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The Shift (2023)
Faith-based version of The Devil's Advocate
Acting and effects were good, story moved a little slow, but was poignant. It was worth seeing and reminded me a lot of The Devil's Advocate, with personified evil (a devil) and a flawed protagonist who improves.
The climax comes early, when Kevin is tempted and prays in front of The Benefactor. (Not a spoiler, it's in the trailer.) Replacing his will with a pleading for God's help (and will). And most similar to Job's story, when tempted by his wife to curse God.
I would have liked to see prayer at Kevin's final choice as well. (Which reminded me of Constantine.)
The alternate-world viewer was kind of simple but was a good place to budget; story-wise it worked fine.
Friday the 13th: The Series: Bad Penny (1989)
Poignant with regards to Johnny's father
Most of this episode was the usual for the series. But some writer put in the sub-arc about Johnny terribly missing his father. I empathized with him. I think everyone who has lost someone dear (death or romantic) even a pet has wished they could be with them again, even if for a limited time. Grief is awful. But bringing the person back may not really be enough to end the grief.
This episode deals with how it would really be. Where do you fit them into your life now that you have moved on? Would you really be able to do justice to them without ending parts of your life that are just as deserving?
This does actually play out in the real world as children sometimes have to quit their jobs or make other serious accommodations (moving into their home, conflict with spouse) in order to take care of an aging parent. Not to say that isn't the right thing to do! Just saying it can be difficult.
There was a Constantine episode sort of like this. A woman gets her husband back but he is draining her life energy. She is willing to endure the sickness (coughing, hurting, moving toward death) because she loved him so much.
Star Trek: The Next Generation: The First Duty (1992)
No clear solution
I love episodes like this where there is no obviously correct solution. (Some of the original series were like this, where Kirk will violate the prime directive for the "good" of a society that was doing alright as it was.)
And conflicting loyalties. Do we follow the rules or try to cause the least harm?
Picard and Wesley are usually presented in the series as being without fault. To see them weaker created an episode I was thinking about days later.
** Warning: Minor spoilers below
Right after Wesley's predicament is laid out, a conversation with the Academy elder (the gardener) reveals that Picard had done something that was worthy of expulsion. The elder had protected Picard to some extent; the writers leave ambiguity as to whether it was defense (if he was a gardener then, it couldn't have been much) or a full cover up.
This small scene sets the focus for the episode, and (for me) sets up Picard to be a hypocrite later as he gives Wesley a sermon about duty to truth. (Others take the focus to be the statement "made sure you listened to yourself", which is just as valid, but less interesting.) Was Picard's "doing what was right" protecting his fellows?
Wesley's character too is impinged as we learn he has done something banned by the Academy, something unnecessary and risky that has in the past caused others to lose their lives.
The Corrupter" (and what I remember of "Miller's Crossing") are films I loved with a similar theme. Cops in a completely corrupt environment. If they take out the bad guy another will rise. Do they try to make an incremental improvement though they will become corrupt themselves?
A Scanner Darkly (2006)
Very close to the novel
I have never seen a movie as close to a novel as this one. Most of it is a dark comedy about the crazy way drug addicts think. Similar to Fear and Loathing in Las Vegas.
If you are a fan, you should read the novel for some small sentimental sections, regarding Arctor's relationship with his girlfriend, and his wishing someone could see inside him and remember who he was (the title). Finally the author's note at the end; a list of the author's friends (and himself) who died or suffered from drug abuse, and his emotional pain.
These sections had a tremendous impact on me. Partially because the subject isn't fiction. The 1977 novel's substance D could just as well be today's methamphetamine. My wife works at a county jail, where she sees the burnt-out parodies of humans every day. And because romantic relationships are often less than what we hoped for.
The Legend of Hell House (1973)
Weaker than the book
This movie does try to be faithful to the book, and most of the story is here. But it censors itself (to PG) so much that most of the horror and disgust of the book is lost. Also, the characters hold themselves together much better; in the book, they are all out of control by the end, similar to a King or Koontz novel. I started out reading the book, which partially biases me, of course.
