SPACEMAN (2024)

February 29, 2024

Greetings again from the darkness. Have you hugged a spider today? Adam Sandler has. Well, technically it’s his character who does the hugging. Jakub Prochazka, is a Czech astronaut 189 days into his year long mission. He’s flying solo on “the outskirts of Jupiter” to explore the Chopra cloud which is expected to reveal the beginning of time.  Honestly, it feels like a job worthy of more than one man, however, that’s what the source material provides. Based on the 2017 book “Spaceman of Bohemia” by Jaroslav Kalfar, Johan Renck directs the adapted screenplay by Colby Day. Mr. Renck is not one that jumps to mind when thinking of an Adam Sandler movie. His previous credits include the excellent mini-series “Chernobyl”, as well as multiple episodes of acclaimed series, “Breaking Bad” and “Bloodline”.

The reality is that Adam Sandler is a solid dramatic actor, as evidenced by his roles in PUNCH-DRUNK LOVE (2002), and more recently, THE MEYEROWITZ STORIES (2017) and UNCUT GEMS (2019). In fact, many of us much prefer heavy-drama Sandler to goofy-comedy Sandler. In this latest, he goes low-key extreme. In fact, Jakub is rapidly sinking into depression, though it has little to do with the loneliness and solitude of space. That’s right … it’s a woman. His pregnant wife, Lenka (the always stellar Carey Mulligan) is missing and won’t communicate with her galactic husband. We know what’s going on with her, but the mission Commander (Isabella Rossellini) refuses to tell Jakub due to his fragile mental state. On top of that, his deteriorating spacecraft is preventing him from sleeping properly.

Soon, that rickety old space toilet is the least of Jakub’s worries. He’s sharing the claustrophobic space with a giant talking spider. Jakub is unsure if this is a figment of his imagination or some alien creature. Passively voiced by Paul Dano, Hanus the arachnid initially appears to be a manifestation of Jakub’s subconscious, but as time goes on, it appears he’s a creature with knowledge of the universe. The low-key vocals from Jakub and Hanus don’t generate much excitement for us viewers, but the therapy Hanus provides, allows Jakub to better understand himself … and also drives Hanus to binge eat. There are no Sandler tantrums or screaming moments … instead his sad eyes and droopy face tell us much about Jakub.

Hanus calls Jakub “skinny human” so many times, it feels like that should be the film’s title. It gets old pretty quickly. Other supporting work comes from Kunal Nayyar as Jakub’s virtual doc, and Lena Olin as Lenka’s mother, although the film struggles to give anyone beyond Jakub much definition (including the underutilized Mulligan). It’s a bit baffling to look at this cast and associate them with the Czech Republic space program, but it’s Hollywood, where the 20-year age cap between Sandler and Mulligan also matters little. The film spent almost three years in post-production for reasons I don’t know, but it’s safe to say it’s one of the better talking spider movies you’ll see, yet not one of the finest lonely astronaut flicks.

Begins streaming on Netflix on March 1, 2024

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Posted by David Ferguson

MOLLI AND MAX IN THE FUTURE (2024)

February 9, 2024

Greetings again from the darkness. I’ll readily admit that I’m not an expert in outer space-based Science Fiction Romantic-Comedies. If you press me for a description of writer-director Michael Lukk Litwak’s film, it would be “WHEN HARRY MET SALLY … in future space”. Of course, this low budget flick is no match for Rob Reiner’s classic 1989 Rom-Com, yet the mismatched couple and the recurring spontaneous meetups does strike some familiar chords.

Zosia Mamet stars as Molli and Aristotle Athari is Max. Zosia is a quirky actress known for “Girls” and the daughter of renowned writer David Mamet. Aristotle is best known for the season he spent on “Saturday Night Live”. This isn’t one of those shock-and-awe super special effects sci-fi spectacles. Instead, beginning in Chapter One, spaceships collide. One driven by Molli and one by uninsured Max. Rather than bicker over fault, the two display out-of-this-world chemistry … unorthodox chemistry for sure … but chemistry nonetheless.

Beginning with that initial bonding, viewers should brace themselves for non-stop banter whenever Molli and Max are together – something that happens frequently over the 12 years featured here. These reunions occur on various planets, across multiple dimensions, during a relationship with a robot, after joining a cult, and while living as a celebrity. One’s enjoyment of the film will surely be determined by how the rapid-fire dialogue strikes – is it charming or grating? Those charmed will likely focus on the friendship/romantic two-step. Those annoyed will likely notice the political angle that filmmaker Litwak tries to sneak in.

