Days of Future Past: Has Science Fiction become Science Fact?

If by some miracle a prophet could describe the future exactly as it was going to take place, his predictions would sound so absurd, so far-fetched that everyone would laugh him to scorn. The only thing we can be sure of about the future, is that it will be absolutely fantastic" 

      - Arthur C. Clarke, World's Fair, New York, 1964

It all started with one simple question: “Why don’t we have hoverboards yet?”
It was January 2015 and film journalists were already preparing their articles ahead of the 5th October 2015. The date that Marty McFly and Doc Brown travel to the future in 1988’s Back To The Future Part II.
Science Fiction films were previously the work of fantasy. Writers and filmmakers creating a vision of the future that they imagined *could* potentially come true but never really thought they would be held accountable for.

"Science fiction was an expression of 20th century man's hopes, dreams and aspirations. A heavy percentage of science fiction is merely rubbish. Big eyed monsters, space battles or something of that nature. However science fiction has one thing in its favour, that even a story that from a literary standpoint is complete trash may prove very prophetic"

While the science fiction films of the past have earned their place in history, the clock has kept ticking and time has begun to catch up with these works of fiction, whether they are novels, television shows or films.

Outside of 2001: A Space Odyssey and Terminator 2 Judgement Day, Back To The Future Part II was the first science fiction film to have a set date that people could finally analyse and compare fact to science fiction.
It presented a vision of the future that featured flying cars, self-tying laces and the release of Jaws 19. To be fair, they got the resurgence of 3D correct. They were also a year out with the Chicago Cubs World Series Win but we’ll let them off because they weirdly kindly of predicted the rise of Trump.

The year is now 2019 and we have reached a time when science fiction is becoming a reality.
The science fiction films of our past are becoming the present. The year 2019 is the setting for films such as Daybreakers, The Road, The Island, Akira and one of the most influential films of all-time, Blade Runner.

What, if anything, did they get right about the future? And what can they teach us about technology, science, health and politics?
Arthur C. Clarke said "One mark of a first rate scientist is an interest in science fiction and conversely, the mark of a second rate scientist is a lack of interest in science fiction."
Where films got their predictions correct, was it because scientists were inspired by the technology seen in the movies? A sort of self-fulfilling prophecy so to speak?

Over the course of 2019, I will examine in detail a series of science fiction films to determine how prophetic they actually were.

The criteria for selection was they had to be set in a specific time period in history or the near future i.e. 2001, 2019, 2032, etc.

Also the films must have been released at least ten years prior to their setting to allow for a reasonable period of time for their predictions to take effect (sorry Geostorm, set in 2019 but released in 2017).

The films that will be analysed are as follows (in chronological order of setting):

1. 1984
2. Escape From New York
3. Death Race 2000
4. 2001 A Space Odyssey
5. Timecop
6. Back To The Future Part II
7. Barb Wire
8. V For Vendetta
9. Rollerball
10. Akira
11. Daybreakers
12. The Island
13. The Road
14. The Running Man
15. Blade Runner
16. Johnny Mnemonic
17. The Purge
18. Soylent Green
19. Her
20. Metropolis
21. Children of Men
22. Snowpiercer
23. Moon
24. Demolition Man
25. Twelve Monkeys

Solis - EIFF review

Solis opens with a escape pod hurtling through space towards the sun. The sole inhabitant Troy Holloway (Steven Ogg) must find away to stay alive long enough for another spaceship to come rescue him. Trying to keep him calm and focused over the comms is that ship’s commander (Alice Lowe).
What follows is a low-budget but effective thrill ride set in real time that is a blend of Gravity meets A Matter Of Life And Death.
With a film set entirely in one location, there is literally nowhere to hide. Not for the main character or writer-director Carl Strathie.
Although working with a small budget, Strathie has made every penny count. Building a claustrophobic set but simultaneously using camera work and lighting to disguise any potential shortcomings. The special effects are also impressive for the scenes outside of the capsule and when Troy is floating in zero gravity.
Speaking of Troy, a film where there is only one character on screen for the entire run time can live or die on its lead actor. Steven Ogg (best known for voicing Trevor Phillips in Grand Theft Auto V and a role on The Walking Dead) gives a fairly captivating performance, holding the audience's attention for the duration of his predicament.

He shares decent chemistry with the only other two characters he interacts with; Alice Lowe's Roberts (appearing only as a voice over the communication relay) who is Troy's only constant in a world spinning out of control. And that is down to Murphy. As in Murphy's Law of "anything that can go wrong will go wrong", with Troy facing more obstacles than the crews of Apollo 13 and The Martian combined.