What I did like about the movie is the flatness of the atmosphere. It's like a comedy without a laugh track. There is no creepy music, just creepy sound here and there. Maybe the real reason for lack of music was budget or time. But it has an effect on you, similar to the effect of the focused lighting. You feel suffocated, sort of the "power" of the haunted house.
The medium's interaction with Daniel is pretty much as in the book, though as I said, everyone isn't slowly losing their mind.
If you haven't read the book, the movie isn't good enough for me to recommend. Even if you've read the book, I'd only recommend it to see one of the few movie screenplays written by Mattheson himself.
The book is not as focused as a King or Koontz novel, so is less intense. But the characters are all different and well-developed (reminds me of Card's _The Abyss_); you understand and respect their opposing viewpoints. And so feel for them more as the House attacks them. The characters are the best part of the book.
The story may have been stolen from Shirley Jackson's _Haunting of Hill House_. I've seen the 1963 version of the film; very similar.
** Spoiler section **
I wanted to give some examples of how the characters are falling apart more in the book.
The physicist is what we'd call a parapsychologist (maybe they didn't have the term when the book was written?). His thumb is cut deeply, maybe to the bone, and his hand is badly infected; it may even need partial amputation. As I recall, his leg was injured as well and he'd lost a lot of blood through that wound. When they telephone for help, they are told that none is coming, and there will be no reward for their efforts. His wife is almost completely insane at this point. When she comes out of induced sedation, she begs her husband to get her away from the house. If Lionel were anywhere near in his right mind, he would try to limp out (the car was destroyed in a crash, I think) and save what is left of his hand and his wife's mind. He sedates her again partially to keep her from interfering with his plans, which shows you the depth of his obsession.
Pride and obsession are also the medium's downfall. As in the movie, she believes she can prove everyone else wrong by freeing Daniel. She is the leader of a Spiritualist church; a charismatic figure like Aimee McPherson. Her pride causes her to believe that her new powers as a physical medium are a gift from God. With this, the money, and the reputation for clearing this most haunted of houses, she will be God's instrument of good for those she leads. It may have just been my impression, but she cannot let herself be violated in order to retain her powers. Also, her conscience would require stepping down from leadership. Like Lionel, she is set up to lose everything precious to her.
Fischer goes from being a coward to something of a hero by the end. But still, the House has him moments away from accidental suicide before he is rescued. There are waves of insanity hitting him. Delusions, visions, he's not sure what is real. His emotions and environment in turmoil, he uses what little is left of his reason in order to survive. His bravery doesn't come entirely from himself, but his friendship with Florence, his respect for Lionel, and empathy for Mrs. Barrett.
I happened across a wikipedia article on Aleister Crowley. Belasco (the antagonist) was likely based on him; both were evil and thought developing one's will as the greatest virtue.
Ring of the Nibelungs (2004)
Lacking something, but a good story
Story moves along, and the final personal interplay cannot help but be good, since it uses material from the ancient saga. (Mad Ludwig liked Wagner's version of the story enough to build an opera hall that opened with it.)
The setting felt real enough. Acting quality varied from good to poor, with actors erring on the side of being flat. The dragon looked real, effects were fine.
Maybe the problem was that the story moved too fast, so that we didn't have enough time to get to like all of the characters. Each character pursues a goal or has a character flaw that pulls them slightly off course. But all remain within our range of understanding and identification. I wouldn't be surprised if that's how the original legend is.
Some performances that made up for missing character development were Prince Giselher's admiration for Siegfried, King Gunther's restraint to abusing his office, and Kriemhild's impetuous jealousy. All made the characters more believable.
Star Trek: The Ultimate Computer (1968)
Finally, a counterpart for William Shatner
William Marshall (Daystrom) overacts with as much vigor as Shatner in this episode. Long impassioned monologues that leave me rolling on the floor laughing.
