Showing posts with label review. Show all posts
Showing posts with label review. Show all posts

Russian Spring


Russian Spring
by Norman Spinrad
October 1992; Bantam Spectra;
 review by John W. Herbert

It's not often that a book goes from "science fiction" to "alternate history" between hardcover and paperback editions, but Norman Spinrad's latest gets caught by the speed of the upheavals in Eastern Europe. In his story set not far in the future, two lovers, an American space engineer and a young Russian woman who has decided to party (pun intended) across Europe, play out their lives against the background of the decline of the American Empire and the rebirth of the former Soviet republics. This is Spinrad's best work in ages, at times moving and engrossing, and constantly entertaining. Read this.

Babylon 5 - The Lost Tales

Babylon 5 - The Lost Tales: Voices in the Dark
review by John W. Herbert

Babylon 5 is back in the first of what is hoped to be a series made-for-DVD adventures under the moniker The Lost Tales. The first disc, entitled Voices in the Dark, contains two short tales both written and directed by Babylon 5 creator J. Michael Straczynski.
Set ten years after the original series, the first story involves B5 commander Colonel Lochley (Tracy Scoggins) who has summoned a priest to B5. She is convinced that a crewman on the station has been possessed by a demon and only an exorcism can save the unfortunate victim presumably destroy the demon. However, the demon insists on being exorcised, and this presents the priest with an ethical dilemma.
In story two, President Sheridan (Bruce Boxleitner) is on his way to B5 for a ceremonial function when Galen the technomage (Peter Woodward) visits him and presents him with his own ethical dilemma: a teen-aged Centauri Prince that is traveling on the same ship as Sheridan will grow up to lead a devastating Centauri attack on Earth. Galen wants Sheridan to kill the teenager before he grows up to be the Centauri's leader and bring havoc and chaos to the galaxy. Essentially the question Sheridan faces is the Babylon 5 version of would you go back in time and kill Hitler as a boy?
These are short tales, each clocking in at only about 35 minutes. Straczynski has said he wished to approach this new project as an anthology show, telling small stories in the corners of the B5 universe. Perhaps he has succeeded too well in this. The stories, especially the first one, are very talky. There's only six speaking parts across both stories, and barely an extra in sight. But where they lack in action, they make up for in philosophical meanderings.
The stories are also perhaps too similar. In both cases, Lochley and Sheridan solve their puzzles by playing back something that was previously said, Lochley by listening to a tape playback while staring out alone into space, and Sheridan by running back a conversation in his mind while flying alone in a spacecraft. (Maybe that's way this set is called Voices in the Dark.) This isn't to say that the stories are not entertaining -- they are -- but there seems little to tie them to the overarching Babylon 5 canvas, and that's a pity. Mind you, enough plot threads are left dangling from the Sheridan sequence that it could be easily picked up in further installments.
The special effects are very good and Straczynski's direction is good, too. He effectively uses some interesting camera work in the Lochley segment, and he keeps a sure hand on the proceedings. The actors seem to be pleased to be reprising their roles, particularly Boxleitner and Woodward who seem to having immense fun in their scenes together.
The DVD contains many behind the scenes features, in total as long as the feature itself. What is sorely missing is a commentary track, but on the other hand the reenactment of a major scene from the show using sock puppets almost makes up for that gaffe.
So while it is not as effective as it could have been, this first volume of The Lost Tales marks a successful return of Babylon 5 to our screens, and here's hoping that there is a second helping soon.

Ark II - The Complete Series

review by John W. Herbert
On the scorched and polluted Earth of the 25th century, three young scientists and their hyper-intelligent talking chimpanzee roam the land in Ark II, a sophisticated mobile lab and research centre, to help rebuild and restore civilization. Led by Jonah (played by the late Terry Lester), every week he and his crew -- Ruth (Jean Marie Hon), Samuel (Jose Flores) and Adam (Moochie the chimp) – would help villagers and farmers fend off environmental scourges, scavengers, crazy computers or immortal demagogues in a non-violent manner.
It was Saturday mornings, after all.
In fact Ark II was the most expensive live-action Saturday morning kids’ show of its time. Produced by Filmation, it premiered in September 1976, and although only 15 episodes were produced, remained on the air until 1979. It featured some great guest stars – Jonathan Harris, Malachi Throne, Del Munroe, a very young Helen Hunt, Jim Backus and Robbie the Robot (uncredited, alas) – as well as some very cool vehicles.
The premise of each episode was often similar: the Ark crew would be assigned (by a never-seen headquarters) to investigate some strange happening in a village. The villagers would be often fearful of the Ark and its crew, Ruth or Samuel would get into trouble, but then the villagers would realize the error of their ways and everything would turn out okay. But not before Jonah would have to fly around in his jet-pack. (And no wires here, kids – it was a real flying jetpack. Is that cool or what?))
It wasn’t as cheesy as it sounds, although the production values are sometimes lacking (each episode was shot in only three days). Each episode contained a “message,” but viewers were never slammed over the head with it and the show never sank to the level of cliché. They even went out of their way to avoid the obvious cliché – Adam the chimp is never played for comedy relief; he was an equal member of the crew. Even if he was wearing a diaper under his costume.
The show was shot on 16mm film, so it’s never going to look great. That said, the newly remastered DVD release makes the series look pretty good. And for a 30 year-old series that only filmed 15 episodes, there’s a wealth of behind-the-scenes material: two episode commentaries, a new “making of” documentary, plus assorted photo and art galleries. But wait – there’s more! Also included is DVD-Rom material, including all the shooting scripts, plus the series bible.
Many of the Filmation live-action Saturday morning shows are due to be released on DVD in 2007.
Can a review of Jason of Star Command be far behind?