While the film holds the audience's attention for its brief run time, the main obstacle is the script. Another couple of orbits around the script to sharpen up the dialogue could have elevated it to something truly special within the genre.

As it is, Solis can take solace in the fact it should find a home and audience on Netflix or streaming services and act as a calling card for Strathie who we should expect to have a very bright future.

3 stars

Solis receives its World Premiere at Edinburgh International Film Festival on Wednesday 27th June, 8.35 and screens again on Thursday 28th June, 8,45. To book tickets, click here.

A Wrinkle In Time - review

A Wrinkle In Time is a family friendly adventure about a young girl who travels the universe in search of her missing father. Sadly though, instead of wrinkling time, the film seemingly manages to stretch it. Making a story that is an hour and fifty minutes feel like four hours and none of them that entertaining.
Ava DuVernay made such a strong impression with her debut film Selma. The film was incredibly powerful and perfectly captured the era. Wrinkle In Time had the potential to have power and emotion from the tale of a daughter who feels lost in the world and is desperate to reconnect with her missing father. Unfortunately, that potential is lost the moment the film transfers from the real world to a series of CGI-generated planets filled with giant Oprah Winfreys.
Similar to the three Mrs's who guide Meg (Storm Reid) on her quest, DuVernay has assembled some considerable star power and Winfrey, Reese Witherspoon and Chris Pine do their best with the material but they are faced with a number of unintentionally laughable moments such as Pine having to earnestly deliver the line "Love is the frequency!" and it is impossible to have characters shout "Shut up Meg" and not think of Family Guy!
Recent years have seen genuine child talent emerge such as Daphne Keen (Logan) and Millie Bobbie Brown (Stranger Things) but it is unlikely that 2018 will bring a more annoying screen child than Meg's younger brother and child prodigy Charles Wallace. By the time audiences have heard someone shout "Charles Wallace! Charles Wallace!" for the hundredth time, they will want him to disappear into a black hole!
The final disappointment was finding out that after several references to the universal evil called "The IT", there was no crossover with the Stephen King novel and Pennywise the Clown was not the ultimate bad guy. Which could have saved the film and given it a whole new context. Instead, it is as deflating as IT's final form in the TV movie and is strangely voiced by David Oleyowo which means the ultimate evil is voiced by Martin Luther King!
A Wrinkle In Time? More like a colossal waste of time!

1 star

Annihilation (Netflix Originals) - review

Annihilation is a film about a team of scientists who enter "the Shimmer", an environmental disaster area of unknown origin, unsure if they will emerge from the other side.
Writer-Director Alex Garland must have felt a bit like that during the post-production process, wondering if the finished film would ever see the light of day.
The much publicised studio stories claim executives at Paramount felt the film was "too intellectual" and wanted Garland to make changes.
He refused and this resulted in them giving it a small, short theatrical run in America but giving Netflix the international rights.
Now this once again opens up the argument over the audience benefits of a non-theatrical release. 

Some are outraged that they cannot watch it on a cinema screen as the director intended. Others claim that by releasing on the streaming service, more people will watch it there than ever would in a cinematic environment.
Who is right? Well, in this particular case, both are right in some ways.
Following his Oscar-winning Ex_Machina, Garland has moved up in terms of scale from a theatrical three-way chamber piece on what it means to be human, to a much grander (wo)men on a mission story where a group of people (possibly literally) meet their maker.
Natalie Portman plays Lena, a biologist who's soldier husband (Oscar Isaac) has been missing in action for over a year. Consumed by grief, she is all but lost when one day he returns to her dazed and confused. Falling ill he is taking to a military base where she learns he is the only person to have returned from "the Shimmer". Wanting to know what happened to her husband, Lena volunteers to join a team heading in to find the source of the Phenomenon.
Inside the all-female team find plant and animal life that should not exist in nature, along with very real and dangerous threats to their existence, including each other. For the deeper they venture in to the area, the more their connection to reality starts to slip.
Annihilation is a film that was shot to be experienced on the big screen. It has some of the most stunning and visually arresting images you will see all year and some of the impact will understandably be lost if watching it on a laptop or iPhone for example. But its power is in no way diminished and the film's imagery and story will stay with audiences days after watching it.
It is certainly not a film that everyone will appreciate on an initial viewing. The trailer entices audiences in with a brief set up of the story and focuses on certain moments of action and horror but in reality the film has much more in common with films like Arrival and Under The Skin, with a hint of Event Horizon.
That is music to the ears of some film fans to be sure. Arrival and Under The Skin are both five star classics (even if Skin took a few viewings to truly appreciate) and Event Horizon is now a cult classic. However these are not instantly accessible films that found big audiences at the cinema. For Event Horizon in particular, it was the home video market where it truly came alive and that is where Annihilation has the opportunity to grow its potential fanbase.
While there will be some people who just don't get it, there will be some who find it akin to 2001: A Space Odyssey in its themes and messages about humanity. They will spread the word and build up its cult status for years to come. Potentially even organising underground guerilla screenings.
It's legacy on the science fiction genre certainly won't be annihilated. If anything, this is just the beginning!

