Question: What do these movies have in common?
- Seventh Heaven (1927)
- Snow White and the Seven Dwarfs (1937)
- Pinocchio (1940)
- The Day the Earth Stood Still (1951)
- E.T. the Extraterrestrial
- Star Trek III: The Search for Spock
- Deja Vu
- X-Men: Days of Future Past
- Edge of Tomorrow
Is Hollywood obsessed with resurrection, aka the denial of death?
1. Like watching someone else play a video game for hours on end. Someone with a cheat code. In Groundhog’s Day, the repetition was not a good thing and Murray tried to stop it, without success. In this film, repetition is what enables Cruise to win. Without it, he, and all of humanity, would lose. Why should we care about someone who has an unfair advantage in the game? Like I said, it’s like watching someone play a game and win only because they have the cheat code. Not cool and more than a little boring.
2. The first part of the film is about getting beyond the main battlefield. The third act is about confronting the aliens in an entirely new location. I think this was a mistake. It’s ok that they left the main battlefield, but I think it would have been more interesting if they discovered that what they were seeking was on the main battlefield all along, so the third act should have been a return, once again, to the main battlefield. Sorta like an ABA’ structure.
3. The setup didn’t make sense. Why would they send a PR guy like Cruise, inexperienced in combat, into battle on such an important day? Is his superior officer secretly working for the other side, intentionally trying to sabotage the war effort? It might make sense if the guy somehow knew what was going to happen to Cruise. But he’s just as clueless about the future as anyone at this point.
I had multiple issues with Ender’s Game, but I’m going to talk about just one: the twist. It makes little sense that Ender, having been presented as super smart and distrustful of Harrison Ford throughout the movie, does not suspect something’s up when he and his squad destroy the planet in what they think is nothing more than a simulation exercise for graduation.
This weakness could have been resolved if Harrison Ford said something like this in reply to Ender’s, “You tricked me.” “That’s bullshit, Wiggin, and you know it. You’re too smart not to have suspected the truth. We needed someone who would go all the way, and only a psychopath could go all the way. We chose you because you repeatedly showed signs of being a psychopath. That’s what we wanted, and that’s what you gave us. Deep down inside, you knew that. You wanted to destroy the planet. You wanted permission to kill a species. And that’s what you did. So don’t give me that bullshit about being tricked.”
Of course, I doubt the filmmakers intended us to see Ender as a psychopath, but it’s unavoidable and if that’s the impression, then the best thing is to embrace it. Perhaps the main problem is the setup. An alien invasion sets everything in motion, but we never see any real fighting or real aliens until the end. The would be second invasion functions more as a MacGuffin, but it’s a MacGuffin gone wrong because what happens to the aliens cannot be avoided. I get the impression that the story could have been better told had something with lower stakes than an alien invasion and the fate of the entire planet been chosen because the story that ends up being told would seem to be best setup with preliminaries closer to Starship Trooper (that is, a story about fighting aliens mano a mano, up close and personal) than a story about kids in a military academy.
I recently stumbled upon an article in the old Jim Steranko mag Mediascene about two books both the mag and the article refer to as “graphic novels.” It’s in the November/December 1975 issue, three years before Will Eisner’s 1978 A Contract With God. Although the books, one by Richard Corben, King of the Northern Abyss, one by Gil Kane, The Flame Horse, were never published, they apparently were widely advertised as graphic novels and it’s likely Eisner learned about these books on the convention circuit as well as picking up the term that he later used to publicize his own book. The article makes clear both the concept of the graphic novel and the phrase “graphic novel” were very much in the air at the time Eisner was conceiving and working on his book. Even though the books were never published, the y helped put the idea out there. So let’s give credit where credit’s due.
Anyone else notice the remarkable similarity between the major plot points of Star Trek Into Darkness and William Friedkin’s 1985 To Live and Die in L. A.?
To Live and Die in L. A.:
William Petersen’s older, father-figure type partner, Michael Greene, is killed by bad guy Willem Dafoe. Petersen seeks revenge, but his new partner, John Pankow, is a stickler for the law. Eventually, Petersen is killed by Dafoe, but his partner, having seen the error of his ways, pursues and dispatches the bad buy. Along the way, a friend, Debra Feuer, betrays and almost gets them killed.
