Although J.J. Abrams has received critical acclaim for his interpretation of Gene Roddenberry’s vision, it remains to be seen if the members of the American Academy of Motion Picture Arts And Sciences can overcome their prejudice of science fiction and nominate the film in the “Best Picture” category for 2009.

Traditionally, Science Fiction has not been given the credit it deserves, often overlooked by the Oscar’s except for special effects. Star Wars (1977) remains the exception, although the attention this year will be on the maiden voyage of the USS Enterprise NCC 1701 to challenge the notion that the genre is too unrealistic to compete or win multiple awards for screenplay, directing, set decorations, score, editing and acting.

This form of fiction has provided a perfect format for presenting contemporary issues often by slipping under the radar of the censors, unveiling the relevancy of the subject matter by being just one step beyond reality yet distant enough to be non-threatening.

Classic Star Trek, first conceived in 1965, had numerous story lines based on the important subjects of its time, including race relations, arms proliferation, over population, and many others in imaginative and colorful ways. No other series could have presented these issues at that time without having some kind of severe public backlash, yet of all of the thirty Emmy’s the franchise has been awarded, not one was in writing, directing or acting.

The conflicts raised by science fiction also relate to expectations of how society might evolve based on assumptions created by advancements in technology and medicine, suggesting conceivable possibilities although sometimes far fetched. This form of story telling challenges the imagination  sometimes requiring a leap of faith beyond the logic of the story’s credibility, focusing attention on character development, using special effects and futuristic gadgets to further the story rather than dazzle the audience.

In the past, the demographics of the voting academy members of the Oscars and Emmy’s were different and much older, dismissing science fiction, fantasy and horror as not worthy of competing with other genres. However, in 2003, The Lord Of The Rings-The Return Of The King earned eleven Oscars, the first fantasy film to win best picture, suggesting that the academy, now comprising a majority of baby boomers who grew up with the original Trek, may be ready to give science fiction the spotlight.

Review of Star Trek (2009)

Going to see a Star Trek movie is like trying to predict the weather, never knowing what your going to get until sitting in the audience, the endless previews  and commercials displayed as the aroma of buttered popcorn fills the air  high with expectations,  hoping for once they get it right. This time they did.

A well done transformation of Star Trek has begun with this film consistent with Gene Roddenberry’s vision,  outstanding direction by JJ Abrams and a clever script by Roberto Orci and Alex Kurtzman.

The bridge between old trek and new is Spock played once again by Leonard Nimoy in a small but pivotal performance surrounding his attempts to save Romulus  threatened by a collapsing star.  He fails, and as a result a black hole develops, Romulus is destroyed, also pulling Spock and a Romulan freighter though the singularity into the past. From the events that follow an alternate reality is created and a new time line where just about everything in the star trek universe is uncertain. Relationships and events are re-interpreted in surprising and unexpected ways.

Visually compelling, its filled with fast moving action sequences and character development reminiscent of Battlestar Galactica and Star Ship Troopers. The Romulan ship looks like the Shadow Vessels in Babylon 5, although none of this takes away from the  impact or originality of the story. On the down side, the film has too many unnecessary camera flashes that are annoying.

Chris Pine does a good job as Jim Kirk bringing some of the arrogance William Shatner brought to the role without imitating any of  his exaggerated physical mannerisms,  bearing much of the weight of the film on his shoulders.

Zachary Quinto as the younger Spock conveys a different duality  with  a    physical resemblance to the Vulcan/human hybrid, the character originated by Nimoy,  embracing a more balanced  emotional nature in this new star trek alternate reality.

Karl Urban portrays Dr. McCoy , capturing the essence of DeForest Kelly’s cantankerousness, adding something of his own to the character.

Each of the crew is well cast bringing a respect for their early TV series counterpart and adding new elements  made possible by a great script that never goes over the top as did some of the earlier Star Trek films.

Spacial anomalies and time travel have always served star trek well, as has alternate realities for those who remember, Parallels,  and Yesterday’s Enterprise, both episodes  of The Next Generation. Now the only intersecting point that remains between old trek and new is Spock Prime.

The special effects are good, the acting is excellent, with an outstanding  script containing a number of surprises directed by the right person, JJ Abrams. This is as good as it gets,  Star Trek redone. Running time 126 minutes, rated PG-13.

For a complete list of the cast see the IMdb data base

Jump Starting Star Trek For The Twenty - First Century

When Star-Trek premiered on Sept 8th, 1966, star date 1513.1 on NBC, no one knew it would trigger a chain reaction that would ripple through time, transporting several generations through endless syndication, a total of seven hundred episodes, ten movies and countless novels. Now we have phasers set on high stun as the 2009 interpretation of the franchise hits theaters the first week of May.