As usual, the writers didn't miss out on the chance for relevant social commentary. Back then, computers were so expensive, only corporations owned them. And it wasn't just the misinformed who gave computers more respect than they were due. Artificial Intelligence researchers believed that they would soon be matching human reasoning. Such power in the hands of a few was of course a frightening prospect.
Daystrom's best moments are at 29 and 42 minutes on the DVD.
They (2002)
Scary trappings, good characters, but story is lacking - minor SPOILER
If you were to watch a fragment of this movie, you'd want to see the whole thing. The scenes are shot scary, the characters are fairly identifiable and believable, and you want to solve the mysteries. We have a protagonist that we can identify with, who gradually loses control of her world and herself. (A theme I've noticed in every King / Koontz book I've read.)
The problem with this movie is the story's repetition. For instance, while the was-it-just-a-dream device is good, it is much overused. There is some character development outside of the protagonist. The boyfriend, who really wants to believe, but is too grounded in the real world. Billy's friend, who believes a solution / salvation lies in his dead friend's notebook. This is exceptional for a horror film, and why I like _Butterfly Effect_ so much. But just as we begin to identify with them, they get lost in the repeating theme. "They" come, "they" kill.
** minor spoiler ** I started to get more interested in the subway, when Julia scores a couple minor wins against the creature(s). I began to think she might organize some opposition (ala _Nightmare on Elm Street_). Which we would really like at this point, because we are rooting for her. But no, nothing interesting.
You may have trouble with suspending your disbelief as well. While hissing and sputtering electrical lights were fine, half of the time "they" are shutting off lights in banks, with the resonant sound of relays. What next, will "they" be using power tools? (But this is me -- I was laughing hysterically when they were talking SMPTE codes during _The Ring_ -- Samara going from thermography to frequency-modulated helical scanning is quite a trick.)
Summary: They come, they kill. Lather, rinse, and repeat.
Days of Wine and Roses (1962)
Tragic love story: destroyed from within
The tragedy of this love story is that of unkept commitments. The emotional, financial, and child-rearing commitments of marriage are discarded for a primary relationship with alcohol. And other obligations too, such as daughter to father.
The character development of Kirsten is well done. We are privileged to skip years at a time, seeing her going from having fun with alcohol (where most people stay) to it consuming her, a little at a time, with the snapshots spread over years. We see Joe wander unhappily for half a lifetime before finding himself. We see his initial shallow love becoming real, and we see it tested. At one time or another, both Joe and Kirsten's love is real, which makes the ending so powerful.
The most heart-wrenching scene for me is the confrontation between Joe and Kirsten's father in the greenhouse. After many years of denial, we get to see a sample of Kirsten's father's intense emotional pain, with the final acceptance that his daughter will never be the same. Even worse, his age indicates that this is near the end of his life. Even if Kirstin could turn back, it will be too late for her father.
After I saw this movie, I found myself analyzing what human relationships are about, and the expectations that come with those relationships, so I could figure out exactly what went wrong. Is the movie just about a partner leaving, as with infidelity? It is much worse than that. This is about theft and destruction of identity and purpose, choice and control. Dulled by the pleasure and escape, Kirstin doesn't even know what is being taken from her. Even though everyone she hurts loses much, her loss is even greater.
This movie counters the popular belief that alcoholics are just partyers or problem drinkers. This may be where they start, but it's not where they end up. Even with the most powerful of reasons to stop drinking, the love for their daughter, Joe and Kirsten are unable to stop; they drink because they are addicted.
The portrayal of the AA meeting isn't as good as it could have been. I suppose it may match the world's perception, with overtones of a religious tent meeting. Go to one, and you'll find that they aren't about swearing off addiction, they are about self-acceptance and seeing yourself objectively. Somewhere between the denial that you are not an alcoholic and self-disappointment / guilt is a realistic view of who you are. By accepting yourself and having the support of peers, life's challenges can be met without alcohol. Hope for internal improvement is given to a higher power, rather than trying yourself, then being disappointed.
