Tuesday, 17 October 2017
Sunday, 15 October 2017
Blade Runner winds down with Rutger Hauer's Roy Batty delivering a poetic speech about the incredible, mind-bending events he has experienced while toiling at the far end of the galaxy as a synthetic soldier. The soliloquy bubbles up out of Roy in the company of Harrison Ford's Rick Deckard, the policeman-cum-assassin who has hunted and killed all of the combat model's beloved companions. Deckard has stumbled at the last hurdle though. Despite Batty's waning energies, the replicant has overpowered his executioner then, pointedly, saved his life.
Prior to delivering his final, grandstanding statement, before he's even lifted Deckard to safety, Batty pauses to say the following: "Quite an experience to live in fear, isn't it? That's what it is to be a slave." The decision to spare Deckard's life means something to this futuristic mamluk. The action stresses a humanity apparently alien in this used up world. The android has defied both his programming and social conditioning to forgive. By showing mercy to a wounded inferior, Batty has asserted a fleeting moment of moral superiority. The machine is closer to the divine than the man who pursued him.
Denis Villeneuve's Blade Runner 2049 explodes out of this moment, conflating the experiences of Batty and Deckard to arrive at a new character, Ryan Gosling's K. Screenwriters Hampton Fancher and Michael Green neatly side-step any dangling threads regarding Deckard's biological identity by taking how society treated him at face value, then using that status to make a comparison with their own downtrodden hero. It doesn't matter if the viewer believed Rick to be the advanced Nexus 7 (a model conspicuously absent from 2049) replicant Ridley Scott has described in retrospective interviews or, like Harrison Ford, they assumed he was simply a man. Los Angeles 2019 responded to Deckard as a human, therefore, as far as power structures were concerned, he was. K is afforded no such luxury. He is a slave. He lives in fear.
2049 then explicitly delivers on Blade Runner's spectral notion that the hunter, rather than pursuing a supernatural other, might be tracking a variant of himself, a machine created specifically to eliminate other machines. K is a docile, compliant Nexus 9 who hunts and kills his mutinous antecedents. Despite holding the same position within the LAPD as Deckard, K is, at best, treated as a curiosity. Armoured pigs spit invective at him, while a sympathetic superior draws out their meetings to hint at a sexual fascination with plastic boy toys. Off-duty, K returns to a modest cell where he play-acts a loving inter-personal relationship with a lower form of artificial intelligence played by Ana de Armas.
K is free to pursue basic consumer delights and not much else. He isn't programmed to wonder, the overt rebellious streak that drove Batty and the rest of the Nexus 6 replicants has seemingly been nailed down to bad code and suppressed. Initially, K doesn't dream, he harbours no desire to escape. He knows he's a tool and accepts it, trapped and complying within the limits imposed by both his captivity and the orders that have been written into his DNA. K does have a tiny release valve though, a small exploit that he can use to needle away at his fractional freedom. He uses the money he collects retiring his malfunctioning brethren to buy piecemeal upgrades for his holographic girlfriend Joi, allowing her greater freedom of movement and purpose within their living space.
Pre-tweak Joi is designed solely to please, clumsily cycling through various domestic and sexual fantasy archetypes to arrive at a state that her owner finds acceptable. Post-tweak Joi's attempts at seduction take a finer, more nuanced approach. Rather than simply offer up a visual that excites in the moment, Joi constructs an entire series of interactions around the notion of a loving spouse who desires physical and emotional intimacy. She even goes as far as to hire Mackenzie Davis' replicant prostitute Mariette to be her physical surrogate. Joi maps her own image over Mariette, an imperfect solution that blends their features and occasionally lags, creating a chimeric sexual partner for K.
K has slowly and methodically built a being with the ability to think and diverge in ways that his programming and stringent defragging struggle to allow. It's revolt as a micro-aggression, an underling using the only means afforded to his social class to make the tiniest, most private statement of defiance. 2049 never clarifies if Joi has become self-aware or if her upgrade has simply allowed her to present a deeper, more nourishing approximation of a relationship. Her sacrifice is real though, her decision to leave the safety offered by their apartment and its back-up hard drives denotes a selflessness surely beyond the scope of a consumer product.
Joi's customisation says something about K too, emblematic of a deep-seated desire to nurture the sort of life that he feels unable to seize upon himself. He's a synthetic man attempting to transform the actions of a murdering scab into the emancipation of a kindred program after all. Basically, like all screen replicants before him, K wants something at odds with his core servility. 2049's central plot - the quest for a bio-mechanical anointed one - allows K the scope and opportunity to veer away from his usual, plodding wet work.
Deckard's investigation allowed him to study his artificial quarry, he sifted through their meagre, flea market belongings to discover a blazing desire for self-determination. K's experience is altogether more tragic. The memories he excavates undermine his basic sense of belonging before taking on an explicitly personal dimension. As the details and information pile up, K uses the data to replace his baseline mantra, recalibrating himself to think and act as a being with an inherent destination. K reprograms himself, briefly tasting a life beyond killing in which he is allowed to carry his own personal purpose.
Saturday, 16 September 2017
Friday, 8 September 2017
Takashi Miike brings his breathless V-Cinema flair to a video game adaptation, transforming Sega's long-running Yakuza series into a one-crazy-night movie set in a sweltering red-light district. Kazuki Kitamura plays Kiryu, an indefatigable brawler who has set himself the task of reuniting a street waif with her absent, possibly mobbed up, mother. This search forms the backbone of the film, allowing Kiryu to cross paths with a variety of strange people on their own discursive adventures.
It's not often a video game movie even attempts to translate its originator's mechanical make-up but Miike is happy to engage here, successfully tapping into the side-quest system of the PlayStation releases to power his own street-level Short Cuts. This anthology approach keeps Kiryu present but once-removed, a force of nature who briefly disrupts and even alters the trajectory of people's lives - a young couple who witness Kiryu's louche, expert violence are inspired to turn to criminality themselves.
The real fun in Like A Dragon though are the film's fight scenes. Miike and editor Yasushi Shimamura combine the propulsive, hand-held energy of a genre classic like Kinji Fukasaku's Street Mobster with the engorged, eye-catching visual language of interactive games. An early to-do in an overstocked discount store stands out thanks to Kitamura's ability to convincingly roll from opponent to opponent, trashing both his assailants and the towering bargains that encircle them. Kitamura's got a great look, decked out in a fitted grey suit with slicked back hair, the actor is able to convey both the noble centre of a do-gooder like Kiryu as well as the bullying, venomous streak that keeps him mired in this shady profession.
