Roo

Yeah Upgrade was awesome, cool to see something like that come out of Australia. I did a little review when I finally saw it: The recent AACTAs clearly made a mistake in choosing Sweet Country for Best Picture. Far superior films like Breath and Upgrade were cheated of their rightful win. The immediately striking thing for me about Upgrade is the handling of near-future. This is one of those films which seems to have taken influence from dozens of newspaper headlines, as well as keenly observed the technology hype cycle. Much of the technology we get a taste of in film is plausible, augmented, in-the-works, potentially here within several years. A mere upgrade away, a small step beyond today. Ear-to-ground, headline-hoarding cinema providing intriguing near-future terrain. Leigh Whannell getting Upgrade made for a few million dollars is one of the most resourcefully laudable productions of recent years. I admire him for it, he surrounded himself with a really good team and made great use of Melbourne to pull off a film which proves a genre world-beater. This looks fantastic, very practical, the production design has a few nods but definitely feels its own beast, the editing is mostly excellent, the score powerful, the themes highly evocative of 80s genre cinema. Everyone on the production seems to have put in decent work, providing bang for buck, even Melanie Vallejo, whose acting abilities I have been suspect about in the past (smartly cast as the first-act sweetheart). Even the opening company titles are refreshingly done. Logan Marshall-Green over the years has evolved into a cult favourite of mine. Whilst I have sometimes joked that he is the b-grade, more-giving-of-himself Tom Hardy, he just proves enormously effective in intense roles, makes things work. He made some of the later seasons of The O.C. watchable. He made Devil watchable. He made Quarry excellent. Quarry along with Upgrade should ensure he is never in danger of going hungry again, as surely this has provided him an ongoing lead niche to explore further. His comedic touch in his banter with Stem continues to add to this charismatic repertoire. Betty Gabriel and Benedict Hardie are also highly impressive in drawing the viewer's attention and sympathy, whilst I like the way Harrison Gilbertson approached his role of Eron. All three never overplay it, subtly impressive, meeting the audience halfway and giving them enough to go off from. All other parts in the film are superbly cast with a lot of local faces, but special mention must go to Simon Maiden as the voice of Stem. I was expecting a little more body horror going in to Upgrade (the villain firearms is the closest we come to self-ick, although there are some sickly kills as well), but recognise that the concept of body horror has evolved in line with the march of AI to something more neat, invisible and existentially terrifying. The plot is warmly predictable for the most part, save the final twist which I didn't see coming (I immediately thought Eron was behind it all on sight, prior to the accident), despite earlier tells in the VR scene and dream (which after two decades sort of comes full-circle with another Australian-filmed sci-fi in The Matrix, but now terrifyingly possible). I loved the idea of an action set-piece which, after traipsing through a hall of glowsticks and being attended to by a gender-neutral hack-ghost, had VR 'dancers' providing motion in the background, providing wonderful anticipation and populating the chase. The use of lighting in the second half, the use of nature, the nods to lingering analog and tech-free (the lead conveniently knows how to break a lock), the superiority complexes and sociopathic exploitation, the detailed opening shot which tells much about character and little about the world outside, the grunged-up CGI, the little explored depth of the big-tech/policing/corporate/hacker/drone-paranoia make-up of the world, etc. Whannell and I are clearly on the same page, I dig a lot of the choices he makes within his story and filmmaking, and as someone who can ultimately tune out from a revenge flick, I like that this quickly puts that aside and becomes something much more. The disconnected, torn action gets in close and never bores, the dialogue is full of delicious quotes and much of the digital touch-up work does the job in enhancing the film's overall effect. Upgrade has keen roots in Australian and American genre cinema from decades past, but like Fury Road, it demonstrates that the local action film and practical effects are far from dead, they can still defeat anything else out there. Leigh Whannell's audio commentary is also worth a listen, which is very Aussie, very film-brat, very review/preview self-conscious, very jokey and self-deprecating.

Cheers for that, getting into her now. Intrigued to see how she develops over time.

I sometimes get the sense that Portishead's "Machine Gun" from Third (2008) was a little inspired by Untilted (among other things).

Oversteps must be at least 2/3s of their discography ago by now, aencient history

FYI, this remixed a stripped down vocal track ("Mad Love") she had released on her 1997 debut.

Sia first charted in 1999 featuring on this DJ Friendly track:

I loved the Wizard of OZ right up until it turns color. I love the dust bowl era. The pastoral sepia tone look. The twista', The trippy tornado sequence in her room. All that was so good. I love that era. Very twilight zone. Agreed, the stuff prior to the colourful Oz transition is the best part of the film.

Haha so true, felt like we had a a year's worth of fantastic material to familiarise ourselves with...and that it was and plenty. Whereas now it is a mere NTS Session in length, a good ol' compact studio album.