With Special Effects intentionally a notch below BARBARELLA (1968) and FLASH GORDON (1980), the green screen images may be cartoonish, but they fit with the overall tone here. This feels like one of those films that will find a very receptive niche following, while others will be baffled by the appeal.

In theaters beginning February 9, 2024

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Posted by David Ferguson

FINGERNAILS (2023)

November 3, 2023

Greetings again from the darkness. Certifiable love. Trust the science. Anna and Ryan are in love and they have the certification (and sore fingers) to prove it. One minor problem is that they don’t seem to have much in common, other than a love for the fatty parts of a well-cooked steak. And even this common ground leads to a certain dishonesty. Writer-director Christos Nikou and his APPLES co-writer Stavros Raptis, along with co-writer Sam Steiner, have given us a film that appears to lean heavily into science-fiction, while also poking a bit of skepticism that direction.

Most of this film didn’t work for me, however, the depth that the two lead actors, Jessie Buckley (I frequently recommend WILD ROSE, 2018) and Riz Ahmed (SOUND OF METAL, 2020, and an Oscar winner for his short film THE LONG GOODBYE, 2021), bring such an intimacy and sincerity to their scenes that we can almost overlook the absurdity of the story. And maybe that’s the point.

Anna (Ms. Buckley) has recently lost her job as a teacher, and when she lands the job she wants as a trainer at The Love Institute, she opts not to tell her husband Ryan (Jeremy Allen White, “Shameless”). The Love Institute is run by Duncan (Luke Wilson) and the mission is to test couples for scientific compatibility in a long-term relationship. This is done by pulling a fingernail from each and testing in a machine invented by Duncan (don’t worry, he is always looking to improve it). The idea is that science can take the guesswork out of relationships and put folks at ease that they found the “right” partner.

Of course, as soon as we see Anna and Amir (Mr. Ahmed) working alongside each other, we know where this is headed. The two actors are terrific together and excel at selective gazing, while maintaining professionalism. Science, chemistry, and biology all play a role here, but the thought that folks would volunteer to have their fingernails yanked out (while biting a block of wood) is ludicrous, even if the film opens by telling us fingernails often display the first symptoms of heart issues (physical not emotional). The film is evidently supposed to prove yet again that matters of romance are beyond the scope of science, even in movies.

Opens on AppleTV+ beginning November 3, 2023

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LANDSCAPE WITH INVISIBLE HAND (2023)

August 18, 2023

Greetings again from the darkness. Alien invasion movies have long been a favorite of science-fiction filmmakers, as well as platform for those who strive to caution us to our societal missteps and wrong choices along life’s muddy path. Within the past couple of weeks I watched JULES (2023), a cute, heart-warming story about an alien who crash-lands in Pennsylvania and is cared for by Ben Kingsley’s character. Going back further we have the thoughtful ARRIVAL (2016), the outlandish MEN IN BLACK (1997), the precious E.T. THE EXTRA-TERRESTRIAL (1982) from Spielberg, the frightening ALIEN (1979) by James Cameron, the often-re-made WAR OF THE WORLDS (1953), and the classic FORBIDDEN PLANET (1956). Of course, this is but a tiny portion of the complete list, but it gives some idea of the long-lived fascination.

Writer-director Cory Finley has become a rising star with the devilishly entertaining THOROUGHBREDS (2017) and BAD EDUCATION (2019). For his third feature, he has chosen to adapt MT Anderson’s 2017 novel, and in the process delivers a hit and miss commentary on the human race. Artwork is creatively utilized to provide the timeline and backstory of how the technologically advanced aliens invaded and began rule the planet. It takes us to the year 2036, five years after “First Contact.” It’s here where we find the Campbell family: mother Beth (Tiffany Haddish), son Adam (an excellent Asante Blackk, “This is Us”), and daughter Nathalie (Brooklynn MacKinzie). Beth is a former lawyer, unable to find work and struggling to make ends meet for the family. Adam is the main feature here, as a high school student who is exploring his talent as an artist, while also falling for new girl Chloe (Kylie Rogers, “Yellowstone”) who is homeless with her dad (Josh Hamilton) and bitter brother Hunter (Michael Gandolfini).