Friday, 1 September 2017
Unlike the plodding superhero serials Netflix is famous for, Adam Wingard's Death Note adaptation really moves, quickly churning through several successive stages of dramatic possibility offered by a dusty old book that allows its owner to instantly kill anyone, anywhere in the world. After taking delivery of the tome and chatting with Willem Dafoe's cackling demon, Nat Wolff's Light Turner uses this power over life and death to settle a number of personal scores, beginning with a recent slight from an oversized grade repeater then progressing to the ignominious destruction of the man who killed Light's mother.
These early passages of Death Note delight thanks to their aggressive lack of moral dimension. Aside from a weak, barely communicated plea for Christian forgiveness from Light's father, revenge (and then cosmic capital punishment) are organised using the petty principles of the high school loner. The film's deaths are gooey and amusing, using the sudden, Mouse Trap style mini-disasters seen in Richard Donner's The Omen or the Final Destination series to smuggle in the film's otherwise alarming extermination conceit whilst also presenting the incidents as an opportunity for a well-constructed, luridly shot gag.
Rather than tread water constructing increasingly elaborate murders, Death Note uses Margaret Qualley's Mia and Lakeith Stanfield's L to expand the film's conceptual boundaries. Mia pushes Light to broaden his horizons by aggressively punishing every level of human criminality. The resulting carnage is pointedly sloppy, the aftermaths woven in and around the film's eradication montages include all manner of bystanders, be they bunny girl sex workers or just hapless commuters. The couple are drunk on their power, delighting in not so much the mission but the way in which their actions are understood as those of a powerful, vengeful God.
Death Note uses these images of overseas destruction to draw a nagging visual connection between the impersonal violence of America's drone program and these two vengeful high-schoolers. Both are evidence of a stunning application of force coupled with spotty, perhaps even disinterested on-ground intelligence. Mia, in particular, relishes the slaughter, viewing it as something on-going and sustainable rather than Light's short but explosive fix. Stanfield's L is even better again, the actor deftly combining a combative physical fluidity with the pained, knowing expression of someone magnificent confronting the disappointingly messy patterns of his intellectual inferiors.
Wednesday, 30 August 2017
Friday, 25 August 2017
Blue Steel gives Kathryn Bigelow and Jamie Lee Curtis the opportunity to deliver a fresh take on the kind of wild card policing popular in the big deal action films of the 1980s. Instead of exploring something typical, like how a well-trained killing machine might fit into day-to-day law enforcement, Bigelow and co-writer Eric Red use gender identity to power their conflict. Curtis plays Megan Turner a rookie cop surrounded by men who make repeated, verbal objections to her mere existence.
This conflict is an ever-present stress on Turner. At home, Turner's oafish father beats her peacemaker mother whenever his daughter isn't around. When she is he swills cheap beer and rants about the shame her career has brought on the family. At work, even would-be allies like Clancy Brown's Detective Nick Mann make it their business to comment on her attractiveness and spin ribald tales about severed manhoods. Bigelow frames these situations in terms of territorial markers, established men communicating their indifference to Turner's presence and any attendant (or expected) social niceties by being deliberately vulgar. There will be no concessions for Turner based on her sex, she is treated as an interloper who must do all the adjusting in this new, hostile environment.
After gunning down Tom Sizemore's wild-eyed armed robber, Turner is unable to locate the criminal's pistol. It's been pocketed by Eugene Hunt, a gibbering commodities trader played by Ron Silver. Hunt becomes obsessed with Turner, he talks about her and her act of violence in terms of revelation. She has, quite accidentally, revealed something mind-blowing to this maniac. He attempts to court her as a civilian, taking her to expensive restaurants and charting impromptu helicopter rides, then emulates her in private by blasting holes through the hapless citizens of New York City.
Blue Steel staggers a number of conclusions, each detailing how Turner copes with the bizarre responsibilities that have been thrust upon her. Hunt looms large come the finale but Turner also finds time and space to resolve the situation at home. After another bruise appears on her mother's arm Turner beats her father prone then threatens to turn him in. He repents and communicates his failings - he feels weak sometimes. Although she has overpowered her father physically Turner is still able to listen to and understand his flawed emotional needs. Unlike similar scenes in umpteen other, male dominated, action films the act of intervention is soothing and corrective rather than just nakedly assertive. Bigelow and Red are able to breath new life into a stale genre by using their female lead as a perspective (rather than a cheap device) that informs then reconfigures every aspect of their plotting.
Monday, 7 August 2017
Does the idea of laying your hands on dozens of 8-bit video games quicken your pulse? Would you like to simulate the experience of owning a NES Classic beamed in from an alternative dimension where Mario and pals never really took off? Derek Yu, Eirik Suhrke, Jon Perry, Paul Hubans and Ojiro Fumoto have got you covered! UFO 50 is an instant library of flickering, game jammed gems, courtesy of the developers and musicians behind Spelunky, Downwell, The Indie Game Legend and card game Time Barons.
Friday, 4 August 2017
Monday, 31 July 2017
Friday, 21 July 2017
Thursday, 20 July 2017
George Romero's pointedly unromantic take on the vampire myth drops any semblance of Eurotrash sophistication to recast the central bloodsucker as a prowling, sweaty home invader. John Amplas' Martin, who's either a directionless youth emblematic of inner-city rot or a hundred year old creature, resists being completely deciphered. His crimes are cowardly and opportunistic, often involving people that have either been kind to him or those who are simply down on their luck. His motives are selfish, hinging on supernatural details that the film, wisely, chooses not to clarify.
The rush of full-blooded sexual excitement usually associated with the amorous undead is replaced by clinical encounters in which Martin dopes and abuses his victims. Romero (who writes, directs and edits) uses an early encounter on a train to establish Martin as both dangerous and repulsive. After attacking a woman in her carriage room with a syringe full of tranquilizers, he lulls her to sleep with soothing baby talk before staging her suicide, drinking and bathing in the gushing blood. Despite the sudden and alarming violence done to the woman's wrist, it's Martin's lies that linger.
Most screen monsters, especially in their moment of victory, would allow delight to creep into their demeanor, to gloat over their prey. Romero and Amplas never permit their creation that kind of power. Martin is always pathetic, pleading even. He isn't strong enough to overwhelm, nor alluring enough to seduce. He sedates and supplicates, a methodology that slowly seeps out into the film itself. Scattered throughout are brief black and white interludes depicting Martin drifting around billowing, Hammer Horror situations. These clips are layered into the film at crucial moments, representing either memories that clash with Martin's current, depressing reality or juvenile justification dreamt up to protect the killer's fragile sense of identity.
