The Creator: beautiful sci-fi trope purée

The Creator, written and directed by Gareth Edwards, is visually spectacular. It conveys an impressive sense of scale, and the sci-fi elements are seamlessly integrated. 

Edwards is very good at conveying verisimilitude, of making the fantastical seem believable, and loves distant shots of characters in sweeping landscapes. Visually, it reminds me of David Lean epics like Doctor Zhivago and Lawrence of Arabia. 

Story wise, not so much.

The actors are excellent, making the most of the material they've been given. 

There are many impressive scenes which, in isolation, suggest a great film. 

Unfortunately, the whole is less than the sum of its parts. 

I really wanted to like this film. I admire Edward's innovative film making. He's a visionary. At least, he is when it comes to visuals and production process. 

His background is in VFX, and that's where he truly excels. 

But while the design of this futuristic reality was slick and polished, it felt just a little... generic. That wouldn't be a problem if the rest of the film were compelling. Unfortunately, there's not much underlying the gleaming VFX facade here in terms of world building. The conflict here has no depth. It's like they put a great big bucket of sci-fi tropes into a blender and this purée was the result. 

Even that can be fun, but story wise it did not work for me. 

It was one of the most frustrating viewing experiences I've had in recent memory. 

Edwards has oodles of talent, it's obvious from the visuals and his production process. And he loves sci-fi. I have no doubt that Edwards, powered by right script, could produce a cinematic sci-fi masterpiece. 

One day.

Sadly, this isn't it.

Top Gun: Contrived but fun

Don't think, just do! Use the Force, Tom! Which movie am I watching again?

Top Gun: Maverick is a template driven popcorn blockbuster, but it's a hoot nevertheless. 

It starts with our eponymous hero, Maverick, working as a test pilot on a secret Air Force project that's about to be terminated... spoil sport general (Ed Harris) is on his way! Mav has to steal the plane and push it to Mach 10 to avoid the program being cancelled! The jobs of his comrades (who look sad) are on the line, and only Mav can save them (as if the Air Force wouldn't reassign them elsewhere). 

He flies over the general as he takes off, blasting Ed Harris with a huge gust of wind. The script is not subtle.

Maverick being Maverick (show character!), he pushes the plane beyond its limits, causing the experimental craft to break up in mid air. Oh noes! Is Mav dead in the first five minutes, like Seagal in that nineties flick? Surprise! Mav ejects safely and winds up at a diner for a comedy beat. 

The program he was trying to save is not so fortunate, as their billion dollar plane is now toast. 

Whoops.

Fortunately, Mav is immediately reassigned (they do that!) to Top Gun again, to train young hotshots for the most difficult target imaginable. And I mean that: the mission comes across as wildly contrived and artificial, a mix of Star Wars trench run, test material (every challenge thrown into one scenario) and video game. As if the screenwriters asked pilots what would be the most ridiculously difficult mission to fly and cooked this up.

Obvisously it has to be flown by pilots, not programmed drones or missiles.

To avoid offending foreign markets, it's against an unnamed enemy. The target's an uranium enrichment plant; Russia and China already have plenty of nukes and enrichment plants. North Korea also already has nukes. The enemy nation also has fifth generation fighters, which I don't think Iran or North Korea have. They're flying over snow covered forests, somewhere in the north... the only choice is North Korea, but even that doesn't really make sense. 

Whatever. Don't think, just do! That's the film's mantra. It's something Yoda might say.

Before sending Tom off, General Party Poop had told Tom pilots were no longer necessary. Unfortunately, I think Harris is right. Before long, planes will either be piloted by machine or remotely. 

But that'd make for a short movie though.

The mission is so Death Star trench run it's funny (I laughed out loud a couple of times), but that's the tone of the film: bonkers and high octane silliness.

The action scenes, however, rock. They didn't use (much?) CGI; a lot is actual planes pulling crazy stunt maneuvers. That gives scenes a verisimilitude and kinetic energy that's nothing short of enrapturing. You get a sense of the thrill (and horror) of being a fighter pilot. 

Wow!

Harrowing yet magnificent flying scenes

Sometimes it's difficult to understand where exactly the planes are in relation to each other, but given the limitation of using actual footage, they do a pretty good job.

There's an emotional aspect to the film, with a peripheral love story and strained relations between Mav and Goose's son. You care about the characters just enough to feel involved in the action sequences (well, Mav and Rooster). 

Tom Cruise fits in a running scene (must be in his contract) and the ending piles on the ridiculousness. 

If you're looking for a grounded, gritty, realistic fighter pilot flick, this isn't it. It's gung ho action and wahoo fun, with (barely, just barely) enough emotional connection to keep you interested. 

The best thing I can say (given my jaded tastes) is that I was engaged during the action sequences and finale. 

There are a good number of other big budget bonanzas where I was bored stiff during the spectacular CGI climax. 

Cardboard characters surrounded by explosion bling just isn't enough anymore. 