The Simpsons Movie

review by John W. Herbert
It’s ironic but the future of hand-drawn animation may have just been saved by the ugliest cartoon family in history. Consider that The Simpsons’ Movie opening gross of $74,000,000 is the largest opening of any hand-drawn animated film in history, and is a larger opening than any digitally animated film by Pixar (Toy Story, Monsters, Inc., Finding Nemo, Ratatouille etc.). Only two of the digitally animated Shrek films have grossed more than Homer and his family.
On the other hand, The Simpsons has been a cultural touchstone for a generation and, as the tv-show enters its 19th season this fall, it’s hard to imagine that a big-screen version wouldn’t be a huge hit. As such, the movie plays it safe and doesn’t stray much from the formula that makes it work so well on television. Maybe a few of the joke are a little cruder, but they’re still tame compared to what passes as humour in the theatres these days.
And sticking to the formula ain’t necessarily a bad thing. It was the winning formula of balancing family sentimentality and dead-on self-aware satire that has made The Simpsons quite possibly the best tv-comedy show ever. While the later seasons of the show have often veered away from this formula, The Movie returns to the tried and true Simpsons story style of its glory years of the early and mid-1990s.
The first half of The Movie is classic Simpsons’ craziness, and is pitch perfect as it assails the audience with laugh after laugh. Itchy skewers Scratchy, Homer complains that The Bible has no answers, Lisa fruitlessly tries to encourage Springfield’s citizens to save the a lake, and Bart skateboards through town naked (which leads to the film’s biggest laugh as Bart is briefly glimpsed in all his glory). Eventually a plot develops and the laughs become a little less frequent. Homer falls in love wit a pig which leads to an environmental disaster for Springfield. The town is quarantined but Homer and family escape and move to Alaska. The family want to return to help their former town folks, but Homer has settled in to the Arctic lifestyle and wants to remain. (There a bar in Alaska called Eski-Moe’s.) They leave Homer to return to Springfield, and Homer must not only save his town, but he must also rescue the relationship with his wife and children.
This has always been the key to the success of The Simpsons, a balance between zany physical comedy, smart satire, and not being afraid to be sentimental and allow the family moments to play without undercutting them with a zinger. The oft-expressed belief the The Simpsons is “anti-family” is belied by the fact that no matter how dysfunctional this family is, it’s clear that they love each other and their relationship with each other is the driving force in their lives. Even “under-achiever” Bart has demonstrated again and again his deep ties to his family. (And how can conservatives complain about a tv family that is seen going to church regularly? Heck, the whole damn town goes to church every Sunday! And the first scene of The Movie is set in a church at Sunday Service! But I digress.)
This is by no means a ground-breaking film, but it is a witty reminder of why we’ve loved The Simpsons all these years. It delivers big laughs in abundance.
Plus we get to see Bart’s doodle.

