Early this year we featured a list of franchises in need of a genre change. The Rambo series was not one of the five selected, but apparently Sylvester Stallone thinks it’s a good idea to take a turn into sci-fi for the fifth installment of the action franchise. This, after the Indiana Jones series took a disappointing leap into alien territory last year. This, despite the fact Moonraker is one of the worst James Bond films.
The funny thing is, it’s difficult to find a straight up action or action/adventure franchise that doesn’t have sci-fi elements anymore. So wouldn’t it be nice to have these few series remain grounded in reality if they started that way? We think so. That’s why we’re going to beat Hollywood to the punch on a few action franchises that have yet to add aliens, monsters or whatever to their world.
The following five premises are completely ridiculous, and that is the point. Hopefully the series’ respective studios will thereby see that it would be a bad idea to do anything of the sort.
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A few days ago, Erik Davis of Cinematical Tweeted that he was watching Rambo: First Blood Part II, and he made a comment about how if Robert Rodriguez’s Predators doesn’t work out, he’d get behind a Rambo vs. Predator film. I thought the idea was a little silly since that’s basically what the original Predator was, only with Arnold Schwarzenegger instead of Sylvester Stallone. Little did either of us know that Rambo V: The Savage Hunt would end up involving a half-human, half-beast adversary that does seem to be like what Davis had in mind.
One thing appears to be different, though. Apparently Rambo (Stallone) is going to the Arctic Circle to battle the creature, which aligns it more with the first Alien vs. Predator movie. Sure, it’s the wrong Pole but the same climate and terrain — superficially anyway. Oh, and here’s another thing that’s slightly different: the creature isn’t an alien; it’s a secret governement genetic experiment gone wrong. In the poster, made before the official synopsis was even revealed, it looks like a werewolf.
The only thing more ridiculous would be for Rambo to fight teenage vampires, though I think werewolves may actually be the hip new thing as dictated by Twilight, so that might not be any more silly or popular. Hey, going sci-fi worked for Indiana Jones, right? And Rambo is even getting a young “hunting partner” in this installment. Maybe it’s actually his son?
Check out what the other film blogs are saying about this crazy Rambo V scenario after the jump:
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Did you want to be an astronaut when you grew up? We never did, and we’re actually surprised any kid could have such a dream given the way spacemen are portrayed in the movies. Sure, there are some heroes here and there, but generally filmmakers tend to show us astronauts who are lonely, depressed, confused, self-doubting, jealous, guilt-ridden or otherwise miserable (not to mention they often wind up dead).
Sam Rockwell plays the latest of these unhappy astronauts in Moon, fittingly directed by Duncan Jones, whose father, David Bowie, gave us a somewhat sad song about a man potentially lost in space (“Space Oddity”). As the sole (human) resident of a station on the dark side of the moon, able to communicate with his family only through taped video correspondence, it’s not surprising that Rockwell’s character isn’t a happy camper.
But his mood actually has less to do with his situation than it has to do with film tradition. As much as Moon is garnering rave reviews it is also being lightly criticized for being derivative. And the unhappy astronaut convention is one of the overly familiar elements Jones and screenwriter Nathan Parker employs. To illustrate some of the convention’s history, we’ve selected ten of the unhappiest astronauts ever put on the big screen.
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This review was originally published in slightly different form during the Sundance Film Festival. Moon opens in New York and LA on Friday.
A small, personal story wrapped in the trappings of classic sci-fi epic, Moon manages to be both derivative (most notably, of Stanley Kubrick’s 2001) and deliberately rebellious in its treatment of sci-fi tropes. Moving through familiar territory and yet sparked with a spirit all its own, like any great work of genre cinema Moon’s future-world scenario and super-slick techno-artistry are put to the service of a story that ultimately downplays the traumas wrought by technological possibility in order to dig deep into the trauma of being a person.
