2025年8月21日 星期四

"Leviathan Wakes" by James S.A. Corey (2011)


"Holden paused a moment.  Miller had killed someone who had been trying to kill them, and that certainly helped make the case that he was a friend, but Holden wasn't about to sell out Fred and his group on a hunch.  He hesitated, then went halfway."

James S.A. Corey is the pen name of authors Daniel Abraham and Ty Franck.  Both authors have science fiction and fantasy books to their credit, though nothing they've written individually approaches the Expanse series in terms of popularity.

Leviathan Wakes is the first book in The Expanse series.  I also bought the second book, Caliban's War, which will be reviewed here eventually.  The Expanse was adapted into a TV series by the Syfy Network and later Amazon.  I haven't seen the show, so I can't comment on how it compares to Leviathan Wakes.

The novel's plot is straightforward space opera, with just enough "science" thrown in to make the thing seem plausible.  In the relatively near future mankind has colonized a zone which extends from roughly Earth's moon to the asteroid belt on "the other side" of Jupiter, with different geographical factions developing alongside successive waves of colonization.  There's the home planet, Earth, a Martian federation and a newer, less regulated area known as The Belt.  Near the beginning of Leviathan Wakes a brisk trade relationship exists between Earth, Mars and The Belt, though political tensions cause this relationship to deteriorate over the course of the story.

Against this backdrop we meet a crew of ice haulers and sometime scavengers operating in The Belt.  This crew is led by Holden, a man of rigid principals who happens to be hopelessly in love with a member of his crew.  Holden's ship comes into contact with an abandoned spacecraft, and the circumstances surrounding this abandoned spacecraft reveal a web of conspiracy threatening to engulf the entire solar system.

Within this novel there's also a dialogue concerning people's right to be informed.  On one side of this argument is Holden, who believes that everyone should know everything, and that withholding information is wrong.  On the other side of this argument is Miller, a seasoned detective who's more worried about the harm unrestricted access to certain facts can cause.  This disagreement between Miller and Holden is the book's real strength, and it adds a lot of weight to what would have otherwise been an enjoyable if forgettable side quest into space travel, space politics and shape-shifting space monsters.

Leviathan Wakes reminded me a bit of Adrian Tchaikovsky's Shards of Earth, which was also reviewed here recently, but where Tchaikovsky's book revels in zoological details, Corey's book is more  a character study, populated by more memorable personalities and situations.  I appreciated the horror aspects of Tchaikovsky's novel, but I think Leviathan Wakes is the kind of book guaranteed to have a wider appeal.

I'll be reading Caliban's War in a few weeks and I'm really looking forward to it.  James S.A. Corey (both of them) are good writers, and I'm curious as to how they develop the ideas set forth in Leviathan's Wake.

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2025年8月14日 星期四

Still More 80s Movies 4

I'll be adding to this as I go along.


1. Flashpoint (1984)

Two U.S. Border Patrol officers discover a lot of money in the desert.  The script was well written, and anchored by standout performances by Kris Kristofferson and Treat Williams.  If you can overlook a couple plot holes it's very good.

Bonus points for the Tangerine Dream soundtrack.


2. Wildcats (1986)

Goldie Hawn coaches varsity football in an inner city school.  With the NFL preseason underway I was happy to stumble upon this one.  Good performances, a solid story, and its heart in the right place.

Critics hated this film.  It's far from perfect, but I think that those revisiting it will find a lot to like.  Sure, Hawn had kind of done this role in Private Benjamin years before, but she did it well in both movies.

Fun Fact: This was Woody Harrelson and Wesley Snipes' first film.


3. Hawk the Slayer (1980)

Hell YES Hawk the Slayer!  It's got:
  • A brooding hero with Members Only hair.
  • Bad guys who look like they're surfing a New Wave of British Heavy Metal.
  • A synth-driven disco soundtrack.
  • A sweet, sweet sword.
  • A villain played by none other than Jack Palance, who'd already played this same character in countless Westerns.
Is it Conan the Barbarian?  Perish the thought!  Is it Excalibur?  Not even close!  But just the same Hawk the Slayer has a lot to recommend it, and I think if you're in the right mood it'll put a smile on your face.