For a fun diversion excursion, I'd recommend Maverick (with the caveat you should leave your brain at home).

Jodorowsky's Dune: "You can't make a masterpiece without madness."

So says Jodorowsky, the infectiously enthusiastic focus of the new documentary, Jodorowsky's Dune.

He and his vision were at the heart of a quixotic 1970's effort to produce Frank Herbert's labyrinthine novel. Supported by an elite team of 'spiritual warriors' that Jodorowsky assembled, they'd create an epic without ever reading the source material.

Details.

Jodorowsky has the kind of irrepressible passion and sense of wonder needed to sell a crazy project to Hollywood. Think Reading Rainbow but with everyone on LSD. This is a man who can present a series of static storyboards in such an enthralling way you feel like you've seen the film.

No wonder he was able to put together such a talented crew.

And what a team it was: he brought together leading artists such as Moebius, Dan O'Bannon (pre-Alien), H.R. Giger (also pre-Alien), and Chris Foss. He's got taste.

Jodorowsky

That being said, I am dubious about the choice of Dali to play the Padashah Emperor. But who knows? If anyone was going to get a great performance out of Dali, it was Jodorowsky. He has a knack for inspiring people. He got great work out of his dream team, from character designs (Moebius) to ships (Foss) and architecture (Giger).

Visually, there isn't much middle eastern influence as I'd have expected, but it's wonderful stuff regardless.

The distinctive style of Chris Foss. Pirate ship leaking glowing blue Melange (spice).

H.R. Giger's design for the Harkonen Fortress

Of course, Jodorowsky decided to rewrite the ending of Dune. That's just the way he rolls. And why not? He didn't read the book anyway. He has an endearing penchant for new age themes and stories where the human spirit triumphs over all. Cosmic stuff. Good vibes. That sort of thing. Just with lots of sex and explosions along the way.

Many of the ideas he injected into Dune, like the miracle child's immaculate conception, would pop up in his later work. Reuse, recycle. Nothing wasted. Dune was the spring board that launched his future.

Ultimately the major studios rejected his ambitious film project, possibly because of Jodorowsky's eccentricity, it's wild scope, and even crazier cost.

Dune storyboard by Moebius

But Jodorowsky is not a man to be kept down. The weight of the universe couldn't do that, and undaunted, he channelled all that imagination and work into comics, producing the sci-fi acid trip The Incal with Moebius. It confirms Jodorowsky as one of the most wildly imaginative writers out there. Of course it doesn't always make sense. Who cares? It's more fun than a barrel of drunken flying monkeys on laughing gas. It'll blow your mind.

He has some outrageously funny quotes ("I was raping Frank Herbert") that only he could get away with and still seem endearing.

More about Moebius and Dune can be found here, including more storyboards.

Foss designed space craft. Chris Foss is awesome.

Character designs by Moebius. Who is also awesome.

Chris Foss designed temple for Dune

Giger's version of a great worm

By the end of the film you really wish he'd made his movie. But The Incal is a pretty amazing consolation prize, deserving of a film of its own, if it could be trimmed down and rejigged to make sense to a mainstream audience that wasn't stoned. It's filled with his groovy, positive spiritual concepts, the same sort of ones he brought to Dune.

He's all about the collective unconscious and dreams.

John Difool falls in The Incal

A trippy underwater vista in Incal

Jodorowsky gets even more cosmic with his next work: Metabarons, illustrated by Juan Giménez. It contains many elements from Incal, only weirder. Same goes for Technopriests. They're both beyond epic. The scope of his imagination is truly breathtaking. There can be no doubt that Jodorowsky is still in touch with his inner child, and a sense of unbridled enthusiasm and uninhibited creativity suffuses his work.

Scene from Metabarons. Or is it Technopriests?

The collapse of the Dune film left Dan O'bannon broke and sleeping on a friend's couch. That's where he wrote Aliens. It must have been some couch. He hired an artist he met while working on the Dune project to design the xenomorph: H.R. Giger.

The rest is cinema history.

Dan O'Bannon and H.R. Giger designing the future of sci-fi cinema

O'Bannon went on to write the whacky Lifeforce (1985) about hot naked space vampires, the B-17 sequence of the Heavy Metal movie (the only memorable bit), Blue Thunder (1983), Total Recall (1990), Alien vs. Predator (2004), and Invaders from Mars (1986). He also directed the cult classic Return of the Living Dead in 1985.

H.R. Giger worked on a number of films, but is best remembered for Alien and his atmospheric and disturbing paintings that tortuously merge human bodies with cybernetic parts. He's also known for referring to himself in the third person.

Giger's vision of the Space Jockey

Foss' art graced the covers of an entire generation of sci-fi novels. He worked on the 1980 Flash Gordon film, and illustrated The Joy of Sex, although there are no spaceships in it.

Spectacular Foss

The documentary finishes with some inspirational comments by Jodo, as he's known to his friends.

I left feeling uplifted.