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Showing posts with label sci-fi. Show all posts
Showing posts with label sci-fi. Show all posts

EJECTA: yet another entry in the mini-budget WTF's-happening apocalyptic sci-fi thriller genre


Actor Julian Richings has an amazing face. It is just plain memorable. And strange. You can't look away from it. Mr. Richings, shown below, is quite an asset to the new ultra-mini-budget sci-fi/sort-of-thriller, EJECTA, and thank god he's the star of the film because I think it would be something less were it not for the amazing creep factor this actor, shown below, possesses. As written by Tony Burgess and directed by Chad Archibald and Matt Wiele, and as these mini-budgeted would-be sci-fi movies go -- the last such we covered here was the nearly unwatchable Hangar 10 -- this one is at least an improvement over the usual found-footage or just-point-the-video-camera-and-shoot hogwash. Ejecta is not awful. The movie has its moments.

Most of these involve Mr. Richings, above, who plays some kind of seer who has been gifted/contaminated with knowledge/insight that he would dearly love not to possess. In fact, he is possessed, and this appears to be killing him. Mr. Richings is quite convincing as this poor, used-up schmuck, and so are the actors  Lisa Houle (below) and Mark Gibson, who play the very nasty government doctor and agent bent on torturing this poor soul to learn what he knows. These scenes come awfully close to torture porn, as dispensed by a woman.

You can't watch much of this torture without having Guantanamo and AbuGhraib (and maybe, currently, the exploits of ISIS) cross your mind again and again. And since it is our government doing the nasty stuff, you won't much care what happens to these entitled and insufferable assholes. The plot -- of which there ain't much -- involves possible alien arrival (see below) and adbuction, something known as "mass ejections" (whatever that means), and maybe Armageddon, too. The special effects, when they finally arrive, are at least as effective as most of the stuff in the ridiculous Interstellar -- at probably 1/10,000 the budget.

However, when all is said and done (too many times, at that: the movie is far too repetitive), it comes down to the usual fright tactics of dropping a bunch of "hints," amidst the special effects, torture and noise, and hoping we'll be somehow scared out of our wits. Good luck. Overall, I was finally more annoyed than frightened, but I must admit that Ejecta (not a very good title) occasionally got to me, thanks mostly to the performances of  Mr. Richings and Ms Houle.

The movie -- from IFC Midnight and running a little long, even at only 87 minutes -- opens today as the midnight show at Manhattan's IFC Center. Elsewhere? Don't know, but as it opens simultaneously on VOD, aficionados across the country will have the chance to view it, too.
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A Christmas present from Minnesota (but one you can't unwrap just yet): Dave Ash's 2021


It's always nice -- in addition to covering filmmakers based in California, New York and countries all around the world -- to have an independent movie-maker from some of the culturally lesser-known American states check in with us here at TrustMovies. Earlier this year we heard from Oklahoma via a lovely little narrative film called Home, James. Arizona's been represented by the taste-free Pizza Shop: The Movie and a nice little documentary, Underwater Dreams. And now, on Christmas Day we're covering a film (his second) from Minnesota-based filmmaker, Dave Ash. If his 2021 (the title doubles as the year the film takes place) is any indication, this oft-frozen state is a hotbed of sublime talent.

Mr. Ash, shown at right, has done something rather remarkable here. He's combined several genres -- rom-com, sci-fi, dystopian future, mystery, character study, and maybe a few more I'll discover via a second viewing -- into a single slim-but-bracing little movie. It looks very homemade, as indeed it is. Even a few minutes into it, however, I suspect you'll be hooked. This is because, in each genre he tackles, Ash finds the one thing that makes it matter -- the humanity at the heart of it all. 2021 may be lacking in certain stylish factors, but in terms of content and characterization, this is one special movie.

Who knew that such first-rate talent existed in the Minneapolis area as leading man Clarence Wethern (above), a New Orleans-born actor who relocated to Minneapolis after most of his family lost their homes during Hurricane Katrina. Louisiana's loss in Minnesota's gain, for Mr. Wethern excels in every respect as John, the nerdy, exceedingly bright and maybe Asperger-tinged fellow at the center of Ash's film, who falls hard for a young lady named Emily (Bethany Ford, below) who is something of a mystery and may be every bit as problemed as is our hero.