Star Trek Into Darkness:
Kirk’s father-figure, Captain Pike, is killed by bad guy Khan. Kirk seeks revenge, but his new (again) first officer Spock is a stickler for the law. Eventually, Kirk dies (although not in hand to hand combat), but his first officer, Spock, having seen the error of his ways, pursues and dispatches the bad guy. Along the way, a friend, Admiral Marcus, betrays and almost gets them killed.
It’s hard to see the plot of To Live and Die in L.A. as anything other than a string of cliches. Except, perhaps, its ending. Killing off a character before he can fulfill his goal, then having him replaced by someone else who goes on to fulfill that goal, is something that usually happens in the first act. Happening as late into the film as it does in Friedkin’s film is unusual. Here’s what Friedkin says about it in his book, The Friedkin Connection:
Halfway through production, it occurred to me that Petersen’s character, Chance, had to die. This was not in the script or the novel, but I though it was unexpected and justified, given that he lived constantly on the edge. He wasn’t a superhero immune to danger. In the final confrontation between Chance and Masters (Dafoe), it would be Chance who was killed. I didn’t have an ending until discovering during production that Vukovich (Pankow) becomes Chance in appearance and attitude after Chance’s death. (The Friedkin Connection, p. 391)
At first I thought that the similarity between the plots was nothing more than a coincidence. As they say, there are no new plots. There are enough differences between the two films that there’s no danger anyone will be sued, but the fact that the each of Friedkin’s major plot points, including its most unusual one, shows up in Star Trek makes me wonder:
Did the Star Trek Into Darkness writers steal their plot from To Live and Die in L. A. ?
TONS OF SPOILERS BELOW!
Last night the family and I sat in for the red (actually white) carpet part of the Star Trek 2 premiere up on Hollywood Blvd. We sat in the bleachers (having been warned so many times that if we left our seats for even a second we would be dragged away by security guards we wondered if we were back in kindergarten) as the stars walked by. They were all (mostly) there (missing: Simon Pegg, Anton Yelchin, and Benedict Cumberbatch), even the writers (who said that they had been rewriting as recently as three weeks ago–not a good sign, perhaps, but not unusual), and we bowed down to them all (for the benefit of the cameras).
Then we saw the movie.
Here are some of my, somewhat random, thoughts:
1. After all the denials and flat out lies about the identity of Cumberbatch’s character, it turns out that the rumors were correct all along. His character is Khan. “My name is Khan. John Harrison is a code name cover.” How different from the first film which includes Khan in its title. The big secret in that film was the ending. Knowing who the villain was helped promote the film. Yes, creating a mystery around the villain’s identity help to drive PR for the film, but ultimately it was anti climatic and left a bad taste in the mouth due to the flat out lying needed to keep the mystery going.
2. Cumberbatch’s Khan is played with one monotonous note (despite that tear that he sheds at one point, which I guess is supposed to give him depth and make him sympathetic, but has far less effect than would a tear falling from a robot’s eye), especially compared to Montalban’s. My wife, Kelly, a Cumberbatch fan, simply said, “He’s boring.”
3. Too much of Cumberbatch’s story is told rather than shown. It’s told as back story. For example, how he was found and why and what happened after that. He tells the story of how he was found despite not being the one who did the finding. That character is Peter Weller, Admiral Marcus. There’s a good reason why he doesn’t tell the story, but Khan was not there, so not only are we not shown this important part of the story (the equivalent of Star Trek never having done the Space Seed episode), but it’s told second hand.
4. Star Trek 2 is yet another example of post 9/11 cinema: movies that exploit our fears around that day by featuring images evocative of planes flying into buildings and innocent people being killed. Why do Hollywood filmmakers do this? To exploit our collective trauma for the purpose of making their fortunes.
5. The characters. Strip away the accents of Checkov and Scotty and little remains. Uhura’s character? She’s female. Black. Knows a lot of alien tongues. And loves Spock. Is this really an improvement over the original? But the movie does worse by Spock. He’s reduced to a stickler for regulations. And it’s partly because of him that the troubles occur: he convinces Kirk not to kill Khan outright as Kirk has been ordered to do by Marcus. This does not make much sense given that Kirk has already been stripped of his command due to a lax attitude towards regulations. Even if Spock is right, that a suspect deserves to be tried before execution, his orders are to kill. You’d think that if he has doubts about these orders then there would be a means to address them through regulation channels in Starfleet. Instead, he disobeys the orders once again.
