[HEADING=1]Moon[/HEADING]
http://www.youtube.com/watch?v=twuScTcDP_Q[/youtube]
Like Batman & Robin before it, my generic, unpaid franchise needs to go back to basics. In short, it needs rebooting.
So, with that in mind, welcome to Caffeine Begins; I've got a brand new rubber gimp suit, and if you want to read the post out loud with a Bale-esque growl then, well, that says more about you than it does about me.
Bizarre introductions aside, I'd like to point out that Science Fiction and the Movie Industry have a tenuous relationship.
Think of them as elderly neighbours with a special understanding; if Mr. Science Fiction bakes a pie, Mr. Movie Industry will steal the recipe, make a three of the pies - not to mention a cornucopia of pie-related merchandise - and generally run the entire pastry dish into the ground in a crescendo of cash and broken dreams.
It may sound like a one-sided arrangement, but there is more to it.
Basically there are two types of Sci-Fi: Big and Explodey or Deep and Thinky.
The little-known trilogy Star Wars falls into the former, being about a magical force, swords made of magic and the extremely magical thing that made us overlook the fact that Luke totally made out with his sister.
The latter are usually more existential, using the space age technology as an allegory for day to day life. Take, for example, the cult classic Blade Runner, which really asked questions about life, and our role in the universe. Seeing the simulant Roy Batty questioning, begging Tyrell for more life was like watching humanity trying to come to terms with it's own mortality, and is done in a way so human that it could never have been appreciated fully if a human character actually did it.
These kinds of films are special, profound, but most importantly, catastrophic financial failures.
It's because of this that the above arrangement exists. Sci Fi gives the movie industry an instant, earth-shattering success like The Matrix, and every once in a while they will greenlight a quieter, more thoughtful project like A Scanner Darkly.
Even rarer than these films, however, is the One Man Show - an entire film focusing on one character, usually in isolation. Such events are kept as a novelty; the wait is long but can sometimes be well worth it. A great example of this is the recently released Moon, directed by Duncan "Son" Jones.
Oh, the "Son" is short for "Son of David Bowie". A film directed by the son of rock legend David Bowie? Well, what are you waiting for!? Tell me more!
Sure, why not?
[HEADING=2]"Okay, rock 'n' roll, God Bless America!"[/HEADING][small]Sam Bell, with a bravado that doesn't last.[/small]
There have been several films that focus on one character or theme, from Castaway to Oldboy, but seldom do films have the courage to plonk a single actor, and his computerised companion, onto the centre stage for a film's entire duration.
In short, the film lives or dies on the performance of one Sam Rockwell (Hitchhikers Guide to the Galaxy, Choke, soon to be in Iron Man 2), Hollywood's underrated son.
Rockwell plays Sam Bell, a man stranded alone on the moon on a three year mining contract for the company Lunar Industries. His job is to maintain the harvesters, make sure production continues and generally ensure that earth has enough power for whatever iPhone drives 2045.
You get a taste of his daily routine; an intensive exercise regime, keeping track of time on the bathroom wall and attempting to circumvent insanity by chatting with his non-less-futuristic pal GERTY, Sam's AI aide who looks about as dynamic and modern as a steam powered Amstrad that was caught in a house fire.
I can tell you are dieing to know how he is, so I'll end your suffering by saying that Sam Rockwell's performance is a master class in subtlety.
Everything about him screams a charismatic, flawed protagonist who you'll love from the enigmatic start right the way to the majestic end.
You will feel every iota of fear, isolation and insanity he does on his journey through the film. His humanity and roundness as a character is truly staggering, and if your heart doesn't break when he tearfully cries to an empty room that he just wants to go home then - I'll put this gently - you're a soulless monster and you are going to hell.
Next to Sam we have GERTY (below), voiced by the ever-terrific Kevin Spacey (Se7en, the Life of David Gale, Superman Returns). Having Spacey's lurid, soothing tones coming out of cold technology may seem creepy at first, but over time the friendship between GERTY and Sam becomes apparent, without veering into Data-learning-human-values cliche. It's also a throwback to the sixties era of sci-fi, being a chunky, low-tech piece of kit from the days of UFO and Space 1999.
While the script is perfectly gauged, with each character behaving exactly how they should, without the two leads we would be watching a very different film. It's a testament to the novice director's potential that such taste is on display.
[HEADING=2]"I do not know Sam. Maybe you imagined it?"[/HEADING][small]Gerty, offering a less-than-encouraging explanation of events.[/small]
Moon's plot revolves around the answer to earth's energy crisis (don't worry, it's not that film) with the discovery of Helium 3, a substance that can only be mined on, you guessed it, the Moon.
We are thrown head first into the film and introduced to Sam, a man free of judgement. He's going about his day unshaven and in dirty clothes (AKA the bachelor's dream) salivating about the day two weeks from now when his three year mining contract expires, and he can finally go home.
But Sam isn't doing well; he's desperate to get back and is hallucinating wildly. This culminates in him crashing his buggy into a harvester when he thinks he sees a woman on the Moon's surface.
He wakes up in the infirmary with no recollection of how he got there. When he goes back to the buggy to investigate, he makes a startling discovery.
He's still unconscious at the wheel.
I'll leave it at that, much like an appetiser, as any more details will spoil the film.
The entire plot twists and meanders around, but never enough that you feel bewildered or confused, and as soon as you get bored with one idea the film presents you with fifty other interesting ones.
I would also like to make mention of the score, which is, aha, pitch perfect.
The film uses a haunting soundtrack which gives you the appropriate amount of awe and respect for the Lunar Shores, and really adds a sense of mystery and intrigue to the proceedings.
