Author Archive

Film Review: Another Earth

Imagine that, a year or so ago, you saw a trailer for a film in which humanity discovered another planet Earth growing slowly closer. Humanity made contact with Earth Two, as they called it, and realized that each and every person on the planet could have a duplicate up there.

Then there’s some cuts of a young blond woman, a car accident, a relationship, and the chance for Our Heroine to win a trip to Earth Two. She seems all introspective; a Coldplay-like song runs in the background; the trailer ends.

Watch it yourself, if you like.

The problem, though, is that the movie I saw wasn’t quite the movie I was advertised.

(Continue Reading…)

Book Review: “Railsea” by China Mieville

This review contains minor spoilers for “Railsea”, but does not spoil the ending.

#

The review you’re reading now will be the third review I’ve written of a China Mieville novel. I’ve read all his books except for King Rat & Looking for Jake. Most of them have similar themes & tropes — the love of home, phantasmagoric settings & creatures, some form of transportation that’s central to the story, & an ending that leaves you wondering why you read the book if you’re going to be left empty when you’re done.

Note that I said empty. Not unsatisfied.

Well, Railsea broke the trend on at least one of them: I wasn’t empty at the end. But otherwise, we’re looking at pretty standard Mieville here.

(Continue Reading…)

“Smile Time”, or “How I Learned to Stop Worrying and Trust in Whedon”

The following article contains spoilers for the Angel episode “Smile Time”, and is fair game for spoilers of any episodes preceding it, as well as the entire run of Buffy: the Vampire Slayer.

#

When Joss Whedon and the Buffy team announced that they’d be doing a musical episode, people were skeptical. I mean, how can you make a musical about slaying vampires?

Oh we of little faith. “Once More, With Feeling” was one of the best hours of television made in the last quarter-century*.

As I began watching Angel a few months ago, I heard rumblings that there was an episode centered around puppets sometime in the fifth season. I finally got there and my tweet**, no lie, was: Oh crap… it’s the puppet episode. Now, I knew there were some big story pieces coming up — the arrival of Illyria, the coming apocalypse, and the series finale, just to name a few of the things to be crammed into the next eight episodes. I’ve just been waiting to get to that part. The one I watched prior to this was a World War II-era submarine story where Angel and Spike are caught on a captured U-boat, and it… wasn’t that great. So I didn’t have high hopes for “Smile Time”.

Should’ve learned my lesson from OMWF: trust in Whedon and his team, and he will never lead you astray.

(Continue Reading…)

Book Review: “Joss Whedon: The Complete Companion”

This book contains spoilers for all films and television shows Joss Whedon has written, and therefore the review shall consider such material fair game. Reader discretion is advised.

#

It doesn’t take an astute student of my Twitter feed or my blog to know that I’ve been on one hell of a Joss Whedon kick over the course of the past year. From full viewings of Buffy and Angel to my opinions on Cabin in the Woods (excellent) and The Avengers (waiting for the DVD), you must know by now that I’m a fan of the man’s work.

So when Amazon’s algorithm suggested I purchase PopMatters’s Joss Whedon: The Complete Companion, I figured it would be something I’d enjoy.

Perhaps I should’ve thought a little more about the purchase first.

(Continue Reading…)

How Bad Technobabble Hurt A Good Episode: “Our Man Bashir”

For the past few months, I’ve been doing a re-watch of Star Trek: Deep Space Nine. I missed a lot of episodes (maybe 40 percent) while it was in first-run, and I’ve never seen it in syndication, so I figured… why not? It’s on Netflix; might as well make good use of my $7.99 monthly fee.

Last night, I watched “Our Man Bashir”, and I was reminded just how flimsy the “malfunctioning transporter/holodeck” plot can be.

(Continue Reading…)

Film Review: “Highlander: Endgame”

The following review contains spoilers for the first three Highlander films and the television series.

