Captain Marvel, Memorabilia, and Music

Captain Marvel Mini-Review

(I don’t think I’m spoiling anything in the sense of revealing anything non-obvious but, if you want to be in suspense about whether, in the most general sense, Captain Marvel saves the day or not, skip to the next sections.)

It wasn’t my idea but I saw Captain Marvel this evening. It opens with an infodump which shows part of the plot, sci-fi comic book stuff notwithstanding, to be something suitable for a WWII movie with a spy behind enemy lines in need of extraction. It then intermittently moves between action and talk as the heroine tries to Discover Her Identity and Find Her True Strength. There follows an unbelievable reversal (though probably obvious and taken-for-granted if you’re more familiar with all this stuff – the movie assumes you’re steeped in its lore and innumerable related films) and then the net comes completely down as everything turns to ludicrously hot butter before the Woman (the grrl-power motif is extremely ham-handed: male pilot to female pilot, “You know why it’s called a cockpit, don’t you?” and the Montage in which the female is repeatedly knocked down but, nevertheless, she persists, and so on). That said, it looks fantastic with spiffy special effects (but for what movie is that not true these days?) and segments of it are entertaining with a nice 90s soundtrack (not an easy feat) and lots of other period elements as well as a couple of young SHIELD agents. And, of course, I’m evil and boneheaded and wrong for saying such offensive things and she’ll kick my ass, but the heroine is attractive and has an appealing sense of whimsy. I assume fans of this sort of thing will enjoy it and those who aren’t won’t find it too painful (aside from the butter thing).

Musical Interlude

My “rock/classical” ratio has been skewing more classical than usual lately and it occurs to me that, if I had to pick a dozen favorite composers on a sort of combo of the two factors of being reasonably massive and really enjoyable to me (as opposed to relatively obscure people or one-hit wonders I like inordinately) they would be (in chronological order): Corelli, Albinoni, Vivaldi, Telemann, Bach, Handel, Haydn, Mozart, Beethoven, Schubert, Mendelssohn, Brahms. Which is to say, my taste in classical music is very boring, I suppose. (Now playing: Telemann’s first set of Paris Quartets.)

They Don’t Make ‘Em Like They Used To

When I was reading Berserker recently, my 1978 copy had accidentally doubled inserts from the SFBC (Science Fiction Book Club) and one of them sort of fell out and I sort of fell off my chair looking it over. (I meant to comment on this after the review post but forgot.) The insert offers 25 books from which you need to pick four for ten cents. You have to buy four more books in the next year, which will cost at least $1.98 (plus the shipping and handling, which will be more than you’d imagine but still leave it a decent deal). What struck me was that I would have been perfectly willing to take twenty-three of them. I currently own sixteen and have read two others. Titles such as Asimov’s The Hugo Winners, Vols. I & II (2-in-1) and The Foundation Trilogy (3-in-1). Wollheim’s 1977 annual (with Varley’s “Overdrawn at the Memory Bank,” Asimov’s “The Bicentennial Man,” and Tiptree’s “Houston, Houston, Do You Read?”). All My Sins Remembered by Joe Haldeman. Gateway by Frederik Pohl. The Faded Sun: Kesrith by C.J. Cherryh. Starlight (2-in-1) by Alfred Bester. The Best of L. Sprague de Camp. The Book of Skaith by Leigh Brackett and The Adventures of the Stainless Steel Rat by Harry Harrison (both 3-in-1). More titles by Burroughs, Silverberg, Ellison, Clarke, Anderson, Niven, Benford, Dickson, etc.

Musical Conclusion

Dick Dale, the king of surf guitar, dies at 81. Sad news that I had to note. A true trailblazer. In addition to the unbeatable “Misirlou” and the great version of “Pipeline” in the article, here’s “The Wedge.”


