"Fresh from the warp core!"

It’s strange to be having my birthday at home this year without any kind of travel planned in the immediate future.  As previous birthday posts indicate, I often celebrate my birthdays in other countries, or take a major trip shortly thereafter (depending on the circumstances and the flexibility of Karli's workplace) but as you would expect, circumstances have grounded us this year. 

Regardless, it's been a good day.  We had a socially distanced lunch at Harvey's (a favourite since my Ryerson college days, sadly the last outlet in the Lower Mainland is shutting down next month) and barbecue ribs for dinner in memory of my last birthday in New York.

On the gift front, my friend Colin weighed in this year with a great selection of vintage Star Trek collectibles (perhaps inspired by my Star Trek convention program purchases during my last visit to Toronto): movie memorabilia, which included promotional one sheets and programs for Star Trek: The Motion Picture, The Wrath of Khan, Star Trek IV, and a membership kit for Star Trek: The Next Generation, complete with cast photo* and sew-on patch.  (There’s a membership card as well, but without a Membership Number, I don’t feel that I can legitimately make use of it.)

Thank you for the additions to my little collection, Colin!

In addition to continuing the Star Trek theme with a tin of Pink Peppermint Dilithium Crystals, Karli added to my gaming library by funding the purchase of The Outer Worlds, a plot-driven single-person science fiction RPG game from Obsidian Entertainment, the developers of Fallout: New Vegas. The Outer Worlds was originally released by Epic Games in October of 2019, but I’ve been waiting for it to arrive on the Steam™ gaming platform before making a purchase. 

However, the Steam release has been delayed (for whatever reason), and the game was conveniently on sale at half price from Epic during the week of my birthday, which just seemed too fortuitous to pass up. 

The game has a sort of retro-futuristic 1950s art direction, and relies on a reputation-based system similar to the one from New Vegas, where the player’s actions result in better or worse relations with the local factions. I’m looking forward to playing it - it appears to be somewhat less of an open world than Fallout, but reviews indicate that the storyline has enough twists and turns to keep things interesting.  

Thank you very much, Karli, and thanks to everyone for their best wishes!  Let's hope for next year in England!

- Sid

*Wil Wheaton looks so painfully young, doesn't he?

Dune: who's who.

"Do you often dream things that happen just as you dreamed them?"

Reverend Mother Gaius Helen Mohiam, Dune

The key to many of the successful transitions from print to screen in recent years has been casting.

Harry Potter began the run with the selection of Daniel Radcliffe, Emma Watson and Rupert Grint in 2000 - three actors who became indistinguishable from their characters for the next decade. The Marvel Comics Universe had the good fortune to cast actors who seemed born to play their superhero roles, and the producers of Game of Thrones must still be thanking their lucky stars for the availability of actors like Peter Dinklage, Gwendoline Christie, and Maisie Williams for their distinctive roles (although I was never completely onboard for Kit Harrington as Jon Snow, he was just a little too pouty for me compared to the character in the books). 

And that's where an adaptation can succeed or fail. If you just can't accept Elijah Wood as Frodo, the Lord of the Rings movies are ruined for you.

The release of the trailer for French-Canadian director Denis Villeneuve's take on Dune, Frank Herbert's classic science fiction epic, offers a first chance to evaluate Villeneuve's vision for the story and his choices for the characters.

Visually speaking, the trailer holds promise.  The exterior shots echo the sense of monumental scale that Villeneuve utilized so effectively in Arrival and Blade Runner 2049, broad vistas combined with intimate close ups. It's comforting to see that the sandworm, one of the major failures from David Lynch's 1984 adaptation, is an epic abstraction, majestic and alien.  I found some of the images surprisingly reminiscent of the angular concept artwork produced for the failed attempt by Alejandro Jodorowsky* to adapt Dune to film in 1975, but not alarmingly so. 

For the most part, the casting looks good - literally, in that for the most part, I can see those people as the characters I know from the book. No one is explicitly identified, but if you're familiar with the story, it's easy to tag names to actors. 

Timotheé Chalamet shows well as the introspective man-child Paul Atreides, who is 15 in the original story and matures into manhood over the course of the novel. Zendaya is perfectly cast for the role of Chani, Paul's Fremen love interest, and David Bautista is an excellent choice for the brutish, brutal Glossu "Beast" Rabban of House Harkonnen,  Jason Momoa is an unexpected choice for swordmaster, strategist and womanizer Duncan Idaho, but not a bad one, based on what we see in the trailer - he brings an intriguing combination of exuberance and earnestness to the character. 