The aliens, known as Vuvv, have their own scratchy language, and the appearance of slimy loaves of bread with four paddle legs and two caterpillar eyes. As a species, they are mesmerized by human romance, and the newest Courtship Broadcast they follow is “Adam and Chloe in Love.” The two teenagers gain a following, which means money for their families. However, since much of the movie is spent harping on the evils of capitalism, the two soon find themselves being sued by the aliens for misrepresentation, putting themselves and their families at risk. A particularly creative solution to the problem finds one of the Vuvv moving into the home and attempting to emulate sitcom family life as seen on “The Adventures of Ozzie and Harriet” (personally I would have preferred “Leave it to Beaver”).

This is not one of the post-apocalyptic films that have become so popular. Rather it’s social commentary that doesn’t dig very deep and sticks to the easy targets. There are a few doses of clever humor, including a SHAWSHANK REDEMPTION shot in a golf course sandtrap, and a school lunch menu that includes Saturn sliders and Moon nuggets. Adam’s story is one of a young man striving to maintain his sense of self despite other-worldly obstacles. The lessons are clear in that money can’t buy happiness, but even that lesson doesn’t prevent us from wanting satire to go a bit deeper with its commentary … warbling music (Michael Abel) isn’t quite enough. Although this film isn’t at the level of his first two features, filmmaker Cory Finley will surely deliver future projects that inspire thought and soul-searching.

Opens in theaters on August 18, 2023

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Posted by David Ferguson

BIOSPHERE (2023)

July 6, 2023

Greetings again from the darkness. ‘Life will find a way.’ The iconic line spoken by Jeff Goldblum in JURASSIC PARK (1993) fits right into this offbeat science-fiction film from writer-director Mel Eslyn and co-writer and co-lead actor Mark Duplass. You may not be familiar with indie filmmaker Eslyn, but Duplass has built a career by specializing in projects that rip us out of our comfort zone, and then force us to consider a topic from a new perspective … as evidenced by films like CYRUS (2010) and CREEP (2014).

The pre-credit opening scenes quickly establish the personalities of Ray (Sterling K Brown) and Billy (Duplass). Ray is a dedicated and serious scientist, while Billy is the former US President (likely inspired by George W Bush). The two are lifelong friends who have been living a few years isolated in the biodome created by Ray. We are to assume these are the final two human survivors on Earth, and we may also assume they are still alive thanks to Ray’s ecosystems of fish for protein and plants for nutrients.

Initially, this gives us the appearance of a buddy film as the two men share a morning jog and discuss the dynamics of Mario and Luigi. It’s the first of our clues, along with Billy reading “Kiss of the Spider Woman”, and the repeated viewings of LETHAL WEAPON. However, the tone shifts pretty quickly with a certain development in the fish habitat. It’s best to avoid any further specifics on where the story goes from here, because although there are leaps of faith that must occur by viewers, the core elements raised here are certainly unusual.

A recurring gag about a magic trick with a bowling ball (and its thud), and an ever-present green light in the sky, punctuate the Ray and Billy chats centered on philosophy, gender roles, friendship, masculinity, adaptation, and of course, survival. This is termed a “two-hander” since only two performers make up the entire cast. Sterling K Brown and Mark Duplass are both likable actors and they expertly overcome any shortcomings in the script. And despite those flaws, you’ll likely carry on some internal discussions with yourself long after the final drop.

Opening on July 7, 2023

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M3GAN (2023)

January 5, 2023

Greetings again from the darkness. Dolls are the new Clowns in horror. Okay, that’s not actually true since there is a long history of creepy dolls coming alive. Do you remember “The Twilight Zone” 1963 episode “Living Doll” featuring Talking Tina (voiced by the late, great June Foray, known for Rocket J “Rocky” Squirrel, Cindy Lou Who, Granny in the Warner Bros cartoons)? More recently we have experienced Chucky in CHILD’S PLAY (1988) and ANNABELLE (2014), and in a much less frightening style, the many dolls and playthings in TOY STORY (1995). This new generation is brought to us by director Gerard Johnstone (HOUSEBOUND, 2014) and the writing team behind MALIGNANT (2021), Akela Cooper and James Wan. Of course, new generation means high-tech, so this one injects the Artificial Intelligence from Alex Garland’s EX MACHINA (2014).

The tone is set from the beginning as we open on a “Saturday Night Live” type parody of TV advertising for a product PurRpetual Pet, furry critters that talk and poop while being controlled from an app (like everything else these days), and are guaranteed to outlive their owner, thereby eliminating grief. The manufacturer is Funki Toy Company, where Gemma (Allison Williams, GET OUT, 2017, and the daughter of national news anchor Brian Williams) is the head of the robotics department. Gemma’s workaholic lifestyle and commitment to career is rocked when she must take guardianship of her eight-year-old orphaned niece, Cady (Violet McGraw, “The Haunting of Hill House”). Having no clue how to parent or even relate to a child, Gemma fires up her advanced prototype, M3GAN (Model 3 Generation Android), a lifelike synthetic, learn-on-the go robot meant to bond with one person … and in this case, parent Cady in a way that allows Gemma to stay focused on work. And yes, things don’t go according to plan.