4. Force: Five (1981)

An elite team of martial arts badasses take on a cult.  It's basically Enter the Dragon remade for the 80s, and the karate/kung fu mayhem it represents made me nostalgic for the days of throwing stars, nunchucks and Inside Kung Fu.  The most famous guy in Force: Five is probably Benny ("The Jet") Urquidez, who appeared in two of Jackie Chan's films.

Fun Fact: The character "Ken" in the Street Fighter video game series was modeled on Joe Lewis, the star of Force: Five.


5. Deep Space (1988)

Equal parts The Blob and Alien, this horror confection is formulaic enough to be fun, and nonsensical enough to be interesting.  Gotta love how various individuals just remove biological material (i.e. "space monster eggs") from a crash site without really thinking about the implications.

Deep Space is similar in some respects to 1979's The Dark, which was also reviewed here recently.  Was psychics warning detectives about future events some kind of thing in the late 70s/early 80s?  Maybe so.


6. Mortuary (1982?  1983?)

Bonus points for Bill Paxton, but this slasher film is fairly derivative.  It would have been better if they hadn't shied away from the sex and violence so much, and instead doubled down on the more disturbing elements in the story.

What would have happened to "Christy" if she'd been injected with that embalming fluid?  Could have been a memorable scene...


7. Intruder (1989)

Slasher movie set in a supermarket.  Given the number of people working in the store, you wouldn't think that the killer would be such a problem, but hey, slasher movie logic.

Sam Raimi, Ted Raimi and Bruce Campbell all make brief appearances in Intruder.  Don't think that's some kind of seal of quality, however.  In 1989 Sam Raimi wasn't the hot commodity he would later become.


8. Black Eagle (1988)

America's favorite ninja master Sho Kosugi struggles mightily with the English language while Jean-Claude Van Damme panders to the female gaze.  The real issue with this movie is that the first 3/4 of it are crushingly boring, and the showdown between Kosugi and Van Damme near the end is a huge letdown.

This film was released the same year as Van Damme's breakthrough movie Bloodsport, but just the same it's JCVD before his career really got going.  In this respect Black Eagle's a lot like the following year's Cyborg, in that JCVD's particular formula hadn't been discovered quite yet.  Post-Kickboxer?  Yeah, that's when he was more of a presence in the industry.

Fun Fact: Sho Kosugi's first screen appearance was as an extra in The Godfather Part II.



Higher production values in this TV movie, but it's really boring.  A graffiti artist tries to win his girlfriend back from the local drug dealer, and you can probably guess the rest.  None of the actors/actresses are especially convincing in their roles, though Paul Winfield does a good job as a beat cop who tries to teach the kids the error of their ways.


10. Zone Troopers (1985)

Somehow this movie makes even less sense than Intruder (above).  Some World War II types (the least soldierly soldiers to ever soldier) run into aliens behind enemy lines in Italy.  You might recognize Tim Thomerson or Art LaFleur from other movies they've done since, but this one is very, very boring.

Why go all the way to Italy to film this nonsense?  Was someone laundering money?


11. Terminus (1987)

Some dude with a robot hand drives a supertruck around the more rural parts of France.  Oh, and Karen Allen's in this one for a bit, until she's not.

The most annoying part has to be the supertruck's onboard computer, which chatters on without adding much to the plot.

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2025年8月12日 星期二

"Humankind" by Rutger Bregman (2020)


"Though harmless in this instance, research shows that the effects of pluralistic ignorance can be disastrous -- even fatal.  Consider binge drinking.  Survey college students on their own, and most will say drinking themselves into oblivion isn't their favorite pastime.  But because they assume other students are big fans of drinking, they try to keep up and everyone winds up puking in the gutter."

Rutger Bregman is a Dutch historian and author.  He's written several books on the subject of making the world a better place.  He's often hailed for his "new ideas," though I'm not sure if the ideas expressed in Humankind are all that new.

Not to put words into the author's mouth, but I think the crux of his argument would go something like this: in the deepest, darkest heart of Western culture lives a disagreement between Hobbes and Rousseau over human nature, and in our favoring of one side of this disagreement over the other lie the beginnings of many modern problems.