However, I have some trouble with Josh Brolin as Gurney Halleck, the warrior-musician weaponmaster of House Atreides, it's just not how I see that person.  I shrugged at a bearded Oscar Isaac in the role of Paul's father, the ill-fated Duke Leto Atreides - mostly because of the beard, which I felt was out of keeping with the paramilitary feel of the Houses - and whereas I can see what they were trying to do with the casting of Rebecca Ferguson as his wife, she doesn't match my picture of the Lady Jessica. In the only alternative casting that I'm going to suggest, Gal Gadot would have been a perfect choice in terms of the dark and elegant beauty that I pictured for the character.

There's a brief glimpse of Stellan Skarsgård as the calculatingly villainous Baron Baron Vladimir Harkonnen, a glimpse which tells us next to nothing. I don't have a problem with Skarsgård in the role, although they must have done some substantial prosthetics work to turn him into the obese sensualist of the book - I'm hoping that they didn't go down the overdone route that Lynch chose for the character.

Oddly, there's no obvious sign of Feyd-Rautha Harkonnen, the Baron's heir and Paul's nemesis, but given that Villeneuve has split the story into two parts, it's possible that he doesn't make an appearance in the first film.

Part 1 is scheduled for release on December 18th. Given that any number of release dates have been pushed back during the pandemic, we'll see what Warner Brothers decides to do as we edge up on the end of the year. If they do release it, Ill have to do some serious soul searching - I'd love to see it on the big screen, but it may just be one of those things where it's better to be safe than sorry.

- Sid

* After seeing the new trailer, Jodorowsky, now 91 years old, commented that in his opinion, it is “very well done” but feels that, as an example of "industrial cinema", the director is forced to follow the standard studio template: "There [are] no surprises. The form is identical to what is done everywhere. The lighting, the acting, everything is predictable.”

Whoa.

 And now, without further ado, the final movie in the Bill and Ted trilogy:  

It's been a long time coming, in more ways than one - and I'm pleased to say that I found it well worth the wait. 

The movie starts with Bill and Ted speaking at the wedding of Missy and Ted's younger brother Deacon (I was SO CLOSE when I predicted in my previous posting that it would be a good plot hook if she married Ted) and then performing their latest failed attempt at writing the song which is going to unite the world. It appears that their (most) triumphant performance at the end of Bogus Journey was not that song, and since then Wyld Stallyns has been fruitlessly attempting to write it.

After Ted's father literally pulls the plug on their performance and berates the duo for wasting 35 years, Ted admits to Bill that he's thinking of giving up. At which point, they are dragged off to the future by Rufus' daughter Kelly, where they are informed that the song is more important than expected:  if it is not performed at exactly 7:17 on that date in the past, all of reality will be destroyed.  Time and space have already begun to unravel, with historical figures and artifacts like George Washington, Christ and the Pyramids of Cheops being pulled from their own times.  They have 77 minutes to write the song that they have been unable to complete in almost 35 years.

The duo remains unchanged in their desire for easy solutions: in this case, they plan to use the vintage phone booth time machine to visit their future selves and acquire the song after it has been written.

 

Meanwhile, their daughters, Theo and Billie, take advantage of Kelly's return to 2020 and borrow her time machine to begin putting together the ultimate band to back up their fathers' fateful performance. Full marks to Brigitte Lundy-Paine and Samara Weaving as Wilhelmina "Billie" Logan and Theodora "Theo" Preston, who manage to match Reeves and Winter in their deadpan dedication as they recruit Jimmy Hendrix, Louis Armstrong, and Mozart - along with legendary Chinese flautist Ling Lun and prehistoric drummer Grom.

 

No spoilers, but I don't think it's a shock to discover that the song is performed, reality is saved, and the future remains the future - except for the bad parts involving the princesses, Open Mike Night, Dave Grohl, and prison, which probably don't happen.  Bill and Ted profess their love for their wives, Ted's father apologizes for doubting them, Death is welcomed back into the band, and Kid Cudi says "Station".

Through it all, the movie remains completely true to its origins.

It's not sarcastic, it's not cringey**, it's just silly fun, delivered in the most earnest fashion imaginable, and Alex Winter and Keanu Reeves never wink, smirk or nudge - they ARE Bill and Ted, and they portray them with the gravity and respect that they deserve, with all their doubts and honesty and love and determination - two men who will die and go to Hell to find their daughters and make everything right.

And, to quote the late Rufus: "Sometimes things don't make sense until the end of the story."

- Sid

* It's actually kind of odd to see Keanu Reeves return to the innocence of Theodore "Ted" Logan after three blood-soaked John Wick movies - you have to wonder if he found it to be a relief.

** I love Tina Fey, but I can't watch her movies because of the cringe factor.