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The Hitchhiker's Guide to the Galaxy
8.5
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Book
A special edition of The Hitchhiker's Guide to the Galaxy by Douglas Adams reissued with a bright...
Meaning of life
Traces
Book
Stories set in a variety of futures from the award-winning heir of Arthur C. Clarke: Traces gives a...
Doctor Who Revenge of the Judoon
8.3
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Book
The TARDIS brings the Doctor and Martha to Balmoral in 1902. Here they meet Captain Harry Carruthers...
Doctor Who
The Long Way to a Small, Angry Planet
7.8
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Book
***SHORTLISTED FOR THE ARTHUR C. CLARKE AWARD*** *** SHORTLISTED FOR THE KITSCHIES GOLDEN...
Coming Home
Book
COMING HOME, from veteran SF author Jack McDevitt, brings together interstellar travel, an...
Doctor Who - Series 7 (New Season 7)
8.4
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TV Season Watch
The seventh series of the British science fiction television programme Doctor Who aired from 1...
Jesters_folly (230 KP) rated Color Out of Space (2019) in Movies
Nov 10, 2020
Contains spoilers, click to show
Color out of Space Is a film based on a H.P. Lovecraft staring Nicholas Cage so you know it's going to be weird.
So, tell me if you've heard this one before. A meteor lands on an isolated farm and the farmer and his family have to fight off what it brought with it. If this sound familiar then that because it's been used so often it's become a common Sci-Fi trope but, all tropes have to come from somewhere and the works of Lovecraft have interwoven themselves into many modern works. I mention this because, as well as it's main premise, there are a lot of familiar scenes and concepts. You see creatures that remind you of the 'Thing' and transformations reminiscent of the original 'Quatermass Experiment' as well as creepy kids and a well but you have to remember that Color out of Space is most likely the source material and not the other way round (The Thing it's self is filled with Lovecraftian ideas even though it's based on a story by different author.)
As the films title hints, the actual creature is a color (or Colour if you're English) which is a strange concept in its self and the effects it has on the world around it only unfold slowly but, like in the other films I've mentioned, they end in horror (and body horror).
The theme of colour, even in it's strange use here, leads to the film being pretty in parts and as the film goes on the landscape takes on eerie life of it's own very much like the Martian weed taking over London in 'War of the Worlds'.
The film it's self is odd, you keep expecting the main family to be one of those stereotypical dysfunctional family's but, every time they seem to falling apart they pull together and, even their decent into madness doesn't pull them apart. The whole thing is made even strange by Nicholas Cage who is his usual, over the top self; Throwing tantrums and monologing to people who aren't really there, although, I'm happy to say his performance is not as OTT as it was in 'Mandy' where he went full Cage (which was great for that film but Color out of space is slightly more subdued, slightly but not much.)
There is blood but most of the horror either happens off screen or is just implied and even the monsters are just there just to be seen, although they do have a point to the story.
Color out of Space is a good but slightly strange cosmic horror with Nicholas Cage being as strange as usual aided in his strangeness by Madeleine Arthur, playing his daughter, Lavinia. with the exception of Tommy Chong's Ezra the rest of the cast play it mostly straight.
So, tell me if you've heard this one before. A meteor lands on an isolated farm and the farmer and his family have to fight off what it brought with it. If this sound familiar then that because it's been used so often it's become a common Sci-Fi trope but, all tropes have to come from somewhere and the works of Lovecraft have interwoven themselves into many modern works. I mention this because, as well as it's main premise, there are a lot of familiar scenes and concepts. You see creatures that remind you of the 'Thing' and transformations reminiscent of the original 'Quatermass Experiment' as well as creepy kids and a well but you have to remember that Color out of Space is most likely the source material and not the other way round (The Thing it's self is filled with Lovecraftian ideas even though it's based on a story by different author.)
As the films title hints, the actual creature is a color (or Colour if you're English) which is a strange concept in its self and the effects it has on the world around it only unfold slowly but, like in the other films I've mentioned, they end in horror (and body horror).
The theme of colour, even in it's strange use here, leads to the film being pretty in parts and as the film goes on the landscape takes on eerie life of it's own very much like the Martian weed taking over London in 'War of the Worlds'.
The film it's self is odd, you keep expecting the main family to be one of those stereotypical dysfunctional family's but, every time they seem to falling apart they pull together and, even their decent into madness doesn't pull them apart. The whole thing is made even strange by Nicholas Cage who is his usual, over the top self; Throwing tantrums and monologing to people who aren't really there, although, I'm happy to say his performance is not as OTT as it was in 'Mandy' where he went full Cage (which was great for that film but Color out of space is slightly more subdued, slightly but not much.)