What was this disagreement?  It was, primarily, a difference of opinion regarding human nature, and whether it's essentially good or essentially evil.  Hobbes, as is well known, believed that people are inherently selfish, and otherwise apt to do one another a bad turn, while Rousseau believed that people are inherently good, and best left to their own devices.  Hobbes regarded human institutions (i.e. his "leviathans") as a means of correcting for our sinful natures, while Rousseau viewed such institutions as largely unnecessary, and what's more stultifying with respect to what is good within us.

On the one hand you've got the "realist" point of view, while on the other the "idealist," though as Bregman emphasizes "realism" and "idealism" can mean very different things in the context of a more measured understanding of human nature.

So are humans essentially bad or good?  The author of this book asserts that they are good, and that a calculated response to this inherent goodness implies a rethinking of our institutions and how these institutions tackle societal ills.

I tend to agree with him.  I think that most people are good, at least from their own point of view, and very, very few people intentionally commit malice without extraordinary reasons for doing so.  In our click-driven society it's easy to form a pessimistic or "pragmatic" opinion of other human beings, but such a line of thinking is often more owing to the way in which information is presented to us, and to faults in our own psychology.

Did I need to read all 400 pages of Humankind to arrive at this conclusion?  No, but it was, to some extent, my conclusion already.  If YOU haven't arrived at this conclusion, maybe you could give it a look?

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2025年8月4日 星期一

"The Eternals" by Jack Kirby (1976-1978)

First of all, not every comic book reader needs to like Jack Kirby.  I can totally understand other comic book readers not liking his work.  Yes, it's foundational in terms of the Marvel Method, but it's also intentionally weird, sometimes less "socially progressive," and at other times downright obscure.

If, however, you like weird ideas and weirder art, Kirby's your man.  At this point in time I've read through a lot of his early Marvel stuff, most of the Fourth World comics he did at DC, and the entirety of his Eternals run.  I feel that I can attest to his originality as a comic book creator, and I don't think he earned the title "King Kirby" for nothing.

He was involved in comics from 1936 all the way to 1993, the year before his death.  During these years he created countless characters, concepts and storylines, many of which are still referenced today.  The Eternals comes a bit later in his career, after his work on the early Marvel titles and his (temporary) move to DC, but in the mid- to late- 70s he was still firing on all cylinders, still ready to challenge whatever younger upstarts the industry had placed in his path.

One of the things I like about this series is that it pretty much ignores the rest of the Marvel Universe.  Other writers and editors would have been in a hurry to introduce Spider-man into the narrative, but Kirby couldn't have cared less.  Yes, he does introduce a "Cosmic Hulk" about halfway through the series, but this version of the Hulk is a robot imbued with "cosmic energy," not another monster out to fight either Bruce Banner or his alter ego.

There's also The Eternals' batshit craziness.  Kirby was never afraid to paint pictures with a big brush, and The Eternals is just further proof of this tendency.  In his Marvel work (especially with regard to the Inhumans and Asgard), in his Fourth World mythos and in The Eternals we see repeated attempts to create a pantheon upon which future comic book stories and comic book series might be built.  Kirby was all about the idea of godhood, perhaps in part because he felt that sense of godhood when he was immersed in the creation of comic books.

The pantheon introduced through The Eternals begins with the Celestials, an inscrutable race of cosmic beings whose origins and purposes are never quite explained.  From the hands of the Celestials come the Deviants, the Eternals and humankind itself, the third of these races previously unaware of the existence of the other two.  In the Deviants and the Eternals humanity is confronted by both the gods and monsters of its own mythology, and what we do with this knowledge remains something of an unanswered question at the end of the series.

Sounds impressive, right?  Just be warned that The Eternals is also a series of false starts.  Kirby plays so fast and loose with his ideas that he often fails to follow many of them to their logical conclusions.  A kind of star-crossed romance is introduced between Thena and the Deviant Kro and then quickly abandoned.  The Eternals do... something with their collective consciousness (Uni-Mind), but this something is never adequately explained.  The Celestials stomp around and look threatening, but never do much.

Lots of WTF moments to be sure, but with Kirby you have to enjoy those moments.  They're not unlike the miniature vampire planet seen and then dismissed in his Fourth World mythos, or countless other comic book series that he created and then abandoned.  Kirby was ever ready to move on from a failed or less productive idea, and his eagerness to do so could be seen as both his one weakness and his greatest strength.

