It is pretty much agreed that the Star Wars prequel trilogy was….. well, “Not Good”. Admittedly, it’s not easy to tell a story when the ending is predetermined. But one shouldn’t need three whole movies to tell how Anakin Skywalker became Darth Vader. Quite a few fans took it upon themselves to edit the trilogy (removing the boring or tasteless parts (i.e. Jar-Jar Binks)) into a single, more “streamlined” film.
These fans pretty much succeeded in creating films that are faithful to the Star Wars universe, and tell the story rather well. It’s essentially a Grand Tragedy, how a young Jedi filled with promise was turned to the Dark Side.
The team at Film Addicted went a bit further. What if you not only condensed the story, but changed the tone?
Head On: A Novel of the Near Future
Copyright 2018 by the author
FBI Agent Chris Shane had something of a front-row seat to the death of hilketa player Duane Chapman during an exhibition game. Because the league was trying to persuade his father to invest in their expansion, he was in the luxury box for the game. Well, not really there in person. Shane is one of the millions who is a “Haden” – he suffers from a neurological condition where (as described in the “prequel” Lock In) his mind cannot control his body. Thanks to a neural interface, he can operate an android body to get around.
The same tech is used in hilketa – a superviolent sport that involves knocking the head off a player on the other team, and using it to score. Can’t do that with real people, obviously.
Agent Shane finds himself on the case, with two big questions. How did Chapman die, and why does it look like the league is desperate to cover it up?
Get your mind out of the gutter. This is NOT some sort of soft-core porn “nudie cutie”. It’s a “made for TV” play that aired on the BBC’s “Theater 625” drama anthology series, so other than a hint of some passing nudity in one scene, there’s nothing that could be considered lascivious.
It just happens to be set in the Year of the Sex Olympics. We’re not given any clue as to what a “sex Olympics” might entail. But what we do know is that the teleplay takes place in a not too distant overpopulated future, where everyone is effectively divided into the “hi-drives” (the leaders, movers and shakers, the “One Percent”) and the “lo-drives” (the plebians, the workers, the unwashed masses). The lo-drives are fed a nearly constant stream of lowest-common-denominator entertainment to keep them in line.
There are some who dissent, and some of the hi-drives are worried that their usual methods of keeping the lo-drives sated and content aren’t working anymore. Coordinator Ugo Priest (Leonard Rossiter) has a plan to try the broadest of physical comedy – a pie fight – in the hopes of getting people to laugh. It fails completely. When the accidental death of a protester on the set during a live “introduction” of some of the year’s sex Olympians causes the viewing audience to break out laughing, director Nat Mender (Tony Vogel) gets an idea. Continue reading
Copyright 2021 by the author
Mal (short for Mallory) is your typical young adult. She shares a room in a converted hotel with a handful of other young adults, works at assorted jobs like dog-walking, and spends a lot of her free time playing in a “first person shooter” MMORPG where she makes a little income on the side by streaming her sessions.
Mal lives in New Liberty City, a sort of “free city” nominally controlled by Stellaxis Corporation, which is defending the area from attacks by the rival Greenleaf Industries. Stellaxis runs the place as a strict company town, controlling everything – including access to water.
So when Mal gets a strange “sponsorship” offer from a strange woman that will pay her in gallons of water per week, and all she has to do is play the MMORPG well enough to get in-game access to the “avatar” of one of Stellaxis’ supersoldiers, well, it’s hard for her to say no.
The Brain from Planet Arous (1957) is widely regarded as one of the worst movies of all time – with good reason. The acting is terrible, the special effects are about as un-special as can be, and there are so many idiotic things in the script that the viewer is frequently left gobsmacked at the stupidity on display. The crap is partially balanced out by good camera work and a proper use of decent stock footage. It’s mostly the glaring disconnect between the acceptable and outrageously bad that makes the movie a favorite among B-movie buffs.
The plot is decent enough. Two scientists, nuclear physicist Steve March (John Agar) and Dan Murphy (Robert Fuller) head off into the mountains near Steve’s home to investigate a meteor that crashed there the night before. Turns out it was an alien spacecraft, piloted by an energy being of some sort called Gor. Gor takes over Steve’s mind, and kills Dan. Luckily for Gor, Steve is part of a government weapons research program, so Gor figures he’ll take advantage of this knowledge and position to take over the world.
Steve’s fiancee, Sally Fallon (Joyce Meadows), notes that Steve has been acting strangely since he got back from the mountains – and whatever happened to Dan, anyway? She and her father (Thomas Browne Henry) hike off into the mountains to investigate. There, they find Dan’s body – and Vol, another alien who has been hot on the trail of Gor to bring him back to Arous to face the music for certain unspecified crimes. Will they be able to collar the criminal before he can make good on his nefarious plans?