Star Trek: Deep Space Nine: “Past Prologue”

Continuing my binge-watching of Star Trek: Deep Space Nine (having watched the pilot about five months ago), “Past Prologue” introduces plain, simple Garak in the opening scene

and he recruits a singularly befuddled Dr. Bashir to be his liaison. This comes in handy as the Klingon ne’er-do-wells, Lursa and Betor, are on the station and up to no good, not coincidentally when a Bajoran terrorist has escaped the Cardassians and is planning his own evil deeds. This puts Major Kira in a major bind.

She’s sporting a nice new haircut after the pilot. Her conversation with the terrorist, Los, paints her backstory as a resistance fighter in fascinatingly gray tones of complex shapes. The ideas of dependence and independence, picking your battles, loyalty (to whom and why?) are raised in thought-provoking, if heavy-handed ways. An even better conversation starts to build the Kira-Odo relationship as well as furthering the elements raised by the first talk. All the character elements and moral conflicts are intriguing and one of the reasons I prefer DS9 to all other Star Treks. That said, this episode resonates better after you’ve become more familiar with the characters and their arcs (especially Garak’s – though why he’s a “clothier” in a world of replicators is never made convincing) and the action-adventure plotting is not the strongest. To be such a tough fighter, Kira sure can’t fight and as little as she does isn’t well-choreographed to be dignified and the episode ends not with the promised bang but a whimper.

DS9 hadn’t fully hit its stride here, but this was an interesting and not-bad follow-up to a pilot in the similar ballpark.

Movie Review: The Last Jedi

[The post (which is a no-draft babble like all my visual media things) has no spoilers but, if you haven’t seen it yet and are dead set on doing so and want it to be as unspoiled as possible, you probably don’t want to read this, which isn’t 100% abstract but discusses elements of the movie in a general way.]

I saw The Last Jedi over a week ago and have been mulling it over without discussing it much. (It’s quite likely I’m adding nothing new to the conversation but it’s just my take.) While The Force Awakens and Rogue One didn’t fill me with unalloyed joy, I did really like them both, overall, and was basically sold on this “new Star Wars” thing. I even got The Force Awakens on DVD last Christmas and had already put Rogue One on my list (and got it this Christmas). So then I went to see The Last Jedi with high hopes that it would be at least as good as the others and less derivative (or homage-filled) than The Force Awakens.

I’d been really afraid that The Last Jedi would be a remake of The Empire Strikes Back just like The Force Awakens was of Star Wars. They partially avoided this by making it a remake of The Empire Strikes Back and The Return of the Jedi at the same time. Luke is a sort of anti-Yoda and Rey is a sort of off-beat Luke. Later, “Snoke” (ridiculous name even for Star Wars) and Rey and Ren replay most of the Emperor/Luke/Vader scenes of the third movie. What is so disheartening is that neither recap is remotely as good as the original. The special effects are even richer and the action is even more frenetic but the comparison of ideas and characters and interactions and emotional power of the scenes reveal the new movie’s inferiority.

Perhaps worst of all is the Disneyfication of the franchise. I was pleased that The Force Awakens felt like Star Wars. I was initially uneasy but ultimately pleased that Rogue One felt a little different (primarily in a grittier way). But The Last Jedi is a Disney film. Star Wars has always had cute weird critters (the worst offenders being the Ewoks, of course, who had redeeming resistance fighting features, at least) but this movie was chock-full of extreme examples ranging from good Disney ice foxes to horrible Disney “porgs” – the fat bird-like “comic relief” critters. Worse, the poor child-labor urchins with their brooms fell out the utterly wrong kind of stereotypical Disney movie. Again, this isn’t unprecedented in the sense that Luke was a poor farmboy but this was extreme. Perhaps worse still was the “humor.” Star Wars has always had cynical, smart-alecky humorous dialog (generally very successful) and even sometimes direct “humor” like the critters eating other critters outside Jabba’s palace (with mixed results). But this movie attempted to be funny, having the characters “do comedy” in a way that worked in the abstract (because so conventional in moviedom terms) but failed utterly in a Star Wars context, pulling the dramatic rug out from under every scene in which it was employed.