#

What do you do after your 1986 movie achieves cult status? Well, if you’re lucky, you get to make a sequel. When that sequel bombs, you get to make another sequel. If the third film bombs, maybe you’ll be lucky enough to get your intellectual property turned into a TV series that gets passable ratings and hangs around for six years — long enough to justify a fourth film in the series.

In other words… someone made Highlander: Endgame, the fourth movie in the series. And I watched it. More than once.

Although set in 2002*, four years after the end of Highlander: The Series, the film actually begins in 1992, when Connor MacLeod arrives at his New York shop/apartment just in time to see it blown up, taking the life of Rachel Ellenstein, the young girl he adopted during (I believe) World War II. Devastated that he’s lost everyone he loves, Connor joins up with the Watchers, a group dedicated to chronicling the lives of the immortals, and agrees to go into the Sanctuary. There, the Watchers keep several immortals out of The Game (the worldwide headhunting competition with a nebulous “prize” to go to the last survivor) so that no one can be the last.

Now, in 2002, Duncan MacLeod (Connor’s cousin and friend) is still secluded, meditating, trying to find himself after (in the series) killing his protege Richie and getting the It’s a Wonderful Life treatment from Roger Daltrey**. He has a prophetic dream and visits his friend Methos, the oldest Immortal on the planet, before heading to New York to see if he can figure out what happened to Connor ten years ago. Way to wait around, my friend.

Meanwhile, the villain of the piece, Jacob Kell, goes to the Sanctuary and kills all the immortals there with the exception of Connor — I’m still not sure how he escaped, or who let him free. Kell is powerful and ruthless, and he hates Connor for killing his mentor, while Connor hates him for killing his mother. Kell and his guys go to New York and face off against Duncan, but the only death is from Kell, who kills one of his henchmen. Shortly after, Duncan is sent to the Sanctuary, only to be rescued by Methos and his (Duncan’s) Watcher, Joe Dawson. They explain that Kell has killed 661 Immortals, more than Duncan and Connor combined.

Eventually it’s revealed that Connor is still alive. We see several adventures of Connor and Duncan in the past, including when Connor taught Duncan the “unbeatable move” — one would think he’d have used that at some point in the last three films. But anyway. Things come to a head between the MacLeods and Kell, and as we know, there can be only one.

In addition to a spectacularly-ancient-looking Christopher Lambert as the supposedly-immortal Connor MacLeod, Shelia Gish and Beatie Edney reprise their roles (however brief) as Rachel and Heather (the latter being Connor’s first wife, from the 1500s). However, top billing goes to Adrian Paul, star of the Highlander television series, now sporting short hair. Paul is as good in the film as he is in the series — a sort of cardboard boy-scout good-guy character with very little darkness in him despite everything he’s done. Kell is portrayed by Bruce Payne (great name there) and unlike the villains of the previous two films he’s not a cutout. He actually has a good reason for hating Connor. He’s also kind of nuts.

There’s quite a supporting cast in this film, which is topped by Lisa Barbuscia, a model and musician. She plays Kate, who, in the 1700s, was Duncan’s wife. However, she was also a pre-Immortal. Now, in 2000, she is fashion designer Faith and she is wicked pissed at Duncan for making her Immortal and depriving her of children. Good motivation. Donnie Yen is the most honorable of Kell’s henchmen, Jin Ke. Peter Wingfield and Jim Byrnes reprise their roles from the series as Methos and Joe Dawson, and there’s a special appearance by Adam Copeland, better known as the WWE’s “Edge”. Interestingly, “Edge” got a “special guest star” mention in the credits, because as we all know that sort of thing will bring in all the wrestling fans.

For what it’s worth, he didn’t suck in his brief role, although one wonders why a Canadian-speaking rogue was hanging out in Kildare, Ireland.

Oh, and one other weird piece of casting — June Watson, who played Connor’s mother, looked an awful lot like Stanley Tucci’s weird cohost in The Hunger Games. It was distracting.

