Tales of the Walking Dead: EVIE/JOE, A No-Spoiler Review

4 Reasons I recommend EVIE/JOE, The Short Review

EVIE/JOE is first installment of The Walking Dead’s anthology series: Tales of the Walking Dead. Basically all of these tales will be in short-form, focusing on different characters each time, contained in one 45ish minute episode. EVIE/JOE is set in The Walking Dead universe which means there is a lot of gore, so consider this a PG-13 or R-rated flick. It’s not for everyone! You can watch this for free on Amazon Prime and possibly YouTube tv…still figuring that out.

I loved this short, but I love zombie films/stories and maintain a special fondness for The Walking Dead version of a post-zombie reality. Why might you want to watch?

  1. Believable and likeable characters (played by actors, Olivia Munn and Terry Crews)
  2. Well-done shorts like this must be targeted in its “one thing” it tries to do well and this short succeeded in doing that
  3. A familiar world, where context needs not be explained
  4. Decent tension and a surprising twist in the end

The Longer Review

First, I’ll say a little about the short form. There are a few reasons I appreciate shorts like EVIE/JOE. One is that I find it pleasurable to see a story, beginning, middle and end in one sitting. As a kid I loved The Twilight Zone for this reason. Second, the short form forces the story-teller to focus. My family members have heard me complain many times about a number of the more recent Marvel Universe films when there are way too many characters to properly give them all meaningful story arcs with the overall effect feeling flat and superficial (and for me, unsatisfying). There are three characters in this story. Four, if you count the dog. Third, the short form draws in amazing actors who want the chance to play a different/unique character but without the huge commitment of the series actor who has to put the rest of his/her acting career on hold while the series is ongoing. This was an issue for Andrew Lincoln (Rick Grimes). You could say the same about “guest” directors/writers. Some of these artists are fans and they have a vision of the world and that vision is surprising and often wonderful.

EVIE/JOE begins with Joe, a survivalist living alone with his beloved Doberman. When the story opens, Joe is rewatching a football game. Civilization as we know it disappeared over a year before (see the carefully placed whiteboard in the first scene). Joe lives underground and seems to have enough electricity and food to stay happy and alive, but when his dog becomes lame, he must carry him up to the ground to go the bathroom and eventually, a group of zombies attack. The pup is bitten, dies and is buried by Joe. The subsequent flashes of Joe become increasingly depressing. A new level of suffering has entered into his life. Grief around his dog’s death and the reality that there is no one and nothing to really live for, causes him to venture out of his hole and seek another survivalist he had contacted at a date when communication outside his hole was possible. That is when he meets Evie.

Their relationship becomes the focal point and draws out the true characters of them both. Both are lonely. Both are searching. There is a question about whether or not they will trust each other and whether or not they will succeed in finding what they most hope for. Evie is a hippy, who learned how to survive. Joe is a true survivalist. Their banter is funny and revealing.

It’s pleasurable to see a new setting here as well (in regards to The Walking Dead). This is the Upper Midwest, primarily Ohio and Michigan. There is evidence of survivors and evidence of death. The zombies aren’t the primary threat, but they’re around. As the audience learns pretty quickly in The Walking Dead universe. The zombies are way less scary than the hyper-terrified humans. This story is consistent on that front.

Eventually, there is an ultimate choice…choosing sides, choosing to trust or not trust and there is a moment of facing death. EVIE/JOE will not disappoint if this is the humanity you’re looking for.

12 MONKEYS A No-Spoiler Review

My son is visiting Wisconsin and after work, we are alternatingly choosing films to watch together. Two nights ago, we watched a horror flick he chose called Hereditary, which was decent, not awesome, but was made by the same film company that produced Ex Machina(which I loved and realizing now, I have never reviewed this flick on my site…must amend).

Last night, we watched 12 MONKEYS on Amazon Prime for $3.99. This film would probably be rated PG-13 today. No sexual content really, just creepy apocalyptic tension. And wow! This is still an awesome film and has aged well. Today, I asked my GenZ kid…What do you think? Would most GenZers like this film?

He said.

Absolutely. Yes.

It’s been a while since I’ve watched 12 MONKEYS, but given my vague memory of it, I thought…might be worth the time.

One pleasure, as an older film fan, was to remember Bruce Willis and Brad Pitt remarkably in the same film. Not sure it happened in any other, but what Terry Gilliam delivered on the screen between these two, was close to perfection. This is possibly Brad Pitt’s finest acting and if you’re a fan, you’re gonna have to watch. A few images below underlie my point.