If all that wasn’t the worst, the worst was probably Rey. The character has so much potential and Daisy Ridley can be so magnetic that it’s obvious she’s the star. But she was a mere component of this movie which was as interested in Finn and his gratuitous new love interest and Dameron and all his infighting with the rebel leadership. Which, again, forcibly makes one realize that this movie can’t do the “Han and Leia in the asteroid field” storylines. (But it’s worse. In the originals, even aside from my enjoyment of all the disparate lines, they all served purposes. You could cut the Han and Leia line from Empire and just recap what happened while they were away from Luke before they all get to Bespin – or cut Luke and Yoda the reverse way – but that would be worse than removing a kidney or a lung “because you can get by with one.” On the other hand, the storyline of Finn and the new girl could have been cut entirely with no loss at all and arguably multiple gains.) Obviously a core part of the movie was Rey and she obviously did get a lot of screentime but it was relatively little and she’s starting to feel separate from the Rebellion and a mere adjunct to Ren. Vader was always a big draw but Luke and Han and Leia more than held their own. Worse, Ren doesn’t remind me of Vader so much as – and here I will mention the trilogy which doesn’t exist for the first time – young Anakin Skywalker. Ren has none of the cinematic power of Vader but the script is writing him almost as though he’s the actual point of all this. Rey has more cinematic power than Luke and they’re sidelining her. And Poe and Finn together, however generally likable, don’t make a single Solo.

Not that this movie was all bad – far from it. Allowing for some debatable elements, Carrie Fisher has a good final role and performance, which is very important. And, except for some stray cartoon critters, this movie looked very good. It was reasonably well paced. They did nice things such as with Ren’s mask. The fights and battles were very exciting and, again, good looking. Some of the Force elements weren’t bad. I was initially mostly happy and only got very uneasy as the looong, two and a half hour movie wore on and, even at the end and for several days later, I couldn’t make up my mind exactly what I thought. So, “there is some good in” it. But I believe the new movies have turned to the Disney side.

Perhaps the most telling thing is the “see it again” test. I really feel like I ought to see the movie a second time. Perhaps my reactions would change, at least somewhat. But, while not violently opposed to the concept, I don’t really want to cough up more money to do so. And that’s certainly not the reaction I had to the other five movies.

Star Trek: Deep Space Nine: “Emissary”

Back on February 21st, I posted about getting the complete series of Deep Space Nine and said, “In the coming days, I may occasionally write up my impressions in some posts as I rewatch the series….” So, hundreds of days have come and gone but they’re still coming, so here’s a write-up of impressions. (Apologies for any Trek stuff I’ll misspell in these posts and apologies if I miss the happy medium between belaboring the obvious for watchers or being insufficiently explanatory for the non-watchers.)

“Emissary” is a double-episode premiere that is primarily about finding your place in life. One of the ways in which this is illustrated is by having Commander Benjamin Sisko constantly revisit the scene of his wife’s death and seeing alien-induced imaginary landscapes as stormy and unwelcoming while, for instance, happy Dax, the science officer, revisits her joining with her symbiont and seeing the same landscape as an idyllic summer day. It also takes a larger view of humanity as explorers through a fundamentally clumsy but sometimes effective device of having our temporally linear Sisko explain to some strangely non-omniscient yet non-linear aliens what our existence is like and how that makes us automatically explorers through time and space in everything we do. Meanwhile, it introduces or makes more detailed a new Star Trek setting, a couple of alien races, a fairly large cast of characters, and more. At this early stage, the plotting is sketchy (particularly in the dramatic crescendos) and the acting quality rises and falls intermittently (sometimes it’s a long fall – I can’t watch a bit of the beach scene between Benjamin and Jennifer) and it’s simultaneously slow, yet overly busy, but it’s a promising start.