6. Khan’s backstory is similar to that of Wesley Snipe’s character (Simon Phoenix) in Demolition Man, and just as stupid, which is why Cracked.com put Demolition Man at #5 on a list of 6 Movie Plots Made Possible by Bafflingly Bad Decisions.
7. To Live and Die in LA was fresh in my mind, having just seen it a few days ago, and it was interesting to note the similarities in the two films’ plots.
Partners A and B. Older partner (B), father figure type, is killed by bad guy. Surviving partner (A) seeks revenge, joins with new partner (C) who is a stickler for rules and regulations (aka the law). The surviving partner (A) dies, but the new partner (C) dispatches the bad guy (after realizing how dead wrong he was to be a stickler for the law).
This is the plot, in broad strokes, of both films. In other words, it’s a cliché. Star Trek 2‘s major variation is bringing the surviving partner (A), that is, Kirk, back to life. You might think that it’s only due to its being SF that this can happen, but “miracles” of this kind can pop up in every Hollywood genre. (The “homage” reference for this specific “miracle” is not just Star Trek III: The Search for Spock, but also the “Amok Time”episode of ST: TOS in which Spock seemingly kills Kirk.)
Is the only difference between ’80’s LA and the future world of Star Trek that in one the cops race around in gas guzzlers while in the other they race around in warp powered starships? Is this the best plot to reveal what’s unique about and specific to Star Trek? I think not. Roddenberry’s vision of the future entailed more than a change in scenery or replacing guns with phasers and bombs with photon torpedoes. Roddenberry’s society of the future is truly different than ours. Life in his future is better, not just its machines. I don’t think Abrams gets this.
Perhaps the most common action movie plot is that in which the hero’s attempt to bring in the bad guy is deterred by bureaucrats who are sticklers for the law. Was Dirty Harry the first movie to use this plot? It certainly was not the last, but despite it’s becoming a cliché this does not prevent a film such as Star Trek Into Darkness from bringing it out once again. It should be noted that this plot has a conservative bias, that is, it presents the law and civil rights as being little more of a hindrance to law enforcement. Roddeberry’s Star Trek was not without its conservative aspects, but in general it took a liberal stance on most issues. At the core of J. J. Abrams’ reboot is the transformation of Roddenberry’s liberal show into a conservative film. Roddenberry’s show got away with non-mainstream stances because it was SF. Abrams does not have to worry about this because his film reflects what are currently mainstream views of justice. This does not mean that the majority of its viewers hold these views, although this may in fact be the case, but that it reflects the views most commonly found in mainstream media.
Compare Into Darkness with “The Devil in the Dark.” The latter is about an alien creature that terrorizes a mine community for reasons somewhat similar to Khan’s. It’s the last of it’s kind and its offspring are being killed (unwittingly) by the miners, so when it kills miners it does so to protect its offspring. Spock leads the way in attempting to understand why the creature does what it does, but in the end, he is willing to kill it to save Kirk. Kirk, however, stops him. This is almost exactly the opposite of what happens in Into Darkness.
Next to no one in the mainstream today questions the Establishment the way Star Trek did in the Sixties. Certainly not the guys who made Star Trek Into Darkness. In fact, they do the opposite: they clearly endorse what’s going on today* (see note at bottom for details). This used to be called propaganda.
Roberto Orci, one of the credited writers of Star Trek Into Darkness, recently said, in a comment on a Star Trek site (comment #398): “To paraphrase of [sic] one of my great and beloved heroes, George W. Bush, ‘we’re the deciders….'” Is it no wonder that with writers such as this the series has taken a turn away from Roddenberry’s liberalism? (It’s possible that he’s merely baiting the fans and not being sincere when he said this, but given the evidence of the film, I suspect not.)
8. J. J. Abrams seems to define action filmmaking as characters running and it’s obvious that the sets are designed to maximize this. My first couple of films in film school were mostly people running. If only I had stuck to that, perhaps I’d have a career.
9. One of the clichés of the original Star Trek series (unfortunately continued in ST: TNG) was that of the ticking time bomb. Abrams’ first Star Trek managed to avoid literal ticking time bombs, but it’s a sign of the second film’s dearth of creativity that he resorts to several ticking bombs.