Having loved an alcoholic at one time, I can tell you that the pain portrayed in the film is all real. It is not just that alcoholics can't stop; smokers can't, but only hurt their families financially.
The pain comes in because alcohol causes loss of emotional identity. Alcoholics have no idea who they are anymore. They cannot love, they cannot even be very good friends. They push everyone away to love their addiction, then become emotionally needy, so use those around them emotionally. (The worst way to be taken advantage of.)
Thankfully, most people are genetically predisposed to get sick when the alcohol dosage gets to levels that can cause real addiction. Those that can drink may never have opportunity to sustain that dosage long enough to get addicted. But for the rest, this movie is a warning of what alcohol has waiting for you -- the destruction of any kind of normal life.
See "When a Man Loves a Woman" for a more modern setting for this type of story, though it is not as good.
Myst III: Exile (2001)
Spend the evening in the great outdoors. It's the journey, not the goal.
Game sound is very important to me. I wear headphones, so if a game has good stereo sound, I almost feel as if I am there. Good music can also add emotion to a game. This game has all that (as did the original Myst), wonderful raytraced graphics, and seamless Quicktime overlays. For me, it held up very well, even though it was released three years ago.
Effects. Not only are sound effects panned correctly when you turn around, they were recorded well in stereo, so sound great. Wind chimes, wind, ocean water, river water, creaking bridges, clanking machines. Effect sounds are imperceptibly looped. They get muffled when you enter a tunnel. I sometimes leave the windchimes running while I'm reading or doing paperwork; the quality is that good.
Music. Each level/section has its own theme music. Segments are played at random intervals, to add ambiance, without getting tedious. The Options menu has a "Music frequency" control, so you can control how often music is played. When not playing the game, load the M3Data subdirectory into your MP3 player, to hear all the pretty themes again (1.5 hours of mp3's!). Occasional choral accompaniment adds even more emotion. Music themes are often heavily panned -- I suppose to make you feel that the theme is all around, or following you around. And also to spook you. If you really like the music, there is a Jack Wall soundtrack CD, though it is currently out of print.
Graphics. Myst depends heavily on realistic graphics to increase immersion. While 3d graphic cards keep improving, raytracing still looks better. The large storage capacity of CD media allows the Myst games to avoid the downside of raytracing: rendering speed. Exile adds the ability to "turn around" at each location -- the render is for an entire sphere, rather than just the rectangle of the monitor screen. Quicktime movies allow playing back video recordings left by characters in the game. But they also permit animation of gadgets, machines, or even an alien squirrel. The transitions between the raytraced images and the animations are almost imperceptible.
Puzzles. I always have trouble with them, though I can usually solve one or two in an evening. Any harder though, and I would probably have gotten tired of seeing the same level for too long.
Media. The "anniversary" edition of the Myst trilogy is on a DVD-ROM (at about what I paid for Exile alone). This would remove the need to switch between the four CD's, or give up 2 GB of my hard drive space for the "full" install. If I had it to do over, I would have bought the DVD version. I think that all versions require a non-copyable key disk to be in the CD drive, or they refuse to start up. My CD version certainly did.
Crashing during the movies/animations? My marginal laptop CD drive (Samsung 308B) corrupted about two data files per CD, during the "full" install. After spending about 5 hours -- upgrading my video and sound card firmware and drivers, trying multiple versions of DirectX, updating Quicktime, and banging my head, I thought to diff files. It was the CD drive. Fortunately, the "full" install copies the CD's verbatim to the hard drive. To fix, I just copied the CD "Data" directories across the network, from a computer with a better CD drive.
Game trailer / advertisement. Search apple.com for "myst exile".
Summary. I love the Myst games, because I feel like I have spent the evening outside, in beautiful natural settings. Even if you don't like puzzles, this is still a place you should visit. Cheat your way through the game, if needed, just so you can see all the beautiful worlds. Go for the journey, not the goal.