So, to back up: the episode opens smartly with an FX-laden battle scene of Commander Sisko leading a ship into battle against the Captain formerly known as Picard, who has been turned into Locutus of Borg and is leading them against the Federation. While the Enterprises could always pretend to be on missions of exploration and thus not unreasonably have civilians on board, this was obviously a battle situation so why civilians like Sisko’s wife and small child are on board, I don’t know, but such is Star Trek. The wife is killed in the battle and Sisko’s ship is destroyed though he, Jake, and some others escape. This provides the foundation of Sisko’s character as explored in the episode and establishes the motives of some extremely prickly interactions between Sisko and Picard. After that bit of action comes the slow-pening credits, which have always bothered me as the all-time dullest. Next, the characters and milieu are all gradually introduced. The Cardassians have been exploiting Bajor and its subject population before abandoning it. The Bajoran provisional government has invited the Federation in, so they are taking over the Cardassian space station formerly known as Terok Nor and now known as Deep Space Nine. Major Kira is a Bajoran native and first officer/liason officer serving under Sisko. Odo is the shapeshifting foundling security chief who worked with the Cardassians when they were in charge and will work with the Federation now that they are. Quark is the Ferengi owner/barkeep of a gambling house. Dax is the joined Trill science officer who was friends with Sisko when she was an old man in her prior life but is now a beautiful young woman. Bashir is the egotistical doctor out to practice “frontier medicine.” And, of course, O’Brien is the engineer transferring over from the Enterprise.

Things pick up when Sisko meets with Kai Opaka who is sort of the Pope of the Bajorans who are a deeply religious people with a theology built around the Tears of the Prophets which have appeared around Bajor every thousand years or so over about ten thousand years. The Cardassians have rounded up all but one and are investigating them to see if they can find the so-called Celestial Temple so it’s imperative that the Federation beat them to it. (No explanation as to why time is so much of the essence when the Cardassians have presumably been at it for awhile.) With the advantage of the Bajoran historical records and Star Trek‘s magic computers, Dax is able to find the X on the space map and a wormhole opens up. Once inside what turns out to be a kind of celestial temple of aliens and their tech (which includes the wormhole), we have another FX-laden scene of travel inside and then meeting with aliens which has a lot of the same dynamics in relation to the general action that the Yoda scenes have in The Empire Strikes Back – kinda cool the first time, but kinda boring, and very boring later, but not without some germs of enduring insight and perspective. However, the Cardassians are on the hunt, too (with Gul Dukat commanding, who will become very prominent later), and Dax and O’Brien whip up some ST-technobabble and turn the space station into a sort of big slow spaceship, chasing a Cardassian ship to the wormhole. When that ship disappears into the wormhole and more Cardassians arrive and are annoyed with the defenseless space station, things get very tense. Ultimately, the situation is resolved and, rather than being a minor backwater, DS9 and Bajor are now in position to be a major hub of interstellar commerce and exploration.

Random notes:

  • DS9 gets great credit for taking the worst Trek species ever in the Ferengi, and making them somewhat interesting and sometimes tolerable, especially with Quark, played by Principal Snyder, aka Armin Shimmerman. (Though they do over-use them over time.)
  • I love that Picard gets to do the “straighten my shirt” thing twice in the first meeting with Sisko.
  • The Sisko/Quark/Odo dynamics are set up wonderfully with a simple line to cap it when Sisko uses the imprisonment of Quark’s nephew as leverage on Quark to make Quark help the station. Odo ends the scene by saying of Sisko, “At first, I didn’t think I was going to like him.”
  • Kai Opaka is brilliantly cast/played (though, alas, ultimately underused).
  • There’s a nice Windows vs. Linux moment after O’Brien has fought with the computer which resisted doing what he intended to do to save the station because it was dangerous and “not recommended.” O’Brien says, “Computer, you and I are going to have to have a little talk.” Computers should do as they’re told!
  • While there may have been some self-aware mockery (after the six billionth “What is this?” from the wormhole aliens, Sisko says, “I was afraid you were going to ask that.”) the wormhole aliens’ “What is this?” starts to put me in mind “What is this brain? Brain and more brain!” or whatever the line is in the worst TOS episode ever.
  • It bugs me that Sisko originally expressed the idea that he might need to be replaced as he didn’t want the DS9 job and that, when he later changes his mind, he does it because he’s a changed man but it ought to look to Picard like he just didn’t want a crappy backwater job but, now that it’s an important one, he wants it.