10. Speaking of clichés. Cumberbatch is a bad guy who allows himself to be captured. Could he have gotten this idea from The Joker in The Dark Knight? Or maybe it was Loki in The Avengers?
11. In the end what do we have? A lot of running, volcanoes that don’t explode, bombs that explode, bombs that don’t explode. To borrow the title of another film that’s soon to be released: Star Trek Into Darkness would be more accurately titled, Star Trek: Much Ado About Nothing. Sure, it can be exciting from scene to scene, so long as you can keep yourself from thinking about what you are watching, but in the end it adds up to less than the sum of its parts.
12. I was very impressed with the production design, especially the pre-title Raiders of the Lost Ark-ish scenes on the alien planet and scenes involving the Enterprise engine. Scott Chambliss is the credited production designer, but I was not much impressed by his earlier work on Cowboys & Aliens and Star Trek.
13. Looking at the film’s 88% fresh rating on Rotten Tomatoes, as well as the projected $100 million or more boxoffice opening projections, I can’t help but think that I’m in the minority. Perhaps, but I’m not alone:
Star Trek Into Darkness is not the worst Star Trek movie. I would probably watch this film again before I rewatch The Final Frontier or Insurrection or Nemesis. That said, I would prefer not to rewatch any of these films – Star Trek Into Darkness included – because they are all very bad movies. (Badass Digest)
Into Darkness remains visually impressive, fast-paced and, if you can switch your brain off, fun. But it’s also derivative, unsatisfying and apparently terrified of doing anything new, which is a very odd position for a movie set in a new, unrestrained and exciting continuity to be in. (The Wertzone)
Have we been conditioned to expect so little from Hollywood that we cannot call this movie out for what it is?
BOXOFFICE UPDATE: 5/19/13
Star Trek Into Darkness just hasn’t performed as well as Paramount or anyone else was expecting at the North American box office. The J.J. Abrams helmed sequel is light years away from being considered a flop, but it won’t end up coming anywhere near the predicted $80 million weekend and 4 1/2-day total of $100 million. Instead, an increase of 30% on Saturday means it took an additional $27.2 million after Friday’s disappointing $22 million, while analysts now predict a Sunday gross of $21.2 million. That equals around a $70.5 million weekend and an $84.1 million domestic cume. Unfortunately, not even the higher priced 3D and IMAX tickets were enough for Star Trek Into Darkness to beat Star Trek’s opening back in 2009. (source)
14. It should not be overlooked that the film ends in such a way that a sequel involving Khan is almost certain. This is a wise choice given that the apparent reason for using Khan in this film above all the other possibilities was that he is the very best of the Star Trek villains. Given that, why would they want to kill him off just as he’s getting started? Perhaps this film should not be looked at as a Wrath of Khan remake, as many are doing, so much as a “Space Seed” remake with a few odds and ends from the movies and other TV episodes thrown in. Heaven help us.
Back to the red carpet for one last observation.
I went to film school with Bryan Burk (producer on Star Trek and most of Abrams’ film and TV work), but I don’t remember him being so short. In fact, he’s shorter, by about an inch, than J. J. who is apparently 5′ 7″ (which would be 3″ below the average for U. S. males, but truthfully he looks even shorter). Can’t help but wonder if that’s the reason Burk and J. J. get along.
(*For the benefit of people from the future: what is going on today? Most relevant to Star Trek Into Darkness, the executive branch of the US government claims the right to unilaterally and secretly order the assassination of anyone, even US citizens, throughout the world just as Admiral Marcus orders the assassination of Khan. The US government’s executive branch is also carrying out indefinite detention, without charges or trial, of alleged terrorists; and claims the right to launch wars without congressional authorization. This is the status quo that Star Trek endorses.)
If Hellzapoppin‘ topped the Youtube hit list, the world would be a much better place. This film, based on a story idea by Marx Brothers scribe Nat Perrin (no surprise), and a Broadway play starring Ole Olsen and Chic Johnson, the same wacky duo who run wild through the film, was released in 1941, same year as Citizen Kane. Which film is better? Why not watch Hellzapoppin‘ now so you too can judge?
Update 4/24/13: You can read a recent (albeit spoiler-filled) piece on the film here.