In recent years, the cancellation of  Enterprise, the last of the Star Trek television series after a four-year run marked a decline in the popularity of the forty year saga, a bit time-worn, partially due to the speed at which technology is moving in the real world, so much so that it’s hard to imagine anything more advanced than the transporter, Hollow Deck, or the touch tap control panels of the Enterprise 1701-D.

The new film brings J.J. Abrams to the helm of the franchise in an attempt to resuscitate the flailing saga by exploring the formative experiences of the original crew of the Federation Flagship, Enterprise 1701, filling in some of the gaps in the relationships that generated the popularity of the series that explored the final frontier. Abrams is noted for his direction of Mission Impossible 3, co-creator of Alias, Lost, and executive producer of Fringe. His icon is Stephen Spielberg and his favorite TV program of all time is The Twilight Zone. Mr. Abrams excels by exploring the inner nature of the hero and the background stories that made their journey extraordinary. There is no one better suited to present for your consideration a rein-visioned Star-Trek. Let us hope he is successful in his attempt.

My review of the film will be posted as soon as I am able to see the film.

Seeing The Future In Psychedelic Color

Healing has always been held with fascination as a power unto itself, indestructibility saving a person so gifted from the inevitability of death. Its depiction in X-Men Origins: Wolverine, the fourth in Marvel comics most popular series, comes with a price, a burden elegantly portrayed by Hugh Jackman who consistently adds dimension to the character, a mutant born with heightened animal-keen senses, increased strength, retractable bone claws, and the ability to recover from any wound, poison or illness. His only weakness from total immortality is being decapitated - his Achilles tendon - with physical and emotional pain as his constant companion, a difficult burden to carry for someone with a prolonged life span and considerable time to suffer.

Wolverine’s accelerated healing process makes it possible for the military to create a super soldier with marked improvements to his physiology by using his ability to regenerate allowing his skeletal structure to be reinforced with Adamantium, the indestructible element discovered from a meteorite in an excruciating process.

Jackman carries the film well, aided by a passionate performance by Liev Schreiber as the brother who embraced his animal-keen senses to become  Sabertooth, with greater strength than Wolverine yet immersed in his dark side, a strong counter balance as they become vitriolic enemies, but there are too many plots going on at the same time, making the film hard to follow. Less would have made a better film. The action sequences are well done but far more conservative than the other films.

This adaptation, released May 1st, 2009 - directed by Gavin Hood, screenplay by David Bernioff and Skip Woods, based on the characters created by Len Wein and art director John Romita, Sr. - is more a character study than action-based film which spans the evolution of Wolverine from childhood in the early Eighteen Hundreds through the civil war to contemporary times and the pivotal moments that led to the sibling rivalry between him and Victor who will become his most vicious adversary Sabertooth , a predatory stalker with a taste for blood. The film also introduces some of the other young mutants and the emerging philosophy that defines the currents leading to the anti-mutant movement that will became the focus of all the X-Men films. However the other mutants’ powers are not used as well as they could have been, a major weakness of this character driven installment.

The acting is good but Jackman is a bit leaner in the fourth film than in his previous characterizations despite the promotional photo’s to the contrary, although it remains a visible reminder why Sabertooth is stronger until Adamantium is introduced into the equation. Besides, having one’s skeletal structure merged with the molten Adamantium injected into the bones would make even the greatest of gods weak at the knees.

The twists and turns that the story takes would seem more appropriately engineered by a demented Magneto than Colonel William Stryker, played by Danny Huston who portrays evil with a calculated civilized sensibility, less dark or mutant than one would expect from a military leader with a grudge against all the emerging youngsters with special powers.

As with all of Marvel’s characters, there is the identifiable struggle of alienation at the center of their battle for self confidence and acceptance in a world that views them as nothing more than freaks. This addition to the myth of Wolverine explains some of the mysteries introduced in the earlier films that leads to the development of X Mansion with Charles Xavier at its helm engaging and protecting his charges to use their powers wisely.

My Percepto Rating is: Better than the third film but not as action packed or engaging as the first two. The star of this film is Sabertooth, beautifully acted by Liev Schreiber.

For a full List of the Cast see Imdb database.

One of the big shocks of a sudden untimely death is that it focuses attention on how fragile life is and perhaps taken for granted, especially  when it happens to public figures who are well liked. Such was the case for actress Natasha Richardson (1963-2009), a life cut short from a skiing accident on march 18th at the age of 45. A respected thespian, eldest daughter of Vanessa Redgrave, one of the fabled Redgrave’s, the foremost British theatrical family that spans five generations of solid remarkable performances on stage and screen.