Why Europe Will Run the 21st Century

by Mark Leonard

review by E.B.Klassen
Mark Leonard has written a decent little primer on the foundation and structure of the European Union, from the Amerikan efforts post—WW2 up to the present day. Next to the occasional Dick and Mary Francis mystery, this is certainly the lightest book I’ve read this year. Leonard writes as a man in love with an idea—in this case the idea of a better way of living with one’s neighbours than the doctrine of perpetual warfare.
Among the European facts that confounds popular belief is the acquis communitaire, the ‘acquired fortune’ or ‘accepted fact’ that regulates every facet of domestic policy in the EU—from human rights to consumer protection. This is 80,000 pages of regulation, regulations that are the bane of global capitalism. Laissez-faire capitalism is predicated on the destruction of the nation-state and the removal of barriers and restrictions on the movement and use of capital. Those who own the world’s economies have no interest in restrictions being placed on them. But it is these regulations and restrictions that actually allow international capital to flourish. When the Soviet Union was assaulted by the free-market neo-liberals after the collapse of the Stalinist state, everything should have been coming up roses for the Russian economy. After all, they did everything they were supposed to; privatized all state-owned assets, removed restrictions on wealth accumulation, let loose the dogs of market warfare. And yet the economy and the country fell into anarchy and gangsterism—not, as at least one person has suggested, because having been warned that capitalists are gangsters, Russians became gangsters when they became capitalists, but rather because there was no longer any legal structure under which a market economy could flourish. When a contract is worth less than the paper it is printed on, and can be negated by nothing more than a match, a market economy is reduced to its essence—a place where the strong-armed succeed and the rest are fleeced. Healthy markets require a strong legal system and extensive regulation in order to flourish, as it levels the playing field and reins in the psychopathic.
Europe has, according to Leonard’s book, recognized that a strong economy demands a strong state, and that the state needs to be involved in the market both as a regulator and as a player. But, Leonard argues, Europe took the unusual step of leading a race upwards. The consultations that lead to the creation of the acquis communitaire set high standards for members of the EU—but at the same time established that there would be direct and measurable economic advantages for anyone who chose to play in the same stadium; access to production capacity and markets inside a tariff-free zone.
But the central intellectual force behind the creation of the EU, Jean Monnet, started by constructing the stadium: first by starting negotiations to unite French and German steel and coal producers. He felt that by forging links between major producers, Europe could sidestep the potential for a return to armed conflict. After all, all wars are resource wars, but if the major producers were already on the same team, wars would become an "own goal", a goal that harms oneself instead of the other.
Once the stadium was built, it turned out that a lot of other teams wanted in to play. But in order to gain access to the stadium, the European Common Market, teams had to agree to play by the same set of rules; the acquis communitaire. And because the rules were quite stringent—neo-liberal markets inside the EU, coupled with progressive social policies—countries looking to get in have to bring themselves up to the minimum standards (as opposed to developed countries destroying their social and business environments to compete with more backward, anti-progressive countries).
Turkey is probably on of the biggest success stories of the European Union. At first, EU membership seemed completely out of the question. To quote Leonard:
"Turkey first applied to join the European Union in 1963, and for four decades it has had the prospect of membership dangled in front of it but then removed because of the failings of the Turkish government. Turkish human rights abuses, restrictions on press freedom, the persecution of minorities, and the backwardness of the Turkish economy have all provided European governments with reasons to withdraw the nectar of membership. However, in Turkey today the prospect of joining the European club has become a unifying national dream—uniting secularists and Islamists with Anatolians, Kurds, and Armenians—behind a project that promises all a better future.
"Over the last few years, the Turkish Parliament has passed six packages of constitutional amendments designed to bring Turkey in line with European standards. When the Prime Minister, Recep Tayip Erdogan, talks to his colleagues in Brussels, he boasts of abolishing the death penalty, the army-dominated security courts, and curbs on free speech. He can talk of how he has brought military budgets under civilian control for the first time ever, and of his ‘zero tolerance for torture’ in Turkish prisons. He has secured the release of Kurdish activists from prison, and allowed Turkish State Television, TRT, to begin broadcasting programmes in Kurdish and other minority languages such as Bosnian and Arabic. He has abandoned thirty years of intransigence on the Cyprus question, and erased centuries of mutual suspicion between Greece and Turkey with skilful diplomacy—so much so that Turkey’s fiercest rival in the past has been transformed into one of the leading supporters of Turkish membership in the EU. This revolution has come about for one reason alone: the Turkish desire to join the European Union." (page 50)
This soft-power approach does have its limits; Leonard suggests that the EU faced its greatest test in Srebrenica, where the Bosnian Serbs re-introduced genocide to Europe as they rounded up around seven thousand Muslims and butchered them. Since then, Europe has begun building a European army, in order to be able to add the threat of force to the continuum of responses they employ to achieve their goals. But the lessons of centuries of conflict are not lost on Europe; the Rapid Reaction force is intended to stay small, only able to respond to situations, not to conquer nations. The final word should go to Leonard:
"If ever there was a cause to listen to Monnet’s injunction to ‘enlarge the context by changing the basic facts’ it is in Europe’s new neighbourhood....For example, in Iran, American strategies of isolation and coercion are actually encouraging the suppression of democracy and the development of nuclear weapons. The lesson the Iranians drew from the Iraq war is that the only way to be safe from American invasion is to have a nuclear deterrent—and the challenge is to develop it quickly while American troops are still bogged down in Iraq. Equally, as Iran has already become a ‘pariah state’, it has nothing to lose by suppressing democracy. This is why a European policy, which starts with a recognition of Iran’s motivations and tries to change the calculus of risk for the government, could be more effective. By taking their security concerns seriously, and offering major economic benefits, it is trying to regain leverage over the Iranian regime that the American strategy of isolation has lost. But without American involvement the EU cannot succeed as it cannot offer the Iranians the security guarantees they need." (pp. 108-109)

The Who: Tommy and Quadrophenia Live

review by John W. Herbert

This new 3-DVD set consists of two shows by The Who.
Disc One is a performance of Tommy from a charity show in LA, one of two complete Tommy performances from the 1989 tour. The Who were in what I call their "Las Vegas" phase: a 15-piece band, including a horn section. Special guests for this show included Patti LaBelle, Phil Collins, Steve Winwood, Billy Idol and Elton John. This certainly isn’t the "classic" Who of yore. Townshend plays acoustic guitar throughout and the horns certainly add a new twist to the music. But there’s no question whatever their configuration that this is a group of excellent musicians clearly enjoying themselves. The musical highlight is John Enwhistle’s bass solo during Sparks.
Disc Two is a performance of Quadrophenia from a 1996 tour. Again another large band, this time augmented by a visual presentation and guests P.J. Proby as The Godfather and Billy Idol as Ace the Face. Again Townshend sticks mostly to the acoustic guitar and the band is in fine form. This time the musical highlight is John Entwistle’s bass solo on 5:15. (Okay, yes, you caught me. I’m a bass player.)
The third disc consists of the LA show’s second set and encore, an extended encore from the Quadrophenia show, and three songs from Giants Stadium from 1989. No big musical surprises here, except the Quadrophenia encore opens with an acoustic version of Won’t Get Fooled Again, and features a slightly reworked version of Who Are You.
Both the Tommy and Quadrophenia shows have a "visual commentary" track by Roger Daltrey and Pete Townshend, both of which are excellent. Controlled by the "angle" button, you can turn the commentary on and Pete or Roger appear on the screen, commenting on the concert, the music, the story, or whatever strikes their fancy. A must-watch for Who fans.
The viewer is alerted to the start of these segments by a pinball flashing superimposed on the screen in the case of Tommy, or a mod target symbol in the case of Quadrophenia. The downside is that the commentary segments start and stop all the time during the performances, and the viewer is constantly distracted by large flashing round objects in the middle of the screen distracting from the concert. Why didn’t the DVD producers put a less distracting and smaller symbol in the corner of the screen that doesn’t interfere with the enjoyment of the concert to signal the beginning of a commentary segment? Beats me, I guess that’s why they make the big bucks. Note to Rhino Records: Never do that again.