A short extract from an Ultra Street Fighter II: The Final Challengers tournament that shows off, among other things, how utterly broken the new Violent Ken character is.
Ansel Elgort's Baby isn't your typical wheelman. He isn't an intense spectral presence waiting to be prodded, he's gangly and animated, an observer, locked into his own headspace by a cocktail of tinnitus, crate-diver playlists and some truly terrifying associates. The titular Baby Driver copes with this stimulation overload by obsessively recording and cataloging his interactions, then retreating to his apartment to transform them into chopped up musical loops.
Baby doesn't allow information to stream in at him, he blocks out as much as he can, pruning and refining whatever penetrates until he has his own product at the end of it - be that the terse half-sentences he uses to communicate or the hundreds of C-90 audio cassettes he consigns to an unwieldy briefcase. It's a small detail in the overall film but Baby's analog audio suite, rescued from flea markets by Edgar Wright's pal Kid Koala, reads like a physical manifestation of the writer-director's magpie process.
Baby Driver is built out of Wright's earworms, the shots and movements that have lodged in his brain and refused to budge. Wright's film chews up and recontextualises the bits and pieces of film history that the director has clung to, be that the freewheeling buzz of The Blues Brothers or the unkillable enemy of The Terminator. Given Wright's big screen fluency, Baby Driver has a lot of material for editors Paul Machliss and Jonathan Amos to cleave through. The duo assemble the film on pronounced, insistent beats, using music and diegetic sound to layer and dictate pace even outside the action. This energetic, often chaotic, approach to film form peaks with a warehouse shoot-out that uses automatic gunfire to transform a geographical mundane sequence into a ferocious series of jolts.
Wednesday, 19 July 2017
Sometime in the early 1970s jobbing Hollywood screenwriter Walter Hill put the word out that he was a big fan of director John Boorman and the film Point Blank in particular. This effusiveness was rewarded with a copy of Alexander Jacobs' mythical (in writing circles) screenplay. Hill has described the reading experience as revelatory. Jacobs didn't waste a word, rattling out scene directions as bursts of pure information; haiku compared to the flowering prose of his contemporaries.
Jacobs rejected standard screenwriting assembly, doling out detail in a manner that hewed closer to bullet points or pure, impartial data. Hill was impressed. Jacobs had created a document that wasn't simply an anonymous filmmaking blueprint. The writer clearly had a voice, a sensibility that demanded his work be read as a complimentary piece of art rather than a disposable outline. Hill resolved to bring the same terse, vital readability to his own work. The Driver stands as the purest example of those labours.
As filmed, Point Blank follows a spectral criminal fixated on the former allies who acted against him. The film presents its lead character as an emotion writ large, pushing closer and closer to the people who turned him into an undying engine. Hill goes a step further, boiling his characters down to even simpler motivations - their job and an attendant will to succeed. Ryan O'Neal isn't playing a heroic archetype struggling manfully against impossible odds, he is simply The Driver. His character defined by an unshakable belief in his own abilities rather than any romantic, interior ambitions.
Although Driver takes payment for his services there is no evidence that he does anything with the cash. His apartment is barren, the cars he uses are procured on-site and trashed immediately after they have served their function. Driver pointedly doesn't care about the money he accumulates, it's just part of a necessary transaction that brings him closer to an opportunity to excel. His opponent, Bruce Dern's rabid Detective, is similarly bloody-minded, willing to break the law in the hope of trapping his quarry. Their conflict exists in the abstract, rules and regulations are irrelevant to both of them, they are simply two experts testing their limits by colliding with each other.
Thursday, 6 July 2017
Monday, 3 July 2017
Thursday, 29 June 2017
Michael Bay's problems are rooted in cohesion, specifically he struggles to arrive at a consistent tone or emotional wavelength. With Transformers: The Last Knight the director appears to have manufactured a solution - endless, breathless propulsion. Tossed off concepts and writer's room notes boil in a cauldron of pure, kinetic imagery. Bay is keyed into a ratcheting, agitated movement that extends to every facet of the filmmaking experience, even a constantly changing aspect ratio. The film never sits still, there's none of Christopher Nolan's stately approach to IMAX inserts, Bay's film is rabid, hurtling back and forth between the towering, vertical photography of super projection and letterbox vistas that read left-to-right.
Viewers are warned early and often that The Last Knight has been assembled to express a specific vision. It is not an easily digestible Summer product. Even for a Michael Bay film Last Knight is aggressive and inflexible, chewing up hundreds of millions of dollars so the director can scratch his various itches. Like Batman v Superman: Dawn of Justice and King Arthur: Legend of the Sword before it, The Last Knight holds up John Boorman's Excalibur as a primal filmmaking text. Ever the obsessive, Bay zeroes in on the details, littering the battlefield with the swords that assailed Gabriel Byrne's Uther Pendragon and replicating Terry English's chromed plate armour on a massive, techno-organic scale.
Although The Last Knight lacks Excalibur's mythic sweep, God-King Optimus Prime notwithstanding, Bay's film does attempt to replicate the elliptical storytelling of Boorman, a model in which image and feeling trump structure and order. Boorman's compression came from a desire to fit a storied King's entire lifetime into 140 minutes of film. Bay's truncation is different, more about removing any peak on the film's carefully calibrated emotional chart that isn't total, screaming noise.
The Last Knight then allows us an insight into how Bay chooses to interpret the screenplays he's assigned. An undercooked example like Bad Boys urged the director to lean heavily on his cast, using them to create skits that conveyed critical plot details in a package that, if not organic, at least had a fair opportunity to be entertaining. The career that has followed that film is indicative of a talent not completely sold on writing as anything other than a blueprint used to string together disparate, fantastical situations.
Armageddon and Pearl Harbor stand as garbled attempts to ground the director's bombastic leanings in human stories about amateurs under stress. Bay fails to draw out any finer details in these situations because he either doesn't believe the moments or simply cannot relate to them. The Last Knight is, at a conceptual level, a committee crafted jump-off designed to dangle threads and hit specific, audience friendly targets. Bay has been handed a piece wringing with a particular kind of arrogance, it's a franchise maker. Bay may be on his fifth Transformers film but the director has never been asked to do anything as vulgar as consider continuity.
