Science Fiction

10 Cloverfield Lane: Don’t Go Out There. What, Don’t You Trust Me?

Jeremy BeckReviews
Mary Elizabeth Winstead and John Goodman in "10 Cloverfield Lane"

Michelle is a runner. When trouble approaches, she takes off. This tendency toward flight makes her the perfect sufferer in 10 Cloverfield Lane, a tense, riveting thriller that filters hoary science-fiction and horror tropes through the lens of claustrophobic terror. It’s a lean and efficient film that takes place entirely in a single location, one that Michelle spends most of her time desperately trying to escape. Oh, and it might also be about the apocalypse; then again, maybe not. To Michelle, it hardly matters. When you’re trapped in an underground bunker, who cares about the rest of the world?

10 Cloverfield Lane opens with a brisk, eerie prologue, a near-silent montage that finds Michelle—you guessed it—on the run. She’s fleeing New Orleans after fighting with her fiancé—surely those reports on her car radio about rolling blackouts can’t be important—and though she receives a conciliatory phone call from him (his voice belongs to Bradley Cooper), she isn’t inclined to turn around. Instead, she keeps driving on a deserted two-lane road until WHAM! she’s the victim of a sudden car crash. And I do mean sudden. The collision, which director Dan Trachtenberg brilliantly intercuts with the film’s silent opening titles, is a heart-stopping moment, the kind that frays your nerves and rattles your bones. It is not the last time this sharp, merciless movie will provide a shock to your system. Read More

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Star Wars: Episode VII—The Force Awakens: Getting the Cantina Band Back Together, with New Faces at the Fore

Jeremy BeckReviews
Daisy Ridley and John Boyega in "Star Wars: Episode VII -- The Force Awakens"

Amid all the majestic sights and sounds of Star Wars: The Force Awakens—the dogfights and lightshows, the exotic environments and the aircraft careening through outer space—no image hits harder than that of a stormtrooper’s helmet smeared with blood. That shot, which comes during an otherwise typical firefight early in the film, clubs you with the force of a wampa ice creature, and it establishes that director J.J. Abrams is invested in bringing the humanity back to this towering franchise, with its legions of fans and its box-office dominion. The Force Awakens is as loud and actively busy as any Star Wars movie—this is the series’ seventh episode, in case you needed reminding—but it’s also rooted in its characters, trading George Lucas’s unparalleled mastery of action (and utter disinterest in actors) for some good old-fashioned storytelling. Obi-Wan Kenobi once remarked (somewhat infamously) that stormtroopers shoot straight. Abrams shows us that they bleed.

And so do filmmakers. The digital effects of The Force Awakens are impressively invisible, but you can still see the sweat that Abrams poured into this production, the heartfelt labor of a true fanboy. He’s undertaken quite the challenge, tasked both with servicing the masses of ticket-buyers who consider Star Wars their personal property and with propelling the franchise forward into uncharted space. It’s a line he straddles with extreme caution, but he mostly gets it right. The Force Awakens is not the best Star Wars movie, nor is it the most dazzling. But it remains a sturdy, highly satisfying production that flashes glimmers of true greatness, and it skillfully advances the series’ mythology while simultaneously reuniting us with old friends long gone. This may not be the work of a Jedi master—Abrams is more of a tinkerer than a virtuoso—but then, it’s the everymen who made Star Wars so appealing in the first place. Read More

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The Martian: Lost in Space, But Not in Spirit

Jeremy BeckReviews
Matt Damon is alone on Mars in "The Martian"

The Martian is a movie about a man stranded on a deserted planet, first left for dead, then scrambling frantically to survive. You might think, from this brief and terrifying description, that it is a horror film, or at least a gritty survivalist fable—Cast Away in space, or Gravity on barren land. Yet the most surprising and satisfying thing about The Martian, which is based on a best-selling novel by Andy Weir and is directed with characteristic competence by Ridley Scott, is how much fun it is. Certainly, there are moments of dread, and the protagonist continually faces the prospect of imminent death. But for the most part, this film is warm, inviting, and even comforting. There may be gravity on Mars, but The Martian feels positively buoyant.

It doesn’t start out that way. In a brisk and chaotic prologue set on the red planet, a group of astronauts led by Commander Lewis (Jessica Chastain) attempt to fight through a storm of swirling debris. During the squall, a piece of equipment breaks loose and slams directly into the chest of Mark Watney, catapulting him off into the desolate distance. After a desperate search, Lewis has no choice but to abandon hope, and she and her crew hightail it out of there before Mars can claim five additional victims. Read More

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Tomorrowland: Glimpsing a Bright Future Through Clouded Eyes

Jeremy BeckReviews
Britt Robertson and George Clooney blast off in "Tomorrowland"

With its imaginary worlds and bighearted humanism, Tomorrowland is practically engineered for viewers like me, those who crave original stories about plucky heroes and who don’t mind a dollop of sap mixed in with the sensation of wide-eyed discovery. It’s a sweet, irresistibly charming movie that’s also dangerously flimsy; tug too firmly at its threadbare construction, and it threatens to collapse into a puddle of moralism and solipsism. But while Tomorrowland, the second live-action feature from Brad Bird (following the rousing success of Mission: Impossible—Ghost Protocol), may be thinly sketched and frustratingly lacking in follow-through—no apologist can excuse its cratering final act—it remains for the most part a fun and fanciful story of lively adventure. It also deftly uses its childlike enthusiasm as a shield to camouflage its deficiencies. Tomorrowland has plenty of problems, but it’s tough to stay mad at a movie that’s so disarmingly cheerful. Read More

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Ex Machina: Of Gods and Men, and Their Beautiful Machines

Jeremy BeckReviews
Domhnall Gleeson and Oscar Isaac in Alex Garland's "Ex Machina"

“Deus ex machina,” the literary term used to describe the contrived resolution of a complicated plot, translates as “God from the machine”. You might think, given that the title of Alex Garland’s arresting, deeply promising directorial debut is merely Ex Machina (sans “deus”), that there are no gods to be found here, only hubristic men and their miraculous machines. You’d be right, but only from a literal perspective. The two characters at the center of Ex Machina may be men, but they act like gods (one even proclaims himself as such), and while they play different parts—one fancies himself the benevolent savior, the other the impassive creator—they each seek to manipulate the fates of others. They soon learn that playing God comes with a cost.

Of course, they themselves are behaving at the whim of their own maker. Every director is the god of his own movie, and Garland hurls a Zeus-like thunderbolt in the film’s very first scene. His camera opens with a close-up of Caleb (Domhnall Gleeson, nicely cast and effectively blank), with rivulets of electronic-blue light dancing across his face as though constructing a topographical map. An email with the subject “Staff lottery: WINNER” flashes across his computer screen, his cell phone blows up with congratulatory messages, and then without a word he’s off, flying via helicopter over the frigid lands of Norway. Garland conveys a reel’s worth of exposition in a few silent seconds, and this extraordinary economy demonstrates that Ex Machina isn’t interested in second place. It wants to be great, and it mostly is. Read More

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