Titanic (1996) Special Edition DVD

review by John W. Herbert

Believe it or not, boys and girls, but there was a time when James Cameron’s film Titanic looked to be a disaster in the making. Horribly over budget at north of $200,000,000, and its release delayed six months, Titanic was looking to be a celluloid disaster destined to sink on its maiden weekend.
But the film opened to four-star reviews and boffo box office. The something amazing happened.
All major films’ box office drops off the second weekend. But Titanic was different. Its second weekend was bigger than its first.
That never happens.
And its third and fourth weekend grosses were still larger than the first. Titanic was on its way to being the highest grossing film of all time with a total worldwide gross of over $1.8 billion dollars. No other film even comes close. (Second place is The Lord of the Rings: The Return of the King at $1.1 billion, the only other films in the billion dollar club, although the first Harry Potter film is just a few million short of joining the club. But I digress.) It received a record 14 Oscar nominations and won a record 11.
I saw it opening night. And I was in the front row bawling like everyone else.
Titanic is the work of a master film-maker at the top of his game.
The new special edition DVD contains a gorgeous new transfer spread over two discs, plus three commentaries: one from Cameron, one from various cast and crew, and one from a pair of Titanic historians. All three are worth your attention and are informative. In addition, there are 50 or so mini-docs on the two discs available by either a seamless branching option while watching the movie, or by a "play-all" feature. There’s also the original ending (available with a Cameron commentary) that, although fine by itself, is clearly inferior to the ending as it was finally cut. A third disc contains nearly an hour of deleted and extended scenes, all with optional Cameron commentary. There are other featurettes on this disc, including a gag reel of sorts, a look at Cameron’s real dive on Titanic, and a time-lapse feature on building the set. In all, this is a treasure trove of material, which almost makes up for the lack of a definitive "making-of" documentary as was promised when the set was originally announced a s a four-disc set.
Why does the the ill-fated story of Titanic still touch us? At its heart, it is the story of human frailty and hubris. The lessons learned from Titanic were lost by the time of Challenger, and those lessons learned were forgotten again with Columbia. It is a story of class rule by human ego and unquestioned ideology and assumptions, as if even daring to question these assumptions is evil and unpatriotic.
And clearly, these are lessons that need to be learned again.

Titanic! (1943)

review by John W. Herbert

Titanic! The story of a ship and an iceberg and the ruinous gluttony of the British Empire!
Titanic! The story of the heroic German first officer who saved the day!
Titanic! The story of the obviously Jewish ship owner, who bet his fortune on the speed of his ship and almost paid with his life!
Titanic! In the original German with subtitles!
No, this isn’t James Cameron’s epic 1996 Titanic, it’s a 1943 German propaganda film of the same name.
Unlike Cameron’s film which puts fictional characters into the story while remaining true to historical facts, this version uses the basic story of iceberg meets ship to hang a propaganda-filled, greed-driven plot on.
Bruce Ismay and the other owners of Titanic and the White Star Line have hatched a plot where they will buy millions of shares of White Star stock before and during the voyage. Ismay will force Captain Smith to speed up and make the crossing in record time, and they’ll make a killing when the stock value goes up. An interesting idea to be sure, but it’s not the least bit factual. (And it doesn’t help that Ismay is portrayed as Jewish when he wasn’t.)
Newly arrived on Titanic is First Officer Peterson, newly transferred from Germany, and lucky for the passengers he did, because he seems to be the only competent officer on the ship. The heroic Peterson manages to dress down the Captain, reconcile with an old flame, launch lifeboats single-handedly, survive the sinking, rescue a child from the water and denounce the British Empire at a Parliamentary inquiry into the sinking. Not bad for an 85 minute film. At least he isn’t blonde.
Despite the questionable taste of the propaganda aspects of the film and its wild historical inaccuracies, Titanic does manage to hold its own as a film. Its lavish sets and costumes (many inaccurate, but nonetheless spectacular) can only make one wonder how a country paying for a war against the rest of the world could afford a production like this.
The sinking sequences are well done and exciting, and the special effects are fine for its time. (In fact some shots were nicked and used in 1959’s A Night To Remember.)
An interesting oddity, the 1943 version of Titanic is worth a look. And Titanic buffs should note the DVD contains an excellent collection of actual 1912 Titanic newsreel coverage.

The Secret Man: The Story of Watergate’s Deep Throat

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Petrodollar Warfare: Oil, Iraq, and the Future of the Dollar