All of the above stated, I found the quote from Kirby appended to the end of Fantastic Four: First Steps very gratifying:

"If you look at my characters, you will find me.  No matter what kind of character you create or assume, a little of yourself must remain there."

...and it's worth noting that the Celestials could have said the same about the Deviants, Eternals and humans they created, just as Kirby himself could say the same about the Celestials, Deviants, Eternals and humans he created.  It's somewhat comforting to imagine gods thinking thus.  It goes a long way to making them seem more human.

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2025年7月29日 星期二

Still More 70s Movies 4

Very Good


1. Melody (1971)

Coming of age tale set in England.  I liked how this movie balances the male and female sides of the equation, while at the same time refraining from either idealizing kids of that age or putting them in an unnecessarily bad light.

Alan Parker wrote the script.  He'd go on to direct many classic films of the 70s, 80s and 90s, including Midnight Express, Mississippi Burning and The Road to Wellville.

Funnily enough the soundtrack features several songs by the Bee Gees, though at that time the Bee Gees sounded a lot less like the band we're all familiar with and a lot more like the Beatles.

Good


2. Hustling (1975)

Not to be confused with Cruising, the 1980 film in which Al Pacino infiltrates (or should I say "penetrates?") the New York gay leather scene.

In Hustling Lee Remick stars as an investigative reporter, with Jill Clayburgh as a prostitute giving her the rundown on what it means to work the streets of New York.  It's something of a reaction to the Blaxploitation films of the time, but it stands on its own legs and both Remick and Clayburgh are convincing in their respective roles.  It was a TV movie, so of course it pulls some punches, but I enjoyed it.


3. The Seven-Ups (1973)

It's a little too slow in parts, and a little too convoluted for its own good, but man that car chase is awesome.  Roy Scheider stars as a cop who's a little too chummy with one of his informants, and his supporting cast is rock solid all the way down the line.

Scheider might not have been one of the top stars of the 70s, but he was definitely one of that decade's best actors.  He was also very good at picking the right script and pairing himself with the right director.  The Seven-Ups director Philip D'Antoni only directed one movie, but what he left us with is a meticulously crafted work of 70s film noir.


4. Foul Play (1978)

Chevy Chase, Goldie Hawn and Dudley Moore in the same movie?  With sounds by... Barry Manilow?  Who knew?  I sure didn't!

It's actually pretty good, but I get why I'd never heard of this modestly successful sendup of Hitchcock before.  To some extent the late 70s was a twilight time before the advent of VHS and cable TV, and Foul Play was just another comedy from that time that fell through the cracks.  Not ubiquitous enough to get played endlessly on HBO, Showtime or Cinemax, and not memorable enough for a second life via VHS.

Maybe not Quite Good, but Interesting


5. Crazy Joe (1974)

A good movie with some interesting approaches to the Mafia genre, even if star Peter Boyle is occasionally outshined by the supporting players.  Martin Scorsese was originally slated as assistant director to Carlo Lizzani, and Peter Boyle was a replacement for Robert De Niro, who was relatively unknown at the time.  As it is Crazy Joe is an intriguing film, and it's fun to think about what it might have been if Scorsese and De Niro had been onboard.

Fun Fact: This was Henry Winkler's first movie.  Crazy Joe was released the same year as The Lords of Flatbush, in which he appeared alongside Sylvester Stallone, and also the same year as Happy Days' TV debut.  1974 was a big year for Henry Winkler.


6. Skullduggery (1970)

Skullduggery starts out as a fairly derivative jungle adventure, takes a left turn at the discovery of a new, human-like species living in New Guinea, and ends as a courtroom drama that will leave most viewers scratching their heads.  It's all over the map in the way many late 60s movies were all over the map, and if it doesn't always succeed in dramatic terms it's at least more interesting than most of the other movies discussed here.

Burt Reynolds starred in this prior to Deliverance.  He wasn't yet a movie star, but he was well on his way.

Fun Fact 1: William Marshal, who'd go on to play the lead in Blacula, appears in this movie as the Attorney General.

Fun Fact 2: Reynolds turned down the lead in Robert Altman's hit M*A*S*H to do this film.