There is blood but most of the horror either happens off screen or is just implied and even the monsters are just there just to be seen, although they do have a point to the story.
Color out of Space is a good but slightly strange cosmic horror with Nicholas Cage being as strange as usual aided in his strangeness by Madeleine Arthur, playing his daughter, Lavinia. with the exception of Tommy Chong's Ezra the rest of the cast play it mostly straight.
The Rhythm and the Tide: Liverpool, the La's and Ever After
Book
Liverpool in the 1980s. With prospects for the city's youth bleak, a scheme for unemployed musicians...
Phil Leader (619 KP) rated 2061: Odyssey Three (Space Odyssey, #3) in Books
Nov 8, 2019
Arthur C. Clarke was always keen on incorporating the latest scientific discoveries into his works, and when a flyby of the most famous comet of them all - Halley's Comet - by the probe Giotto revealed an icy surface ravaged by guysers of gas and liquids as the sun boiled away the water and hydrocarbons, Clarke saw a scenario that could get Dr Heywood Floyd out of retirement.
With the return of Halley's Comet in 2061, a luxury trip is proposed which Floyd's sense of adventure can't resist. However when things don't quite go to plan his resourcefulness comes to the fore - as well as his connection to long-lost astronaut Dave Bowman and computer HAL9000.
As a neat piece of science fiction, leaning heavily on the science, this books works well and it's a compelling read, especially the encounter with the comet, a world so utterly alien Clarke does well to capture it in his descriptions. As a sequal to 2001 and 2010 it works perhaps a little less well as it doesn't have a great deal to do with the future of mankind, as the first books do. The sequence around the comet would have worked with any protagonist, it didn't need to be Floyd, but would have been a shorter work. But it just about fits into the Space Odyssey ouvre and it's always good to meet up with old friends.
With the return of Halley's Comet in 2061, a luxury trip is proposed which Floyd's sense of adventure can't resist. However when things don't quite go to plan his resourcefulness comes to the fore - as well as his connection to long-lost astronaut Dave Bowman and computer HAL9000.
As a neat piece of science fiction, leaning heavily on the science, this books works well and it's a compelling read, especially the encounter with the comet, a world so utterly alien Clarke does well to capture it in his descriptions. As a sequal to 2001 and 2010 it works perhaps a little less well as it doesn't have a great deal to do with the future of mankind, as the first books do. The sequence around the comet would have worked with any protagonist, it didn't need to be Floyd, but would have been a shorter work. But it just about fits into the Space Odyssey ouvre and it's always good to meet up with old friends.
BankofMarquis (1832 KP) rated 2001: A Space Odyssey (1968) in Movies
Mar 4, 2018
Groundbreaking Special Effects (1 more)
Music
Truly...a masterpiece
Over the years, many, many words have been written and said about the 1968 Stanley Kubrick opus, 2001: A SPACE ODYSSEY, but after re-watching it, there is only 1 word I would write about it...
MASTERPIECE
I have a long history with this film. My father took me to it as a 7 year old. I was intrigued by the Sci-Fi special effects, but mostly liked the monkeys at the beginning. I then saw it again as a college student in the early 1980's and was "really into" (for obvious reasons) the psychedelic special effects at the end. Later...in the early 1990's, during my Arthur C. Clark phase, I read the book and then re-watched the film and my understanding of what was happening on the screen gelled and, consequently, my fascination and respect for the themes and scope of 2001 opened up new doors of understanding. I think I have seen it another 4 or 5 times since then and have appreciated it in different ways each time.
For this viewing, I walked away with a sense of awe of the sheer craftsmanship and audacity that Kubrick put up on the screen. The scope of the project in 1968 was (I'm sure) daunting with a subject matter that was just outside of normal vision, so for Kubrick to get a studio to o'k this film is mind-boggling to me.
But...how does it stack up as a film? Very well, indeed.
Told in 4 parts, 2001: A SPACE ODYSSEY tells the tale of mankind's evolution from ape-man to space explorers and the mysterious, monolithic aliens who help mankind advance along this line.
In the hands of the great Stanley Kubrick, 2001 dazzles with pure visionary visuals, exploding heretofore unseen images on the screen. Showing us what could be possible in outer space visuals (not just paper plates hung on a wire against a star background). The film is full of Kubrick hallmarks - meticulously staged and choreographed scenes, stark colors - mostly one color with a dab of another color across the screen, and long scenes where not much dialogue takes place, but what is said (or not said) in the pauses speaks volume. Some would call this type of film making boring (and I have accused other filmmakers who have attempted this as boring and pretentious), but in the hands of Kubrick, this film is mesmerizing and continuously fascinating.