 

First, my Short Review: 4 Reasons You Want to Watch 12 MONKEYS

  1. Weird and dystopian tale, echoing Blade Runner in tone and style.
  2. One of Terry Gilliam’s masterpieces
  3. Possibly Brad Pitt’s finest acting
  4. Bruce Willis playing his iconic gritty and misunderstood character
  5. Great storytelling

Just cannot get enough of these scenes, shots of these two iconic men, culture-impacting actors for the last 30 years.

And

The Longer Review

Sometimes when you re-watch a film like 12 MONKEYS, you wonder how it’s gonna age. As an older person, you think (because you have experienced this before), was I impressed because of something slightly superficial and trite, or was this film truly great? With this flick, you need not worry. 12 MONKEYS delivers on so many levels. First, it delivers on weirdness of setting, including its gritty urban reality. My son (25yo), who has watched Blade Runner understood the dystopian aesthetic of this world. He even commented on the similarity. That, in and of itself, makes me feel I am doing my job training up my children. Second, 12 MONKEYS delivers on story. There is a clear protagonist, a vaguely enormous villain (that proves to be more personal in the final scenes) and enough mystery to keep the audience in tension. Finally, there is weirdness and surprise and the best aspects of science fiction where the perspective being put forward from one or two of the characters absolutely blows up the assumptions and values of the audience. And, if nothing else, respect these images…bizarre and gorgeous. Terry Gilliam is a genius.

 

For All Mankind, A No Spoiler Review

Apple Plus released its third season of FOR ALL MANKIND this month. I have not viewed any of the 3rd season but I did watch all of 1 and 2 and loved them. What follows will be the short review and a longer review of season 1 and 2. If you’re convinced by the short review…start watching now. If you need a little more data, the longer review will give you a better idea of why this many hours of consumption might be worth your time.

The Short Review: 6 Reasons I Recommend FOR ALL MANKIND

  1. If you love alternative history narratives like The Man in the High Castle, you will appreciate this story
  2. If you love nostalgia settings and music, think Stranger Things, you will love being immersed in this story-world, which starts in the 1960s, but spans decades.
  3. Most of us appreciate great casting. FOR ALL MANKIND will not disappoint
  4. Top-notch production value, this includes the writing, the special effects and the acting
  5. Good pacing. A lot of action, drama and tension throughout
  6. A thoughtful story. A sprinkling of social commentary for our current time…some of that commentary I liked, some I felt was contrived, but the ideas are worthy of our attention

The Longer Review: (this review contains a couple of small spoilers)

The USSR and the US are in a space race in this alternative history, set during the cold war. The USSR has landed on the moon first, claimed it as territory, and has aims to build a military compound. This traumatizes the US as a nation. The first episode captures the feeling well as it feels like a gut-punch watching the Soviet flag raised on the moon and hearing the first words of the Russian Cosmonaut as he takes the first steps…The Walter Cronkite figure on the television news reports as follows:

The first man to set foot on the moon spoke just moments ago. “I take this step for my country, for my people, and for the Marxist-Leninist way of life. Knowing that today is but one small step on a journey that someday will take us all to the stars.”

FOR ALL MANKIND was created by Ronald D. Moore (Battlestar Galactica, Star Trek and Outlander), Matt Wolpert and Ben Nedivi. They take the “what if Russia had landed on the moon before we did” scenario and create a similar history to our own, but with differences that intrigue. The writers, I surmise, are progressive in their leanings because progressive values make their way into the script and into a historically white male dominated NASA long before reality. Sometimes, it feels heavy-handed, like the writers are checking the boxes of gender and racial diversity. However, the results do make for a delightfully diverse cast.

In episode 1, the audience meets Margo Madison (pictured above, played by Wrenn Schmidt) at the beginning point of her NASA career where she is the only woman in the male dominated control center. By season 2, she emerges as NASA’s head.

By the finale of season 2, women, a couple of non-binary individuals (though they keep their gender preferences a secret), African Americans and even a Mexican female immigrant who came over the border illegally as a child, are recruited by the NASA of FOR ALL MANKIND. And who can say it might not have been this way had the US felt the pressure of its failure to land first on the moon? Also, the Soviets promote the first female astronaut, shaming the US for its lack of representation.