Again, while the series didn’t catch fire for me until the Tosk episode, it’s a decent start.

Star Trek: Deep Space Nine: The Complete Series (DVD Box Set)

I’ve never gotten a complete box set of any show before but, because I loved Deep Space Nine and the individual seasons were ridiculously expensive (even used) and previous complete sets were insane, when I saw this new edition of the complete series for less*, I ordered it from an internet dealer you may have heard of. The set arrived with one disc off the hub, which was scratched very badly. After I complained, they sent me a new set (they couldn’t send a single replacement disc) and a mailing label (so I could send the other set back without paying postage) and the replacement set isn’t exactly perfect but seems okay. Hopefully it’ll play properly.

*Edit: Wow. I just checked the current listing of that dealer. Pre-ordering can be a good idea. Sometimes the product you pre-order never materializes (which is why I don’t usually do it) but sometimes you save over fifty bucks.

As long as they do work, I’m really happy to have them and look forward to watching them but, as a warning to anybody considering buying the set, the packaging is truly horrific. There’s a single cardboard box which holds three clear plastic cases. Two large cases hold seasons 1-3 and 4-6. The third mid-thickness case holds season 7. The labels on each of the cases looks like someone screwed up the graphics on their home computer, washing them out and making them look somewhat cartoonish, and then printed them on their home printer or something. Point is, they look pretty bad. There is no booklet or anything like that. Just an episode list printed on the inside of the paper that is obscured by the DVDs on the backs of two of the three cases (see below). Worse still, each of the large cases holds a giant thing of hard plastic (liable to break) with pages like a book with two overlapping DVDs on each “page” or each side of the “sheet.” I hate overlapping DVDs (if you want disc B you have to take out disc A to get to it) and I didn’t think they even made them anymore. And these things aren’t even attached to the cases. The cases’ inner spines are just smooth and blank and the “pages” just come right out of the case. But worse still the DVDs do not come right out of their hubs. Again, the hubs and teeth are very hard plastic and sharp and grip so hard that it’s very difficult to get the DVDs out, causing them to bend in most cases before they’ll finally snap free, despite applying cutting pressure with the thumb on the teeth. (Is there a trick to this?) And there are only two teeth, meaning if one breaks, you’re completely screwed. The second and third cases both contain an odd number of discs, meaning there’s one disc stuck on the back of the plastic cases (which are at least somewhat softer and less prone to break). The third case is unlike either of the first two in that the pages are attached to the spine and the discs are not overlapping – there’s one on each side of the three plastic “sheets,” though the seventh is on the back of the case like the last disc of the second case.

Star Trek: Deep Space Nine: The Complete Series DVD set

Star Trek: Deep Space Nine: The Complete Series DVD set

So the physics of the thing just flat sucks. It’s an inconsistent, inconvenient mess that is several kinds of accidents waiting to happen. I assume the version released several years ago that cost an insane amount came in better packaging. Seems like it’d be cheaper and easier and better to just re-manufacture all the individual seasons (assuming they were any good) and stick ’em in one big box rather than specially designing and manufacturing this crappy packaging. But enough of that.

As far as the video itself, based on “Emissary,” it looks okay. I’ve seen better, but I’ve definitely seen worse. There are four episodes to the disc unless there aren’t four left for the last disc, in which case there are also some special features – I don’t usually care about those too much, but many do).

