Why Is The Upcoming Thunderbirds Are Go! Seemingly All CGI?

Thunderbirds Are Go!Maybe it’s just me, but I am just not seeing the logic.  Computer graphics have enabled filmmakers to create the seemingly impossible, and while I think that I will always prefer practical effects, I do understand that the leaps that CGI have reached are pretty impressive and such effects can’t often cannot be done any other way.

That being said, the upcoming Thunderbirds Are Go! will be all CGI, but with the characters rendered in the fashion of puppets.

Huh!?  Since they’re working with a tool that gives producers literally the ability to create what they want, why not stretch the medium a bit?  In other words, if they aren’t going to use actual puppets–like in the fashion of Gerry Anderson series like the original Thunderbirds, Terrahawks, Joe 90, Captain Scarlet and the Mysterons, among others, then why not use people, combined with green screen and CGI?

Would it be more expensive to do so?  Probably, because you’re talking about practical sets, enhanced by special effects.  Then again, Anderson’s series were always innovative and unique, while it appears what they are considering doing is nothing of the sort (besides, it has already been done with the New Adventures Of Captain Scarlet).

I know that Weta, the company that is handling special effects, best known for the work they’ve done for Peter Jackson’s Lord of the Rings movies, seemingly doesn’t have much in the way of experience with puppetry, though it’s a skill set worth keeping alive.

 

Z Nation: Not Nearly As Bad As It Should Be

When Syfy premiered Z Nation a few months ago, the only thing that I was curious about was what took them so long.  The Walking Dead has been breaking ratings records for AMC for years now, so that it took so long for someone to premiere another series that revolved around the undead was a bit of a surprise (and I don’t mean high-concept pseudo-zombie series like The Returned).

If we forget for a moment the insane idea that Syfy, a network so based on science fiction that it’s actually in the name, was so late to the party and that the series is made by The Asylum (known for schlock like Sharknado, Atlantic Rim and American Battleship), it’s actually not terrible.

Trailers Somehow Possess the Magical Ability To Make Things Less Pathetic

The series revolves around a zombie apocalypse, with a rag-tag group of survivors trying to make their way to California.  The twist is that a member of their party includes a person who is apparently immune to the virus that creates zombies, which means that they have to protect him as best they can as they make their way to the West Coast.

The FX is pretty spotty, character development is just about nil, but for an Asylum feature, it’s actually pretty good.  Now, if it weren’t so lacking in logic–which is saying something considering that we’re talking about a series about the walking dead–and flimsy characterization, it could give critical darling The Walking Dead a run for its money.

What bugs me–beyond that which I already mentioned–is that everyone works way too hard not to use the word “zombie”(as if The Walking Dead has it copyrighted–and they very well may) or something, despite the fact that it’s the first word someone would use under such conditions.

 

Z Nation is currently on Netflix

‘Terminator: Genisys’ Trailer

Do we really need–or more importantly, want–another Terminator movie?  Especially since the last movie in the saga, Terminator Salvation, performed relatively mediocre?

Well, according to Paramount and Skydance, we do.

Enter: Terminator: Genisys.

The trailer looks okay, but is it really doing something that we have already seen?  Or is it bringing something new to the table?

I am assuming the former.

And what’s with the rather creative spelling of ‘Genesis,’ anyway?

‘Da Sweet Blood Of Jesus’ Trailer

I might have to turn in my African-American membership card after I admit this, but I have never been a huge fan of Spike Lee’s films.  I often admire what I assume are his goals when making them, but in my eyes the final execution always left something to be desired because (it felt to me) that he brought a self-indulgence to most of his projects that distracted from the project itself.

This is why movies like his remake of Oldboy, Inside Man and to a lesser extent, Clockers, are three of my favorite movies of his.  In the three aforementioned films, his stylistic flourishes (his signature move would typically have a person on a dolly moving through a scene as if on rails–which in a sense they were–always felt dream-like and fantastical to me) were minimal.

But his confrontational style and the way he did what he did, and damn anyone who didn’t like it?  That was awesome.