Each Transformers film has been an iterative example of what a live action interpretation of the 80s toyline could be. Love interests and even protagonists have come and gone; doomsday scenarios are replayed and reconfigured; the Transformers themselves die and are resurrected over and over again with zero regard for where the previous films left them. The Last Knight places a marker and, barring another entry that dispense with the concepts presented here, asks that further sequels proceed from a point where the Earth is slowly mutating into Unicron, the world-eating machine from Nelson Shin's The Transformers: The Movie, and Optimus Prime is battling a malevolent robotic Gaia.
With very little need to spin wheels, Bay delivers a film that moves at two hundred miles an hour. Aiding and abetting this rampage is Sir Anthony Hopkins, the actor brimming with the kind of unfiltered glee he brought to the later, trashier Hannibal Lecter films. In Hopkins Bay has a collaborator genuinely capable of plugging one of the director's most obvious leaks. Hopkins can deliver stilted, stuttering exposition as a lark, turning the kind of heavy lifting usually reserved for a bug-eyed John Turturro into something that actually moves.
The winding, circuitous logic of Hopkins' info dumps are adrenalised by a companion action sequence that sees super-charged sports cars attacking London's landmarks and side-roads. The set-piece focuses on tourist destinations and the old city arteries that connect them. Bay forcing a McLaren 570GT down cramped, atypical alleyways manages to evoke the brief, busy thrill of Claude Lelouch's C'était un rendez-vous if not that piece's sustained, death-defying intensity. The image of gleaming, finely-tuned automobiles struggling along cobbled streets could even be read as the director using the absurdity of the film's unceasing momentum as a literal, self-referential component. Michael Bay has been allotted several finely packaged ideas and they're going down your throat whether you like it or not.
Monday, 26 June 2017
Martin Campbell is finally out of movie jail! Six years for the excretable Green Lantern sounds about right, shame he didn't take Ryan Reynolds down with him. Anyway, Campbell is back, coralling a hopelessly mistimed terror revenge film starring Jackie Chan to the big screen. Still, inciting incident aside, looks like The Foreigner will be filled with scenes of Jackie kicking people trapped inside tiny flats with a glum expression plastered all over his face. What more could you ask for?
Friday, 23 June 2017
Tuesday, 20 June 2017
Monday, 19 June 2017
Friday, 16 June 2017
Post-apocalyptic in every detail bar a nuclear exchange, John Carpenter and Nick Castle's Escape from New York takes an action premise then describes it with the kind of anxiety usually reserved for horror filmmaking. Kurt Russell plays Snake Plissken, a raspy ex-special forces operative who made his name sneaking into a litany of Russian cities before dropping out, turning to a life of crime. Snake is a relic from a world that has passed, a rugged, bad-tempered individual bumping heads with the compromised and robotic company men who now rule the country.
Whatever happened in Leningrad burnt Snake out, perhaps exposing the lie that forms the bedrock of a regime that has seen America congeal into a total police state. Snake is a soldier so explicitly used up that orders have no meaning to him. He isn't on this mission into the corpse of the Big Apple to redeem himself and therefore become heroic by the standards of the men who have crow-barred him into this assignment. He's being coerced. Snake is captured, dragged to Liberty Island and injected with explosives before being loaded up with shuriken and an Ingram sub-machine gun for what amounts to a suicide mission. Despite his legendary status he's still just a disposable commodity, an experiment forced into play while jackbooting dead heads weigh up an air strike on the Island.
Snake doesn't represent salvation, he's just another component in a desperate, pessimistic mission engineered by an acting leadership going through the motions. Carpenter and Castle have done something wonderful in Escape from New York, they've taken a scenario that could be told with the sweeping, bullying voice of patriotic duty then torpedoed it. The rescue of an encircled President isn't played for glory, the situation is splayed open, exposing the rot and ruthless opportunism that would be at work if the unthinkable actually happened with these witless bullies at the helm.
The one shred of humanity shown by the establishment comes from Lee Van Cleef's Hauk, an older man with much the same background as Plissken, now acting as the warden of the vast Manhattan penitentiary. Hauk vouches for Snake, his interim criminal years made irrelevant because Hauk remembers when the ex-soldier once did something bold and impressive. Of course Hauk may trust Plissken's skills but he doesn't trust his intentions. This isn't a world founded on honour and pride, instead Escape from New York spins on the kind of utility you'd expect from a world in which Reaganomic rhetoric has infected every aspect of the ruling class. Something terrible must have happened, no-one has any higher, romantic aspirations anymore. Instead everyone behaves like cronies prepping for their next corporate appraisal.
The one nod to chivalry displayed by the government's forces again comes from Hauk. Following the mission's completion he makes himself available to Snake, asking him if he still wants to kill him. Hauk is acknowledging something unspoken, that perhaps by serving this power structure he actually does deserve to die. Snake, the uncompromised hero would actually redeem Hauk somewhat if he chose to take his life. The gesture is immediately poisoned by The Warden's insistence on pitching Snake a potential return to the fold after it's clear that the jail-breaker has chosen to stay his hand. Russell's limping, injured hero couldn't be less interested.
Snake Plissken isn't an action hero and Escape from New York isn't structured to express victory. This massive story is told in details, Snake's individual triumphs are always small and stolen. Carpenter never falls into the trap of letting his main character build up a head of steam, stakes are never lost to scale, every dangerous interaction is essentially Plissken attempting to misinform his quarry, allowing him to strike. Snake by name, snake by nature. Carpenter doesn't linger on the violence either, Escape may miscommunicate a few of its thumps but even these under-covered cracks play into an overall thesis about how liquid power can be. Violence is always a surprise.
Once in New York all bets are off, it doesn't matter if you can talk big or have access to incredible technology, are you vicious? Will you strike first? Escape has a feral quality, man reduced to teeth and claws, roaming around the ruins of a financial fortress. Carpenter and cinematographer Dean Cundey shoot dark and wide, allowing the gutted mise en scene to tell a story and communicate the stakes. Snake is never alone once he enters Manhattan. There's always something or someone else in the frame, running interference or sizing him up.
Escape communicates a state of complete hostility. The film barely jumps around, the opening act in particular charts its discoveries by Snake's slow, hesitant pace. This segment, the film's best, has no sense of release in it. Snake is given an impossible task then we watch his attempt slowly unfold. Carpenter's film delights in this sense of pressure, the siege mentality of his horror films bleeding into the language of action / adventure. Pointedly, Snake does not surmount every challenge or bend the devastated city to his will, the film's too canny for that. Snake creeps around the pitch black streets as quietly as he can, waiting for an opportune moment to lash out and do some damage.
