Posts Tagged ‘review’

Star Trek Destiny: Gods of Night – first review

I’m pleased to report that SciFiChick.com has posted its review of Gods of Night, the first volume in my swiftly approaching Star Trek Destiny trilogy. It’s also the first public review of the book.

The money quote:

Gods of Night contains everything great about Star Trek — advanced technology, intrigue, drama, relationships, danger, action, mystery, aliens, time travel, and blowing stuff up. Ending in a mild cliffhanger, readers will want to pick up the next, Mere Mortals, as soon as possible. With an exciting story, wonderful characters, and insurmountable odds to overcome, this is a trilogy no Trek fan will want to miss.

Gettin’ My Props

The folks over at TrekMovie.com have published their round-up of 2007’s Star Trek novels and a look ahead at 2008’s titles. As far as I’m concerned, this is the money quote:


While not strictly a part of the Original Series line, David Mack kicked the Star Trek: Vanguard series up a notch with one of the best novels of 2007, “Reap the Whirlwind”. Mack’s effort was quite possibly the most notable novel in any of the Star Trek lines last year.


w00t!

Blade Runner: The Final Cut

I went to see Blade Runner: The Final Cut tonight with Kara, during its limited engagement at the Ziegfeld theater here in New York.

In a word? Awesome.

And I do not say this lightly. I have been a major Blade Runner geek since I first saw the film on cable in the early 1980s; I came to revere it during my four years at NYU Film School, during which I saw a special theatrical screening of the original film at the Cinema Village theater on 12th street. Over the course of my film-school education, I wrote at least four, and possibly five term papers on various aspects of Blade Runner, ranging from its cinematic inception of cyberpunk to its blending of eras and genres to its religious symbolism, and much more.

As much as I have always loved and admired this film, I have also been one of the most unforgiving critics of both its original theatrical version and its so-called “Director’s Cut”, which in fact was nothing of the sort. The original and Director’s Cut versions are rife with glaring continuity errors both visual and spoken, as well as poor stunt-double shots. The original was marred by the peripatetic voice-over and the tacked-on happy ending; the Director’s Cut did away with those atrocities, but did nothing to address the other, more systemic problems.

This version does. Blade Runner: The Final Cut is the movie that I have always wanted to see. All the visual continuity errors I’ve been bitching about for nigh on 25 years? Fixed, thanks to the magic of Dolby ProTools and digital restoration. The bad stunt-double shots? Fixed, thanks to a re-shoot with actress Joanna Cassidy and more digital magic. The dialogue continuity errors? Re-edited and fixed. And best of all? These repairs are all subtle and seamlessly integrated into the film. If you hadn’t known where the errors originally were, you’d never know they’d been fixed.

The picture looks better than I’ve ever seen it, with stunning clarity, depth, and color intensity. The sound quality is hypnotic and crystal clear. I could’ve done with a touch less gore during Roy Batty’s scene with Eldon Tyrell, but I can live with it if that’s what Ridley Scott wants.

Don’t write this off as just another cheap ploy to make you buy another copy of a movie you already own. For the first time that I can remember, this one is actually worth it. I pray someone holds this up to George Lucas’s face one day and says, “See, you heavy-handed butcher of other directors’ films? This is how you restore a classic work of cinema! Get on your knees and grovel before Ridley Scott!”

As if you had to ask — I am definitely putting this DVD on my Christmas wish list. And if you have a chance to get out to the theater to see this on the big screen, I beg you: Go.

The Sopranos’ finale’s ending…

Okay, I’m not afraid to admit it: I don’t get it.

I mean, was I the only one who saw the scene cut to black and silence, followed by silent credits? WTF?

All right, maybe there was no good way to end that series after all these years, but an abrupt cut to black silence for no reason? After all the buildup in that scene? Was it meant to evoke the idea that Tony and his kin would live under a sword of Damocles all the days of their lives? That the saga would march onward, and this is simply where we got cut loose?

Or was it just Milch Chase and his team in the Avid suite tossing up their hands in defeat and saying, “We give up. Just cut it there and call it avant-garde so we can leave and get dinner.”

I can’t quite put my finger on it…but I feel ripped-off.

(Edited to reflect Keith’s astute note.)