John, you see, is something of a programming genius, who is asked by his immediate boss, as well as by that boss' boss, to solve a certain singularity problem that is looming and, in fact, is en route to be solved, perhaps by his company's competition. Setting his movie a mere seven years hence, Mr. Ash makes it unnecessary to dabble much in any special effects, for our physical lives and environments won't have changed much in the intervening time.

The filmmaker is either a very smart guy, or he and the other fellow responsible for the story here, Michael Lent, have done their research and due diligence in order to make the "science" part of the equation seem real and even somewhat understandable to the viewer. Einstein, Gödel, Turing and Kurzweil all figure into this mix, though you don't have to be a scientist to understand how and why.

More important, the human equation is always in front of us -- and just as understandable, whether it is taking the form of John's therapist (a very intriguing and humorous performance by Charles Hubble, above); his best friend, Mitch (a sleazy-but-lovable Sam Landman, below, who notes pridefully to John that, "While you were out there searching for the perfect 'ten,' I nailed five 'twos'!"). The dialog here is often quite funny and on the mark, as well.

Also on tap is John's not-particularly-to-be-trusted boss, Brandon (played with just the right amount of enthusiasm and withholding by Scot Moore, below). But finally, it is the performances of Wethern and Ms Ford that makes this movie a don't-miss. Wethern, especially, is so real and unsettling that it often hurts to watch the guy. Your heart goes out to him, even as you're eventually frightened as hell by what he might do.

One of the nicest surprises of 2021 is that you won't really know what the film is about until it's over. The workplace, a promotion, therapy, love, success, science, technology and art -- all of these swirl around as the story works its way to a climax in which everything zeros in on exposing... what? Well, among other things, the content of our character.

In my headline above, I mention that this film is a kind of Christmas present that you can't yet unwrap. Too true, since 2021 is not now available for my readers to view. A release of some sort is planned for 2015, but because I love this film so much and want to see it reach as wide an audience as possible, I am beating the drum a bit in advance here. As soon as some kind of release is scheduled, I will re-post this review, with updated info on how you can see it.

Meanwhile, get ready, eventually, for your tardy and very unusual holiday gift from Minnesota.
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In Nolan's idiotic but watchable INTERSTELLAR, all you need is... (What? He's got to be joking.)


What is the point, I wonder, of inundating us with quasi-scientific folderol if what you really have up your sleeve is an approximation of "All you need is love"?  The Beatles managed that in a four-minute song, but Christopher Nolan, in his latest overlong epic INTERSTELLAR, takes nearly three hours to tell us the same thing. What amazes me most about Nolan's films -- three Batman movies, each worst than its predecessor, and the love-and-loss sci-fi nonsense, Inception -- are how uninvolving they finally seem, for all their attempts at profundity and technical prowess.

His latest (the filmmaker is shown at left) is on track to be as successful as his others, and his fan base is certainly not disappointed. In fairness, I must admit that my spouse loved the film and was in tears during one particular scene, while I sat there, totally unmoved but along for the ride. The movie's plot -- all about the end of us humans' life on earth and what happens after -- is not uninteresting but grows tiresome past a certain point, even though Nolan and his co-writing brother Jonathan do have some surprises in store along the way.

A fine -- and major -- cast has been assembled, and the actors come through as well as they can (that's Matthew McConaughey and Anne Hathaway, above), though it is Jessica Chastain (below) and Matt Damon, the former as forceful and appealing as ever, the latter in a small but telling role, who shine the brightest.

But, as usual, when I finish one of Nolan's portentous "blockbusters," my immediate reaction is always a yawn and then the thought: Once again, it's way too much ado about damn little. The real crime of this movie, however -- thanks to Nolan and the film's US distributor, Paramount -- is contractually preventing Ms Chastain from doing any promotion for any other of her films coming out this awards season. She's got at least two more small, independent movies that she would and could be helping, and that would greatly benefit from her help. But, oh, no -- the big boys won't let her. As though Interstellar needs more publicity? Just another sleaze story out of Hollywood.

The movie will be playing your nearest multiplex for some time, at least, so no hurry to make that visit. In any case, Interstellar is sure to look good and/or put you to sleep on Blu-ray, too.
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