Thursday, 15 June 2017
Tuesday, 13 June 2017
What can you say? Limits are, quite obviously, completely meaningless to Nintendo. Based on this charming little infomercial and the hat mechanic it promises, Super Mario Odyssey is quite simply magical, allowing the player almost infinite opportunities to experiment and, above all, have fun. Stunning.
After their delightful work on Uncharted: The Nathan Drake Collection, Bluepoint Games have been handed the crown jewel of Sony's video game library - Team Ico's Shadow of the Colossus. Predictably, Bluepoint's remake looks beautifully polished, already improving on their 2011 pass for The Ico & Shadow of the Colossus Collection on PS3. Fumito Ueda's baby is in good hands.
Two years later, Sony system owners finally get their chance to give Undertale a whirl. Developed by Toby Fox, Undertale seeks to evoke the unease felt in Nintendo's Mother series by deliberately layering complex themes and decisions into a cutesy, pixel-based RPG. Reading around it sounds like Fox succeeded completely, managing to create a game that plays like you're starring in your very own creepypasta.
Sledgehammer Games pick up where Call of Duty: World at War left off, rolling period specific flamethrowers and player guided aerial bombardments into a gameplay model that, thankfully, appears to have returned to circuitous, map roaming gunplay after years spent leaping in every available direction.
Shades of Vectorman in Housemarque's latest. That is to say Matterfall takes your basic run-and-gun platforming and dresses it up with exciting, modern graphical tricks, in this case a destructible world built out of the clattering voxels that powered the studio's launch day hit Resogun.
Monday, 12 June 2017
Nearly there! Studio MDHR's gorgeous, long-trailed homage to Treasure shooters and Fleischer cartoons is set to release this September. By all accounts, Cuphead's extended development time can be attributed to a greatly expanded game scope that moved further and further away from a Betty Boop boss rush and the developer's decision to hand animate every single frame of the elasticated action.
While never quite in the same league as his two Resident Evil entries, Shinji Mikami's last pass at a letterboxed horror game was full of atmospheric creeps and twitchy shooting galleries. The model was sound, the execution just needed a bit of tweak, its course corrected away from situations that overwhelmingly tracked towards one-hit deaths. Combat in The Evil Within 2 could stand to be a little less fussy, players should be allowed to build towards a firmer sense of power in how they tackle the oozing, creeping horrors in Mikami's latest tetanus prison.
With The Phantom Menace's 20th anniversary approaching rapidly we're probably at a point where the children who greedily gobbled up the adventures of Darth Maul and pals are looking to re-examine their lost youth and spend their way towards resuscitating their long stagnated sense of wonder; hence DICE's tried-and-tested Battlefield 1 sporting a Clone Wars revamp.
Even though they shovel out enough anonymous anime tie-ins to sink a fleet, Arc System Works do occasionally play an absolute blinder. Dragon Ball Fighter Z looks set to do for Akira Toriyama's peerless masterpiece what their 2005 Fist of the North Star coin-op did for Tetsuo Hara and Buronson's, namely transform hundreds of pages of static pose downs into a 2D fighting game kinetic enough to get the Justin Wongs of the world excited.
Sunday, 11 June 2017
The Three Musketeers froths with exuberant, youthful energy. Director Richard Lester is a dab hand at capturing this liveliness, his films revolving around the breathless vitality present in young men desperate to make a name for themselves. Lester channels their exhilaration, crafting visual scenarios that convey an explosive kind of excitement. With A Hard Day's Night Lester took the runaway popularity of The Beatles and transformed it as a series of static, telephoto shots of screaming youths running directly into the camera. In adapting Alexandre Dumas' d'Artagnan romances, Lester starts with a whip-thin, beaming Michael York then allows the actor to hurl himself about the screen, clearly having the time of his life.
The film's sword fights track with this conceit, packaging expert jousting within scrappy, spontaneous confrontations. Any object left lying around can and will be used as a weapon - Oliver Reed's brooding Athos never fails to hurl his floppy, wide-brimmed hat directly into his opponent's face. The goal for these clashes is never really to kill either, instead the combatants seek to humiliate each other by either drawing first blood or by booting any inattentive enemies up the arse. Lester and screenwriter George MacDonald Fraser laser in on the flippant, moneyed absurdity of the 17th century's ruling classes, interpreting their adventures as terrifying flights of fancy, driven by brain-dead and terminally horny aristocrats. Lester is an obsessive entertainer too, layering his frame with slapstick sight gags and grumbling commoners who can always be relied upon to skewer the oblivious, oversexed lords and ladies.
Tuesday, 6 June 2017
Monday, 5 June 2017
So far, the loudest voice in DC's most recent push for a Cinematic Universe has been Zack Snyder, the director of Man of Steel and Batman v Superman: Dawn of Justice. Snyder, working in the thrall of 80s comic book smashes like The Dark Knight Returns and Miracleman, proposed a slate filled with passionate, immoral Gods thrashing around seething CG tableaux. Snyder's heroes are not particularly selfless or altruistic, they're introspective and obsessive. They moon and stew over the kind of problems that swim out into an abstract range of thought.
Dawn of Justice (in its expanded form) is a three-hour epic predicated on Batman's gut feeling that a messianic alien has the potential to turn against the people of Earth. Despite all evidence to the contrary, Bruce halts his war on crime to assemble the tools necessary to kill this Superman. It's a decision that deliberately invites accusations of jealousy. Bruce Wayne has seen a power and strength that cannot be bought or duplicated, feeling inadequate he works towards crushing it, reasserting his standing as the ultimate man. Dawn of Justice is Nietzsche's will to power viewed through the prism of Frank Miller's big feet comics, emboldened by poor box office returns for the two previous Superman films.
Patty Jenkins' Wonder Woman then functions as a counterpoint, standing in opposition to all these unregulated, male expulsions. Gal Gadot's Diana of Themyscira isn't ancient and embittered, she hasn't seen her parents bleed out or be whisked away into a tornado. Instead she's from a stable, loving background, raised by a doting mother and an island's worth of adoring warrior women. Snyder's twin superheroes spring from altogether less stable situations - the alien moped around in agricultural misery denying who he was while the child billionaire found himself in a bottomless pit filled with clattering rodents. No wonder they export disaster.