Joel Kinnaman as Ed Baldwin

All the characters are well-drawn and most are courageous and longsuffering in various ways. Joel Kinnaman (The Killing, Hanna and Altered Carbon) plays Ed Baldwin, an astronaut with a big mouth who in a drunken state reveals to a reporter how NASA lost the space race because of an aversion to risk. He is punished for the reveal (taken off astronaut duty and given a desk job), but his words capture NASA’s very real dilemma. In order to stay equal to, or to get ahead of the USSR, risks will have to be taken. Many characters of significance will lose their lives to achieve the elusive prize of space dominance.

This is where the series gives commentary on current society as it poses the questions that plague our century…Who will dominate the future? US and free societies (in general) have dominated the global order since WWII, but that prize came at a great cost to many of our ancestors. We have inherited something hard fought, but that inheritance is being challenged and chipped away by those who see themselves as more deserving of dominance…and perhaps they are, but some moments in history, even national failures, have the capacity to motivate a new generation of warriors. That message shines through in FOR ALL MANKIND.

 

SEVERANCE, A No Spoiler Review

6 Reasons You Want to Watch Severance

Adam Scott as Mark

  1. Two unique settings within a contained, small-story universe. (I will write more about this in the longer review)
  2. Amazing cast. Adam Scott as the stoic lead, Mark, with a supporting cast that includes Patricia Arquette, John Turturro and Christopher Walken
  3. Superb characterization and story-telling. The main character and all of the secondaries are complex, layered and quirky, adding to the slow-building tension
  4. The underlying moral and symbolic truths within the story are not yet fully baked but seem promising.
  5. This show has a slow ramp-up to gripping tension at the climax of this first season
  6. More to watch in the future because this past month, Apple approved a second season.

The Longer Review

SEVERANCE is an Apple+ production, the first season is complete, streamable now and free for subscribers. Created by Dan Erickson and directed by Ben Stiller, SEVERANCE is not a comedy. It falls into dystopian mystery with a scifi vibe. A futuristic technology at the center of the story, allows those who work at a company called Lumon Industries, to surgically divide their memories between their work and personal lives. Those individuals are called The Severed. Most of the other tech is familiar and not so modern, for example, people still drive cars around the town.

I give this series a PG rating…it’s possible it will warrant a different rating later on, but so far the mystery is more Hitchcock than Ridley Scott. My ratings usually reflect the graphic nature of the show and not the themes which in this case are harrowing for my adult brain. Would kids enjoy the show? Probably not. You won’t see explicit gore, but you will feel tortured for these characters at the center of the story, in part because of their vulnerability, which is childlike.

Britt Lower as Helly B

Regarding the setting. There are two primary “worlds” in SEVERANCE that exemplify the two worlds inhabited by the employees of Lumon.

One setting is work, the Lumon Industries office building. It feels familiar upon entering, but creepily weird the deeper in you go. The interior design is sterile, with strangely vacant work spaces and long labyrinth-like hallways. The four employees the audience follows most closely work in a large white room with no windows or access to the outside world. They are forbidden to interact with employees from other areas of the building and spend their days huddled around computers doing a job that the audience sees, but doesn’t really understand. In fact, even these employees don’t fully understand what they do, how they do it and why. It’s described as something they feel. Their work is just one of many aspects of this situation that give rise to a suspicion about Lumon. Most of the workers, including Mark (Adam Scott) submit to the rules of the company. There are a few exceptions and those exceptions give rise to Mark’s suspicion about Lumon.

The second world is Mark’s town. This is a cold, dreary place. It feels like it could be Alaska or Canada and is probably unfamiliar to most of the audience. The cold and the dark and size of the town adds to the feeling of claustrophobia, something that permeates this story. Darkness also dovetails with the theme of grief. In episode 1, the audience learns that Mark’s reason for severing came about because of the death of his wife. Mark lives in a housing complex owned by Lumon where it becomes clear, he is monitored unbeknownst to him.

Mark tries to reassure Helly B. who ain’t havn’t none of it

My recommendation to watch SEVERANCE comes with the caveat that I’m still not sure where the story is going. I have viewed the first season and loved every episode. Not everyone enjoys a slow build to a gripping climax, but I do when it’s done well and SEVERANCE does it well. So, if you’re tempted to stop after episode 1 or 2, don’t. The tension ratchets up and up and mysteries become creepier as the conspiracy is partially unveiled.