Throughout it's a deep and thoughtful affair which will leave you pondering your place in the world, about industry and religion, and especially how the more things change the more things sta- Oh dear.
Yes, it's not "that" movie, but it is "that" movie, the kind of film where everyone will have a different interpretation of the events. It means that a Liverpudlian hack, such as myself, clumsily expositioning the finer points of the plot is about as reliable and trustworthy as the "farewell" part of Nine Inch Nail's latest tour, so you'll have to see it for yourself if you want to know the real scoop.
[HEADING=2]"Three years... It's a long haul, man."[/HEADING][small]Sam Rockwell, managing to convey more sorrow with a quip than most actors can with a cry.
[/small]
There isn't really much you can say about Moon in the way of bad points, as such.
Because of the way the film is, it will either grab you or it won't. If you love Rockwell and Spacey then do not hesitate, see it now. The plot, as I have said, is largely interpretive, so you'll get out of it whatever you want to. Personally I love the film, and will defend it with every breath of my disgusting, fanboy body.
The main complaints about the film are mainly superficial, such as the effects.
There aren't many CGI scenes here, mainly just of the Moon's surface and they serve well enough, it's just that they can look slightly ropey.
It's in no way an issue, but it's a nice segue onto the film's $5m budget.
Okay, so it's more money that you or I would earn in eight lifetimes, but to the movie industry that's, almost literally, nothing. It just goes to show that big subjects don't need big bucks - and yes Avatar, I'm looking in your over-hyped, CGI-ridden direction.
The only thing I can really say in the way of criticism is that if you aren't a fan of the genre - of films like Forbidden Planet or Blade Runner - then this isn't going to be your particular cup of vodka. That's right; I'm telling you that if you like this sort of thing then you will, indeed, like this sort of thing.
Be careful - this is journalism so hard-hitting, so primal, it'll accost you like an angry shark.
[HEADING=2]"Ah am' thah' one and onlyyyyyy!"[/HEADING][small]Chesney Hawke's hit single makes an appearance on Sam's alarm clock. If that doesn't convince you to watch it, I don't know what will.[/small]
The Verdict? A masterpiece in subtlety, depth and claustrophobic horror.
It's the rarest of films; something beautiful, harrowing, and utterly thought provoking, but don't think that it's for everyone.
Genuinely unique and profound - but it's greatest accomplishment is that it also has the ability to turn a usually grouchy reviewer into a complete quote whore.
It's something that SciFi can be proud of - just remember to get a piece now, because there won't be a second helping.
___________________________________________________________________________________
Can't sleep? Me either.
Film: Pulp Fiction [http://www.escapistmagazine.com/forums/read/326.156647] / Night Watch [http://www.escapistmagazine.com/forums/read/326.154980] / X-Men Origins: Wolverine [http://www.escapistmagazine.com/forums/read/326.153507] / The Departed [http://www.escapistmagazine.com/forums/read/326.149527] / Star Trek 2009 [http://www.escapistmagazine.com/forums/read/326.149058#3470961] / A review of Love Happens (Without seeing it first) [http://www.escapistmagazine.com/forums/read/326.148846#3460365] / Inglourious Basterds [http://www.escapistmagazine.com/forums/read/326.147977#3420043] / Fight Club Essay [http://www.escapistmagazine.com/forums/read/326.147655#3403751] / District 9 [http://www.escapistmagazine.com/forums/read/326.147097#3373011] / The Crow 4: Wicked Prayer [http://www.escapistmagazine.com/forums/read/326.137348#3089948]
Game: Modern Warfare II, and the making of Caffeine [http://www.escapistmagazine.com/forums/read/326.161600] / Final Fantasy Double Feature [http://www.escapistmagazine.com/forums/read/326.158465] / Resident Evil 4 Retrospective [http://www.escapistmagazine.com/forums/read/326.148447#3440710] / Mass Effect [http://www.escapistmagazine.com/forums/read/326.145571#3296970] / Final Fantasy: Dissidea [http://www.escapistmagazine.com/forums/read/326.144913#3266704] / Metal Gear Solid Twin Snakes [http://www.escapistmagazine.com/forums/read/326.140353#3149506] / Far Cry 2 [http://www.escapistmagazine.com/forums/read/326.139317#3129015] / Street Fighter IV [http://www.escapistmagazine.com/forums/read/326.136868#3079685]
Other: A Review of Society, via Call of Duty 4 [http://www.escapistmagazine.com/forums/read/326.151891] / A review of My Cat [http://www.escapistmagazine.com/forums/read/326.146281#3332788]
Game: Modern Warfare II, and the making of Caffeine [http://www.escapistmagazine.com/forums/read/326.161600] / Final Fantasy Double Feature [http://www.escapistmagazine.com/forums/read/326.158465] / Resident Evil 4 Retrospective [http://www.escapistmagazine.com/forums/read/326.148447#3440710] / Mass Effect [http://www.escapistmagazine.com/forums/read/326.145571#3296970] / Final Fantasy: Dissidea [http://www.escapistmagazine.com/forums/read/326.144913#3266704] / Metal Gear Solid Twin Snakes [http://www.escapistmagazine.com/forums/read/326.140353#3149506] / Far Cry 2 [http://www.escapistmagazine.com/forums/read/326.139317#3129015] / Street Fighter IV [http://www.escapistmagazine.com/forums/read/326.136868#3079685]
Other: A Review of Society, via Call of Duty 4 [http://www.escapistmagazine.com/forums/read/326.151891] / A review of My Cat [http://www.escapistmagazine.com/forums/read/326.146281#3332788]