Sarah Peacock

The MCUs typically oscillate between 5s & 7s.

apologies, Roo. Didn't see that. If you make the decision to read GR, I highly recommend this as a companion: http://www.ugapress.org/index.php/books/gravitys_rainbow_domination_and_freedom I am not a huge fan of academic lit crit, but this book was really good and essential to my understanding of Gravity's Rainbow, which, after two reads, is still very limited. When you consider whether or not to devote the time needed to read it, I also recommend checking out the 'Byron the Lightbulb' chapter first to see if it is up your alley. Great chapter! Thanks for the recommendations on enrichening my reading experience, I'll certainly keep those in mind. It might be years until I finally get around to GR.

On P4K, there was a review of Beirut's new album Gallipoli recently where in the first paragraph, the writer said the title was not based on the WWI conflict or the associated "terrible Mel Gibson movie" (Peter Weir's classic 1981 film). I found that statement of utter dismissal rather bizarre, unnecessary and pandering to demographic.

I mentioned Mason & Dixon as my most preferred on 19 Feb, and my enthusiasm for Bleeding Edge in this same paragraph.

Perry's real-life character Wayne Maunder in the upcoming Tarantino film died less than 4 months ago. Weird coincidence. Was only cast last August. Both gone by the following March. I'll always remember him most as the Reverend Cloutier in Oz, his arc and fate was haunting. These celebrity deaths seem to have ramped up since Albert Finney.

Some early childhood revisits. The Wizard of Oz 4.5/10 Return to Oz 9/10 Return to Oz was the very first film I ever saw (around 3yo), never saw it again, thought it was a dream I had until I came across this film's synopsis and stills in my late teen years. Remember seeing Wizard of Oz a few times in the 90s as a kid (without making the connection). First revisit of both since then. Wizard of Oz turns out to be purely for the tots (ala The Land Before Time), more torturous to anyone beyond single digits. not fit to serve as toilet paper for Murch's Return to Oz, a truly great film which mostly stands up incredibly well. I can't think of a more grossly unjust case of comparative franchise film legacies.

Yeah I did that every couple years binge session last December, audio commentarys and BTS docus and all. Good times. Aliens was also my word-for-word fave when I was about 10-14. Must have watched my various version rentals, taped VHS, Legacy and Quadrilogy DVDs around 40 times. Got to see a Terminator-Aliens double header at the cinema in 2013, which was like a trip back to that childhood and the 2 films which meant the most to me then. I became more fascinated with Alien (even Alien 3) as a teen & young adult, but everytime I return to Aliens nowadays I still admire the effective filmmaking.

Id rank them like this personally 1. Alien 10/10 2. Aliens 10/10 3. Alien 3 9.5/10 (either cut) 4. Covenant 9/10 5. Prometheus 8/10 6. Resurrection 7.5/10 I grew up with them as my key childhood franchise.

Same, and based on the quality of posting on this page alone, I couldn't bear to read back much further lol. Looks like a pile of shtpost drivel long past its burn-by date.

Whatever dudes, you'll wake up to this film eventually, someday distant. I anticipate that the cinephile community will grow to appreciate this more unanimously in time. The soul of the franchise is alive and well in Covenant. Just some rambling fan observations from my 5th viewing last year: I like how Mother warns that the "neutrino burst...could trigger a destructive event", given how Tennessee happens to pick up Shaw's message whilst repairing the damage (coupled with the resultant displeasure to return to hypersleep) and the plot ensues and redirects the fate of the colonists. By the bye, I like how a colony mission is filmed (largely) in Australia (the First Fleet itself a new world colony mission, introduced to the world's oldest geologic continent and human culture). I like how Oram whilst prone briefly mistakes David for Walter, then on recognition is quickly greeted with terror, foreshadowing the ending. Ridley could have dealt with the LV-426 derelict with some minor tweaks, and used subsequent entries to do what he wanted. A space jockey could have been tucked away in hyper-sleep on the derelict, and experimented on by David either before or after the crash. Cole, as the xenomorph's only planetary victim (reportedly killed, but ambiguous on film), could be whisked away to birth an alien queen. Similarly, Walter could still be active in some form, with unknown consequences. I've read the novelisations, and seen Advent, but the similarity between the Planet 4 and LV-426 derelicts might as well be made composite with some plausible minor tweaks. Given how much of the film Tennessee spends with Ricks and Upworth, his up-close reaction to their resultant slaughter is fairly composed. Daniels getting the xenomorph first try with the crane, with only an axe to protect herself, then later luring the Alien into a compartment trap, and also baiting its impaling, is all very gutsy, quick-thinking steel by heroine standards, juxtaposing her sheer terror at the end as all the more unnerving. And all whilst believably playing someone mourning over James Franco, not an easy thing to muster. Whilst this is a film of couples, you also need those more enigmatic victims to really kick off proceedings, and Ledward (wisely kept in the shadows until called upon with a whiff of lone wolf about him) fills this Kane-esque void. I love Faris's terrified reaction and actions, and Oram's characterisation, which some viewers seem to malign. These are both ideas which follow through with visceral interest. Oram birthing the first xenomorph is a touching moment, and David's blatant lead down the garden path is delicious. David really does resemble a young (80s/90s) Guy Pearce a great deal. There are some early roles where Guy Pearce even sported a similar hairdo to David in Prometheus. Pearce's relative youth in the (seemingly close to Prometheus) prologue would appear a goof, but maybe Charles kept youthful in vain and then collapsed badly with inevitable haste towards the end of his life (as well as a reaction to the maligned make-up on Pearce in Prometheus). And despite the strong influence of those activated prologue props and questions on the Covenant David, it could be read as the earliest product version of David paralleled for the later David 8. I wonder how much mystery about the Charles within David still remains, how much of it is agency and how much a phantom intent/influence. David is a rare chance in cinema to vicariously feel evil, misunderstood and creatively inspiring; the thoroughly articulate and engaging mad scientist with existential torment and creative drive to spare. The Xenomorph and Ellen Ripley are clearly under threat as the best character in the franchise. I wonder if David can continue revamping with interest like those two stalwarts of variant shades. I myself am a fog on little cat's feet. I might have been an assassin or cat burglar in a previous life.