by William R. Clark

review by E.B.Klassen
What drove Amerika into Iraq? William R. Clark, in his book Petrodollar Warfare: Oil, Iraq, and the future of the Dollar suggests (and makes a pretty solid case, too) that Amerikan criminality is based on the fear of losing its pre-eminent status as the world’s last remaining superpower. The problem is that the foundation of Amerika’s status is merely some awfully thin ice—ice made thinner by the fascists currently in office.
This is about more than oil—although oil is essential to Amerikan hegemony. Oil is bought and paid for in Amerikan dollars, and those Amerikan dollars are the world’s currency of last resort. If everything falls apart, the $US is supposed to remain standing, and the Federal Reserve said back in the early eighties that if all else fails, they will just keep printing dollars until everything is paid off—all Amerikan international debt, all debt denominated in Amerikan dollars.
Because right now Amerika is living in a massive debt bubble—China alone holds over $1.7 trillion in Federal debt instruments and could crash the whole system simply by converting the lot over to euros. The dollar has declined over the last four years—seen here in Canada as the rise in the Canadian dollar against the Amerikan, and the euro has strengthened. But worldwide we have far too much productive capability, and not enough ability to consume, and this overhang is starting to scare the crap out of the holders of real money.
The current system is (almost) holding together. Oil sales denominated in Amerikan dollars and held by Amerikan financial institutions have managed to support Amerikan consumption. But then Saddam Hussein gets snarly; under the oil for food program, he requests that payment no longer be made in the dollar of the Great Satan, but be denominated in euros. Turns out to be a great financial idea made for political reasons. By denominating in the euro, Iraq sees a couple of hundred million dollars extra—free money just for using the euro. And don’t think this isn’t noticed by the rest of the region; the Saudi’s know all about this, but have made their own separate peace with the Great Satan, and are funnelling their excess dollars back into the Amerikan economy (70% of Saudi Arabia’s petrodollar wealth is invested in the US). But for this and other crimes (like having Amerikan oil inconveniently under their country and making deals to sell it to Russia and European countries rather than the Amerikan ones), the Iranians pay a heavy price; they suffer the extension of Amerikan hegemony.
But Iran notices; they announce a new oil bourse (a stock exchange for securities trading) in 2002 to be up and running by 2005 that will offer an oil marker denominated in euros—just like the $US-denominated marker of West Texas crude. Funny how they are now in the crosshairs, isn’t it?
William Clark doesn’t claim that what currency petrodollars are denominated in is the sole reason behind the illegal invasion of Iraq; but he does make a strong case that this was a significant reason behind it. Some writers, most recently Gwynne Dyer, don’t buy it. A recent Dyer article basically says that this Amerikan administration is simply too stupid to pay attention to esoteric financial concerns, and makes a strong case for this view. But this administration’s partners, this cabal of the super-rich, this loose affiliation of millionaires and billionaires that rely on the dominance of the Amerikan dollar, they notice. And they have both a confluence of desire and the world’s largest and best equipped mercenary force at their disposal. And what the hell, they’ve been using it for just this kind of bullshit since forever, so what’s one more country destroyed to serve their interests? The rest, we say, is history.

Man With the Screaming Brain

review by John W. Herbert

B-movie king Bruce Campbell stars in (and co-wrote and directed) Man With the Screaming Brain. Campbell plays an American businessman who, along with his wife, is in Bulagria for a business meeting. He’s the typical "ugly American," loud, impatient an dimpolite. His marrige is on the rocks, and he doesn’t help matters by flirting with a mysterious gypsy woman. His wife helps even less by giving their cab driver an extra big tip. It turns out that the cab driver was engaged to the gypsy, resulting in all manner of murder and mayhem. Fortunately, the bodies end up in the hands of a mad Bulgarian scientist (Stacey Keach(?!)) who (with his Russian assistant played by Ted Raimi) has a knack for transplanting brains and resurrecting bodies.
Essentially, this is pretty silly stuff. It gives Bruce Campbell a chance to do his best Steve Martin impression, and his character ends up sharing his brain with his wife’s lover, the cab driver. Shot on location in Bulgaria, the film has pretty good production values for a film of with a limited budget.
There’s a good number of extras for a low budget movie. There’s some behind the scenes docs, but the best one is a short feature where Campbell and his writing partner chart the 20+ years it took to get this film made. This was worth the price of the DVD all by itself.
Nothing in the film is overly impressive, yet nothing is really embarrassing either. Well, maybe Ted Raimi’s version of Russian rapping. Thankfully, it’s short. Otherwise, it’s a solid and enjoyable, fun B-movie.

Lost - Season One

review by John W. Herbert

Imagine being marooned on a desert island in a plane crash with forty-plus other people. The plane was off-course, no one knows where you are. You’re running out of food, water, supplies. Things look grim. Slowly you discover that some of the people on the island with you are not what they appear to be. Even worse, the same is true of the island. You are well and truly Lost.
Season One of Lost, now out on DVD, sets up what may be the beginning of a long-running tv show (or maybe not — more on that later). As our castaways try to survive, they learn that some sort of unseen monster prowls the island, and that others are on the island.
The show is basically a gimmick show, with two great gimmicks. The first gimmick is the dramatic structure of the show which is a terrific idea. While we follow the adventures of our stranded castaways, we also relive moments of their lives in flashbacks. Why were each of these people of that particular flight? The flashbacks are a great way of filling in the backstory of the characters. We, as the audience, learn so much about these characters, way more in fact than the rest of the islanders do, and we understand a character’s motivation for doing something, even when their comrades do not. A brilliant conceit and it makes for riveting television.
Number two, the island itself holds many secrets and mysteries. What about the hatch? What’s with the polar bears? Who are the others? What’s up with the invisible monster? Is the kid psychic or telekinetic? And this is the gimmick which may be the show’s downfall.
A show relying on a mystery or a gimmick to survive may collapse under the weight of its own backstory (witness The X-Files). If you’re not playing fair with your audience and revealing some of the mystery of the island, your audience will leave you, um, deserted.
This season’s Lost ratings are suffering. Could it be that the gimmick has worn off already? Only time will tell.

