No amount of Terminator scholarship is too much if you’re me. So just as the new Terminator: Dark Fate (which bombed over the weekend, but you people keep buying tickets for those The Fast & The Furious movies, so there’s no accounting for taste) is a follow-up to 2015’s Terminator: Genisys (sic) that’s really a sequel to Terminator 2: Judgment Day,…
As in every Terminator movie, the new Dark Fate offers no explanation for why the A.I.—SkyWho? It’s called LEGION now—dispatched only a single cyborg assassin to this time period, or why the human resistance sent only one bodyguard. The answer, of course, is that the one-on-one conceit is just more compelling and dramatic than a platoon representing each faction would be.
My NPR review of Terminator: Dark Fate, a these-were-canon-those-were-not half-reboot in the tradition of Superman Returns and Halloween (2018) is here.
Panzer Kunist is, as I’m sure I need not tell a cinephile and aesthete as refined and discerning and educated as you are, an ancient cyborg martial art that has largely died out by the mid-26th century. More importantly, Panzer Kunst has the satisfying hard consonants of words that were forbidden on 20th century television. It seems like it could work as any part of speech, which makes it especially panzer to kunst as kunst as possible. Panzer Kunst!
On the new Alita: Battle Angel. My review is here.
Most of Black Panther is set in the imaginary African nation of Wakanda, a technological utopia whose monarchs have for centuries observed a strict policy of isolationism, keeping would-be colonizers at bay by hiding their nation’s wealth and scientific advancement from the outside world. We’re told in the movie’s very first minute that Wakanda’s prosperity derives from its abundance of Vibranium, and that this bounty was delivered via meteorite long before humans walked the Earth.
And for a resource they’re trying to keep secret, the Wakandans sure talk about it a lot.
Even more than the characters in Avatar (Remember Avatar? Nominated for nine Oscars including Best Picture and Best Director for my boy James Cameron? Still the highest-grossing movie in the history of movies?) speak the much-derided name of that movie’s extraterrestrial miracle metal, Unobtanium.
The Terminator is one of my favorite movies. When my Windy City pals Adam Kempenarr and Josh Larsen announced the other week that they would make writer-director James Cameron’s low-budget, high-concept sci-fi classic the subject of one of their “Sacred Cow” reviews, I knew that the likelihood that Josh—a critic who generally seems to dislike action films, with the bizarre exception of the Fast & the Furious franchise, which to me represents the genre at its most derivative and least inspired—would rain on it. He hates Predator, people! Predator! A film I saw last year at the Library of Congress!
So I took action. To paraphrase Al Capone, you can get farther with a kind word and a quote from The Terminator than you can with a kind word alone. And the threatening voice mail I left for Josh opened last week’s episode. Continue reading →
For NPR, I wrote this fond remembrance of the actor Bill Paxton, a man who lived but one colorful life but who died onscreen an absurd stupid lot of times, in some of my all-time favorite film. He was in great big movies like Aliens and Titanic, he was in not-great big movies like Twister, he was great in little movies like One False Move and Traveler and A Simple Plan. He was great, basically.
I strongly endorse the episode of WTF with Marc Maron on which Paxton appeared only three weeks ago. He spoke at least as much about his upbringing in Texas as about his 40-year career in movies, but it was a wonderful interview, warm and revealing. But please read my piece, too. I literally ripped a sleeve from emphatic typing while working on it. Continue reading →