If you take Highlander: Endgame as a straightforward action film and don’t care about the plot, I think you’ll be satisfied. Unlike Lambert, Paul is actually capable of moving in the way martial artists have to (he’s a dancer), and he also spent six years doing martial arts and swordplay on the TV show. Plus, Donnie Yen choreographed the martial arts for the film. The fights in this movie are faster and crisper, and the cinematography is better; in this alone the film is elevated above the previous three. However, Connor still gets his moment as awesome swordsman dude by teaching Duncan the unblockable attack I mentioned earlier. Now, I’m not a swordsman by any stretch of the imagination, but I can think of at least three ways to get out of the move, not the least of which is to duck, you idiots!

But I digress.

One thing I did like about the fighting was the contrast between Connor’s and Duncan’s styles — Connor, while a good swordsman, is definitely a dirtier fighter; Duncan prefers to keep it clean. We do get the fight between the two of them that people have been waiting for since the pilot of the TV show, though.

The writing was about as good as an episode of the television show — Connor got the good quips; Duncan didn’t. Duncan never really struck me as a quippy kind of guy anyway. In what was supposed to make the viewer go “ah-ha-HA, indeed!”, Kell had 661 kills at the start of the film. Which meant he almost had 666. Given that he was trained as a seminarian, it’s supposed to be ironic. But it wasn’t.

Because this was a Highlander movie, we had to have at least one sex scene with nudity. This time, it was awarded to Paul and Barbuscia. I’m not quite sure of Faith’s motivation to sleep with him after she lays into him with a wicked tongue-lashing***.

Set design and music were again about average, although I really got tired of the Scotland Enya-style music — it always makes me think of this song from the Toys soundtrack. The original ending had a really bad composite shot of one of the heroes standing at a grave before walking off into what was supposed to be the moors of Scotland, and I wasn’t thrilled to be leaving the movie with that shot — which is why I’m glad there was a director’s cut released with a slightly better ending.

Highlander: Endgame was in development hell for a while, and it shows. It went through several cuts and rewrites, leading to a subpar finished product in pretty much everything except the fight scenes that featured Duncan, and the conclusion of the Connor/Duncan battle. Christopher Lambert was getting too old for the role, and anyway he’d passed the torch in the TV series. This was not a good movie, and if you’re not a Highlander fan, you probably won’t like it. Even if you are, make sure you see the director’s cut so you can get the better ending and a few more scenes that make the plot work better.

I remember being pretty disappointed in the movie when I finally saw it (on DVD). It felt more like a two-parter from the series, and really, that’s what it should have been. It completely ignores the second and third films**** in favor of the TV show’s mythos — which is good, but not if you’ve never seen the show. It’s written without explanation of the Watchers or how Joe and Methos are Duncan’s friends, and there’s no time in the film to give anyone a really decent character arc except Kate/Faith. At least we could all take heart that this would be the last of the…

Oh, wait? It… it wasn’t?

Looks like it’s time to dig up my digital copy of Highlander: The Source, then.

#

Note to Parents: As with the other Highlander films, this movie contains violence (including decapitations), nudity, adult language, and adult situations. At least in this one the sex scenes actually flow with what little plot there is, whereas in the last one it was just indulgence on the part of the director and star. I think this could be handled by most older teens, as long as they don’t get all tittery***** about nude women on film. Of course, you should use your own best judgment when it comes to your children.

#

* The first present-day scene in the film actually happens “ten years ago”. If Connor and Duncan last saw each other in the pilot of the series, which was 1992, then the earliest the film could possibly occur was 2002. Since the technology was pretty much present-day for the film’s release, I’m saying it’s in 2002. You can dispute me if you like.

** It actually makes sense on the show. Don’t try to figure it out right now.

*** No pun intended. This was the 00s; heroes in film didn’t regularly engage in oral sex at the time. That didn’t come — oh, shut up — until a few years later.

**** With the exception of some good bits from Sean Connery, everyone should ignore the second film.

***** See what I did there?

Film Review: “Highlander III: The Sorcerer”

This review contains major spoilers for Highlander and mild-to-moderate spoilers for Highlander III.