As a caution, the first half hour (after the fake TV ad) is a bit dull; however, the pacing and entertainment value jump significantly once M3GAN comes home with Gemma and Cady. Sure, it’s kinda campy, and even funny at times, but M3GAN’s look and mannerisms are sufficiently creepy, even if her subtle eye movements and facial gestures are much more fun than her over-the-top protection of Cady. Amie Donald and Jenna Davis combine to deliver M3GAN’s physical movements and vocals, respectively. Even with it’s too-obvious jabs at corporate greed and parenting via tech, the film is likely to be a hit with teenagers, especially once it hits streaming platforms. Grown-ups aren’t likely to find it as appealing, although most every movie lover will admit this one trumps the annual tradition of lousy horror releases in January.

Opens in theaters on January 6, 2023

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Posted by David Ferguson

AVATAR: THE WAY OF WATER (2022)

December 13, 2022

Greetings again from the darkness. I’ll admit that I’m not easily dazzled, and I’m very happy to admit that the thirteen years since James Cameron’s AVATAR was not just worth the wait – this latest one truly dazzled me. While the 2009 film was impressive from a technical standpoint, the new one is awe-inspiring, especially in the underwater sequences. I should disclose that I saw this on a huge screen in a theater with a spectacular sound system, and even the 3D glasses didn’t bother me at all (a first). The usually annoying muted color tones of 3D were minimal here, and the colors still popped as the 3D effects became a part of the presentation rather than the typical gimmickry.

Heading back to Pandora is either something you look forward to or could care less about. For those who have been anxiously awaiting the release, prepare to be amazed and stunned at just how far the CGI has come since Cameron set the standard years ago. On the other hand, one should be prepared for a middling, cliché-driven story with a script by Cameron, Rick Jaffa, and Amanda Silver, with story credits to Josh Friedman and Shane Salerno. And since there will be at least one more film in the franchise (filmed simultaneously with this one), and possibly as many as three more, be prepared for unresolved and dangling story lines (that you may or may not care about). The reality is that the magic of the Avatar movies is in the visuals – escapism and fantasy creatures – not in the plot.

A lot has happened since the previous film. Jake Sully (Sam Worthington), the human-turned-Na’vi (via genetic engineering) is now a tribal leader on Pandora. He and Neytiri (Zoe Saldana) now have two teenage sons and a young daughter, as well as an adopted teenage girl Kiri (played via stop-motion by Sigourney Weaver, one of the scientists in the original), and a quasi-adopted human son named Spider (Jack Champion). Family bliss in paradise is a pretty darn good life … at least until the evil humans return, scorching the land with their machinery. Since humans have pretty much ruined Earth, the mission is to find a new homeland, and what better place than Pandora. A miscast Edie Falco is the General leading the mission, and her advanced exoskeleton is a nod to Ripley in Cameron’s ALIENS. Her elite squadron of Na’vi Avatars is led Quaritch (Stephen Lang), a human character who died in the first film, but his memories are now implanted in a physically superior Na’vi body and he has revenge on the mind … specifically hunting Sully and Neytiri.

As beautiful as Pandora is (and it is), the island that Sully and family escape to takes beauty to another level. This tribe of Na’vi has evolved to live at one with the ocean. The water people aren’t overly excited about taking in the forest people, especially since bad guys are chasing the newcomers, and what follows is a stream of predictable interactions – though the predictability is quickly forgiven once Cameron takes us beneath the surface. It’s truly breathtaking to see this underwater world filled with wildlife, plants, and coral. The creatures are unique, colorful and exciting, none more so than the mega-whales considered spirit animals by the water people.

The stop-motion technology means we see only a few actual humans, though the cast is often recognizable, and in addition to Worthington, Saldana, Weaver, Lang, and Champion, it includes Oscar winner Kate Winslet, Jemaine Clement, Cliff Curtis, and CCH Pounder. But this isn’t a showcase for actors. Instead, it’s a showcase for Cameron to blend his love of technology with his love of the ocean and commitment to environmental protection. He succeeds in wowing us and reminding us what a true cinematic spectacle can be. Another warning I’ll offer is that at least one-third (maybe closer to half) of the film is either the hour-long battle in the final act, or some other action sequence sprinkled in. Just don’t think this is a relaxing getaway to Pandora! Lastly, for those interested in seeing this, I encourage you to seek out a local theater that is decked out with the latest technology, and don’t shy away from 3D showings unless you are one of those who get nauseous or experience motion-sickness.