His most recent film, the Kickstarter-financed, Da Sweet Blood Of Jesus, seems to play with themes and ideas most often seen in vampire movies and looks to be typically Spike Lee (by which I mean self-indulgent and meandering) though I am curious what a Lee-directed vampire movie would look like.

Mea Culpa: The ‘Star Wars: The Force Awakens’ Edition

I admit it, I shat the bed, figuratively speaking.  When I saw the trailer below, I assumed that it was for J.J. Abrams’ upcoming Star Wars sequel, The Force Awakens, and should have known better.

Why?  Because a huge clue was staring me right in the face the entire time, which I have posted just below.

Bat Robot logo

Bad Robot logo

For those who are unaware, Bad Robot is the production company owned by Abrams (Mutant Enemy is owned by Joss Whedon, which is why you see it credited at the beginning of Marvel’s Agent’s Of S.H.I.E.L.D.).

For it to appear on the latest Star Wars trailer would mean that mean that Disney and Lucasfilm were sharing the wealth, so to speak, with Bad Robot.

Which is a relatively stupid idea, if you give it any sort of thought because Disney just finished paying $4 billion for Lucasfilm and the last thing they would do is to share any potential profits with Bad Robot–which isn’t to imply that Abrams isn’t making a buttload of money from directing it, because he probably is.

I have posted the actual trailer below (The Force Awakens will always sound to me like the title of a movie on Lifetime, mainly because there’s something oddly feminine about it) and it’s pretty good, though not quite as dynamic as the fake.

StudioADI And ‘I Am Legend’

I liked most of I Am Legend, based on the story by Richard Matheson, though my admiration stopped at the computer-generated effects, which tended toward the cartoony.  What makes matters even worse was that StudioADI was actually working on practical special effects on the movie for a time (which actually effected the way that I looked at the director, Francis Lawrence for awhile, and not in a good way).

Included in the video are concept drawings, clay maquettes as well as actually makeup tests on models (it got that far before the approach was abandoned).

The makeup work looks pretty awesome and would have made a decent movie significantly better, which is why I am mystified they didn’t go with it.

Comforting Skin – Review

Comforting Skin poster

“”Comforting Skin” is a decent movie, yet why do I feel gyped?”

Derek Franson‘s Comforting Skin is actually a pretty decent thriller, though its biggest problem is that it advertises itself as one thing, when in actuality it’s something else.

If you look at the trailer, it feels to me like a horror movie in the vein of Psycho or Magic (or some other movie where someone loses their mind, and goes on a killing spree).  As if that weren’t interesting enough, her tattoo talks to her (voiced by Victoria Bidewell, who also plays ‘Koffie’).

In theory it sounds like a great movie, that is till you actually see it, when it becomes fairly obvious that Comforting Skin, while a thriller, isn’t a horror movie.  Horror-adjacent maybe, but a horror movie?  Not at all.

Koffie is a single woman who who lives with a friend, Nathan (Tygh Runyan) whom she appears attracted to, though she doesn’t let on.  Nathan is an actor, which is fitting because his hair looked like he was in an Off-Broadway production of Streets Of Fire (which is a bit unfair though it was distracting as hell).

Bidewell is a pretty actress, though not incredibly so.  She makes up for being somewhat conventionally attractive by being very bold, and unafraid of nudity in service of the story.  It was refreshing to see, especially for a woman that has a few curves and doesn’t look anorexic.

Koffie was feeling a bit insecure, after going to clubs night after night, yet having no one to show for her efforts.  Seeking to shake things up, she gets a tattoo and hopes that it’s the beginning of a change.

And it is, though not of the sort she expected; which leads to the biggest problem with Comfortable Skin–besides not being a horror film, despite coming off as one in the trailer and the poster–namely that the whole tattoo subplot is unnecessary to the movie.  You could excise it like an unwanted growth, and things would unfold pretty much the same.

Which is a pity because the last thing that I recall seeing about tattoos that drove people to murder was the X-Files episode, Never Again.

So if want to see some killer tattoos, I guess I’ll have to watch it again.

 

 

Comfortable Skin is currently on Netflix.