In my next post, I hope to discuss summer reading which will include:

Cormac McCarthy’s THE ROAD

 

 

 

 

 

THE BATMAN, God and Justice. Warning: So Many Spoilers

Last night I had the privilege of watching Matt Reeve’s THE BATMAN. I enjoyed the film, though it was tough to watch, a tense experience. Graphic violence is implied more than shown, but evil and darkness are palpable in every scene. Not that the film isn’t a beautifully crafted story…it is, but the narrative, the special effects and dingy, but stylized setting of Gotham give evidence of evil in every frame. It’s pouring rain and night during most of THE BATMAN and of those scenes shot in the day, skies are gray.

Of course, this is a familiar setting for our comic book hero, the Dark Knight, but what is less familiar is the tone of utter hopelessness associated with that darkness. Violence plagues the city of Bruce Wayne. In the opening sequence, it is Halloween night and masked hoodlums run wild across Gotham causing mayhem, and at one point a gang of them threaten an Asian American man in a subway station, hitting too close to home for many of us. Halloween is also the night the Riddler commits his first murder.

 

The brutality of humanity is on display in THE BATMAN, begging the question: When is a society so corrupt, so evil, so far gone, there is no hope of renewal and it must be destroyed?

Batman versus the Riddler draw out this theme because in certain respects, both men are the same. Both are trying to root out corruption, Both are straining toward a just society. Batman roots out injustice by defending the good guys and working within the system. Though outside the formal police force, his link to Lt. Gordon cannot be denied, nor can anyone doubt his insider status as Bruce Wayne, the orphaned son of a beloved city father. The Riddler however, also an orphan, stands on the outside. He roots out evil by exposing it, by punishing via execution and making a public example of those who have betrayed justice. The Riddler’s first murder is the mayor of the city and subsequently other politicians and law enforcement, those caretakers of Gotham who have made their beds with the mob. Because of these assassinations and the attention he draws to corruption, Batman along with the audience are forced to focus on what is a massively broken system at the highest levels of the city.

The audience wonders whether ANY politicians or police are clean in Gotham, and can such evil be undone when the gatekeepers of justice have become those who perpetrate injustice? The Riddler sees no way out but total destruction.

On the narrative journey, Batman faces truths about his own father. The idealism with which he has viewed his parentage is shattered, evoking for me the psalmist’s words from Psalm 14, text lifted by the Apostle Paul and placed in his letter to the Romans.

The fool says in his heart, “There is no God.”
    They are corrupt, they do abominable deeds;
    there is none who does good.

The Lord looks down from heaven on the children of man,
    to see if there are any who understand,
    who seek after God.

They have all turned aside; together they have become corrupt;
    there is none who does good,
    not even one.

Why do I include this? I think Reeves is trying to make a theological point. I bend toward theological rather than philosophical because the powerful reality (loaded imagery) at the end of the film is a flood…as in Noah and the Biblical account of the destruction of evil.

In THE BATMAN, the Riddler has set up bombs that line the seawall on Gotham’s perimeter. The Riddler has determined that Gotham is irredeemable. Gotham must die, drown or be cleansed of its evil if the water imagery is to be understood. Only then will it be reborn. A flood to destroy evil? This is as old a tale as humanity, understood within Judaism, Islam and Christianity as that time in the past when society was so broken, nearly every living thing had to be destroyed in order for evil to be rooted out. The Riddler sets himself up as God and judge. He determines that Gotham is a total loss. Total destruction is the ONLY remedy.

Batman represents another side of this argument. Don’t miss the fact that Selina (the Catwoman character wonderfully portrayed by Zöe Kravitz), tries to coax Batman to remove himself permanently from Gotham. I can’t recall her final words to Batman precisely, but they were something like…staying here and trying to save Gotham will kill you.

That comment is an homage to a redemptive sacrifice and Batman as Christ figure…sort of…The audience already knows how much life has been sapped out of the young Bruce Wayne because of his mission to avenge his father but also to help Gotham. Batman’s motives are often mixed here. Interestingly, this Batman, the Reeves’ Batman grows. He realizes that vengeance is not the full story of how he must respond to evil. To truly honor his dead father and mother, he must do more. He must minister good to the people of Gotham. Two images of Batman in the final scenes make my point. One is him diving into the abyss, lighting his flare and leading innocent people by hand, out of the flood, out of judgment. The other is him helping a wounded girl on a stretcher and holding her hand as she seeks his assurance and is flown away to safety, to healing. Why the hand? There is something about connection to humanity with the touch, a touch that is gentle, not violent.

 

 

The Russia Ukrainian War is raging as I write. Yesterday, Russian planes targeted a bomb shelter in Mariupol, a place holding hundreds of children and women. On the ground on either side of this structure, the Ukrainians had written in Russian the words “children” in very large script, large enough to see from the air. How do we as a society grapple with such evil and the destruction of so many innocents? (The number of dead is still undetermined…I will correct this when the fog of war has dissipated.)