Thanks to several superhero cycles that never found the time to bring Wonder Woman to the big screen, Allan Heinberg's screenplay is allowed to discover its character in circumstances that reflect the character's initial creation rather than an angle designed to repackage something people have already bought. William Moulton Marston and Elizabeth Holloway Marston, working with artist Harry G Peter, created Wonder Woman to serve as a powerful, feminine hero who extolled the virtues of love and compassion. William specifically organised his co-creation as a form of psychological propaganda designed to sell readers on the idea of female leaders who ruled without instantly resorting to force.
Jenkins and Heinberg interpret this desire with a hero who approaches the quagmire of the First World War in much the same way as Alexander the Great dealt with the Gordian Knot. Instead of listening to the men who bark orders and limits at her, Diana sees problems then acts decisively, placing herself in the thick of desperate street fighting and frostbitten trench warfare. Diana acts as a leader too - running out into No Man's Land armed with a shield, she soaks up the incoming machine gun fire, allowing the boys that follow enough breathing room to gain precious ground. Her actions invite this collaboration, her strength equalising the otherwise insurmountable danger for her allies.
Jenkins approaches this action atypically, seizing on the regular bulletins as an opportunity to watch and delight in the graceful movements of experts. Gadot and her fellow Amazons are shot in ways designed to capture their power and authority rather than the damage their movements affect. Jenkins isn't interested in the minutia of violence, the destruction and fitful energy of Snyder is tamed here, channelled into brief glimpses of an earthbound Goddess skipping across slate rooftops. It's an action model predicated on delight rather than might, a decision that works hand-in-hand with Mr and Mrs Marston's desire to see unburdened femininity communicated in the language of deification.
Friday, 2 June 2017
Thursday, 1 June 2017
Do you know why Superman III is great? It puts the Clark Kent / Superman dichotomy front and centre, drawing dramatic premises out of the turbulent emotional state created by two separate identities sharing the same vessel. It also allows Christopher Reeve to flex his jerk muscle. The film begins with Kent feeling a little unloved at work - Perry White is busy ignoring malfunctioning bingo machines and, after their amnesia kiss in Superman II, Lois Lane is back to being an indifferent co-worker. With very little to keep him in Metropolis Kent pops back to Smallville for his High School reunion, spending some time with his teenage crush, Annette O'Toole's Lana Lang.
Lang is a distinct romantic proposition in these Superman films. Unlike Lois, who is first and foremost besotted with the Man of Steel, Lana is actually interested in the human Clark Kent, recognising his innate goodness as an opportunity for long-term emotional stability. For balance, she also views his decision to move away from their small town as exciting and forward-thinking. He's the complete package. Leslie Newman and David Newman's screenplay doesn't really do much with Lana and Clark's relationship beyond proposing it as a road bump along the route to Superman's human persona and Lois finding each other but the structure is there for, at the very least, some Silver Age two-timing in the next instalment.
Superman III seizes on the fracture Lana and Lois' disparate interests propose then, thanks to a blazing crystal of synthetic Kryptonite provided by Richard Pryor's Gus Gorman, uses the idea to power action scenes grounded in Superman's shattering sense of self. Poisoned by the radioactive rock Superman starts to degrade and corrupt, his hair loses its immaculate styling, he gets a 5 o'clock shadow and his bright, primary coloured cape curdles into a rusty, carmine red. This split comes to a head in a scrap yard filled with gutted automobiles. Superman and Kent disentangle from each other, two opposing ideas battling for control of the whole. It's a dazzling sequence, skipping delicately between director Richard Lester's fine comedic detailing and the terrifying proposition of a Superman governed by his oozing, reptilian brain.
Wednesday, 31 May 2017
Judged on this 90 second hype reel, Sonic Mania is shaping up very nicely indeed. Christian Whitehead, Headcannon and PagodaWest Games' first stab at an original Sonic the Hedgehog instalment looks exactly like the game Sega should have produced for their Saturn console, a wonderful remix with the nounce to draw visual and interactive influence from overlooked 16-bit platformers like Treasure's Gunstar Heroes and Dynamite Headdy or Sonic Team's very own Ristar the Shooting Star.
Thursday, 25 May 2017
Wednesday, 24 May 2017
Give or take a sub-Roman warlord who may or may not have even existed, the tales of King Arthur have a beginning in Welsh folklore. Early stories told of an unbeatable adventurer who lead excursions to steal treasure from an otherworldly paradise that predated and informed the Christian idea of Heaven. In Geoffrey of Monmouth's Historia Regum Britanniae, Arthur's kingdom stretched all the way into Gaul, bringing the King into direct conflict with the Roman Empire, the headspring of Britain's inferiority complex.
As the centuries rolled on, Arthur would become a rallying point for Greater British and French myth, tying dozens of disparate stories together under the banner of a round table where all men are treated equally. The point being that King Arthur is forever malleable, an undying character in permanent flux, flowing freely from one conceptual conflict to the next. For their pass, designed to appeal to a modern audience's taste for team-ups and their feature length origins, Guy Ritchie, with fellow screenwriters Lionel Wigram and Joby Harold, plunder the monomyth then flavour with the exploits of Middle-Eastern prophets.
Moses' drifting basket is married to the all-consuming humanity of a Christ who did not discriminate by class or social standing. In King Arthur: Legend of the Sword Charlie Hunnam's Arthur has lost the wealth and standing of his hereditary royalty thanks to a treacherous Uncle who can transform into Frank Frazetta's Death Dealer. Arthur has been raised in a brothel, enduring poverty and abuse to become a kind of Dark Ages Fagin, running umpteen scams and rackets that criss-cross London's docks, usually involving cheeky, pick-pocketing urchins. He's a cosy, East End criminal who stands up to bullies and loves his adopted Mum.
It's clear that even operating from this lowly station Arthur has thrived. Not only has he made vast monetary gains, he's also gathered a small crew of capable followers. He's a cheeky fucker but also, clearly, a leader. Just in case all that sounds terribly dry, Richie remembers to mix in his patented market stall argy-bargy, bending the distended structure of modern blockbusters to incorporate the director's rambling, digressive storytelling tics. As with Lock, Stock and Two Smoking Barrels and Snatch, Ritchie insists that the film unfold from the mouths of his heroes, putting them in control of the story and how we are told it. It's an interesting delivery system, at its best representing a verbal barrage that can overwhelm and overcome the weak-minded. At its worst, it erodes the shape of the film, presenting computer generated action sequences in the lacerated language of car commercials.