I wouldn't put it up there with Vanishing Point, Two Lane Blacktop or Smokey and the Bandit, but as "70s car chase movies" go this one is a standout.  If you're the kind of person who likes classic car shows you'll find plenty to admire in Gone in 60 Seconds.

Like Zero to Sixty (below) this one details the exploits of a group of car thieves.  The stunt driving is the highlight of the movie, but this film's more experimental aspects also make it worth watching.  H.B. Halicki, the writer, director, producer and star of Gone in 60 Seconds, died in 1989 making Gone in 60 Seconds 2.

They remade this movie in 2000 with Nicolas Cage and Angelina Jolie.  I haven't seen the remake, but as I understand it it's a far cry from the original.



"Marcia, Marcia, Marcia!"

Yep, Maureen "Marcia" McCormick is in this one, playing a far sexier character, though it's John Saxon who stars in this story of Southern bootleggers.  For all his dialogue he doesn't actually do much until the end of the movie.

It's actually not bad.  Anyone who enjoys Southern-fried Exploitation will enjoy this one too.


9. Shamus (1973)

Burt Reynolds stars as hardboiled detective and ladies' man Shamus McCoy.  There are some VERY politically incorrect moments in this movie, but hey, it was the early 70s and they were either processing free love or liberating themselves from "hangups."

For me the real star of this movie is Jerry Goldsmith's score.  It adds a lot to key scenes in the film.



UK horror anthology based on the Tales from the Crypt and Vault of Horror comics.  It's not particularly memorable, and not nearly as good as the 80s American version, but I did enjoy the second segment a lot.


11. Hitch-Hike (1977)

Soon-to-be Bond girl Corinne Clery and Franco Nero star as a couple who cross paths with a deranged fugitive.  Clery is stunningly beautiful throughout, and Nero is good as her husband, but you'll have to overlook a few plot holes in this otherwise enjoyable movie.  The way that the truck explodes, for example, or the fact that the rifles were in the camper the whole time, or...

Solidly OK


12. A Tattered Web (1970)

Not be be confused with A Tatered Web, which involved potatoes suspended from spiderwebs.  Huh?

In this TV movie Lloyd Bridges (father of Jeff and Beau) plays a detective trying to cover up his own crime.  It includes a couple WTF moments, but the script was very concisely written.  Amp up the sex, maybe go into the detective and his daughter's backstory a bit more, and this same script could make for a good feature film.

Not Good


13. The Dark (1979)

A killer alien roams the streets of Los Angeles, and only a writer, a reporter, a cop and a psychic can bring it to justice.  William Devane does his best with a clunky script, but this movie doesn't have much to recommend it.



The Exact Moment This Movie Starts Going Downhill: George Kennedy asking the man's wife to answer the door.  He KNOWS what they did to two other families already, and even given his desire for revenge he should know that this isn't a good idea.

In The "Human" Factor an American computer scientist living in Italy searches for several "terrorists" in the wake of a personal tragedy.  The opening is brilliant, but the film quickly loses steam thereafter.  It's a shame, really, because George Kennedy was a better actor than he was often given credit for being.  His performance is, to some extent, wasted on this movie.


15. Little Murders (1971)

A very withdrawn photographer and a very aggressive woman fall in love in this blackest of black comedies.  If you're the kind of person able to chuckle over Dr. Strangelove you might like it, but those finding it a little too verbose, a little too drawn out, and a little too obscure will get no arguments from me.

For what it's worth Elliot Gould and Marcia Rodd are terrific in their respective roles, and Donald Sutherland offers another breakout performance as "the Reverend" who marries the two.  The opening credits claim that this was Sutherland's debut, but he'd appeared in several films beforehand, not least of them M*A*S*H, mentioned in conjunction with Shamus above.

Fun Fact: This was Alan Arkin's first directorial effort.  He wasn't entirely happy with the end result.

Pretty Bad


16. Grizzly (1976)

Several park rangers contend with a hungry grizzly bear.  As Jaws ripoffs go this is one of the most blatant, right down to the hat the naturalist wears and the oddly familiar scary story told in the dark.



Fan Theory: The Blob, the Thing and the rich people from Society are all examples of the same organism, just at different stages in its life cycle.