So, I end with this image, Jesus of Sinai, Pantocrator, an icon from the the 6th century. For Christians of the 6th century, most of whom were illiterate, icons like this were essential to their faith because embedded within each icon are theological truths. For them, looking at an icon was like reading a holy text. With Jesus of Sinai, notice the weird lighting on his face, one darker side and one side lighter. That is intentional. Why? The post-modern viewer might not discern what his face represents but to early Christians, they represent two sides of the creator as God looks out over humanity. If you put up your hand and cover one side of the Messiah’s face, you see a bright and compassionate mouth and eye. When you cover the other side, you see a darker eye, an angry glare. The iconographer and the theologians of that time understood that both are legitimate sides of God and both are legitimate responses to a broken humanity. The story of God as laid out in the Bible is of God grappling daily with a society gone wrong. On one hand, he is merciful and forgiving, on the other, he is vengeful and ready to punish. Both are legitimate responses to the problem of evil. Current people of faith struggle with that darker view of God but might do well to ponder it. Noah and the flood tell its story as do Jesus and the cross. And here we see the author of the new Batman series exploring both reactions to evil, but favoring mercy in the end.

We live in a complicated world, but some truths/questions find their way into our art, even if that art is embodied by a comic book character.

Kudos to Reeves for attempting something really big in his portrayal of THE BATMAN.

THE SILENT SEA, More Brilliance From the Korean Film Industry, A No-Spoiler Review of the Netflix Miniseries

First, the Short Review

6 Reasons I Recommend THE SILENT SEA

  1. Beautiful production overall, including visuals that underlie the creepy vibe 
  2. Featured a number of my favorite Korean actors, a few you might recognize if Squid Game was on your watch list this past year
  3. Plenty tension and surprises/frights
  4. A number of science fiction and haunted house tropes embedded in the story and various characters (see more in longer review)
  5. The relationships and particularly, the relationship to authority feel authentically Korean. (also, see longer review)
  6. You know I love the miniseries genre, 1-hour installments of great storytelling that comes to a conclusion without an agonizing cliffhanger

 

Bae Doona as Dr. Song

Longer Review

SILENT SEA is the story about a mission to the moon to find water. I rate this series PG-13. No sexual content in this production, but there are dead bodies, and some gore. 

The first episode quickly gives the viewer the high stakes for this mission. Drought has plagued the Earth. Water is the resource most valuable and due to its scarcity, the planet has become a wasteland. Water is rationed to such a degree, many have suffered physically, billions have died. The wealthy nations have gone into space to find a water source. Most abandoned the idea of finding water on the moon after searching, but the South Korean government kept snooping. There has been a top-secret program at a large moon station that was believed to have borne fruit, but suddenly…the experiment falters. Everyone dies all at once on the moon station. The earthbound directors, including Heo Sung-tae (pictured near end of review) initiate another mission to go to the station and investigate the truth, but secrets pulse underneath the surface of this mission and become one aspect of tension in the story. The authorities hold their cards close and the military and science leaders do not push back, though they suspect something fishy. This may or may not be an aspect of Korean-specific deference to authority, but the screenwriter exploits what I understand as deference in a way that serves the story. Also, this is where the nuanced acting plays such a powerful role in the unfolding of the narrative. The audience can see in the face of Bae Doona, the slight suggestion of twitch, a blink, a stern jaw…we see it, but barely and it helps us know that she understands that she is being deceived. Yet, in most of the outward behavior, she acts the true soldier. Doona is great at this nuanced acting, but she’s just one, among a number of these performers, who pull off such nuance.  In my mind, THE SILENT SEA showcases superb writing and better acting than Squid Game. Click for a review of Squid Game

 

Gong Yoo as Captain Han

Once the mission lands on the moon, what unfolds reminded me of Ridley Scott’s Alien, in all the best ways. Yes, there will be corpses, tunnels, darkness, betrayals, a terrible and contagious sickness, but there will be one character who keeps her eyes on the prize. Dr. Song (Bae Doona) is intent on discovering the truth. In part, she seeks the truth because her sister is one of the corpses and the holder of many of the secrets. Doona as Dr. Song, pictured above, is a female lead in the Korean zombie series, Kingdom. To see my review of Kingdom, click here