I guess that about covers it: an expensive but reasonable price for this 2017 edition (I guess… at least compared to what they cost before) but horrific packaging. But decent DVDs, which is the most important thing.

In the coming days, I may occasionally write up my impressions in some posts as I rewatch the series, somewhat (very somewhat) as did.

Movie Review: Arrival

This has been a weird month – I rarely see as many theater movies in several months as I’ve seen in this one. So here’s another of my cutting-edge movie posts. Not only has everybody probably already seen this one, also, but even I saw it last weekend and am only writing it up now. Arrival is based on the brilliant Ted Chiang’s “Story of Your Life” and I wanted to re-read that before talking about the film. It just took me a week to do so. It doesn’t really change much of my impression of the film, except to underscore how expanded, yet thinned, the adaptation is. (This post covers all sorts of thematic issues from both the story and the movie and focuses on all sorts of details but I don’t believe any climactic plot elements or big surprises are spoiled.)

(Edit: Actually, to be on the safe side, if you haven’t read the story, then I guess maybe this is a spoiler of a review. If you haven’t read the story, it doesn’t spoil that because there’s no “big twist” and, if you have read the story, then the film can’t have any “big twist” to spoil but, I guess, if you aren’t familiar with either, then the movie is supposed to have that twist. Again, I don’t think it helps to treat it as a twist but, still, to be on the safe side, maybe skip this review until seeing the movie (which this review does conclude is worth doing).)

Arrival begins with the aliens arriving, naturally enough, and it is a remarkably well done sequence taken by itself. The sense of strangeness colliding with normalcy has a feeling of, “Yes, this is how it might happen. How it might feel.” I don’t know that the sequence is really necessary, though. It certainly wasn’t to the story as it wasn’t in it. Further, while it is fascinating in its way, it is also a slow moving sequence which sets the pace for the whole film. I don’t know why science fiction movies seem to come in almost nothing but two flavors: popcorn-movie action and speed using science fantasy and comic book elements and “the proverbial good science fiction movie” which somehow manages to be somewhat slow and boring. You’ve got your Star Wars movies, your Marvel movies and whatnot and then you’ve got 2001, Contact, and others, including this. So that’s one thing the movie gets quite wrong in an adaptive sense and in an intrinsic sense. Chiang’s story is quiet but not really slow. This movie is, despite sometimes being flashy and noisy. Chiang’s story is quite focused and small in a character/scenery sense, while it’s gigantic in a conceptual sense. The movie preserves some of the concepts but adds a bunch of international politicking and intrusive soldiers and generally spends a lot of time on things outside the main core of ideas.

Another thing that’s odd about the movie is that it actually demands quite a bit of an uninitiated audience in the sense of playing with time and the narrative in a way that may not be readily understood. Yet part of the core of the story was the linguistics and that is basically heavily abridged for cinematic convenience, especially in a key part when the protagonist and the aliens basically start talking like they’re native to each other.

A final small, but severe, problem is that, while many participants may be up for awards, I sure hope the sound editor is not (unless it was a problem with my theater). Much of the movie’s dialog was very hard to hear.

Aside from those two or three gripes, however, the movie does at least keep its eyes on the story’s prize. The movie is about language and time and causality. It is about a man, a woman, and a child. It is about humans and aliens. It keeps at least hints of all the essential things. The things it adds, while sometimes somewhat “Hollywood,” are somewhat plausible and not entirely at variance with the core. The things it modifies stay essentially true to the story. It’s hard to say without spoiling but one thing the movie modified actually tremendously improved on the story: let’s say the specific reason for why deciding whether or not to have a child might have been difficult. Other modifications, such as the barely different heptapods and their slightly different writing and the interface between the humans and aliens, are quite interesting and look really good. Even if the alien ships and the method of entry is kind of silly, I felt a genuine thrill and sense of wonder at that point. And the actors are quite good. It amazes me when I recollect that I probably first saw Amy Adams in a bit part on Buffy, the Vampire Slayer – look at her now.