This film is OK if predictable.  The Blob shows up once again in small town America, and after that point local residents either become food or learn how to fight it.  This movie features many faces recognizable from subsequent TV shows and films, though none of them were well known at the time of filming.  Funnily enough Larry Hagman ("J.R." from Dallas) directed this one, and he also appears in it as a hobo around the halfway mark.

Warning for Cat Lovers: The Blob's first victim is a kitten.

Abysmal


18. Zero to Sixty (1978)

Smokey and the Bandit-adjacent comedy about a group of car thieves.  It's strictly sitcom-level humor, even if it was kind of fun to see Lyle Waggoner ("Steve Trevor" in the Wonder Woman TV show) as a gay bartender.


19. Walk Proud (1979)

Teenage heartthrob Robby Benson plays the most unconvincing Chicano gang member ever.  For what it's worth Benson is Jewish on both sides of his family, and he won "Worst Fake Accent: Male" in the Stinker Awards for this very movie.

Pepe Serna, who plays "Cesar" in this film should have played the lead.  He's a MUCH better actor than Robby Benson.  Those casting the movie probably thought he wasn't enough of a name, and that he'd have had a harder time passing for a high school student.

Even so, which is worse, Robby Benson trying to pass for Chicano or Pepe Serna, then 35 years of age, trying to pass for a teenager?

Embarrassing


20. Scorchy (1976)

Yes friends, there is indeed a movie called Scorchy and yes, it's as dumb as you think it is.

Connie Stevens, mother of Carrie Fisher, stars as "Scorchy," some kind of detective (?) out to catch heroin dealers operating out of Seattle.  This is one of those movies where the protagonist is really the antagonist, in that Scorchy's actions do little aside from giving the bad guys opportunities to escape and wreak further havoc upon both themselves and others.  Nothing quite says "I have a substance abuse problem" than an actress of Stevens' caliber doing a movie like Scorchy.  Did she even bother to read the script beforehand?  Was she sober enough to do so?

I enjoyed the shots of my hometown, Seattle, in the mid 70s.  The Monorail, the Seattle Center, the Seattle Waterfront -- pretty much all of Seattle's landmarks are on display.  The trip down memory lane was fun, but aside from the scenery Scorchy is a terrible movie.

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2025年7月20日 星期日

"Mistborn" by Brandon Sanderson (2006)


"'We fought our way to the palace, but there were Inquisitors.  They chased us, and Kelsier fought --' She stopped, looking at Dockson, 'Kelsier?  Is he --'"

Brandon Sanderson is a fantasy writer living in Utah, where he teaches Creative Writing at Brigham Young University.  He's the creator of the Cosmere Universe, of which his Mistborn novels are a part.  

The book discussed here is also known as The Final Empire, the first book of the Mistborn Trilogy.  My copy of the book is simply titled "Mistborn," so I'm calling it that.  Hopefully the distinction doesn't confuse anybody.

Mistborn takes place in the Final Empire, a kingdom whose geography is only vaguely outlined in the book.  The Final Empire is controlled by the Lord Ruler, a shadowy figure only seen near the end of the novel.  The Lord Ruler rules over the Final Empire with a magical ability known as Allomancy, which involves the ingestion of different metals and the harnessing of the magical qualities of each.  Standing against the Lord Ruler is a rebellion led by Kelsier, a former slave with a longstanding grudge against him, and Vin, his young apprentice.

"Mistborn" in this context refers to someone able to harness more than one metal to perform magic feats.  Ranked beneath the Mistborn are Mistings, who are only able to harness one metal to perform more specific magic feats.  Ferochemists, also introduced in this book, use different metals to store and retrieve different physical abilities, and beneath the Ferochemist is ranked the Ferring, who, like the Misting, can only use one metal instead of several.

The world in which these Mistborn, Mistings, Ferochemists and Ferrings operate is very hierarchical.  As already stated the Lord Ruler sits at the top of the food chain, often playing one side off against the other.  Beneath him are the Obligators and the Inquisitors, a kind of magical secret police force which enforces his will.  Beneath the Obligators and the Inquisitors stand the noble houses, which run the mercantile side of things, and below the noble houses are the skaa, a race of slaves without rights or legal representation.