Although steeped in the theater by training and choice, one of Ms Richardson’s memorable performances was in The Parent Trap, a charming 1998 Disney remake of the popular 1961 film that starred Haley Mills and was based on the German novel, Das Doppelte Lottchen (Lottie And Lisa) written by Erich Kastner.

It’s difficult to duplicate a popular film successfully, let alone a Disney Classic, but in this rare case the studio succeeded in adding new elements to the story directed by Nancy Meyers starring Lindsay Lohan, Dennis Quaid and Ms Richardson who created a genuine emotional appeal as the mother of twin “gerls,” in a feel good romantic comedy.

Although it was not the best showcase for her talent as was Cabaret, the Broadway musical revival that won her a well earned best actress Tony for a musical performance also in 1998, the chemistry between Quaid and Richardson, a divorced couple with separated twins who meet at summer camp and switch places in an attempt to get their parents together again left its impression.

Part of the remarkable life she led was a sixteen year marriage to Liam Neeson, two children and a career that included numerous roles that  challenged expectations of what she was capable of doing, while remaining below the radar of the paparazzi. No small feat since her mother  Vanessa was well known for her outspoken political activism, passionately displayed in her Oscar winning role in 1977’s Julia co-starring Jane Fonda. Her father, Tony Richardson also went on to win an Oscar for direction for Tom Jones in 1963.

Despite her pedigree, Ms Richardson found a way to become an accomplished actress without the expectations children of famous people are burdened with, or of a family so prominent on stage, screen and in the public eye. Often compared to her mother in looks and intensity, she had a nuanced depth all her own. A tragic loss to Broadway, Hollywood, her family and the public.

For more on the career of Natasha Richardson see IMbd data base.

Watchmen, released on March 6th 09, is the eagerly anticipated film adaptation of the 1986 comic book series by Alan Moore and Dave Gibbons. It was directed by Zack Snyder, screenplay by David Hayter and Alex Tse and with a running time of 2 hours 40 minutes. The story is set in a 1985 alternate reality where America is at the brink of nuclear war with the Soviet Union, Richard Nixon is president and superhero vigilantes - a common fact of life - have been forced into retirement by the government.

The scene opens with the Comedian, a former masked crusader, aging alcoholic in costume with a mixed past portrayed by Jeffrey Dean Morgan who bears a striking resemblance to Robert Downey Jr. His dark side revealed in flashbacks, as his violent murder, is being investigated by a former colleague crime-fighter, Rorschach, played by Jackie Earle Haley with a distinct narrative resembling Clint Eastwood as Dirty Harry, “Go ahead, make my day,” in a low, angry rebellious voice, head covered with a burlap bag with Rorschach images in constant flux.

Malin Akerman, superb as Laurie Juspeczyk/Silk Spectre II, plays every one’s love interest and is a surprising dead ringer for Lucy Lawless as Xena, warrior princess without a breast plate. She is in a relationship with Dr. Manhattan, a somewhat blue omnipotent being who wears only a thong in some scenes or nothing at all in others and reveals appropriate anatomical correctness and empty eyes, often evoking the image of a CGI Silver Surfer, Herald of Galactus. Manhattan is characterized by special effects and Billy Crudup, although it is difficult to say what is computer generated and what isn’t.

Patrick Wilson, as Night Owl II, provides some credible acting although his costume is so reminiscent of Batman that its hard to see anyone other than Bruce Wayne playing this character. However, Wilson’s emotional struggle torments him as he flirts with donning his mask and cape, an impulse that urges him forward despite his overweight paunch and provides some of the genuine tension, but the acting in general is so over the top and comic at points that it makes it difficult to take these characters or the film too seriously.

This adaptation has so many plot twists and deviations, often confusing as it abruptly slips from one story line to another, that it is hard to keep up or see any cohesion in the way it is told. Even the gory fight scenes and overbearing violence could not awaken the middle aged man sitting in the audience a few rows in front of me. He had begun to snore about ten minutes into the film, reflecting the way others were reacting, utterly bored and disinterested. It had even occurred to me to leave the theater before this monstrosity ended, but hey, no one ever said that an alternate reality had to be interesting.

Although I never read the book version - it should not be necessary if the film was well done - a good film is never too long if it retains the interest of the audience, which is not the case here. This one had onlookers squirming in their seats.

For a full cast of characters see the IMdb database.