Honestly, I adored Covenant. Wasn't expecting to based on the trailer and reception, but this was by far the best thing in the franchise since Alien 3. If you told me it would easily outdo 2017's other sci-fi sequels in 2049, War and (franchise best) Beyond, I would have laughed at the notion, yet that is exactly what happened. The only 2017 films I rate more highly are Phantom Thread, Call Me By Your Name and A Quiet Passion. I've watched Covenant 6 times, even read the two Alan Dean Foster novelisations, can't get enough of it. And to make something of that spirit as one approaches their 80s is rare, hats off to Ridley To each their own though.

Gave a few spins this morning to one of my most treasured albums of the 80s in The Colour of Spring. RIP Mark Hollis. I'll miss your wonderfully uplifting and spiritually cleansing musical expression, what a contribution it was.

A Little Life by Hanya Yanagihara was an interesting contemporary depiction, in that contextual references to period were totally excised, just vaguely somewhere in the 20th/21st century despite over several hundred pages. The characters seem to use things like computers and phones throughout their adult lives, but such particulars are treated with such disinterest that they don't give anything away. The book has some flaws, a little overlong and repetitive, but the treatment of the central characterisation is entirely absorbing and makes it a must-read.

Each to their own, I know Villeneuve has a lot of fans on these boards.

thanks for this list. I thought at first that your #3 was the Samuel L. Jackson movie Deep Blue Sea lol. Fat City looks promising, really looking forward to checking out The Duellists too. Phantom Thread was also on my year end list, definitely think it is Anderson's most mature movie (guess that sounds pretentious, but it really sinks its teeth in like none of his other films, saw it like two months ago and still think about it sometimes). My favorite Anderson film is Inherent Vice, fucking hilarious and a really fun time, also the story was adapted by one of America's most gifted novelists, Thomas Pynchon. Haha yeah that was why I felt the need to qualify with director/year. I get that same feeling with Phantom Thread. I wasn't as adoring of the film on release, but those 2nd and 3rd viewings were knockouts that (like you) linger. I read Inherent Vice around the time that film was announced (early 2013 I think it was), it ended up being my first Pynchon (an author I've come to adore). So have a lot to thank PTA for certainly. I think his 5 new millennium films are far superior to his more derivative, nakedly influenced but still very impressive 90s films. I've been on an obsessive Ridley Scott kick of late, finding that I dig almost all his films and can rewatch them endlessly, and The Duellists is an out-and-out 3rd best almost on level pegging with Alien & Blade Runner. My top 10 from Ridley would look like this: 10/10 1. Blade Runner (final cut) 2. Alien 3. The Duellists 9.5/10 4. Legend (although beware, took a few viewings to fall on its wavelength, initially came off as a laughable misfire. Only seen Goldsmith cuts) 9/10 5. Thelma & Louise 6. Kingdom of Heaven (theatrical is fine, but pref Director's Cut) 7. Alien Covenant (seems a very divisive, poorly received film but I love it, easily the best Alien film since Alien3) 8.5/10 8. Matchstick Men 9. The Counselor 8/10 10. White Squall Also 8/10: Black Rain, The Martian, Gladiator Most of the rest are solid to decent. Exodus and Robin Hood are the only ones I don't rate in some way, but I'll give them another chance at some point. Body of Lies is a pretty decent spy movie. I saw that in cinemas and caught up with it again last week. Opinion hasn't budged, it's a solid film but a modest success at best. I'd have films like Black Hawk Down, Prometheus and American Gangster ahead of it personally.

I'm a big Tangerine Dream fan (including their scores), but as a non-American viewer the Goldsmith cuts are the most available (and his score is beautiful, I can't imagine Legend without it). Americans generally get the crappiest cuts anyway compared to their western brethren.