#

One of the things I love about my job is that, as long as we get our work done, we can occupy the free bandwidth in our brains however we like. Some of us listen to music, some of us watch Netflix, and some of us just work. Usually I listen to music, but recently I was walking into work and whistling the theme from Snoopy, Come Home* and decided I wanted to watch it on YouTube (which I’ve done before) while I worked.

Then I decided to branch out. First I found Armageddon**. Then I found Highlander II***. That led me to Highlander III: The Sorcerer, which originally hit theaters as Highlander III: The Final Dimension.

I think we all remember the tragedy that was the second Highlander film. I certainly do. I mean, I’d just seen it two days prior. When the third film came out, I decided I liked the story enough to see H3 in theaters. Yeah, that’s right, I spent my hard-earned $6 on a ticket to the movie.

And I enjoyed it****.

For those of you living under a rock, Highlander is the story of Connor MacLeod, an immortal Scotsman who, like others of his kind, fights with a blade and can only be killed by decapitation. Otherwise, he doesn’t age and can’t be hurt. In the first film, he thought he won “The Prize” by defeating Kurgan, the man who killed his best friend Ramirez and then raped his wife, back in the 1500s. Now, eight years later, MacLeod is living in Morocco with his friend Jack and his adopted son John. He feels a disturbance in the Force and realizes that, although he won The Prize, he hasn’t killed all the immortals on the planet.

In the 1600s, after his wife’s natural death due to old age, MacLeod wandered the world, eventually ending up in Japan, the home of the legendary sorcerer and swordmaker Nakano. MacLeod trained with Nakano and earned the power of illusion (which for some reason he didn’t use in the first two films — go figure, right?), but when the evil immortal Kane and his two henchmen arrived, Nakano sacrificed himself to save MacLeod’s immortal life. Nakano used his power to trap Kane and his henchmen for 300 years, until an archaeological expedition unearthed Nakano’s cavern. Kane escaped and came after MacLeod.

As with the first (and fourth) Highlander film, MacLeod’s story is told twice — first in the present, and also in the past. This time, it’s the French Revolution, when MacLeod is introduced to Sara, a free-spirited young woman who he is sent to “tame”. Sara bears more than a passing resemblance to Dr. Alex Johnson, the archaeologist who found Nakano’s tomb. MacLeod deeply loved Sara, and in the present, he falls in love with Alex. However, Kane’s thirst for vengeance leads to death and destruction in New York City, and both Sara and John (MacLeod’s son) are placed in great peril.

I think you can figure out how the movie ends.

Christopher Lambert returns to portray MacLeod. Of French descent, Lambert’s accents are meandering at best — he’s an okay Scotsman, but otherwise he speaks in what I assume is his normal voice. He does a good job with the swordfighting and action sequences, and he delivers the requisite quips as any good 90s actor should. Plus, at the time he was still young enough to convincingly portray someone who hadn’t aged a day in eight years. Makeup probably helped. His foil, Kane, was played by Mario Van Peebles. Highlander villains tended to overact, and I get the feeling the director told Van Peebles to emulate Clancy Brown (the villain in the first film) as much as he could. Gravelly voice, leering expression, strange tongue movements, the whole bit. If that was the direction, then he pulled it off admirably. As a teenager, I bought him as a villain, but watching the film 20-ish years later, I need more from my Big Bads. For starters, they need to have better motivation than “I’ve hated you for 400 years”. Deborah Unger, who’s in Combat Hospital but otherwise I didn’t really recognize, is both Alex and Sara, and she, like Bonnie Bedelia [NB: Roxanne Hart, not Bonnie Bedelia. Sorry about that.] in the first film, does a fine job as The Girl.