Opens nationwide in theaters on December 16, 2022

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Posted by David Ferguson

VESPER (2022)

September 30, 2022

Greetings again from the darkness. We are always looking to the future, and yet so many movies paint a bleak post-apocalyptic picture of what’s ahead. Co-writers and co-directors Kristina Buozyte and Bruno Samper, who previously collaborated on VANISHING WAVES (2012), are joined here by co-writer Brian Clark to deliver something that still looks bleak, yet is something that not only has a unique style, it also founds a new sub-genre I’ll call arthouse science fiction.

Raffiella Chapman plays Vesper, a 13-year-old forced to survive off the shredded land while also playing caregiver to her disabled father (Richard Brake). She manages his feeding tube and is followed around by the drone through which he calmly communicates … the floating drone looks a bit like Wilson the volleyball. Vesper is also a bit rebellious and exceedingly clever and intelligent. We first see her scavenging the land for anything useful in feeding Papa or furthering her experiments in her self-made lab located in their own cabin in the woods.

It’s a dreary existence and the film even begins by informing us this is the “new Dark Ages” thanks to an ecological disaster. Genetically engineered seeds are the only hope for food, and most everything is controlled by the Citadel, which is run as an Oligarchy. Those on the outside are left to their own devices, and this includes Vesper and her ruthless Uncle Jonas (Eddie Marsan). When a glider crashes in the woods, Vesper rescues one of the injured inhabitants. Camellia (Rosy McEwen) and her shock of white hair is different … nearly ethereal and otherworldly. The two bond, but something never seems quite right.

We know a showdown is coming, but it may not be the one we expect. The film stresses the importance of the parent-child bond, as well as the importance of altruism. Even more crucial is the impact of the demise of the ecosystem. Filmmakers Buozyte and Samper use minimal special effects (especially for a sci-fi film), and still manage to create a world that seems quite real and populated with unrecognizable organisms. A cool score by Dan Levy accompanies a world that may have limited resources, but still features class division and a lust for power among some. Will we ever learn?  Probably not. But a terrific performance from young Ms. Chapman and the hopeful vision of the filmmakers inspires us to keep trying.

In theaters and VOD beginning September 30, 2022

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Posted by David Ferguson

NOPE (2022)

July 20, 2022

Greetings again from the darkness. With his first two films, GET OUT (2017) and US (2019), writer-director-producer Jordan Peele already has an Oscar and has firmly established himself as one of the most innovative and visionary filmmakers working today. He has entered the revered class of directors whose new films are automatically ‘must see’. This is in spite of our knowing full well that he doesn’t strive for mass accessibility, and typically seems less focused on character development and more focused on what’s happening to those characters and how they react. Mr. Peele’s latest is a unique blend of Science Fiction, Horror, and Comedy, with a dose of horses, UFOs, and box store employees. At its core, the film is about chasing the spectacle of a spectacle, so that one might also become a spectacle.

A cold opening is a bit of ‘found footage’ from a horrific event on the set of a TV show featuring a chimp named Gordy. We have no idea how this fits in to what we are about to watch, but it’s shocking and disturbing. We then shift to find Otis Haywood Sr (Keith David) working the horses on a ranch with his son, OJ Jr (Oscar winner Daniel Kaluuya, JUDAS AND THE BLACK MESSIAH, 2021). Dad founded the Haywood Hollywood Ranch to train and handle horses for the entertainment industry – movies, TV shows, advertisements. A mysterious death means OJ Jr and his sister Emerald (Keke Palmer, AKEELAH AND THE BEE, 2006) must take over running the ranch; however, a hilarious scene on set highlights the differences between big brother and little sister. OJ understands horses, but is laconic and reserved. Emerald is hungry for personal fame and is bursting with energy and dreams. She has little use for the ranch, while OJ is devoted to carrying on dad’s work – knowing he needs Emerald’s personality.