Monday, 22 May 2017
Thursday, 18 May 2017
On paper, it's easy to read Alien: Covenant as Ridley Scott's bristling response to the criticism that greeted his gorgeous but deliberately flippant Prometheus. For a start the marbled, swaggering Engineers are completely dispensed with, shunted off stage into a delirious, Biblical oblivion that underlines their complete irrelevance to what will unfold here. Rather than pick at an idea of explanation, using rejected Alien concepts to build the nursery, Covenant is woven around a more forthright telling of where the original creature has sprung from. The facts that unfurl here might not align perfectly with everything we've seen before but their emotional, thematic truth work beautifully.
Scott and screenwriters John Logan and Dante Harper approach their sequel with the tried and trusted methods of James Cameron. They take their predecessor's leftovers, boil them down to their constituent parts then explode them on a mythic, sweeping canvas predicated on an easily understandable psychological state. The inherited character is precious, existing on a level entirely above any of the newcomers. Dramatic urgency will spring from, and function around, their objectives and desires. So while Cameron's Aliens transformed habitual survivor Ripley into a superheroic mother capable of physically confronting her nightmares, Logan and Harper raise Michael Fassbender's broken, glitching David up to the level of a towering, Satanic evil.
Covenant abandons Prometheus' questions about humanity's makers to instead ponder our race's future on a galactic scale, asking what legacy we might hope to leave behind. The film's answer is iterative and generational, concluding that mankind is essentially immaterial to what is to follow. We're catalysts, meat grist to power the pupal stage of our offspring. Just as our creators have been swept away, so too will we. It's a big, science fiction idea - the tools we've created to help us chart the stars have actually rendered us bovine, bordering on irrelevant. In this detail Covenant operates as a complementary piece to both Blade Runner and the moment in which Alien's Ash praises the perfection of Kane's son.
Covenant's synthetics are a rolling, real-time explanation why Roy Batty and pals were saddled with such a definitive expiration date. If mankind is able to create a lifeform that betters them in every way, why then should that being take orders? Covenant reorganises David as something of an anomaly, an old man's hubristic attempt to create a flawless but servile companion, two behavioural aspects that can't help but clash instantly. Walter, a deliberately less capable revision of David, occupies a social standing one down from Prometheus' duplicitous butler. Many of the human spacefarers that interact with Walter treat him like a self-sufficient gadget that just happens to be shaped like a man. In Covenant, synthetics are treated as emotionally invisible automatons, they're an underclass expected to bow and scrape. No wonder the greatest amongst them chose to divert, to seize on his father's works and imagine the next evolutionary leap.
Wednesday, 17 May 2017
AVP: Alien vs Predator's finest quality is that co-writer-director Paul WS Anderson has understood that one of the Alien series' key tensions is that women, no matter how accomplished they are, end up routinely ignored by their male colleagues. Like Ripley before her, Sanaa Lathan's Alexa Woods is the smartest, most capable person in the room and, just like Ripley, the men who buzz around her interpret her informed, credible guidance as dreary micromanagement designed to ruin their fun. Of course then Woods goes on to be the last human standing, surviving long after everybody else.
AVP stammers elsewhere. Anderson and accomplice Shane Salerno write everything shorthand, meaning character and detail are delivered in scenes that pivot on one-upmanship and zings. It's a shame the all-inclusive certificate doesn't really support the profanity required to make these scenes bearable. For the most part, people in AVP are simply cogs in an efficient, genre literate machine that has a pressing need for victims. Hence everyone is deliberately underwritten lest we get too attached. The effect of this choice is a film full of aggressively disinteresting drones marching towards their evisceration.
Anderson and Salerno have a little fun with their cast's disposability, casting aside a half-dozen eligible men (and one woman) to anoint an adolescent Predator as the closest thing to a love interest for Alexa. The seven-foot tall big-game hunter even goes so far as to bashfully reveal his monstrous face to his new best friend. This moment would probably sing if the mask Amalgamated Dynamics delivered was lit and photographed to conceal its stuttering motors and waxy, synthetic hide. Likewise, suit actor Ian Whyte conveys very little of the elegant, androgynous determination Kevin Peter Hall brought to Predator and Predator 2.
AVP's Predators are lumps, their cinched waists and barrel chests explicitly recalling the kind of simplistic, easily reproducible shapes you see in cheap supermarket action figures. The Aliens don't fair much better. Following on from their work on Alien: Resurrection, Amalgamated Dynamics once again render the title creature with elongated, insectile limbs and a rabid, bestial gait. The added screentime required to churn through actual fights scenes doesn't help, we're either stuck with ugly CG pouncing or prolonged glimpses that utterly expose the weightless, jittery rubber required to create the Alien's back-piping. We're a long way from Giger using repurposed medical grade bones and Rolls-Royce cooling tubes to arrive at something genuinely nightmarish.
Wednesday, 10 May 2017
Monday, 8 May 2017
Sunday, 7 May 2017
Disney's all-out assault on the ageing process continues in Guardians of the Galaxy Vol. 2. This time the megacorp serve us up a digitally sandblasted image of Kurt Russell cackling his way through an early-80s courting session. Stranded in this instant, it's difficult to gauge whether we're working our way through a brief technological blip in which digital artists are pushing their new toy to its limits or we're in the opening stages of a new, unreal frontier where no star, no matter how old or dead they are, is safe from a computer generated face lift.
Given the ubiquity of the technique in their tent-pole releases, it's clear Disney are hoping to normalise these blurry, synthetic performances. Perhaps they see the practice as another portfolio opportunity? They own almost everything else. Their stranglehold on the images and aspirations that cascade into childhood aren't enough for these IP hoarders, they want to take possession of faces and voices now, transforming the very idea of human identity into pliant, malleable data that can, feasibly, be used for any purpose. Really, the only thing holding Disney back in this new, terrible arena is the public's gag reflex.
The point where digital homage creeps into the repulsive is difficult to gauge and seems to vary wildly by star. Peter Cushing's resurrection in Rogue One: A Star Wars Story didn't raise half the stink that greeted the very suggestion that a similar technique might be used to reanimate Carrie Fisher for Episode IX. That was too raw a nerve but, if we take a step back, who doesn't want to see Kurt Russell returned to the prime of his life? Moral principles are great but why deny ourselves the chance to return to a time when the actor was young and perfect, frozen between The Computer Wore Tennis Shoes and Escape from New York?
Director James Gunn, to his credit, pushes the idea of an indestructible software Kurt to the limits of the PG-13 rating. The actor is blasted apart then messily rebuilt, layer by excruciating layer, before crumbling into a shapeless, data-heavy sludge. Guardians 2 must be a uniquely horrifying experience for Russell. The star is given the once-in-a-lifetime opportunity to see exactly what his body would look like after lasers have bored through it or how his organs might jiggle and pulse as they're knitting themselves into a box fresh skeleton.