I think the best adjective for this film, overall, is “passable”. The music was passable; the plot was passable, the acting was passable, the obligatory montage***** was passable, the special effects were passable (for the time)… the sets and production design were cool, and the swordfighting was as good as to be expected in the Highlander films, but nothing else really jumped out at me as being exceptional. I wasn’t terribly invested in the love story (either of them), the villain, the historical sequences (it was the bloody French Revolution; I expect they could’ve done a lot more with that part), or MacLeod’s adopted son. And, I mean, as a 16-year-old, the nudity was awesome, but these days I don’t really need it, and as a 30-something, I’ve seen it already.

But, y’know what? I think that’s all okay. Because if you go into this film expecting a great movie, you’ll be sorely disappointed. There’s a lot of overacting, some silliness with magic and illusions (humans turning into birds, anyone?), and the requisite “asshat policeman” villain. But if you liked the first Highlander film and you can put aside the fact that it was set up to be a single film with no sequels, you’ll enjoy this movie too. I got what I came for when I went to the theater, and watching it in the background while I worked gave me what I came for as well — a film I’ve seen enough times that I didn’t have to actively watch it, and something going on in the background to fill my mental bandwidth.

I know some people say there should have been only one, but if there had to be a sequel… I think this was pretty decent.

#

Note to Parents: This film contains violence — including decapitations — as well as adult language and sexual situations. Compared to today’s films, it’s not that graphic, and if it wasn’t for the nudity, this film would probably get a PG-13, not an R. I kind of think Lambert has it in his contract that all Highlander films have to have at least one over-long sex scene, and this film definitely has that too. The sex scene is what pushes this past the limit of “allowable content” for teens, in my opinion. Of course, you should use your own best judgment when it comes to your children.

#

* You can watch the whole thing on YouTube here.

** Don’t laugh. If you go into it with low expectations for plot and high expectations for one-lines and explosions, you get exactly what you are looking for.

*** Oh, shut up.

**** Hey, I was 16, and it had nudity. Don’t judge.

***** In this case, sword-making, set to Loreena McKennitt, because that just screams Scotland, doesn’t it?

Film Review: “The Hunger Games”

The following review contains moderate spoilers for both the novel and film versions of The Hunger Games.

#

As of this writing, Suzanne Collins’s Hunger Games series has made her the best-selling Kindle author of all time. That’s quite an accomplishment. But even before that happened, it was inevitable that the Hunger Games phenomenon would become a film. After all, with the end of both Harry Potter and Twilight on the horizon, studios were looking for their next big book-to-movie hit.

Well, they found it, and on March 23, The Hunger Games was released to American audiences.

(Continue Reading…)

The Speed of Sci-Fi, Revisited

In 2007, I wrote a book. In 2010, I finished editing it*. Either this year or next, it’s going to be published**.

This is not a post about book contracts.

It’s a post about technology.

About a year and a half ago, I wrote a post about how fast data storage technology is expanding. My example was my USB drive, which holds eight hundred times as much data in something the size of my finger than my very first hard drive, which was about the size of half a frozen dinner.

This morning, I was catching up on my news feeds and I found another technological change that struck me.

You may already know that BlackBerry — once the bastion of corporate offices and enterprise e-mail systems everywhere — has recently been on the ropes. Their tablet wasn’t perfect when it came out, and you have to be perfect to compete with the iPad. Their first touch-screen phone wasn’t so great either. They don’t have an app store with even close to the number of offerings that Android and Apple do. And — let’s be honest here — BlackBerry devices just aren’t cool.

This is very close to the BlackBerry I used to have, except mine had more soft-keys.
That’s now. In 2012. But in 2006, I got my first (and only) BlackBerry, and it was awesome. It was the precursor to the Pearl, the first one with a narrow keyboard, and I thought it was the best phone I’d ever have. I could text, e-mail, surf the web (in a limited fashion), read stories online, play games, use personalized ringtones and message sounds, and, well, if I wasn’t able to take pictures, that wasn’t a big deal, because I had a camera already, right?