5 stars

Open The Pod Bay Doors Hal - Man Made Moon

This week I had the pleasure of guest starring on The Nerd Party's Filibuster podcast hosted by fellow film fan Lee Hutchison, to talk about all things Duncan Jones related ahead of the release of Mute on Netflix this Friday 23rd February.

You can listen to the two of us talk Moon, Source Code and Warcraft: The Beginning here.

During the podcast, I talk about an article I wrote for Clothes On Film about the double meaning of the costume design in the film and you can read the full article here.

We'll be returning to the pod booth at the weekend to review Mute so until then you'll find me casually leaning on a lamp post on the corner of the street until a certain little lady walks by...

Snowpiercer - French Blu Ray review

It feels odd to be reviewing a film from a French blu ray when it hasn't even been released in cinemas in the UK yet but the journey that Snowpiercer is taking to the big screen over here has been filled with more problems and delays that the trams in Edinburgh city centre. Ironically that is where the film has just had its UK premiere at the Film Festival.

Last year word started to surface that Harvey Scissorhands wanted to edit the film, cutting twenty minutes out of it and adding in a voiceover at the beginning to help audiences understand what was going on. Anyone reminded of Blade Runner here?

This would have been the cut for UK and US audiences but thankfully Bong Joon-Ho's original "director's cut" had already been released and proven very successful in France.

Earlier this year film critic Anne Bilson mentioned on Twitter that the film would be available on region free blu ray in April with the only minor niggle being that, although it was in English, it only had French subtitles therefore it made one scene where the dialogue is in Korean difficult to follow.

Undaunted by this and desperate to see the director's original version, I ordered it from Amazon.Fr in January and proceeded to forget about it until the beautiful box set arrived at work randomly one afternoon in April.

Finally it was time to board the Snowpiercer.

Set in a dystopian future where a failed attempt to reverse global warming has left the Earth in a state of perpetual winter, the only human life that remains circumnavigates the globe in a special train called the Snowpiercer.

The train is split up into classes with the rich and powerful living in comfort at the front with all the poor people crammed into the rear of the train.

Unhappy with existing in squalid conditions, surviving on nothing but gelatinous food bars that might be from the makers of Soylent Green, and spurned on by cryptic messages, Chris Evans's Curtis wants to find out if life really is greener on the other side.

So Evans, like Gene Hackman's Reverend Scott in The Poseidon Adventure, sets out to lead a rag tag bunch (including Jamie Bell, John Hurt, Octavia Spencer) on a Titanic struggle up through the vessel following the icy track road to see Wilford, the wonderful Wilford of Oz.

Everyone is seeking something different (redemption, power, drugs, their children) and the hope is that Wilford can provide that for them, even if they have to use force to get it.

If Wilford is the mysterious man behind the curtain, then Tilda Swinton's Mason is undoubtably The Wicked Witch of the West (Coast Line).

With her protruding teeth, hideous wardrobe and glasses as thick as her Yorkshire accent she is a comically grotesque character who, when berating the dirty, grim soaked masses to remember their place, feels like Thatcher and the miners during the 80s.

At one point she makes a speech about how life must be kept in a delicate balance and this ties into the situation on the train which is on an eternal loop of the earth, a continuous cycle, with the natural order of the classes and the circle of life.

Elysium tackled a similar subject last year but this has much more in common in terms of aesthetics and feel with the work of Terry Gilliam such as Brazil and Twelve Monkeys, and one of the characters is even called Gilliam.

Not only is this graphic novel adaptation at heart fantastical science fiction and social commentary but thanks to Joon-Ho's consistently imaginative and creative direction it plays out like a video game with each new compartment they make it to representing a higher level and a different challenge, sometimes physical, mental or emotional. Different characters are required to progress and once complete the next compartment is actually "unlocked" by the train's security designer who controls the doors.

The struggle to reach the front takes it toll on the group but it is Curtis who is constantly Under Siege to try and gain control of the train and with it comes one of Chris Evans's finest performances, in particular delivering a haunting monologue about what life of the train is really like.

Hopefully Snowpiercer won't face too many more delays before it gains a proper cinema release as this is first class entertainment that remains on track to be one of my favourite films of the year.

5 stars