Change Your Image
Andrew-Critchley
Reviews
2001: A Space Odyssey (1968)
The finest example of the art
I can't remember when or where I first saw 2001: A Space Odyssey, probably because it is just so stunning. It epitomises grace, both visually and intellectually, and more than any other film it perfectly articulates the true purpose of science fiction.
Every film (if not art in general) is ultimately an exploration of the human condition; but whereas so much Sci-Fi is simply a stylistic treatment of another genre (typically the Western) 2001 explores concepts that no other genre could - and that is what Science Fiction is for, stepping beyond what we have in order to better understand it. Exactly what 2001 explores is unclear, as the endless debates and its notorious ending make, well, perfectly clear; but if it is meant to do no more than stimulate thought then it achieves greatly.
If Fantasy and Horror represent the imaginative then Science Fiction is the philosophic, but only the greatest examples rise to the challenge and that happens too rarely. Blade Runner (Sci-Noir, but anyway) is one of the few, questioning another facet of human nature, again doing so without resorting to blunt explanation when eloquent ambiguity communicates much more powerfully. So too Metropolis, the Citizen Kane of Sci-Fi; but compare these with The Matrix Trilogy (Kung-Fi), which had the potential to be both accessible and thought provoking but finally delivered only glossy nonsense.
As well as breaking technological boundaries in its production, 2001 remains the strongest example of "hard" Sci-Fi for its scientific realism and the wholly convincing portrayal of future technology - human level, of course. Not just in the obvious hardware of the space age but also for HAL 9000, undoubtedly the most authentic representation of AI in either film or reality.
I love this film. Over the years I read Arthur C. Clarke's Odyssey novels and found them more or less enjoyable, but the original film remains the pinnacle. When much younger I liked 2010 (A Space Idiocy...) which can only be regarded as a children's primer and was out-grown long ago, but there really can be no comparison between them, maybe with any other film at all. Stanley Kubrick was painterly in his style, but I think 2001 more than any other demonstrates the purest work of his imagination. A masterpiece unconstrained by the world that spawned it.
As I write these words, 1040 other people have already had their say and I can only assume that no-one else will ever read this. Sadly I'm not patient enough to wait for another 960 to do the same, so the ultimate 2001: A Space Odyssey commentary will have to go to someone else. I hope they like it very much.
The American Astronaut (2001)
Space is a rocking town
The American Astronaut is the kind of film that no right-thinking development body, media council or production company would dream of supporting. Good. In their hands, what a nightmare it would become. Instead you might wonder if Cory McAbee and BNS Productions were dropped on their collective brain once upon a time. In a good way.
TAA embraces the low budget and turns it into its strongest feature. Black and white makes every grimy detail somehow gorgeous. The brass fittings and real wood interiors are reminiscent of the rickety technology that fired a rocket into the eye of the moon decades ago. It is not at all like Eraserhead, but that is exactly what it reminds you of. Alternatively, imagine Steptoe And Son in space, with one Harry H. Corbett and a near infinite number of dirty old men.
In the same way that Alien gave a convincing glimpse at the distant future of long-haul space travel (ignoring the parasites for a moment) TAA points out that the first steps are likely to be sweaty, spotty, lonely little head trips which only serve to emphasise our humanity when we reach our destination, even if by that point our humanity is disturbed. But there is a real depth of feeling throughout.
To say nothing of the great soundtrack, the cracked sense of humour, the striking artistic style and the excellent effect of the death ray.
It isn't perfect. It feels like there should be more when it finishes, but only because every sensible film tends to tie up its loose ends and provide a recognisable conclusion or resolution at all costs. TAA isn't sensible and has no costs, so what can you expect?
Love Letter (1995)
Beautiful in every way
Love Letter is a deeply moving piece of cinema. Beautifully shot and with a melodic soundtrack, it is at times warm, funny, romantic and melancholy, but rewarding throughout. It is about gradual discovery, and is one of the most subtle and heartfelt explorations of romantic love I've ever seen on film, I certainly can't think of a rival.
It also boasts one of the finest dual performances by a single actor - Miho Nakayama portrays two distinct personalities so perfectly that I simply presumed my eyes WERE deceiving me, until the end credits proved them right. Love Letter is a near perfect film, I can't recommend it enough.
Survive Style 5+ (2004)
Insane but genius, nasty but hilarious
The title really does say it all. The film is about survival, has style, and is well worth 5+ (I gave it 5 + 4 here).
There is always a question when you watch any film from a different culture as to how well it will communicate its themes, an issue particularly associated with Japanese films, fairly or not. This is compounded when it comes to comedies, which are notorious for travelling badly. SS5+ cuts across the boundaries effortlessly.
It looks vivid and gorgeous, it's fast paced and filled with strange, near random story lines, but somehow easy to follow. It put me in mind of Trainspotting, if Shallow Grave had been one of its stories and there was more life after death. It has quality action scenes, weirdly solemn moments and crazed characters. Okay, Vinnie Jones isn't that great, but his interpreter makes up for it. Because of the humour.
SS5+ is hilarious. No other word will do. I wouldn't dream of spoiling it for future viewers, so I will say only this: J's expression as the music rises. Daddy's look of horror at the thought of selling. Milk, Internet, Headache, and Monkey Records. I guarantee anyone who's seen SS5+ and just read that is curled up on the floor wiping their eyes right now. Catch it if you can.
Elevated (1996)
Entertaining, a lesson in how to do it nice and cheap
Actually I have no idea how much this cost, but in terms of location economy you can't beat a lift, a corridor and a car park! This short has distinctive characters, humour, paranoia, gore and a double-barrel twist, plus it comes in at under 20 minutes - very restrained. It also underlines (or foreshadows, I suppose) why David Hewlett has gone on to make a well deserved niche for himself. He gets far and away the best line, one to be only truly appreciated by real cult horror/sci-fi fans no doubt - the specifics went over my head even if the meaning and delivery didn't. Elevated found its way onto a French (or at least French-language) DVD release of CUBE, along with a nice variety of Cube extras incidentally, and was well worth the price alone. Go on, seek it out...
Bad Santa (2003)
Fuhuhunny Men
Just a quick tribute to the funniest, briefest double act in recent memory, sadly no more. John Ritter and Bernie Mac had me weeping in Bad Santa. BM has some killer dialogue/facial-expression moments on his own, but when the two are together on screen they steal this film. It's a terrible shame JR has died, but at least he can be remembered for some brilliant comedy. This isn't the best film ever made, and the "hard-core" content overwhelms the laughs at times, but it has something other gross-out comedies lack - it just feels more real than say the Farrelly Brothers, if less accessible. But, like Bottom Sex itself, perhaps you should give it a try before you rule it out forever.