The first 20 minutes of the film - the DAWN OF MAN portion - and the last 20 minutes - the JUPITER AND BEYOND THE INFINITE portion - are both dialogue-free. Kubrick let's the action and visuals speak for themselves. In between are THE MOON portion, which really serves as the audience introduction into the style and substance of the film, the wonderfully, Oscar winning special effects set upon a backdrop of classical music (who can hear Also sprach Zarathustra and not think of 2001)?
It is during the 3rd - and most famous - portion of this film that a viewer will either engage or disengage with this film. This is the famous HAL 9000 portion of the film where 2 astronauts end up battling with a increasingly unstable artificial intelligence on a journey to Jupiter. It is here where Kubrick, I feel, is at his best. The long, uncomfortable silences and the glances between the two astronauts (played wonderfully by the oft-praised Keir Dullea and the underrated Gary Lockwood) leads to a sense of dread that is very reminiscent of Alfred Hitchcock at his finest.
I will admit that this film is not for everyone - and more than 1 of you reading this will attempt to watch 2001:A SPACE ODYSSEY and fall asleep during the middle of it - but for those of you that can plug into what Kubrick was achieving here will be rewarded with a very rich, very fascinating and very GOOD film that will garner conversation and criticism for many, many years to come.
Truly...a masterpiece.
Letter Grade: A+
10 (out of 10) stars and you can take that to the Bank(ofMarquis)
MASTERPIECE
I have a long history with this film. My father took me to it as a 7 year old. I was intrigued by the Sci-Fi special effects, but mostly liked the monkeys at the beginning. I then saw it again as a college student in the early 1980's and was "really into" (for obvious reasons) the psychedelic special effects at the end. Later...in the early 1990's, during my Arthur C. Clark phase, I read the book and then re-watched the film and my understanding of what was happening on the screen gelled and, consequently, my fascination and respect for the themes and scope of 2001 opened up new doors of understanding. I think I have seen it another 4 or 5 times since then and have appreciated it in different ways each time.
For this viewing, I walked away with a sense of awe of the sheer craftsmanship and audacity that Kubrick put up on the screen. The scope of the project in 1968 was (I'm sure) daunting with a subject matter that was just outside of normal vision, so for Kubrick to get a studio to o'k this film is mind-boggling to me.
But...how does it stack up as a film? Very well, indeed.
Told in 4 parts, 2001: A SPACE ODYSSEY tells the tale of mankind's evolution from ape-man to space explorers and the mysterious, monolithic aliens who help mankind advance along this line.
In the hands of the great Stanley Kubrick, 2001 dazzles with pure visionary visuals, exploding heretofore unseen images on the screen. Showing us what could be possible in outer space visuals (not just paper plates hung on a wire against a star background). The film is full of Kubrick hallmarks - meticulously staged and choreographed scenes, stark colors - mostly one color with a dab of another color across the screen, and long scenes where not much dialogue takes place, but what is said (or not said) in the pauses speaks volume. Some would call this type of film making boring (and I have accused other filmmakers who have attempted this as boring and pretentious), but in the hands of Kubrick, this film is mesmerizing and continuously fascinating.
The first 20 minutes of the film - the DAWN OF MAN portion - and the last 20 minutes - the JUPITER AND BEYOND THE INFINITE portion - are both dialogue-free. Kubrick let's the action and visuals speak for themselves. In between are THE MOON portion, which really serves as the audience introduction into the style and substance of the film, the wonderfully, Oscar winning special effects set upon a backdrop of classical music (who can hear Also sprach Zarathustra and not think of 2001)?
It is during the 3rd - and most famous - portion of this film that a viewer will either engage or disengage with this film. This is the famous HAL 9000 portion of the film where 2 astronauts end up battling with a increasingly unstable artificial intelligence on a journey to Jupiter. It is here where Kubrick, I feel, is at his best. The long, uncomfortable silences and the glances between the two astronauts (played wonderfully by the oft-praised Keir Dullea and the underrated Gary Lockwood) leads to a sense of dread that is very reminiscent of Alfred Hitchcock at his finest.
I will admit that this film is not for everyone - and more than 1 of you reading this will attempt to watch 2001:A SPACE ODYSSEY and fall asleep during the middle of it - but for those of you that can plug into what Kubrick was achieving here will be rewarded with a very rich, very fascinating and very GOOD film that will garner conversation and criticism for many, many years to come.
Truly...a masterpiece.
Letter Grade: A+
10 (out of 10) stars and you can take that to the Bank(ofMarquis)