For an even more immersive experience, try RealMyst. It is a remake of Myst, with interactive (ala Quake) graphics. Search apple.com for the Mac demo, and gamesdomain.com for the PC demo. (Many sites have bad links to the PC demo, so keep looking.)
Jan '05 update: Official site (myst3.com) is gone. Use a web search to find trailer: myst3_480.mov
Moulin Rouge! (2001)
Fantastic music video
Luhrman's Romeo and Juliet uses a pop exterior to bring Shakespeare's rich dialogue to moviegoers who never would have sought it out. Characters are successfully translated, so that the audience can identify with them. The colorful presentation makes it fun to watch. Shakespeare's story makes this film easily rewatchable, especially in the modern context.
Luhrman's Moulin Rogue! has flashy presentation AND pop music. But the story feels thin and stretched. It must compete for time with the (amazingly arranged) music, eye candy, and comical scenes. The underlying story is romance vs. pragmatism, and the challenge of whether or not love can conquer all did have me thinking about the ending two days later (a sign of a good story).
I was blown away by the rooftop love-song duet. Having rented it the first time, I bought the DVD several months later. And found the film as a whole not very rewatchable. The music is still quite good though; I wish that there were an easier way to just play the songs, other than skipping through the chapters.
The leads both did a good job getting us to identify with their characters, with the few serious scenes they had together. For instance, Nicole does a good job on the rooftop scene with eye contact, to show internal conflict, to help us believe she could still fall in love. They were obviously convincing, or the ending wouldn't have moved me so much.
Expect a music video movie (as in Graffiti Bridge), and you won't be disappointed. You will also be rewarded with a bit more, in the story and setting.
Brainstorm (1983)
Hokey sections, but good depiction of a startup firm
Having worked in small software firms during my entire 18-year career, I laugh at the caricatures seen in Dilburt. This movie goes deeper, capturing the feel, dynamics, and personalities in a tech startup company.
Ahead of its time, it also included the cyberpunk concept of direct access to the brain, though via simple recording & playback, rather then connection to a computer.
Finally, the movie speculates that shallowness in love relationships occurs solely because of shallow communication.
Lillian is particularly likable as the Engineer. Obsessed with her job, we find her working late Friday night, chain smoking, listening to music, with the tools of her trade messily scattered about. Or hacking with other engineers, probably making intuitive leaps and guesses. Most would find her emotional investment in the project abnormal, but we can easily ignore this, given the fantastic product she and Michael are working toward.
Never having had time to polish her social skills, she attacks the investors on two different occasions. Which we can also forgive, as they are foreshadowed to be the bad guys.
Lillian's statement about good projects getting canceled or shelved is all too true. Small & medium-sized companies are susceptible to changes in funding, takeovers / relocations, bad management, warring departments, and warring individuals.
Michael is also likable as the Architect. As in the real world, he is so interested in getting on to the interesting part of the project, he is incapable of writing good documentation. (And probably leaves lots of bugs in his work, though that isn't depicted.) He also feels personal ownership of the project, as everything around him was once only a design in his head.
The investors (think venture capitalist) make moves to protect their investment, replacing the middle management that won't play along, and locking down the assets. Having lost his friends and the free environment that he is used to, we see Michael put up with it for awhile, but eventually his strong personality (think Steve Jobs) leads to a clash.
Alex is recognizable at the Chief Technical Officer, who needs funding to remove roadblocks for his team. So badly, it turns out, that he can't be choosy about where the money comes from.
Hal is the Project Manager, memorably seated next to his Gantt chart, and later on the golf course. While his corporate role isn't fully developed, we see his people skills, which he would use to evenly distribute pressure from upper management, making deadlines appear reasonable, and cajoling when necessary. (Non-coincidentally, my last two project managers have spent a lot of time on the golf course.)
Summary. If you can ignore (or fast-wind) the silly evil-military portion of the film, the characters can be believable and engaging, and the love story is at times touching.
Extra. Not in all cuts of the movie, the scene where Karen is singing softly (and poorly) to Michael gives the character a vulnerability that is identifiable as true love.