In sum, I didn’t quite love the movie and I don’t quite understand what seems to be the overwhelmingly positive response its gotten from out-of-genre circles but it is worth seeing. I would still prefer to read and re-read the story, though. And there is something extremely… I’m not sure if it’s ironic or apropos… but something odd about this story being the first thing of Chiang’s to be adapted to film. The story (like all literature) is very much like the Heptapod B language: you can read its last line before its first, skip around within it, focus on any part of it. Whereas movies are very much like ordinary human languages (and lives), moving in time from point A to point B with little certainty of what’s to come next and little ability to catch up with anything you’ve missed (unless you get it on DVD). So, in a sense, the story is about translating into the worldview of Heptapod B and uses a congenial medium and the movie sets itself the audacious task of doing that in an antithetical one. Given that, it does a pretty good job.

Movie Review: Rogue One

When I post about a story, it’s always spoiler-free. (Well, it has been so far – I haven’t decided about how to handle classic stories but there’d certainly never be spoilers without warnings.) This is about a movie, though, so I think I’ll do this in three sections. No spoilers at all, a normal description and discussion of non-spoilery parts of the movie, and then a spoiler-filled section. This is all academic because I’m probably the last person on earth to have seen the movie but I just have a thing about spoilers.

No Spoilers

For quite awhile early in the movie, I was very worried and not happy. However, things got better for me and I ended up enjoying it. If you haven’t seen it, I recommend it.

Synopsis (still no critical spoilers)

The protagonist is the Scientist’s Lovely Daughter but this is done so well, I didn’t even think of her in that way until just now. She is the daughter of a scientist who has tried to escape the clutches of the evil empire, but has been found. They kill his wife and force him back to his vital work on the Death Star, while his daughter escapes. Years later, she is captured by the Empire but then gets rather forcibly abducted by the rebel Alliance and is initially not at all eager to participate. They need her because they want to contact a person who’s an even more radical rebel than they are and he happens to have been her foster parent. Since he has picked up a vital defector and he wants nothing to do with the Alliance, they think she’ll get them in the door. A Love Interest is assigned to handle her and they go off to meet the guy. In the course of this, they acquire a pitiful band of rebels, learn how the Death Star acquired its famous flaw, participate in much derring-do about quite a bit, and the relatively small movie surprisingly blossoms into a gigantic space opera sequence.

The original Star Wars was quite dark in its ways but was also quite light and had the wise old Ben, the innocent farmboy Luke, the beautiful princess Leia, and even the scoundrel Solo really had a heart of gold. Naturally, the Alliance were the Good Guys. In ways, Star Trek, Battlestar Galactica, and numerous other things shared similar aspects. In these days of grimdark, everything gets the new BSG treatment and I was initially afraid this movie was going to do the same thing to Star Wars in a ruinous way. The scientist is a collaborator, the orphaned heroine is a cynic, the hero is an assassin, the Alliance is coercive and split with internal strife, and on and on. Even the cinematography seemed dark and a bit claustrophobic. So it had Star Wars things in it but didn’t feel like Star Wars or even much look like it.[1] By the time we began acquiring our ragtag band, though, I began to warm to the film. The “Jedi” and his machine-gun-blaster toting friend (why doesn’t everyone have weapons like that?) seemed like iconic, yet likeable, characters and the droid (who seemed half overly-like C3P0 and half-overly-diametrically-opposite to him) gradually became more rounded and likeable. In essence, it recaptured the initial delight of the fast banding together of C3P0 and R2-D2, Luke, Ben, Han and Chewie, and Leia in the first movie. Which raises the point that this movie frequently referenced the originals but much more adroitly (for the most part, with critical exceptions) than the heavy and constant referencing of The Force Awakens. Finally, while it would be hard for things to go much more differently, the main underlying point of the movie regarding sacrifice for the cause and the power of (the original) hope is very much in line with the original movie.