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Duncan Jones‘ Moon divided critics at Sundance, which is maybe not much of a surprise. A slow, introspective homage to classic sci-fi with one actor (Sam Rockwell in a perfectly modulated dual role), two locations (inside a moon space station, and just outside it), and minimalist special effects, Moon challeneges the viewer to confront what they think they know about space movies and lonely-man-in-existential-crisis movies equally. Audiences that get it seem to really get it, and hopefully Sony Classics, who are scheduled to release the film in June, won’t push the genre elements over the intellectual elements –– or vice versa –– when the victory of the film is the merging of the two. As I put it in my review, Moon “feels more casual and accessible than any cinematic exploration of the Lacanian mirror stage has a right to be.”
Whilst at Sundance, I got a few minutes alone with Rockwell and Jones, and we chatted about their mutual love of early-80s sci-fi, the technology and technique behind the dual performance, and the real life potential of Moon’s alternative energy fantasy. Beware: there’s a possible spoiler immediately after the jump.
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Both are broadly classifiable as science fiction, but Alien is basically a horror flick and Aliens has all the conventions of a war film. That’s a pretty slick transition from one type of movie to another, especially since the switch was so immediate within the series. Most movie franchises don’t play with genre in such a way until they’ve gone through a number of sequels, and even then the series usually just simply takes its characters into outer space, a la Moonraker, Jason X and Leprechaun 4.
Genre jumping isn’t that easy, though, unless a franchise inhabits a whole universe in which to expand through. Like Star Wars, for example. Originally a film series, the Star Wars franchise spread out into novels, which has allowed for dips into the romance genre and now horror. That’s right, an upcoming novel by horror author Joe Schreiber, titled Deathtroopers, takes the Star Wars universe into frightening territory described by Schreiber as “in the vein of The Shining and Alien, with a little dose of William Gibson mixed in.”
So, if Star Wars can venture into the horror genre, what other movie franchises should attempt a genre jump? To toy with the idea, we’ve selected five film series in need of a change and suggested a possible redirection of genre for each.
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The Day The Earth Stood Still managed to pull in $30 million dollars this past weekend, which you can mostly attribute to clever marketing, but it’s not a promising number for the much-loathed movie, which is sitting at 21% on Rotten Tomatoes right now. Beyond the wooden acting and the eviscerating of a beloved sci fi classic that most people are talking about, there are some moments in this movie that just make my teeth clench. Moments that are so poorly written, thought out, filmed, and constructed that I just can’t keep myself from venting. Read on to see all five, and just in case it’s not clear enough from the header: there are spoilers below.
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One of the biggest travesties about the remake of The Day The Earth Stood Still is that Jon Hamm only has a bit part in it. Frankly, if he’d played Klaatu, this might have been a movie worth watching. He’s spent the last two years winning our hearts and wardrobes over as Don Draper on AMC’s Mad Men, and he’s worth a lot more than a small part in a science fiction remake.
WIth that in mind, here are five classic science fiction remakes that we’d like to see Jon Hamm take the helm in. If he brings along any of his television co-stars, that would bring some bonus points. But his slicked-back hair and calm demeanor don’t need any assistance. Check out the list after the break and hope that someone at a studio somewhere is paying attention.
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Fanzine pioneer (and credited coiner of the term “sci-fi”) Forrest J. Ackerman died last week at the age of 92, so I thought it appropriate to showcase a bittersweet clip from the documentary The Sci-Fi Boys. Though I panned the film when it premiered at Tribeca a few years back (and got a lot of crap from readers as a result), I do recognize it as primarily a showcase for Ackerman’s celebration of and influence on genre filmmaking. If you’re looking for something to watch to pay tribute to the guy, this may be it.