It's a lot to take in, but keep in mind that the author sets most of it up in a very lengthy novel, and the concepts introduced above are only partly explained in Mistborn.  They are further refined and expanded on in further books, and at the conclusion of Mistborn even Vin, the main character, questions a lot of what she knows about both Allomancy and Ferochemistry.

When reviewing any fantasy novel (especially any fantasy novel forming part of a series), I tend to focus on three components, these being a) story and characterization, b) world building and c) systems of magic.  When thinking along such lines I am to some extent comparing any fantasy novel to both Lord of the Rings and Game of Thrones, the two pillars of the genre and its two best-known series.

In terms of story and characterization I'd give Mistborn a passing grade.  Vin, the protagonist, is a fully realized character, but her mentor, Kelsier isn't.  Kelsier's other crew members are even less actualized, and seem to pop in and out of the narrative with little consequence.  Elend, the member of the nobility that Vin quickly falls in love with, is slightly more three-dimensional, but the Lord Ruler, the shadowy figure touching his family's life, remains an unsatisfying enigma.  The story that these characters inhabit isn't bad, but it's length is daunting and I'm still not sure if the economics (not to mention the climate) of the Final Empire makes sense.

World building?  Well, let's just say that Mistborn isn't either Game of Thrones or Lord of the Rings.  At the outset we're invited into a world that resembles the plantation economy of the Old South, but this quickly gives place to a Medieval city which somehow functions on magic first and commerce second.  None of it quite hangs together properly, and the prehistory provided by the author doesn't go far toward fleshing out or explaining any of the events in the story.  We know that the Lord Ruler has been in power for a thousand years, but there's little sense of what happened before the present day or why.

The systems of magic presented in this book, however, are its real strong point.  These systems are, if magical in nature, well explained and relatively logical, and also open-ended.  These systems of magic make for some riveting fight scenes, and the moments when Vin or Kelsier use their Allomantic powers against various adversaries are far and away the best parts of the book.

I think this is/was a strong first novel that is probably improved upon in later books.  It has a few issues -- in places it seems cardboard-thin -- but it's an inventive story that does hit the right notes overall.  It's not Lord of the Rings, it's not Game of Thrones, but it is at least a creation unto itself.  I'd be glad to read the sequels if and when I come across them.

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2025年7月8日 星期二

Still More 60s Movies 4

Worth Seeing



An eloquent statement on the personal cost racism exacts in the deep South.  Star Ivan Dixon says a lot without necessarily saying a lot, and the supporting cast consists of many famous names who weren't so famous at the time.

This was Yaphet Kotto's first movie.  He doesn't have a big role, but even as a younger man he had those laser eyes that would prove so memorable in films such as Across 110th Street, Live and Let Die and Ridley Scott's Alien.

This was also Motown's first movie soundtrack, and if you look closer you'll notice Gloria Foster, who'd go on to appear as "Oracle" in the Matrix trilogy.

2. The Rain People (1969)

Francis Ford Coppola's portrait of a woman desperate to escape the confines of domestic life.  Shirley Knight is excellent in the lead role, and James Caan adds a lot of pathos as a disabled man she picks up in the midst of her journey.

In this movie, as in Never On Sunday (below) we see a new approach to telling a story on film.  The Rain People wasn't a huge financial success, but I imagine it went a long way toward both cementing Coppola's reputation and setting the stage for many of the younger directors that followed in Coppola's wake.


3. Never On Sunday (1960)

Very racy for the time period.  Not only does this film center around an unrepentant prostitute, but this character and her various male companions are shown in various states of undress.

Melina Mercouri stars as a woman who happily exchanges sexual favors with men of her choosing, while the director and Mercouri's husband, Jules Dassin, co-stars as an American trying and failing to teach her the error of her ways.  Playing out in the background is an estrangement between Western ideals of Greece and what that country actually is (or was).  Never On Sunday is a compelling tale of how idealization falls flat in the face of reality, and after its release Mercouri would be awarded Best Actress at Cannes.

She'd go on to become Greece's Minister for Culture in 1981.



An American woman falls in and out of love with Paris.  Jean Seberg carries the lead role like nobody's business, and script is pitch perfect.  It's a captivating look at both gender stereotypes and "modern" relationships.