The Long Emergency: Surviving the Converging Catastrophes of the Twenty-First Century

by James Howard Kunstler

review by E.B.Klassen
The Long Emergency is James Kunstler’s hard-eyed view of the advent of the post-oil world—the world whose resource wars have finally come out in the open with the invasion of Iraq. Kunstler spends a lot of time on the history of oil in Amerika, and particularly the calculations of the Hubbard Peak. M. King Hubbert was the Amerikan geologist who devised the math used to calculate the life of oil fields. He later extended this to calculate the points of peak discovery and peak production in the US and later, the world. And, in case you hadn’t guessed, global oil production is due to peak right about...now. Actually, the best guess is between 2000 and 2008, so we’re likely past peak right now.
Kunstler then goes on to consider how much of modern global industrial society is fossil fuel based—and the answer,of course, is all of it. As peak production occurs quite late in the life of an oil field (followed by a precipitous decline in recovery), his thesis is that this is it, this is the nuclear weapon at the heart of the modern world that’s going to blow it all apart—and probably before the end of the century. Likely before the halfway point, in fact.
Even without factoring in global warming and emergent diseases, Kunstler figures we’re done. Once you add those two in to the mix, well, let’s just say that a massive die-back seems to be in the cards. And that 90 to 95 percent mortality rate may not be out of line.
The biggest problem is that all our possible replacements for oil are ultimately fossil fuel based; the alloys needed to build decent wind generators, for example, need a fossil fuel based economy to create them. And needs one to place the generators and use them. Ditto for solar cells, and pretty much everything else.
Kunstler sees the demise of the cities as being already underway—except in Europe, which has been unable to pursue suburbanization the way Amerika has. And Kunstler hates suburbia—having written two books already about it: The Geography of Nowhere and Home from Nowhere—he sees it as the worst idea to have ever come out of Amerika. And without cheap gas, suburbia is untenable.
Kunstler, being Amerikan, does occasionally collapse in to an unconscious Amerikan-centric and jingoistic world view. Understandable, but frustrating nonetheless. He wants to keep Amerika and Amerikans alive as much as possible—even though he doesn’t see just how that can possibly happen—and so he shies away from stating the clear conclusion of his book; that (as in Brunner’s The Sheep Look Up) the destruction of Amerika may not be the worst thing for the planet. The hellish thing is that so much of the rest of the planet is going to go with it.

King Kong (1933)

review by John W. Herbert

It’s been years since I’ve seen the original King Kong, I gotta tell ya, this film rocks!
The new special edition DVD features the fully restored 1933 cut (not the 1938 "censored cut" which most casual viewers would be familiar with), and it looks gorgeous. It probably hasn’t looked or sounded this good since its original release.
And yes, the acting is a bit over the top, the dialogue a bit corny, and the special effects don’t hold a candle to what can be done today, but 70 years later, it still holds together remarkably well. The plot, as if you didn’t know, concerns a film-maker who’s heard rumors that some thing exists on a south sea island. He takes his camera crew and a young ingénue (Canada’s own Fay Wray) to the island and discovers the thing is Kong, a giant ape. He plans to use Wray’s character as bait to lure Kong into capture, and then showcase the ape in a traveling show and make millions. The plan goes wrong as Kong falls in love with the bait, and trying to find her, escapes in New York, causing mayhem and death.
The film is full of classic cinema images and moments. And being the 1933 version, many scenes of violence have been restored. Kong was vicious and brutal.
The special effects, for their time, are staggering. This was the Star Wars of 1933. No one had ever seen anything like this. The film-makers who trace their inspiration back to Willis O’Brien’s 18-ich tall Kong miniature are too numerous to mention, but some that are featured on the supplements are Peter Jackson, Ken Ralston, Bob Burns, Rick Baker, Ben Burtt, and Ray Harryhausen. And speaking of supplements, there’s an hour-long biography of Merion C. Cooper, who produced Kong, and a nearly three-hour documentary on the film itself. Considering that almost no behind the scenes material exists from the actual production itself and that hardly anyone involved is still alive, the documentary does a fine job showing how the film was made.
If you haven’t seen Kong in a while, and remember it as being hokey, well, yes, you’re right. But Kong still has the power to overcome all the pitfalls that a 70 year-old movie has for a 21st century audience. Yes, it’s cheesy, over-acted, hammy dialogue, with cheap sets, and crude special effects. It still works, and works brilliantly. Check it out. You owe it to yourself. And Kong.

It's the Crude, Dude

by Linda McQuaig

review by John W. Herbert
Linda McQuaig’s new book It’s the Crude, Dude highlights America preoccupation (no pun intended) with securing Middle East oil. It’s a well-written, shameful indictment of post-war American foreign policy.
But the real question is will anyone who reads it change their mind?
I call it the “Michael Moore syndrome.” I’ve read all of Moore’s books, and own all his movies (yes, even The Big One. And you’ve got to be a fan in order to sit through that one! But I digress.) So to me, Michael Moore is preaching to the choir. But what worries me is that Moore, and McQuaig with her book, is preaching only to the choir.
As much as I love them, did any right-winger come out of Bowling for Columbine or Fahrenheit 9/11 with their mind changed? I doubt it.
Mind you, it’s not like I’m going to read Ann Coulter and suddenly say, “My god, the leftist dogma dribble that I’ve been following my whole life is so utterly, utterly wrong!”