Or, you could use this as a springboard with which to begin a marathon of Forry’s favorite sci-fi films. He lists them in this clip as being Metropolis, Things to Come, The War of the Worlds, The Invisible Man and The Time Machine. Also in this clip, filmed in 2003, Ackerman visits the grave of legendary sci-fi filmmaker George Pal and mentions that he’d recently almost joined the producer/director in the afterlife. Fortunately, fans got to enjoy Ackerman and his memorabilia museum home (the “Acker-mini-mansion”) for another five years. Now, though, “Forry” has gone and met up with Pal, and they’re likely having great conversations about H.G. Wells and the current state of sci-fi/fantasy.
Check out the clip of Ackerman and Sci-Fi Boys director Paul Davids after the jump.
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Catherine Hardwicke hit one out of the park for female directors this past weekend, but she had a lot of help. Not only was she working with a pre-sold property, she also had a very manageable budget of $37 million. Quite different from the $2 million she had to work with on Thirteen a few years back. Of course, she had similar budgets on Lords of Dogtown ($25 million) and The Nativity Story ($35 million), and both were box office disappointments. Still, she’s going to keep on being trusted with more money — if Summit is smart they’ll keep her on for at least the first Twilight sequel, which will surely come with a higher price tag — and as long as she continues with genre films, she’s sure to remain a profitable director.
Not every talented filmmaker does well with more money. Danny Boyle, for instance, typically bombs with bigger budgets. And a lot of foreign auteurs strike out when handed costly studio-produced genre or franchise pics (Jeunet’s Alien Resurrection is a favorite example). But there’s the occasional filmmaker who, like Steven Soderbergh or Christopher Nolan, can make something worthwhile out of any budget they’re allotted. And then there are the many indie filmmakers who quickly find themselves at home with modestly priced broad comedies, such as the case with Seth Gordon easily transitioning from the Slamdance doc The King of Kong to the star-studded Hollywood holiday pic Four Christmases, out this week.
Who will be the next small-scale filmmaker to successfully rise up and prove him or herself worthy of bigger budgets? SpoutBlog has selected five directors we’d like to see given an economic boost, each because he or she would likely deliver something more interesting and popular than the usual Hollywood product.
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Tropic Thunder is taking heavy fire, not for Robert Downey Jr.’s blackface performance, but rather for Ben Stiller’s spoof movie-within-a-movie, Simple Jack. Is this a case of political correctness gone too far? Or does Hollywood have serious flaws in how it portrays people with disabilities? The latter may have been Stiller’s point all along…
Our friend Kevin Kelly shares the tale of his journey to the fabled Skywalker Ranch to see Clone Wars and meet the elusive George Lucas. The film, essentially a two hour trailer for the upcoming animated series, gets into some pretty wonky territory when it asks the question we’ve all wondered: What would Truman Capote be like as a Hutt?
Karina checks in with what she’s watching. An Elliott Gould retrospective sheds some light on Little Murders and Jean-Luc Godard’s refusal to direct it. Also, Azazel Jacobs, director of the upcoming Mamma’s Man, Doris Day in Please Don’t Eat the Daisies, and soft-core porn sci-fi web show, The Fold.
(Subscribe to FilmCouch–Spout’s weekly movie podcast–in the iTunes store or to our RSS feed and an episode will download each Friday)
FilmCouch 83
4:07 - Tropic Thunder
16:50 - The Clone Wars, Skywalker Ranch
25:30 - Karina’s Media Diet
In the Terminator series an advanced computer system called Skynet makes a spontaneous leap from AI to full-fledged intelligence, which endows the network with a will and opinions of its own. This concept was considered science fiction until today, when google revealed its horrendous prejudice:
If we expect google to be an ethical entity it must be held accountable for its moral shortcomings. However, google has already proven it doesn’t only mean us harm.
Do a google image search of “belongs in prison.” The first person to appear is Chris Elliott. I thought this was a mistake–how could the man behind Cabin Boy belong in prison? So I asked google web search to clarify, “does Chris Elliott really belong in prison?” The first complete sentence on the page made its answer crystal clear: “Of course he does.”
I don’t know how google knows this, but let’s get a warrant first and ask questions later. We don’t know how many lives it could save.
50 Cent 
Funny how 