While flipping the hundreds of TV channels as the snow blanketed the pavement of NYC, muting the sounds of garbage trucks and sirens, backed up traffic as the horns honked with frustrated drivers, stuck, trapped on the white powdered concrete streets, sniffing the fresh odor permeating the clarity of white, I chanced across some old TV shows I hadn’t seen in years. The Time Tunnel, Land of The Giants, Voyage To The Bottom Of The Sea and Lost In Space, evoking memories of past’s portrayal of the future in times long gone.

It was hard to acknowledge that I was conscious and alert during the very first season all three major networks broad-casted color television on prime time, spearheaded largely by NBC in 1965. ABC and CBS followed suit in the 1966-67 season. My brand new 32″ Zenith television set sat proudly in the living room on its custom-designed hand-assembled stand with wheels, purchased with a MACY’s credit card.

When turned on for the very first time, it took a minute or two to warm up as the tubes heated and the screen began to gleam all sorts of color, for it was September 8, 1966 around 8:30 - 9:30pm, and the very first episode of Star Trek was aired on NBC, Stardate 1513.1. The Man Trap, a shape shifting, salt-craving creature terrorizes the crew of the Enterprise 1701 in vivid green against a backdrop of psychedelic colors, skimpy uniforms, three dimensional chess and cheesy props long before digital remastering was ever conceived.

Imagine what life was like before color, a Twilight Zone of white, black and grays with monotone sound. A transforming moment seeing a purple colored wall, an orange sky and Gatorade blue liquid served at some ambassadorial function. Star Trek was one of the most colorful series in history, even before the current digital restoration that highlighted the drama and intrigue, also distracting the audience from deficits in the props, special effects or storyline.

Although constant readjustment of the color and contrast without benefit of a remote control was necessary, as the commercials betrayed an overly reddish or greenish hue. The switch to color and a Swanson’s TV dinner on a snack table was the ultimate way to see the future in living color during the Sixties.

The current climate changes occurring on the planet raise many questions as scientists meet around the world to consider not only global warming, but also the effects of global dimming.

The loss of sunlight reaching the earth (dimming) has been documented in a recent episode of Nova, the highly respected PBS series. Statistics presented on the program recorded as early as 1957 were compared to 2008 data proving the phenomenon. There is no doubt that the cumulative effect of increased particles released into the atmosphere, by products of the industrial revolution, has resulted in global dimming, which some scientists believe has masked the speed of global warming.

The shift and loss of the Arctic glaciers has been the subject of much speculation for decades, none more eloquently portrayed than 1957’s prophetic The Deadly Mantis. It was directed by Nathan Juran from a screenplay by Martin Berkeley, and starred Craig Stevens, William Hopper and Alix Talton. It was filmed in black and white and runs for 79 minutes. “A sudden geologic shift in the Arctic frees a 200-feet-long prehistoric praying mantis from a glacier in which it had become frozen alive. A United States military outpost commanded by Col. Parkman (Stevens), becomes the center for investigation after the creature destroys a transport plane.”

Putting aside disbelief of the existence of giant prehistoric Mantises, consider what you already know about this creature. It is called “praying mantis” to depict its prayer-like stance rather than the way it stalks prey. Its closest relatives are termites and cockroaches, and it waits patiently to ambush other insects. The larger species feed on small lizards, frogs, birds, snakes and rodents. A master of camouflage, it can blend into the rich green color of surrounding foliage to better capture unsuspecting victims and it’s also well known for its sexual cannibalism by biting off the head of its mate during fertilization.

Imagine having one of your very own, now made possible by Fascinations. Its World Alive Praying Mantis Kit advertised on gadgetsandgizmos.com, “It’s a fantastic way to spend some time with a Praying Mantis, in your home or a classroom. This complete Praying Mantis Kit includes a net habitat, tweezers, instruction booklet (English, Spanish, French), feeding pipette and magnifying glass. Raising your own Praying Mantis is a fascinating view into the world of insects, with their complex life cycles and fascinating social structures.”

Although the eggs are not included in the kit, ordering instructions are included. “Eggs are shipped only within the United States and between the months of December and June. Egg orders received outside that period will be held until eggs are available. Praying Mantis normally live from one spring until the next fall, or 4-6 months.” All this for a mere $16.99.