So, is it possible to fix this?
This film, created by Shane Carruth, has a reputation in the science fiction world for being one of the most complex and interesting movies about time travel in the entire genre. I’d wager that no other movie has had more “explainer” material written about it. Indeed, if you want to untangle all the loops and loops within loops, you pretty much do need a cheat sheet of some sort.
But those analyses have come to dominate all the reviews so much that people seem to have forgotten they’ve been watching a movie, and one should spend at least a little time going over its cinematic aspects.
Primer is the first of (to date) two films by Carruth, an indie (obviously) filmmaker from Texas. One usually wants to “be kind” with new works from aspiring artists and give them a large benefit of the doubt, but one also doesn’t want to be unfair to potential viewers.
So, with that in mind…..
The Man Who Ended War
by Hollis Godfrey
At a press conference by the Secretary of War, someone asks about a strange letter that the government got earlier that day. The writer of that letter claims that the world has been too long in conflict, so he’s going to put a stop to it by destroying the navies of the world unless everyone agrees to disarm. They’ve got one year.
Everyone dismisses it as the work of a crank, but intrepid reporter Jim Orrington (our narrator and protagonist) isn’t so sure. He asks to see the original letter, and spots something a bit odd. He is able to persuade the government to allow him to bring the original (!!!) to Tom Haldane, a scientist friend of his, where they accidentally discover a part of the letter was erased and written over. That erased part gave a list of dates and times when battleships would be destroyed. It also happens that Tom noted some odd behavior of a piece of his lab equipment on occasions, and, musing on how one might destroy a battleship from a distance, they wonder if it could be connected.
When the USS Alaska disappears off the eastern coast of the US, at the same time that equipment exhibits its strange behavior again, Jim and Tom – and Tom’s sister Dorothy (a fair scientist in her own right) – manage to conjure up a device that acts as a locator for the source of whatever it is that vaporized the Alaska. Using Jim’s Washington connections, they get the OK from the president (!!!) to go ahead and track down “The Man” responsible.
As more battleships vanish, it’s a race against time to find “The Man” and put a stop to his doings.
A new dessert sensation is taking the country by storm. Something like a cross between whipped cream and marshmallow sauce, “The Stuff” tastes great and is low in calories. Needless to say, a consortium of business owners want to find out exactly what it is so they can come up with their own version. After all their attempts at analyzing it fail, they hire David “Mo” Rutherford (Michael Moriarty), a former FBI agent, to do some industrial espionage.
Mo meets up with a young boy, Jason (Scott Bloom) whose family has been acting very strangely after he saw a glob of The Stuff moving of its own accord, and Nicole (Andrea Marcovicci), an ad agency executive who created the initial ad campaign for it.
It’s off to Virginia and then Georgia to unravel the mystery. The Stuff is more than what it appears to be; and the trio’s lives are increasingly in danger as they get closer to the source….
The Night Land
by William Hope Hodgson
Published in 1912
Hodgson was one of the numerous writers of the Late Victorian – Edwardian Era who wrote in that genre that would eventually become known as Science Fiction. Although in his case, there’s little “science” in his stories. And while there are some horror tropes, his work doesn’t fit well in there, either. Perhaps “Weird Fiction” is the best way to classify it. There’s a little science, some fantasy, and enough creepiness but not enough scares to be called horror.
This work was his last published novel; he died at the Fourth Battle of Ypres in 1918, after actually re-enlisting to fight in the Great War. It’s not certain when he actually wrote it; it’s been surmised that his novels were published in the inverse order of writing. His first-published novel, The Boats of the “Glen Carrig”, has a more mature and accessible style than The Night Land.
Be that as it may, The Night Land is either loved or hated by most contemporary readers….
Sci-Fi and Fantasy Stories from ‘The Sun’
by Edward Page Mitchell
Before Hugo Gernsback laid down the law, no one knew there was such a thing as “science fiction”. Many writers, not just Verne and Wells, dabbled in “scientific fantasy” or used the eventual tropes of the genre to give a gloss to their political screeds.
Mitchell wrote his stories to sell newspapers.
In 1874, he published his first (known) stories, “The Tachypomp” and “Back From That Bourne”. The latter appeared in the New York (City) Sun, one of the leading newspapers at the time. It wasn’t uncommon for newspapers to publish short stories – even putting them under the guise of actual news. Mitchell would pen twenty-eight more stories for The Sun over the next twelve years. He’d eventually become editor of that paper, whereupon he stopped writing fiction.
His work remained forgotten until science fiction editor and historian Sam Moskowitz recovered it in the early 1970s.