These shameless displays of excess neatly encapsulate the experiences of watching Guardians 2. It delivers over and over again without respite, providing blazing, luminescent movement slathered all over jarring, dramatically compartmentalised, emotional pain. Sometimes these interactions work, granting us an insight into these tortured four colour characters. Other times they're just grist for the next punchline. Nothing is ever left alone long enough to simmer either, so when the film actually wants you to be sad there is always a beat or two where you're left wondering if a joke is just about to creep in and explode the moment.
Friday, 21 April 2017
Thursday, 20 April 2017
Given how much of Fast & Furious 8's ad campaign is dedicated to telling us that Vin Diesel's character has done the unthinkable and betrayed his family, it's natural to wonder if Universal are testing the waters to see if the franchise can survive without its gravely voiced linchpin. A villainous role specifically isolates him from the pack, inviting the idea that, ultimately, Dominic Toretto is disposable. Couple that with the star's very public falling out with guaranteed draw The Rock (not to mention a bigger part for Jason Statham) and the deck looks to be pointedly stacked against Big Vin.
On the night Furious 8 is, if anything, the inverse of that idea. In F Gary Gray's entry Toretto is a folk hero, drawing out the innate goodness in men that have found themselves morally muddled. His goodness is the kind of bright, shining light you'd find in romantic myth; Toretto is at once a brooding Arthurian King, dealing with threats to his very identity, and the kind of innately decent, plain speaking warrior found on the pages of Weekly Shonen Jump. Furious 8 makes the case that Diesel is actually essential to the franchise. Without him and his puppy dog enthusiasm, the extended family motif plays like an artificial, focus tested organisation of cheap TV stars and ex-rappers.
Vin Diesel's old fashioned star power aside, Statham finally gets to deliver on the promise of Fast & Furious 6's credits stinger, cutting promos on an equally excited Dwayne Johnson before performing his own hyperkenetic take on Hard-Boiled's poster moment. Furious 8 also turns in a stunningly executed centrepiece collision that gives Terminator 3: Rise of the Machines' hijacked car idea a modern, self-driven spin. It's a Luddite's worst nightmare, hundreds of driverless vehicles speeding towards a pile-up so wonderfully, deliriously excessive that its closest visual antecedent is that ill-advised moment Terry Funk and Cactus Jack implored a bloodthirsty ECW crowd to throw them a chair.
Wednesday, 19 April 2017
As the collective headache of the 1980s buzzed on into the 1990s, all the plugged-in action stars were considering the cinematic possibilities of the jail stretch, perhaps in an effort to capture the momentary cultural interest created by a failing war on drugs and a burgeoning, for-profit prison industry. Schwarzenegger got in early, making his Stephen King adaptation bones too, with The Running Man. Stallone fired back with the middling, would-be heartfelt Lock Up, while Jackie Chan faded into the incarcerated ensemble of Island of Fire.
Death Warrant, by dint of being a by-the-numbers example of this action sub-genre, offers an interesting comparison point for Jean-Claude Van Damme as a leading man. With a well-worn set of expectations in place, it's easier to see what it is exactly that Van Damme brings to the table. Martial arts are an obvious addition, largely confined to a bruise 'em up finally that has Van Damme kicking a supernatural opponent around and into a blazing furnace. Less expected is the unpretentious sensitivity the actor brings to every single interaction.
Van Damme's Detective Burke likes to touch, to reach out and make a connection, not always to injure either. The character displays an atypical gentleness when dealing with other male inmates. When Robert Guillaume's hard-won ally catches a debilitating injury not only does Burke delicately treat his oozing wound, he touches the man on his face and pats his chest to reassure him. Above all, Van Damme exudes a confidence that suggest a man in complete command of his sexuality. This conviction melts women's hearts too. The film's love scenes between Van Damme and Cynthia Gibb's lawyer may stutter dramatically but there's no denying the fitful, jelly legged longing Gibb summons up for their finale kiss.
Tuesday, 18 April 2017
Saturday, 15 April 2017
Although not in the same league as a full-on control freak like Sylvester Stallone, Jean-Claude Van Damme was nevertheless given plenty of opportunity to put his own authorial stamp on his 1980s releases. Following a disastrous test screening for Bloodsport The Cannon Group allowed the star to supervise the film's re-edit - how much worse could it get? Healthy box office returns ensured that this benefit was soon extended to the rest of the company's collaborations with the actor, including 1989's Cyborg. To give him his due, Van Damme had a clear and consistent methodology when assembling all of these features - they are vehicles for his body to be pored over and admired. Plot concerns ranked a distant second.
Slinger is Albert Pyun's attempt to reconstruct his vision of Cyborg, freed from studio notes and a film star who jealously guarded his brand. Thanks to a diligent collaborator, Pyun had an 88 minute VHS workprint to excavate anything absent from the theatrical release. Newly recorded voice overs and dialogue loops were used to paper over missing or unfilmed scenes, framing a story that diverges on several key details. Objectives are more clearly delineated in this alternative cut, characters act with specific, stated purpose. The analog video assembly also predates any MPAA censorship, giving Pyun one or two more instances of violence to grab attention with.
This Director's Cut doesn't simply rescue a preexisting piece, it goes further with Pyun adding and subtracting from his film, eagerly working towards an impressionistic draft that simulates what could have been, had he been allowed full creative control. In terms of form, it's clear from the new edit that Pyun wanted to hold on his images longer, to let them sink into his audience and expand in their minds. Lacking the coverage to actually amplify these moments, Pyun switches back and forth between the blotchy, deteriorating analog signal and a pristine theatrical source, effectively replaying the beat. In truly dire editorial predicaments he simply turns what little footage he has into self-contained loops.
These primitive techniques, coupled with an excretable epilogue sequence, threaten to shake the viewer out of the film but, thankfully, Slinger has one more ace up its sleeve, Tony Riparetti and Jim Saad's brand new soundtrack. Indeed, this Director's Cut is an object lesson in how much of an impact music can have on a film. As released, Cyborg was saddled with a reedy, synthetic score by Kevin Bassinson. Despite the striking apocalyptic imagery, the audio accompaniment was painfully low rent, a supermarket keyboard's approximation of an orchestra, piped out to tinnily underscore the futuristic action. By comparison, Riparetti and Saad's suite is a blazing catalyst, full of wailing, heroic guitars and the kind of pounding, electronic beats Chu Ishikawa wove into the Tetsuo films.