The suspense is turned up to 11 when strange things begin happening on the ranch and in the sky. OJ (his name is a running gag) and Emerald recognize this is their opportunity to cash in by securing photographic evidence of UFO (or UAP) and alien activity. Joining in on the mission is Angel (a terrific Brandon Perea), a tech nerd from Fry’s Electronics. The trio is joined later by renowned cinematographer Antlers Holst (Michael Wincott using a Tom Waits voice), who understands the importance of capturing what OJ and Emerald call “the Oprah shot”. Obviously, this is Peele’s commentary on how folks today long for their chance to shine in the spotlight – and capitalize monetarily on the moment. Also recognizing this shot at fame is Ricky “Jupe” Park (Steven Yeun), the owner of a local western-themed amusement park. Jupe is a former child actor whose career included “Kid Sheriff” and a role in the sitcom featured in the opening sequence with Gordy the chimp. He has tapped into the skyward activities, but longs for more.

Purposefully vague is my approach in writing about this, as director Peele and cinematographer extraordinaire, Hoyte Van Hoytema (frequent collaborator with Christopher Nolan) serve up some incredible visuals and high-suspense sequences, and it’s best if you know as little as possible going in. It’s easy to spot influences of CLOSE ENCOUNTERS OF THE THIRD KIND (1977), “The Twilight Zone”, and other Sci-Fi classics, as well as directors Steven Spielberg and Alfred Hitchcock. In a tip of the cap to film history, Peele ties in the early moving picture work of Eadweard Muybridge and his 1878 clip, “The Horse in Motion.” It’s a brilliant touch that cinephiles will appreciate.

Supporting work comes from Donna Mills, Oz Perkins, Eddie Jemison, and Terry Notary as Gordy the Chimp, but it’s the chemistry between Kaluuya and Palmer that make a relatively thin story succeed as commentary on society. Peele even gets in a few pot shots at the media (TMZ) and the oversaturation of celebrity. The desolate setting of the hills and valleys outside of Los Angeles make for a perfect setting, as does the contrasting use of daytime and nighttime for certain shots. Peele proves yet again that he has a real feel for serving up commentary disguised as tension, or is it tension doused with commentary? Either way, I’m lining up now for his next film, whatever that may be.

Opening in theaters July 22, 2022

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Posted by David Ferguson

SPIDERHEAD (2022)

June 16, 2022

Greetings again from the darkness. “We are changing the world!” These days, those words tend to be more chilling than hopeful. More cautionary than exciting. Spoken a few times by scientist Steve Abnesti (Chris Hemsworth), those words have long ago lost the intended impact with his assistant Mark (Mark Paguio).

Steve is the warden of a high-tech experimental prison where the convicts have agreed to participate in drug studies in exchange for a relaxed/comfortable environment and the hope of early release. In fact, these folks are guinea pigs for mind-altering drugs controlled through a surgically attached mechanism on their lower back. We recognize that Steve is smart because he wears wire-rimmed glasses, and we recognize his villainous intent because of his smarmy nature and impossible to trust false charm.

Much of the focus here is on Jeff (the very talented Miles Teller) who is serving time due to his responsibility in a tragic car accident. Steve tests each of the drugs on Jeff, and each test requires Jeff to “acknowledge” his consent … as if it’s his choice to see what happens with the next round of mind-bending. The drugs have hilariously descriptive names: “Verbaluce” forces one to speak their mind, “Phobica” causes paranoia and fear, “Laffodil” generates uncontrollable laughter, and “Luvactin” … well, you get the idea.

Beyond the drugs, Jeff finds a soulmate in Lizzy (Jurnee Smollett) and ultimately, Steve pits the two against each other in order to elevate the drug testing and human behavior to extreme levels. The film carries a science fiction label, but mind-altering drugs are as much a part of the past and present as they are the future. Any promise shown in the early stages of the film have long evaporated by the insipid final act that pits Jeff and Lizzy against Steve and the other convicts.

The basis for the film is a George Saunders short story originally published in The New Yorker entitled, “Escape from Spiderhead”. It has been adapted for the screen by DEADPOOL and ZOMBIELAND co-writers Rhett Reese and Paul Wernick. Unfortunately, the wit and cleverness of those two films is never flashed here … except for the use of Thomas Dolby’s song, “She Blinded Me with Science.” Other late 70’s and 80’s songs provide only cringing, as they weren’t even that enjoyable at their peak. The director of this film, Joseph Kosinski, is riding high right now with his “other” film currently setting box office records. Perhaps you’ve heard of it: TOP GUN: MAVERICK. It’s unusual for a director to have two films out simultaneously, but the pandemic has caused quite a few oddities. I will “acknowledge” that the execution of this story is quite disappointing.

Releases globally on Netflix beginning June 17, 2022

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Posted by David Ferguson

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