Imperial Ambitions-Conversations on the Post 9-11 World

by Noam Chomsky

review by E.B.Klassen
So I lay in bed this morning finishing the latest Noam Chomsky book: Imperial Ambitions-Conversations on the Post 9-11 World. This is another in the series of books based around Chomsky’s conversations with David Barsamian, where the conversation is transcribed, edited by Chomsky, footnotes are added, and the whole is then published. I’ve read a number of books by NC over the last couple of years (what, a dozen or more?) and this one has to be the most angry one I’ve read. Which, considering that NC persistently takes the most neutral-sounding tones when saying the most outrageous things about the Amerikan Empire, is really saying something.
"The United States is basically what’s called a "failed state." It has formal democratic institutions, but they barely function."(page 198). This is just one of the casual comments that NC tosses off that really is the result of an amazing rejection of the cultural conditioning and propaganda that an Amerikan citizen is subjected to. It is clear that Amerika is a failed democracy when you are not an Amerikan citizen—in fact, NC suggests that it might be nice if Amerika could achieve the democratic advancement of Brazil, or maybe Haiti, as both countries have managed to elect leaders who are clearly not members of the ruling elite (Aristide in Haiti, and Lula in Brazil). That outside/foreign observers where in place to monitor the last presidential elections speaks volumes for the sad state of Amerikan democracy.
That Amerikan democracy has failed so badly, even with the unprecedented commitment to free speech and right of assembly that Amerikans have, is astonishing. Chomsky attributes much of this failure to the development of propaganda under such people as Walter Lippmann (credited with the phrase "manufacturing consent") and Edward Bernays (who said that "the more intelligent members of the community can direct the population through "the engineering of consent," which he considered "the very essence of the democratic process").
"It’s interesting to look back at the 1920s, when the public relations industry really began. This was the period of Taylorism in industry, when workers were being trained to become robots and every single motion was controlled and regulated. Taylorism created highly efficient industry, with human beings being turned into automata. The Bolsheviks were very impressed with Taylorism, too, and tried to duplicate it, as did others throughout the world. But the thought-control experts soon realized that you could not only what was called "on-job control" but also "off-job control." It’s a fine phrase. Off-job control means turning people into robots in every part of their lives by inducing a "philosophy of futility," focusing people on "the superficial things of life, like fashionable consumption." Let the people who are supposed to run the show do so without any interference from the mass of the population, who have no business in the public arena. And from that idea grew enormous industries, ranging from advertising to universities, all very consciously committed to the belief that you must control attitudes and opinions, because the people are otherwise just too dangerous.
Actually, there are good constitutional sources for this view of the public. The founding of the country [Amerika] was based on the Madisonian principle that the people are just too dangerous: power has to be in the hands of what Madison called "the wealth of the nation," people who respect property and its rights and are willing to "protect the minority of the opulent against the majority," which has to be fragmented somehow." (pp. 21-22)
All of which lends support to my feeling that democracy is not only in deep trouble, but is an ongoing and unfinished revolution in world affairs. Thus my support for the right of Quebecois to decide on separation. Not that I support Quebec separatism (in fact I figure that the leaders of the BQ and PQ are evil and cynical opportunists using the above techniques for their own ends at the expense of the citizenry of Quebec). But I do support the right of people to decide on how they shall be ruled. Hell, Rome reserved the right to elect a tyrant for a set term of office(even though it usually went very badly when they did...).
This is one of the greatest crimes of the Bush II administration; not their disdain for democracy—that has been bog standard for Amerika for at least the last century. It’s that they’ve gone completely rogue, destroying the international structures that were actually working to reduce conflict worldwide, that were actually increasing self-determination in wildly diverse populations about the globe. Chile is slowly managing to bring sociopathic monster Augusto Pinochet to trial—hopefully before he dies and the point becomes moot. Hugo Chávez respects the reactionary courts in his country and does not prosecute the military officers who participated in the Amerikan-backed coup against his democratically elected government. Even South Africa, where the ANC managed to most amazing transition of power with a minimum of violence and recrimination.
One can’t even imagine such a shift of power in Amerika. Or respect for the law like in Chile and Venezuela. Amerika, and this is mentioned in Imperial Ambitions, is a nation that is extremely susceptible to fear. And pretty much every time it’s a fear of a group or population upon whose neck the Amerikan boot is pretty firmly placed. The destroyed, militarily insignificant Iraq, Panama, Nicaragua, Grenada. Each of these in turn has been seen (and sold) as a terrific threat to Amerika, a dagger pointed at its heart. And it has never been true, but the Amerikan public buys it—or at least enough to allow the jackboots of the Amerikan military to be planted on foreign soil.
So what to do, what to do. The answers are fairly simple—and fairly complex. But it all boils down to organize. Locally into small affinity groups, unions, discussion circles. Nationally into demanding our political parties begin respecting the democratic will of the people (a tricky balancing act, admittedly. Too nationalistic and the air raid sirens will be going off in Canada next). And internationally to continue organizing structures of law that will hold all imperial ambitions in check. So, you know, not really anything much has to be done....