WARNING: Absolutely Total and Ruinous Spoilers!

Death. At least two aspects of death in this movie figure prominently and it’s perhaps ironic which bothers me and which doesn’t. This is a very unusual movie in that it returns to the darkness of its opening and kills off every single main character. But I don’t have a problem with it. It enabled the movie to put them in a situation most Hollywood movies would get them out of at the price of a complete destruction of suspension of disbelief. Here, they were able to avoid most of that. (The obviously not-dead Love Interest having been shot but returning at the precise moment needed to allow the Lovely Daughter to complete her mission is an example but is minor.) And their deaths are transfigured by their hope (and our knowledge) that the sacrifice is not in vain and does accomplish something wonderful. One might complain that the ultimate moment exactly repeats that moment in (I think it was) Deep Impact (and that it repeats itself – though perhaps appropriately – in that that’s how the foster parent died) but it’s an effective and well shot scene. So I was okay with the ending but could certainly understand it troubling some people (especially any movie execs who wanted to make a sequel of the prequel – but they’ll probably just make a prequel of the prequel).

The other aspect is more troubling. It seemed to me that they actually used clips from the original to produce the fighter pilots from it in this movie and I assume they are all alive or at least some of them may be. Either way, I felt like this was an excellent call back and really thrilled to it. It made perfect sense and was a small tasteful component to the larger action. The very large role given to Governor Tarkin was quite disturbing to me, though. Much like the dancing bear, being able to do it at all was amazing but it was not convincing, looking like some kind of animatronic replica. There was a tiny but hugely significant uncanny valley of wrongness. And though it was a final and shoulda-been-wonderful scene which featured Leia receiving the plans (and Carrie Fisher was alive at the time), the CGI of the younger princess was also not convincing and was disturbing. And that’s just the aesthetics. I’m not sure how I feel about the ethics and propriety of it all.

A couple of trailing notes: speaking of prequels, I am ordinarily very opposed to them. I like stories that move forward, advancing into the future and this is all the more important in SF. But, if you’re going to do a prequel, this is how it’s done. It focuses on what seems like an important but small part of the original and then magnifies it in a way that seems self-justified but which also (I think and hope) will enhance, rather than detract from, my enjoyment of the original when I watch it again, which will be very soon.

And speaking of flaws, in a negative way I want to see it again just to see if the part where they travel across the galaxy, find a spot of a planet, and a building in that spot, and a spot in that building, and follow each other one by one to that spot, is rationalized any better than I thought. (I’m speaking of when Love Interest was trying to shoot the Scientist and Lovely Daughter was climbing the building and Pitiful Band followed them all.) It seemed way too convenient in a The Force Awakens style where the rest of the movie seemed to avoid the worst of the “we forgive you” moments The Force Awakens asked us of us.

Still, I’m very glad to have seen it, wouldn’t mind seeing it once more in theaters (if I really hurry), and expect to get it on DVD just like the original trilogy and The Force Awakens.

[1] Edit (2017-02-03): Reading the Wikipedia article reminds that part of what threw me off in the beginning was the omission of the opening crawl and the changed music. It probably wasn’t  even so much that as that the opening music just didn’t seem very good. However, the music returned to its usual excellence and I forgot about that complaint. Another thing akin to this is the location text superimposed on the images at points throughout the movie which is a klutzy thing the other movies didn’t do. If we were on Tatooine or Dagobah, that’s just were we were and it was made clear by the movie itself. And somehow I forgot about the Yoda-as-pinball-in-the-prequels scene of Vader boarding the ship near the end. If you compare how he entered the ship in Star Wars and in this, it’s just two scenes you can’t square. But, unlike the silly Yoda scene, this was a friggin’ awesome scene, however inconsistent.