My Percepto Rating : A, B, C, D, E and more.
A- That all depends on what you plan to feed it
B- A pet canary, “Polly want a cracker?”
C- Perhaps more effective than a cat to keep the mice away
D- An unfaithful mate
E- Misbehaving children?

for more info, click here: http://www.shopgadgetsandgizmos.com/product/15153/234/

“Although there are many examples of ‘matri-focal’ societies, matriarchies are hypothetical. None that exist can be found, past or present except in some insects, spiders, ants and elephants. No reason for its existence can be found other than women replacing roles of men lost to war.”
Von Bralispth

The struggle to understand the differing natures of men and women have been suggested not only by biologists but also sociologists, anthropologists, psychologists and politicians. Sex effects all societal relationships, everywhere, even on Venus, the planet of love.

Putting aside disbelief for a moment, imagine Venus as an habitable planet ruled by women, a place where men have been conquered and banished to some distant moon to serve the whims of the women. This is the premise studied in Queen Of Outer Space (1958), screenplay by Charles Beaumont and directed by Edward Bernds. It starred Zsa Zsa Gabor as Talleah, a courtier under the rulership of Queen Yllana, masked to cover a disfigured face, caused by a man. It is she who as leader conquered the men with her amazon army. Talleah, yearning the love of men, plots to overthrow the Queen to restore the balance between the sexes. Gabor’s life certainly reflects the premise of the film, married nine times.

Ordinarily, the cheesy special effects, horrendous score and terrible acting alone would be enough to put this on my list of worst Science Fiction films of all time and as bad as Plan 9 from Outer Space but, it is about Venus, whose atmosphere is hot, composed of dense sulfuric acid, explosive volcanic activity and the brightest celestial body seen from Earth, aside from the moon. It is also the planet of amour et poems. Add to all this, Talleah, now Queen is a Venusian with a Hungarian accent.

See the IMDb for a full list of the cast.

“Social occasions are warfare concealed,” he said adding, “I see that you let your second in command attack while you sit and watch for weakness!” - a remark articulated with a suave voice and harsh gaze that could kill. [Khan Noonien Singh]

These are revealing words about leadership, diplomacy, adversaries and allies alike. Life expressed in military terms that can also apply to competitive  situations. A high stakes drama reflecting the tense dance in Space Seed, a first season episode of Star Trek, which guest starred  Ricardo Montalban as Khan Noonien Singh, a genetically enhanced human revived from two centuries of suspended animation by Captain Kirk, and who led a takeover of the Enterprise. A role he reprised in Star Trek II - The Wrath Of Khan, considered by many to be the best of the films based on Gene Roddenberry’s ongoing saga.

Montalban, who died at age 88 on January 14th, 2009, had a fascinating career, a history of the struggle of ethnic actors during Hollywood’s classic era, typecast often as an Asian or Latin, but who had a gift for redefining his career to successive generations spawning theater, television and film.

Born in Mexico City on November 25, 1920, his first major English speaking role was in 1947, chosen by MGM to play a Matador in Fiesta opposite Esther Williams, then pairing them again in Neptune’s Daughter (1949), the film that won an Oscar for best original song, “Baby It’s Cold Outside” sung by Montalban and his co-star. Eight years later, he appeared in a Broadway musical, Jamaica opposite Lena Horne, from 1957-1959.

During television’s golden era, he guest starred in episodes of Wagon Train, Death Valley Days, Ben Casey, Dr. Kildare, Combat, Gunsmoke, Bonanza and so many others. But it was his portrayal as Khan Noonien Singh in February 1967’s Space Seed then, fifteen years later, revisiting the role of the embittered Khan in The Wrath of Khan (1982), that immortalized him to generations.

Fantasy Island (”Da Plane, Da Plane…”) which aired from 1978-1984, was hugely popular while another role as Chief Satanhkai in How The West Was Won, a TV Miniseries, also in 1978, won him an Emmy. In 1993, his accomplishments were honored by the screen actors guild with the prestigious Life Achievement Award presented by fellow actor and close friend, Anthony Quinn. The actor was cited for his acting and his long struggle to improve the image and roles of Latino actors by creating the Nosotros Foundation in 1970.

He was one of the few Latino lead actors who worked regularly throughout his career and was often endearingly humorized on Saturday Night Live.  He was married to Georgiana Young, the sister of screen legend Loretta Young for over sixty years, and lived in Los Angeles but remained a Mexican citizen by choice, perhaps as a reminder that although being foreign born, attaining success in America was possible without compromising his identity.

“What is appealing is the idea of attaining the unattainable and learning from it. Once you obtain a fantasy, it becomes a reality, and that reality is not as exciting as your fantasy, but through the fantasies you learn to appreciate your own realities.”  Ricardo Gonzalo Pedro Montalban y Merino.

For more on the career of Ricardo Montalban see the following:
IMdb database - http://www.imdb.com/name/nm0001544/