originally published in Under the Ozone Hole #18

Illium

by Dan Simmons

review by John W. Herbert
Suffice it to say, Dan Simmons does not write small science fiction books. His Hyperion Cantos surely rank as one of the best examples of galaxy building (as well as galaxy destruction and reconstruction) in the genre. Now he begins a new series as big and complex as his earlier masterwork.
As in Hyperion, in his new novel Ilium Simmons once again draws inspiration from classical literature, this time drawing on the works of Homer instead of Keats. Ilium opens with four storylines; the battle of Troy is being observed by human historians, plucked out of time by the Greek gods who have given them amazing technology to observe the battle undetected (Zeus, it seems, has read Homer, and wants to make sure the battle goes by the book); then there’s the all the political intrigue going on at the god’s home on Olympos (it seems not all of them are happy with Zeus’s rule); on Earth in the future, a small group of the last humans, living in luxury in a technological utopia after the departure, find someone who knows the secrets of the world they live in; and in the outer reaches of the solar system, machine intelligences are detecting strange quantum energy readings on the supposedly dead planets of Earth and Mars, and send an expedition to investigate, and if necessary eliminate the source of these strange readings.
Ilium is a joy. Simmons confidently weaves together his seemingly disparate storylines in unexpected ways, yet never losing focus or getting sidetracked. The story moves briskly, from the exciting action in the ancient city of Troy to comical byplay between Orphu and Mahnmut, two machine intelligences whose expedition to the inner planets is disrupted by a golden god in a flying chariot, as they discuss the relative merits of Shakespeare and Proust.
Simmons is a writer of exceptional talent , and Ilium is an exceptional work. Be warned that this is only the first half of the story; the story will be concluded in the forthcoming Olympos.

Demon Night

by J.Michael Straczynski

review by John W. Herbert
Recently re-issued by iBooks, the first novel by Babylon 5 creator J. Michael Straczynski, originally publish in 1988, might be described as "Stephen King Lite." And that’s not necessarily a bad thing.
The story takes place firmly in King country, a small town in Maine called Dredmouth Point where an ancient evil has been waiting, gathering its strength, while prodigal son Eric Matthews, whose family was killed in the town when he was a child, has returned to unlock the secret of his family’s death, and the strange and mysterious black outs he suffers.
Straczynski tells his story in solid, non-flashy prose. He gets straight into the story and drives it ahead quickly. Whereas King might have used 200 pages of back story and small town life to slowly develop the mood, Straczynski sets the creepy mood from the outset as Matthews slowly discovers what killed his family, what is slowly destroying the town, and his destiny.
No one will mistake Demon Night for a great work of art, but as a solid and capable first novel, it is another example of the excellent story-telling we’ve come to expect for the ubiquitous "jms."

Originally published in Neo-opsis magazine and reprinted in Under the Ozone Hole #18.

The Chronicles of Narnia: The Lion, The Witch and the Wardrobe

review by John W. Herbert

During World War II, four British children are sent out to the country to spend the war under care of a reclusive relative. The children discover a gateway through a wardrobe into another world called Narnia. There, in a world of centaurs, griffens, and talking animals, the children appear to be the fulfillment of a prophecy that four humans will one day lead an army with the help of Aslan, a lion, to defeat the self-appointed queen of Narnia, a witch.
Based of the classic book by C.S.Lewis, Narnia is not a bad movie, but as I was watching it I kept thinking to myself Lord of the Rings did this better. Indeed, The Lord of the Rings has set a very high standard when it comes to fantasy films, and perhaps comparing anything to the wondrous magic of LotR is unfair.
There’s nothing inherently bad in Narnia. The production is uniformly excellent, and the special effects are marvelous. The intergration of CGI characters into live-action elements is perfectly done.
But for me the film never grabbed me.
There’s also been some talk about the "Christian" aspects of Narnia. Aslan’s death and resurrection parallel Christ’s, and I believe that C.S. Lewis was deliberately evoking Christianity in his story. That said, I didn’t find that this aspect overwhelmed the story. Clearly, it’s there if you want to read that into it, but death and resurrection are so much a part of fantasy and science fiction films (Gandalf and Obi-Wan Kenobi for starters), never mind other myths and religions, that it does not overpower the movie.
Look, this isn’t a bad movie. Pay your money, you’ll like it. Will you care about it the next day? That’s another question.

originally published in Under the Ozone Hole #18

Beauty Tips From Moose Jaw

by Will Ferguson

review by John W. Herbert
Will Ferguson is a very funny guy.
Wait, scratch that. I assume he’s a funny guy — I really don’t know Will Ferguson from Adam.
Okay, scratch that, too. I know Adam and he is a funny guy. And so is Will Ferguson (I assume).
But they aren’t the same guy.
Or are they?
Now that I think about it, I’ve never seen them both in the same place. In fact, I’ve never seen Will Ferguson anywhere. Could it be that they really are the same guy? Have I inadvertantly stumbled on the biggest conspiracy since Stephen Harper’s brain was stolen by aliens?
Sorry. Let me start again.
Will Ferguson may be a very funny guy. But without question, he is a very funny writer. It’s not by accident that he’s won the Leacock Medal for Humour. (Then again, it might well have been an accident. But no one’s admitting anything.)
Which brings me in a surprisingly roundabout way to his recent book Beauty Tips From Moose Jaw, a time-jumbled travelogue across Canada. He starts at a poetry slam here in Victoria, and meanders from West to East, ending in L’anse Aux Meadows, the home of the first Norse settlement in North America. On the way, he retraces his youth in the high North, looks for polar bears near Churchill, tries to find the meaning of Canada with his brother, tries to find the meaning of Quebec with another brother, and even attempts to find the meanings in that strange variation of english that is spoken in Newfoundland.
Ferguson is always funny. (Anyone who rates a book about Canadian Prime Ministers called Bastards and Boneheads gets an ‘A’ in my book.) And this book is warm and witty embrace of Canadiana, a wonderfully written journey exploring the backwaters and backstreets.
A great read.

originally published in Under the Ozone Hole #18