In early 2007, I started writing a novel (as I mentioned a few paragraphs ago). Because my main character was kind of a tech-geek, I made sure she carried a BlackBerry and knew how to use it. I don’t know which one it was, but I’m sure it was a good one. It may even have been the one I had. The point is, by the time I finished the book in the summer of 2007, BlackBerry was still the standard by which I judged phones. Anyone who was anyone had a BlackBerry.

Of course, the iPhone happened shortly after that, and that was most definitely a game-changer.

Between the end of the writing period for the book and the time it’ll be released to the public, I’ll have gone through five cellphones. Five cellphones in five years.

  • My aforementioned BlackBerry.
  • The HTC Tilt/TyTn II, a monster phone that I would’ve kept if it hadn’t started crashing on me all the time.
  • An iPhone 3G.
  • A short-lived Samsung BlackJack — a capable enough device, intended to be a BlackBerry replacement, it was given to me at my old job. I didn’t think I needed it, since I already had an iPhone, but they wouldn’t pay for it so I had to carry two phones.
  • My HTC Evo, which I wrote about a year or so ago.

I’m writing another book right now, and my main character has a touchscreen device — either an iPhone or an Android; I’m not sure which. The point is, I’m being a little more vague because (a) I don’t know when I’m going to finish writing this book and (b) I don’t know when it’s going to be sold once I do. I like to be as accurate as possible when I write, which is why Sarah (in the 2007 book) had a BlackBerry, and which is also why Andrea (in the current book) rides very specific bus routes to get around town. I believe little details make a story better — not too many of them, but enough to let the reader know that the author really put some thought into every aspect of the story. Get the small details right, and people in general will believe you if you fudge the big ones***.

But I’m still amazed that, only five years after finishing the book, the device that I gave my main character because it was so freaking cool is now so out-of-date that literally only one person on my entire floor here at work actually has one.

Technology is moving faster than ever. We writers have to keep up with it.

Somehow.

#

* I know, I know. It took me way too long.

** The contract is in my e-mail box. I’m reviewing it with my attorney, just to make sure it’s 100 percent aboveboard.

*** Story of my life.

Film Review: “Return to Oz”

This review contains moderate spoilers for Return to Oz.

#

The land of Oz has received a lot of different interpretations since the days of L. Frank Baum’s original novels. From the technicolor dreamland of the film starring Judy Garland to the urban-style play The Wiz to Gregory Maguire’s Wicked series, Oz has been seen in literally dozens of different ways.

But never has it been so creepy as in Walter Murch’s “sequel” to the original film, Return to Oz.

Return to Oz, which was released in 1985 by Walt Disney Pictures, starts six months after the twister that brought Dorothy to Oz in the first place. Dorothy can’t sleep, and when Uncle Henry and Aunt Em see an ad in the paper for “electrical healing”, they decide to bring Dorothy to Dr. Worley to be “healed”. However, a massive thunderstorm blows in just before the doctor can use the machine, and a mysterious blond girl “rescues” Dorothy. They run, fall into a river, and Dorothy manages to crawl into a wooden crib and save herself.

The next morning, Dorothy wakes up in the middle of a desert with only her pet chicken Billina for company (Toto was back on the farm all this time). To her surprise, Billina can talk. This clues Dorothy into the fact that she’s back in Oz. With the sassy-talking chicken, Dorothy makes her way to what’s left of Munchkinland — which amounts to nothing but her old house. She finds a nearly-destroyed Yellow Brick Road and follows it to the Emerald City, which is bereft of gems and full of stone statues. Eventually Dorothy adds Tik-Tok (the Royal Army of Oz) to her retinue, and they find out that Princess Mombi, not the Scarecrow, is in charge now. But her boss is a much more evil individual, the Nome King, who has captured the Scarecrow. Dorothy decides she must rescue him, and in the process eventually joins up with Jack Pumpkinhead (a wooden man with a pumpkin for a head) and The Gump (the head of a moose with the body of a sofa and wings made of palm fronds).

