Director: Min Byeong-cheon. Starring: Yoo Ji-tae, Lee Jae-eun, Seo Lin. South Korea, 2003. IMDb: 5.8. My rating: 0.5/4. ”Blade Runner” rip off.
If somebody ever creates a list of ”Blade Runner” rip-offs, please put ”Natural City” on the first place.
We all know that ”Blade Runner” and another obscure movie by R. Scott did had a long-lasting effect on cinema, cyberpunk and science fiction.
We all know what is the difference between a homage and a rip-off.
”Natural City” was probably intended as a faithful homage – even the poster’s line said ”The Blade Runner era finishes and the Natural City myth starts” – but unfortunately ended up being a bad rip-off.
Director: George Miller. Starring: Mel Gibson, Bruce Spence, Vernon Wells. Australia, 1981. Budget: $2 million. IMDb: 7.6. My rating: 2/4. Post-apocalyptic gory gasoline obsessed car chasing sci-fi.
– I’m just here for the gasoline.
There are some things I cannot understand. Premise: I enjoyed “Fury Road”, I love post-apocalyptic themes, I fully comprehend that in 1981 it was ground-breaking (and in 1979 as well), that it was shot for laughable $2 million, it had the cutie Mel Gibson and it was an Australian movie.
But how the hell in a cult film that is widely recognized as one of the best action movies ever made there is so little action and so much talking?
Director: Richard Fleischer. Starring: Charlton Heston, Edwarg G. Robinson, Leigh Taylor-Young. USA, 1973. IMDb: 7.3. My rating: 1.5/4. Dystopian future cli-fi.
– Why, in my day, you could buy meat anywhere! Eggs they had, real butter! Fresh lettuce in the stores.
– I know, Sol, you told me before.
(conversation between Sol and Det. Thorn)
Imagine Ellen Ripley would stop lurking around in a middle of the heat and starting a love affair with a crew member, because the alien suddenly went vegan? Stuff like “Soylent Green” is the worst kind of cinema. The trailers and marketing campaign say it is science fiction (adventure, action, thriller, put what’s right in your case). 10 minutes pass, and you think – well, maybe it will start now. Other 10 minutes are gone, and you say – well, it was just a good warm up, now is the time! And as you reach 30-minute mark, you admit – you have been cheated. It’s a fucking melodrama. Continue reading
– You know, Toby, when I was your age, I was always covered in something. Mud, jam, failure…
(one of the main characters)
– Do you want an autograph?
– I am actually searching for Riesling.
(dialogue between Hiddleston’s character and a famous actress)
– Keep the change!
– There is no change.
(dialogue between Hiddleston’s character and a shop assistant)
“High-Rise” is based on the 1975 novel of the same name of J. G. Ballard. So maybe some of you have some idea of what to expect. I didn’t. The story is about a luxury tower building projected by a talented architect Royal (wonderful Jeremy Irons). It is fully functional and has everything necessary for its inhabitants, even a gym and a supermarket. A young psychologist (Tom Hiddleston with a very aristocratically sad face) has just moved in. However, soon the tension starts to rise between common families living on lower floors and an elite class living higher.
It is an extremely cold-blooded movie. With all the atrocity, sex and schizophrenia that we see, it leaves however no place for the compassion. There is too much of everything – too many characters that change each other too quickly, too much craziness that may appeal first but then falls into a self-repeating decay, too many straight-forward metaphores (for example, the surname of most important person in the tower is Royal). It starts pretty intriguing but soon, just as during the scene where Hiddleston’s character with no emotions is operating on a human skull in his laboratory, the director Ben Whitley tries to use same cold approach on the novel’s metaphore about capitalism and social classes. From being just hectic and nervous, the movie becomes simply shizophrenic with the feeling of “let’s see what’s inside of this skull”. There’s some good satire and irony here, but it’s spread for almost 2 hours that feel infinitely long.
As the story goes on and the bloody revolution actually happens, it’s easy to lose track, like if the movie didn’t know in which direction move next. The photography is beautiful and the acting surprisingly is really very sturdy, balancing on the edge of excess (Tom Hiddleston, Jeremy Irons, Elisabeth Moss, Siena Miller, Luke Ewans and many others – all did a good job!). Still, I couldn’t refrain from the feeling that instead of being means to express something, the redundancy and craziness became the aim, like here they were created just for the sake of it. It’s like fighting for freedom not because you want freedom but because you like to fight.
” is beautifully shot. Most scenes and just any random frame could be easily converted in great photograph or even poster. You get this feeling easily – just have a look at the trailer. But as I said before, our eye can be tricked with ease and it gets used quickly to the excess on the screen.
Decide by yourself. In first place, it would be honest to pay tribute to the
director – “High-Rise
” is stunning visually and all actors are great. But that’s it. It’s not a bad movie, but it feels just… somehow unnecessary. “High-Rise
” drowns in excess, just like the elite class it’s deriding. If you want to examine an ant hill that is put on fire, then go for it. Still, with a source like here it could have become something bigger, but it seems that this was more of a cool-looking exercise for Ben Wheatley without examining deeply what the story is really about.
: Matthew Leutwyler. With
: Mark Webber, Lucy Griffiths, David Clayton Rogers. USA, 2015.
IMDB: 6.3. My rating
: 1/4. Guess-if-it-is-a-robot-or-not science fiction.
– Your lack of focus on what’s important means you miss the big picture. And that made you lose the game.
This movie belongs to the great category called “one more movie”. What is it, you will ask me? Oh, one more movie where we have to guess:
a) if it is human or robot/android/vampire/monster/somebody else
b) who exactly is the robot and who is the human
c) after the final plot twist – oh this beloved trick, the final plot twist! – guess again who is the robot.
So… A scientist (Mark Webber) created a human-like robot (David Clayton Rogers) with perfect AI. As the scientist falls in love with the journalist (Lucy Griffiths) that visits his laboratory, the behaviour of the robot becomes stranger.