The somber team after crash landing on the moon

I beat this drum a lot but I do feel that Netflix streaming continues to find the best international productions and when it comes to science fiction, the Korean film/media community is putting out a lot of great product. Produced by Jung Woo-sung, directed by Choi Hang-Yong, who deftly handles the brilliant storytelling of screenwriter, Eun-Kyoi Park. Honestly, I think I could teach a five-hour course on writing with this series, moving scene by scene through the screenplay, in terms of a classic sci-fi thriller. Fun fact, this story (as did Scott’s Alien), closely follows the haunted house template. That means there are a few predictable tropes. The audience knows that the mission is doomed (at least the mission as it was originally conceived) as one by one, the team gets whittled down. Who will remain in the end…that is what the audience wonders. Regarding the various characters, the majority of them hold their own, each having his/her own arc, including the wise-cracking military scrub who just wants to go home…a longing the audience suspects will not be realized.

Heo Sung-tae as Kim Jae-sun

I highly recommend. THE SILENT SEA, and suspect that Netflix now has me pegged in its algorithm as a person who loves Korean-produced thrillers/sci-fi. I might need to give the Koreans their own category on my site. The product is so good, I can’t stop watching and when I watch, I always review. 

STATION ELEVEN, A No-Spoiler Review

Himesh Patel as Jeeven

Last week, a few members of my family watched all ten episodes of STATION ELEVEN. This HBO Max miniseries is based on a novel by Canadian author, Emily St. John Mandel. 

As a dystopian story, this series pleased all of us, different generations and genders. I rate it PG or PG13. The topic is challenging, but the people in STATION ELEVEN are not vile or overly violent…not much gore or explicit sexual content to worry parents…however, the subject matter is sophisticated, a web of relationships.

First, My Short Review: 6 Reasons I recommend STATION ELEVEN

  1. The storyteller uses a familiar trope, a world destroyed by a deadly and contagious flu, but delivers an unexpected cast of characters, as well as a post apocalyptic vision of hope
  2. The angle on “life-after-the-fall-of-civilization” captures something both historic and literary in how human beings find meaning in the broken world they inhabit
  3. The characters shine and fail, change and surprise
  4. A fun cast as ethnically diverse as it comes, and without stereotyping
  5. The city of Chicago or the wilds around Lake Michigan are featured in just about every episode…and that felt refreshing. Granted, I now live in the Upper Midwest, but new settings other than NY and LA are a welcome television treat
  6. STATION ELEVEN is self contained as a miniseries. Watch all 10 episodes and you have a complete experience…I like that.

Mackenzie Davis as Adult Kirsten

The Longer Review

STATION ELEVEN, the miniseries, is based on a novel I have not read. One scifi-reader friend told me he found that novel difficult to “get into” as a book. He felt impatient with it, complaining how it took too long to get to the dystopian world scenario. He was bored by all of the setup and character development that took place before the prime action. That feedback makes me curious to read the novel and then analyze how Peter Sommerville’s screenplay adaptation made adjustments because I did not feel this while watching STATION ELEVEN. The first episode features the unraveling of the world and the tensions inherent in societal breakdown. It focuses on two main characters: Kirsten and Jeeven, a young actress and the man who winds up becoming her caretaker. The subsequent episodes put forward backstory that help build the world and the complex web of relationships. But…I cannot say that the initial story in episode 1 bored me in any way. 

Following a traumatic event at a Chicago theater performance of King Lear, Jeeven (an audience member at the theater) is warned by his sister, a doctor on the front lines of the flu pandemic, to get to a market, buy food and make his way to their brother’s high rise apartment. Kirsten, who is a young actress in the play, tags along with him. Jeeven tries to take her home but is unable to locate her parents, so he takes her with him to a market and buys six grocery carts full of food. Together, they push those carts to Frank’s apartment complex, load them on the utility elevator and end up safe with Frank (for a while) as the rest of society crumbles around them. Technology fails, little by little, including their electricity. There is little contact with the outside world. Kirsten entertains herself by disappearing into the world of a graphic novel called Station Eleven. She begins to write a play based on the novel…a book written by Miranda Carroll (Danielle Deadwyler) the ex-wife of Kirsten’s acting mentor, Arthur Leander (played by Gael García Bernal). Leander is a key character in the threads of this story, despite the fact that he is one who collapses and dies on stage while playing Lear in the first minutes of the series.

Jeeven, Frank and Kirsten do not fall to the flu. They stay safe and relatively well-fed in the apartment despite freezing temperatures. However, their haven doesn’t last forever and eventually, the author exploits this trope; the survivors must leave their haven and brave the outside world.

