’ve been hearing about James Cameron doing this manga/anime adaptation since 2005, well before AVATAR. We’re talking Obama’s first year as a United States Senator, Christian Bale’s first year as a Batman, three live action Spider-man actors ago, before the Marvel Cinematic Universe even started, when Chris Evans was still The Human Torch, George Lucas was still making Star Wars movies, Saddam Hussein was still alive, the word “sexting” was just invented, Youtube was just starting, and Twitter didn’t exist yet. A long time ago.
So I can’t say I was thrilled when, after that decade plus of hopes, Cameron announced “Just kidding, Robert Rodriguez is gonna direct it.” Fresh off of SIN CITY 2. But also I wasn’t stupid enough to scoff at it. Cameron co-wrote and produced the thing. The only other time he did that was STRANGE DAYS, and that turned out pretty good. (read the rest of this shit…)
VERN has been reviewing movies since 1999 and is the author of the books SEAGALOGY: A STUDY OF THE ASS-KICKING FILMS OF STEVEN SEAGAL, YIPPEE KI-YAY MOVIEGOER!: WRITINGS ON BRUCE WILLIS, BADASS CINEMA AND OTHER IMPORTANT TOPICS and NIKETOWN: A NOVEL. His horror-action novel WORM ON A HOOK will arrive later this year.
Weird, but true: turns out you can make a TRANSFORMERS movie that’s sweet and funny, with sensible, reasonably concise storytelling that never feels like it’s whacking you in the face with a frying pan, and has characters you can care about. Even a human female one! All you gotta do is get the director of KUBO AND THE TWO STRINGS and a script by Christina Hodson (SHUT IN, BIRDS OF PREY).
Michael Bay and Steven Spielberg are both listed as executive producers, but BUMBLEBEE definitely feels more like the latter, taking heaps of inspiration from E.T. THE EXTRA-TERRESTRIAL but none that I noticed from ARMAGEDDON. Set in 1987, it does work as a prequel to Bay’s TRANSFORMERS (2007), telling the story of a soldier robot who flees the war on his home planet of Cybertron to hide out in California disguised as a car and wait for the others while evading the secret government agency Sector 7 and two evil Decepticon robots voiced by Angela Bassett (STRANGE DAYS) and Justin Theroux (MIAMI VICE).
But that’s all going on in the midst of a teen movie centering on Charlie Watson (Hailee Steinfeld, 3 DAYS TO KILL), who has just turned 18 and has been going through some shit ever since her dad (Tim Martin Gleason) died suddenly an unspecified few years ago. She resents that her mom (Pamela Adlon, THE ADVENTURES OF FORD FAIRLANE) has a dorky new husband (Stephen Schneider, 2012: SUPERNOVA), she fights with her little brother Otis (Jason Drucker, BARELY LETHAL) and gets into it with mean girls like Tina (Gracie Dzienny) and hunky asshole Tripp Summers (Ricardo Hoyos, Degrassi: The Next Generation) who embarrass her while she’s working at Hot Dog on a Stick. Not necessarily unrelated, her favorite band is The Smiths. (read the rest of this shit…)
VERN has been reviewing movies since 1999 and is the author of the books SEAGALOGY: A STUDY OF THE ASS-KICKING FILMS OF STEVEN SEAGAL, YIPPEE KI-YAY MOVIEGOER!: WRITINGS ON BRUCE WILLIS, BADASS CINEMA AND OTHER IMPORTANT TOPICS and NIKETOWN: A NOVEL. His horror-action novel WORM ON A HOOK will arrive later this year.
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“It’s weird how they built a huge franchise off of the first film. I can’t quite understand it. It’s like they say in the film ‘There can only be one. ‘ In a genre film you can create any scenario you like, but once you break your own rules, the audience feels betrayed, which is what happened with HIGHLANDER II.”–Russell Mulcahy to Money Into Light, 2016
ALIEN AGENT is a 2007 made-for-Sy-Fy collaboration between Mark Dacascos and director Jesse V. Johnson. For Dacascos it might’ve been the type of quickie affair he could do for fun and profit between hosting Iron Chef America and appearing in occasional higher profile movies like 
Dacascos plays Rykker, a guy who drives around acting like a fed, even flashing a badge, but then steals a police car and sleeps with his tie on in a closed church. He seems to be in an ongoing one-man guerrilla war against a gang of leather-jacket-wearing thugs led by a hot tattooed badass lady named Isis (Amelia Cooke, SPECIES III). In truth they’re all aliens from the same dying planet, and Rykker is sort of a conscientious objector trying to stop Isis’s group from enslaving the human race. Apparently they used to date, and they seem to still kind of like each other, but he believes their people can find an uninhabited world to colonize, and she thinks that’s not enough of a sure thing, so they fight. 
“I prefer the second one because the first one I had no control over the content. I got into big fights with the producer because he wanted to make a kids film and I wanted to keep the tone of the original anime. In the end, the film turned out like crap in my opinion. I did GUYVER 2 on my own for less than 1/4 the budget of the first GUYVER, but in exchange, I had total control of the film.” –Steve Wang to 
GUYVER, a.k.a. THE GUYVER is a 1991 sci-fi/martial arts b-movie that I saw back in the day and decided to revisit when I did that 
You might’ve figured a new sci-fi/fantasy produced and written by Peter Jackson and his fellowship (Fran Walsh, Philippa Boyens), and directed by his storyboard artist/effects guy since 
Recently when I ranked all the ’90s comic book movies for 
Marvel has been on a roll for a while now. I guess it’s inevitable that when you release extra colorful and ambitious movies like 
Man, we’ve been hearing about James Cameron doing this manga/anime adaptation since 2005, well before 
Weird, but true: turns out you can make a TRANSFORMERS movie that’s sweet and funny, with sensible, reasonably concise storytelling that never feels like it’s whacking you in the face with a frying pan, and has characters you can care about. Even a human female one! All you gotta do is get the director of KUBO AND THE TWO STRINGS and a script by Christina Hodson (SHUT IN, BIRDS OF PREY).
