Film, Scene by Scene, Star Trek II: The Wrath of Khan

Scene By Scene: STAR TREK II: THE WRATH OF KHAN – Pt VIII – ‘By the Book’

As voted for on Twitter by followers, I will be analysing Star Trek II: The Wrath of Khan scene by scene in this multi-part exploration of Nicholas Meyer’s 1982 sequel…

One of the key aspects to the character arc of James T. Kirk across The Wrath of Khan is how he, as Dr. McCoy puts it toward the beginning, hides behind rules and regulations as a way of insulating himself from his own lack of inertia. Following the Reliant’s ambush, and the death of young a Starfleet crewmen who represent the next generation, Kirk has nowhere else to hide.

It has been oft-discussed in analysing Star Trek about how frequently the Captain of the ship puts himself in unnecessary risk. Jean-Luc Picard jokes in Star Trek: Nemesis how his first officer, Will Riker, is a “tyrannical martinet” for never allowing him on away missions. By that point, Star Trek can laugh at its own history, across multiple series and Captains, of the figurehead throwing themselves into the fray – and this is precisely what Kirk does once the Enterprise reaches space station Regula 1, upon hearing no word from Carol Marcus or her people.

Across The Wrath of Khan, Kirk has been challenged by regulations, or he has enforced them with company drills or refusing to take command from Spock upon joining them for the training cruise, and the green, curious Lieutenant Saavik has been there repeatedly to query any attempts to not go “by the book”, as Spock later describes it. Saavik here quotes General Order Fifteen: “No flag officer shall beam into a hazardous area without armed escort” as a justification for joining the away mission, and Kirk knows in this case she is not going by the book herself.

You sense in Nicholas Meyer’s writing a clear distrust of extreme, enforced regulation. Once Kirk throws those self-enforced shackles off, he starts to rediscover the swagger and humour he displayed in The Original Series. He begins to embrace that deeper humanity, even in the face of the kind of chilling horror he encounters on Regula 1.

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Film, Reviews, Stephen King

DOCTOR SLEEP is a Kubrickian xerox with soul and dark beauty (Film Review)

If it’s accepted fact that Stephen King hated Stanley Kubrick’s adaptation of The Shining, one suspects Kubrick would have hated Mike Flanagan’s adaptation of Doctor Sleep.

Primarily because Flanagan (celebrated in the horror community in recent years for projects such as Hush, Oculus & The Haunting of Hill House) doesn’t just put King’s 2013 sequel on the big screen, he actively works to continue the story from Kubrick’s cinematic version, which King has always attested is less faithful to his 1977 novel than the Mick Garris-directed TV mini-series from the 1990’s.

It does feel like King is wishful thinking about a lot of this, though, if you’ve read The Shining. Kubrick added a few of his own touches and flourishes but he sticks close to the plot, and often lifts dialogue from the book. Flanagan does the same here but the singular difference is that Kubrick wasn’t actively aping a director before him. Kubrick was innovating with The Shining. Flanagan is xeroxing. Intentionally, without a doubt, but he’s xeroxing nonetheless as he works to thematically and visually connect Doctor Sleep to the iconic 1980 horror film.

This ultimately works both to the advantage and the detriment of Doctor Sleep as a movie in its own right.

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Film, Reviews

READY PLAYER ONE is a nostalgic yet prophetic futuristic vision

Ready Player One really does feel like the pop-culture culmination of modern entertainment since the advent of Star Wars. Festooned with references, characters and trademarks from dozens of well-known properties from everything cinematic through to the video game world, Steven Spielberg delivers the ultimate expression of why we digest media, and possibly a glimpse into a world we could all be heading towards.

Ernest Cline delivered a remarkable confection of a novel back in 2011, certainly in pop-culture terms. Ready Player One crammed almost every single reference point since the late 1970’s across half a dozen mediums into a novel which, ultimately, told a fairly relatable David vs Goliath story set in a near-futuristic dystopia. It was a piece of work which seemed to operate like Marmite; for everyone taken in by its wide-eyed engagement with particularly 1980’s geek and nerd culture, someone else would respond that Cline’s prose was awful and the novel was a mess of winks, references and incohesive plotting which worked more like a gimmick than a piece of fiction. Wherever you stood on the spectrum, Ready Player One seems to have always been a polarising experience.

Which made the idea of a film adaptation even more intriguing, especially given Cline’s novel swiftly arrived in the hands of Spielberg. In many respects, this brought Cline’s work full circle, as Spielberg alongside filmmakers such as George Lucas and Robert Zemeckis, essentially created not just the cinematic blockbuster but the combination of pop-culture escapism and mainstream entertainment that drove the core of Cline’s novel. 

Films such as Star Wars or Raiders of the Lost Ark, not to mention Back to the Future, which especially factors into Ready Player One on several levels, all remain the key cultural touchstones for Western audiences thirty or forty years on. Spielberg has arguably been the most successful purveyor of family escapism in cinema, blending skilled craft and an innate understanding of what audiences will connect to. And connections, ultimately, are what drive his adaptation of Ready Player One.

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Season Reviews, TV

BLACK MIRROR (Season 4) provides twisted dystopian allegory for our times

Black Mirror arguably has found its place as The Twilight Zone of its generation, and the fourth season only serves to remind you of its allegorical power.

There’s a strong argument that the third season, which aired last year, cemented its position in that regard. That was the point Netflix pulled off one of its biggest coups – stealing Charlie Brooker’s anthology series from British terrestrial Channel 4 after two successful three-part series which brought together some of the strongest up and coming British actors to tell twisted tales regarding the ominous infiltration and immersion of technology in our lives.

Almost always set in a future ever so slightly ahead of our own, never too far to be alienating or unrecognisable, Brooker’s stories tapped into those primal existential fears we all feel – that maybe, just maybe, all these black screens, social media platforms, VR gaming innovations and so on, are destroying our culture and society rather than enriching or evolving it.

Black Mirror posits a world filled with people unable truly to utilise this advanced, game changing technology often in a positive way, and frequently the majority of episodes end up being cautionary tales of some sort.

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