Matilda Lawler plays the Young Kirsten

In this next section of the story, Kirsten finds her way to a shakespearean acting troupe. They become her new family. The drama troupe travels around Lake Michigan in the warmer months, performing among other plays, Hamlet. This is one of the surprising twists in the post-pandemic dystopia, to put forward the idea that the arts will continue and be celebrated by many despite how raw life has become for survivors. You will have to watch to find out what happens to Jeeven and Frank. The two brothers are wonderful characters…memorable and complicated.

There is another storyline that enters the series at this point, still somewhat connected relationally and geographically. It’s a surprise, but not an unwelcome one and adds to much of the backstory. Still, the audience does not know how this new storyline will connect to Kirsten’s. It does and it did not disappoint me.

What is woven through STATION ELEVEN is how the connective tissue of our friendships and relationships emerge even in a time of trauma and loss. The storyteller takes us to a place that might seem contrived, yet captures a potential truth, reminding the audience that connections matter and that the truths underlying relationships, like those put on the stage by William Shakespeare, are universal and relevant (especially relevant) to the human experience post pandemic. 

 

 

ALL SYSTEMS RED, by Martha Wells, A No-Spoiler Review of the first novella in the Murderbot Diaries Series

A novella. Hey, what’s that? Well…it’s shorter than a novel. And…as with all printed matter, it’s a pleasure to read when it’s entertaining and well written.

ALL SYSTEMS RED is a story, entertaining and well-written, that one can read in about 4 hours. Rated PG-13 for adult themes. I read this novella on a flight from Minneapolis to Seattle. I flew on Delta and none of the airline’s tv/film options seemed very thrilling to me. I often try to see HBO or Showtime options when on a flight because I don’t subscribe to either of those services in real life. Thank goodness I had taken this book with me, hardback, but thin, lightweight and easy to pack because it’s only 127 pages.

And now, for my Short, No-Spoiler Review

I highly recommend ALL SYSTEMS RED for these 5 reasons.

  1. Original voice…the narrator has the appeal of an innocent, he/she is like a child, yet holds the capacity to narrate a futuristic society inhabited by humans and AI living and working together
  2. Genre bending…science fiction merged with mystery…in other words, a page-turner
  3. Thought-provoking ideas about AI and how future humans might understand morality/humanity in regards to AI
  4. Interesting world-building and a great set-up for subsequent stories
  5. ALL SYSTEMS RED would make a great audiobook. See the longer review for more

Longer Review:

Martha Wells has created a fascinating universe of humanity working and living off Earth, in space, in places that can only be reached via light-speed travel. She doesn’t fixate on the physics of the issue (regarding traveling across vast distances) but focuses on the gritty work life of humans and their bots. In the author’s futuristic world, full AI exist as sex workers and security units (SecUnits) and other helps in life. Also, some humans adopt robotic parts (augmented humans). So, there is a mix of how humans have integrated with tech and within the story world, there is little “judgment” about these realities.

While this is all true, the AI mind that narrates this story has a judgment about itself and humans. The view is not completely skewed toward disgust for humans, though there is some leaning in this regard. Granted, I’ve only read the first 1.5 novellas. But what works in the narrative is that Wells has put forward a more dispassionate, yet charming view of the world the way it is. I highly recommend these novellas as entertainment and am slowly discovering how they speak into deeper moral questions around humanity’s race toward the future, a future in which robots and artificial intelligence will be embedded.

Regarding the narrator. The voice is absolutely charming. I did not listen to the book, but can imagine the voice. This book would be a pleasure to listen to.

To buy the first book, click on All Systems Red

Four of the series in hardback can be bought together. Click on Murderbot Diaries

For the least expensive version to try out novella #1, click on Kindle version: All Systems Red

For the audio version of novella #1, click on Audio of All Systems Red

Space Sweepers, A No Spoiler Review

What to expect when watching SPACE SWEEPERS…Great storytelling, compelling characters and a science fiction setting that evokes the best of a well-produced space opera. This film is free on Netflix. I rate it PG-13 for some violence, but it’s a bit like Star Wars type violence. Not a lot of blood, but definitely carnage.

