2000 in Film, Film, Writing

THE BEACH: Apocalypse Now 2 – Beach Vacation (2000 in Film #6)

This year, 20 years on from the year 2000, I’m going to celebrate the first year of cinema in the 21st century by looking back at some of the films across the year at the turn of the millennium which took No #1 at the box office for their opening weekends.

This week, I’m looking at Danny Boyle’s millennial curiosity, The Beach

You almost can’t reconcile twenty-something Leonardo DiCaprio with his forty-something incarnation. He moved across the 2000’s from the teen heartthrob who raced pulses for Baz Luhrmann in Romeo + Juliet and melted a generation of hearts for James Cameron in Titanic all the way into a skilled, chameleonic leading man and character actor all in one by the time of Quentin Tarantino’s Once Upon a Time in Hollywood.

When you look back at The Beach, it feels like the first stirrings of DiCaprio’s edgy, youthful brio shedding its skin. Danny Boyle’s picture is DiCaprio embracing his sex symbol icon while simultaneously rejecting it.

Some commented at the time that Titanic, released three years earlier in 1997, likely helped The Beach at the box office, yet I’m cheating this week as it wasn’t the biggest financial success in the US on its opening weekend. That honour goes to Disney’s The Tigger Movie, rather ignominiously for Boyle the auteur. Yet the film picked up traction for a decent take, no doubt pulling in Leo’s fans who would have been totally unprepared for the Heart of Darkness-tale the actor undertakes in The Beach, which perhaps deserved to be called Apocalypse Now 2: Beach Vacation.

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Film, Scene by Scene, Star Trek: Nemesis

Scene by Scene: STAR TREK: NEMESIS Pt I – ‘A Generation’s Final Journey Begins’

As Star Trek: Picard begins, with the return of The Next Generation era, I’m going to take a scene by scene look back in the next couple of months about the tenth Star Trek film, Stuart Baird’s Nemesis, from 2002…

‘A Generation’s Final Journey Begins…’

That was the uniquely ominous strap line for Star Trek: Nemesis at the end of 2002. The promise of closure. 

After fifteen years, since The Next Generation launched on television in 1987 and triggered the second era of Star Trek, the voyages to go where no one has gone before for Captain Jean-Luc Picard and the crew of the Enterprise-E (formerly D) would be coming to an end in the fourth and final film for a dynamic new crew slipping gracefully into middle age. Voyager had just ended on television after seven years but Enterprise was in its second season, and there was every indication more spin-off shows would eventually line up alongside it. To Paramount, franchise producer Rick Berman, and the cast and crew, it felt like the right time to bring the curtain down on these characters.

Many remembered how just over a decade previously, The Undiscovered Country had quite naturally retired the crew of The Original Series. It felt apt, with a group of characters born in the heart of Cold War detente and futuristic optimism, to see Kirk, Spock et al warp off into the sunset as the Soviet Union fell and the geopolitical paradigm changed. Nemesis struggles to replicate that same feeling of finished business. The Next Generation crew never entirely gelled with the cinema in the way The Original Series crew had, and arguably only First Contact stands out with time and distance as a truly great Star Trek movie. Kirk & company found each other again in middle age and discovered a creative renaissance, triggered by the success of The Wrath of Khan. Picard and his crew went immediately from the end of their series into Generations and a movie saga, stuttering across a decade in which the world changed around them.

Nemesis, released in the long shadow cast on all American storytelling by the horrific events of September 11th, 2001 in New York, as a result feels like the reluctant last gasp of Star Trek’s second era, wedged amidst the embers of Reaganism and the post-Cold War ‘End of History’ that 9/11 blew out of the water.

It feels, oddly, like a crew who aren’t quite as ready for retirement as everyone thinks.

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Ad Astra, Film, Reviews

AD ASTRA is a beautiful, meditative journey up river (Film Review)

Many critics have boiled down Ad Astra, James Gray’s ambitious space opera, to the phrase “Apocalypse Now… in space!”, and while this is hard to refute, Ad Astra feels as much Gray’s commentary on the difficult no man’s land between Gen X and Gen Y and the Baby Boomer generations.

Our protagonist, Brad Pitt’s quiet and contemplative astronaut Roy McBride, could have been played by a man in his 30’s. In some ways, he was; Pitt might be in his mid-50’s but his Peter Pan looks, while not ageless, are certainly allowing Pitt to play characters who ostensibly could be younger. This feels important to Ad Astra in how deep rooted the film is in how Roy exists in the shadow of his father, Tommy Lee Jones’ absent H. Clifford McBride, a NASA legend on the lines of Neil Armstrong who vanished on the Lima Project three decades ago – an ambitious attempt to reach the edge of the solar system and contact alien intelligence. Clifford has not just been mythologised by humanity but also by Roy, who is haunted by the terrifying question of whether, having followed in his father’s career footsteps, he will end up becoming a man who Roy steadily comes to realise was not the heroic bastion of humanity’s progress everyone believes.

“I do what I do because of my Dad” Roy states as he is placed on a literal quest to find not just his father but his father’s legacy. In this, you can see the Apocalypse Now parallels, moreover you can see Gray’s admitted inspiration—Joseph Conrad’s Heart of Darkness—in the journey Roy, much like Francis Ford Coppola’s Captain Willard, takes ‘up river’ on the search of a legend. Much like Willard, Roy externalises his thoughts via inner monologue, allowing his anxieties and concerns and existential turmoil to spill out as he travels his river, in this case the solar system. As in Apocalypse Now, or indeed Heart of Darkness, Ad Astra is less about the hardships of the difficult journey using near future spacecraft but Roy’s internal voyage of reflection, discovery and almost nihilistic destiny. Clifford becomes his darker id. Roy’s quest is one to destroy his own demon.

This is where Ad Astra crosses over from being simply a mythological quest into something else entirely. It becomes a generational battle.

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Alias, Episode Reviews, TV

ALIAS 1×08: ‘Time Will Tell’ (TV Review)

Time Will Tell is another important episode of Alias when it comes to establishing and contextualising the mythology of the show and how it directly relates to, particularly, our protagonist Sydney Bristow. With a title both figurative and literal, this episode brings into focus Alias’ growing preoccupation with time, and just how directly the past influences the present.

Jeff Pinkner’s first script for the series, continuing the steady roll out of Bad Robot creatives who will all go onto major recognisable projects in the future, operates very much as a sequel to the third episode Parity, and the pre-credits sequence of A Broken Heart. Time Will Tell very much illuminates just how Alias, while a highly serialised show, remains indebted to its principal influence, The X-Files, in the structural manner it approaches the mythology at the show’s heart – the search for the work of 15th century ‘prophet’ Milo Rambaldi.

While the previous four episodes all continued the ongoing narrative sub-plots and storylines for the characters and the complicated double-agent situation Sydney finds herself in, only two of them concern Rambaldi, and in both cases he is very much background.

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