Watching Return to Oz almost thirty years after its release, I found it to be a very dark film, full of scary images, creepy animatronic puppets, and 31 severed heads. The villains include a nurse dressed like a crow, a princess who took the heads of beautiful women to use herself, creatures with wheels for hands and feet, and a king made of stone who uses other people to make him more human. Plus, in this film Dorothy is only about eight or nine — the actual age of the character in the books, instead of the teenage girl from the original film — and the first thing she must overcome is an electroshock therapy machine. Fortunately, the doctor who’s going to use it is rather kindly, but his head nurse and orderlies would be extremely frightening, especially for a girl born in the 1890s.

The film stars Fairuza Balk (The Craft, American History X) as Dorothy. It’s her first feature film role, and although she seems a little stilted in the beginning, she grows into the role and is pretty believable by the time she has to face the Nome King. Nicol Williamson (Excalibur) plays the doctor and the king (depending upon if you’re in Kansas or Oz), and he does an admirable job being a kindly doctor in one and an evil, somewhat crazy king in the other. Piper Laurie (Carrie, Twin Peaks) and Matt Clark (The Jeff Foxworthy Show) are Aunt Em and Uncle Henry. However, the most notable human character in the film is Princess Mombi, played by Jean Marsh (Upstairs, Downstairs, Frenzy). Mombi, a vain sorceress who mostly sleeps and plays the lute, has collected the heads of the thirty most beautiful women in Oz and interchanges them depending upon her mood. She also portrays Nurse Wilson from the hospital Aunt Em brings Dorothy to, and she is most definitely not nurturing. She rarely smiles, dresses in all black, and when Dorothy escapes, she sweeps after her like a predatory bird.

The other stars are mostly puppets and animatronics, although they include Deep Roy as the Tin Man and Brian Henson as Jack Pumpkinhead. David Shire, who up to that point had mostly composed television music (and also 2010: The Year We Make Contact), was responsible for a score that was better when it was slow than fast. Of course, a lot of the film moves slowly — when we’re not in the middle of an action sequence — so he has time to shine.

Unlike the original Oz film, which was based mostly on Baum’s original The Wonderful Wizard of Oz novel, Return to Oz primarily draws from The Marvelous Land of Oz and Ozma of Oz, along with Tik-Tok of Oz for its eponymous main character. According to an interview with director Walter Murch, the film itself almost didn’t happen when Murch was fired by Disney. However, George Lucas intervened on Murch’s behalf and that kept him on the project until its completion and release. The poster for the film looks relatively innocuous (I put an image of it above), and it has the tagline “It’s an all-new live-action fantasy — filled with Disney adventure and magic.” The poster does have the Scarecrow, Tin Man, and Cowardly Lion, even though only the straw man actually has any lines. Overall, the film was pretty dark, especially for a Disney movie, and in fact a documentary in 2007, The Joy That Got Away (which you can watch in its entirety online), examines the film itself and Oz fandom in general, including the genesis of this rather dark tale.

I vaguely remember seeing Return to Oz in theaters as a child and deciding that the movie was good, but scary. As an adult, I’m quite surprised at how creepy and disturbing the film’s imagery was. In Oz alone, we have the insane behavior of the Wheelers, the mirror-palace where Mombi resides, and even the Gump, who should’ve quit while he was a head. Back in Kansas, there’s storms, desolate landscapes, and an electroshock therapy machine. In fact, even the ending is a little weird, with its overblown colors and the portrayals of the Scarecrow (who looks really peculiar) and the Cowardly Lion (an animatronic who looks even less lion-y than the one played by a human in the original film). I still think the film is good, though — I enjoyed watching it, even now, and it kept my attention and interest throughout.

However, I personally wouldn’t recommend watching it with your younger kids. It’s a little too creepy for them — although, given how early kids are watching PG films these days, maybe a five-year-old could handle this.

#

Note to Parents: This film contains disturbing imagery and general creepiness, but nothing overly violent and no adult language or situations. Of course, you should use your own discretion when it comes to your children.

hot mature website