5 Reason to Watch Space Sweepers, The Short Review

  1. characters, they’re funny, quirky and smart…They reminded me of many beloved STAR WARS characters
  2. Special effects, on par with cinematic space opera’s like Star Wars
  3. Family friendly, nothing offensive for parents trying to figure out what to show their kids
  4. Excellent space battles
  5. An ultimate choice for the main character(s) that packs an emotional punch

The Longer Review

This film assumes a space opera vibe and so reminded me of Star Wars, yet felt original. The pacing of this screenplay gave exactly the right amount of info while embedding a few nuggets that made me go back a rewatch portions. That was rewarding and I loved the heartbeat of the story’s core…the transformation of a rogue…think of Han Solo and his journey.

Not that this story only bleeds a happy ending. There is a tragic trade that takes place, a brutal choice for the main character. However, the overall adventure ranked above my expectations. When I’m streaming something online like this, I’m not expecting brilliance, but when it’s Korean made, I am coming to expect top-notch production. The Korean film industry is doing something right by focusing on great storytelling and upping the game at every turn when it comes to investing in the visual feast. SPACE SWEEPERS is no exception.

To note: The villain in SPACE SWEEPERS reminded me (visually) of Jack Dorsey, former Twitter CEO, former CEO as of today, November 30, 2021. I wonder if the film maker has/had a bone to pick with Twitter.

I will continue to seek out, watch and review Korean-produced scifi/horror/speculative fiction because in the last 2 years or more, the flow of great content is undeniable. For more Korean-productions that I’ve reviewed, see:

KINGDOM, A Review of a Korean-Made Masterpiece

SQUID GAME, A Review without Spoilers

TRAIN TO BUSAN, A No Spoiler Review

 

DUNE Part 1, The film. A No-Spoiler Review

DUNE, the 2021 film is a true hit and a must-see large screen theater event. It drew millions across the globe to the theater. I was among those who saw it and loved it. I saw it a second time within a week and the film was still breathtaking, and I’ll see it again though probably via my television.

In a similar way that Peter Jackson pleased both the non-reading audience and the hyper fan of the books, LOTR, it’s looking like Villeneuve will do the same for the average viewer and fans of the novel. First installment of George Herbert’s universe, check. To read my review of the novel DUNE, click here. For my review of the film, please continue.

DUNE is the first of two films, and there could be more if Villeneuve decides to continue with the DUNE’s sequels. We’ll see how that goes. The later books are brilliant but probably more challenging for the average audience member to consume. Herbert’s world is a complex and mostly unhappy place on almost all counts.

First, The Short Review

5 Reasons You MUST See this Film if you are a Scifi Fan…

  1. Mostly pitch perfect and accurate (close to the novel) storytelling
  2. Herbert’s DUNE is a foundational work in the scifi genre and has a huge international following. AKA, without Dune, Star Wars might never have happened.
  3. A vision within the story that transcends culture and era
  4. Great casting
  5. An epic visual feast

Paul’s Mother Jessica, the Bene Gesserit concubine of Duke Leto

Now, for the Longer Review…

If you want to go deep, super deep on DUNE, there are papers written, blog posts and articles that speak to why the story DUNE is one that has reverberated in many cultures, especially subjugated cultures, since it was released in 1965. This article is a  good one, in case you want more breadth about the history. Click on the link for the Guardian’s penetrating reflection. DUNE article, Guardian.

As a viewer of the film, what I wanted was something of the depth of the novel, a compelling vision of the world of Arrakis, Caladan and the politics surrounding the story. I also wanted characters who made sense within that world. They had to feel real. DUNE delivered on all counts.

True, the viewer is only getting a third of the character depth in the film version and for that reason, I encourage all to read (or re-read) the novel. It ages well. But, even if you don’t read the novel, Paul, Leto, Jessica, Duncan, Kynes and the Fremen come across very close to the novelist’s vision. I had two observations of change that caught my attention: Villeneuve did not portray the Atreides, mostly male in-house staff accurately in terms of their suspicion of Jessica as the betrayer. Their suspicion of the one woman in the mix comes through in the novel, not in the film. Also, the gay Baron Harkonnen is a known child predator in the novel. I can guess there are many reasons Villeneuve decided to forgo this portrayal of the only gay character in the story world. Let him be obese and disgusting in the visuals, but diminish his child predator persona. That seems like a wise decision on many fronts.

The portrayals I loved:

Arakkis, the worms, the Fremen, the sitch, the general feeling of the Bene Gesserit, the Harkonnens, the Sardaukar, the ornithopters, Arrakeen, the costumes (including the stillsuit)…these are all perfect, as are the actors’ portrayals of their characters.

Overall, DUNE was worth the money. I highly recommend this film. Rated PG-13 for violence.