Around the time of this film's release Seberg was appearing in many of the French New Wave movies.  Her earliest years in Hollywood were something of a disappointment, but by the time she returned from France her star was on the rise.


5. The Nanny (1965)

Screen legend Betty Davis stars as a nanny who's more than she appears to be.  The dynamic between her character and the family's young son is riveting to watch, and the film's conclusion stayed with me.  It moves slowly but it's worth the effort.


6. Pretty Poison (1968)

Anthony Perkins plays a delusional man just released from a psychiatric facility, with Tuesday Weld as a high school student with ulterior motives.  This movie reminded me why I love the original Psycho so much, and also of how Perkins, when given the right role, could elevate an indifferently directed movie.

Eh... You Could Watch It, I Guess


7. Me, Natalie (1969)

Al Pacino's first movie!  He was around 29 when they filmed this.

Me, Natalie is a coming of age story centered around a young woman insecure about her looks.  It's melodramatic in a Judy Blume kind of way, and also somewhat predictable, but I enjoyed it.


8. Modesty Blaise (1966)

The UK government hires the enigmatic criminal (?) Modesty Blaise to retrieve a shipment of diamonds (?).  That's what I got out of it anyway.  It's an extremely arty movie, featuring a lot of globular lighting and people lounging around minibars in robes.  If you liked Danger: Diabolik you might like this one too, but be warned that it's far less coherent than that later Italian film.

This movie was developed from a comic strip popular at the time, and in Modesty Blaise the director was attempting to lampoon the spy craze which resulted in films like this one, Danger: Diabolik and Dr. No.



The precocious, boy-crazy Gidget journeys from sunny Malibu to worldly Rome.  This was the third and final Gidget movie, featuring Cindy Carol as Gidget.  The various characters' ideas about love and marriage will seem extremely dated in 2025, but I found their relative "innocence" very refreshing.


10. "She" (1965)

Speaking of Dr. No, this one features a former Bond girl, a lost Egyptian city and a couple faces you might recognize from any number of Hammer horror films.

It has some redeeming features but it's grindingly slow.  It was a big hit at the time, and led to a 1968 sequel, The Vengeance of She, but in my opinion "She" isn't worth the effort.


11. The Split (1968)

Parts of this movie don't make much sense.  Why hire Donald Sutherland's character just to shoot out some tires with a sniper rifle?  Why test Ernest Borgnine's fighting skill?  Why take the money out in an ambulance?  Why sit there for the duration of the game when they could have taken all the money once the game was over?  Why would Gene Hackman's character have any reason to trust or cooperate with Jim Brown's character?  Why?  Why?  Why?

The Split is frustrating that way.  It starts out well enough, and Quincy Jones' score is great, but the heist is a nonevent and the way in which the criminals turn on one another afterward is completely mystifying.  Jim Brown is good in the lead role, but he deserved a better movie.

How Bored Are You?


12. Goodbye Again (1961)

A young American pursues a much older woman around Paris.  It's alright as this kind of movie goes, but it felt too much like a play to me and Anthony Perkins was far from convincing.  He was coming off Psycho when this was filmed, and yes, he won at Cannes for his performance in Goodbye Again, but his acting in this movie was a little too cartoonish, and out of step with what the other actors were trying to do.

The ending is depressingly memorable though.  Ingrid Bergman, alone, staring into that mirror.  Yeah, that one's going to stay with me.



After an atomic war eliminates 92% of mankind the survivors are left to rely on a race of robots for their continued existence.

It's super slow, crushingly talky and extremely low budget.  Kinda fun if you're in that kind of mood, but this one was never going to win any Academy Awards.

The book it was adapted from is probably very good.  Many of the discussions in this movie are reminiscent of present discussions regarding AI and automation.



Kinda convenient how her head just came off like that.

The Brain That Wouldn't Die is exactly the sort of movie that freaks me out -- surgery, transplantation, and the ethical issues related to both -- but as it is it's very hokey and impossible to take seriously.  Johnny Got His Gun continues to give me nightmares, decades after having first seen it, but The Brain That Wouldn't Die is another kind of animal altogether.  It's Frankenstein on a lower budget, but I think you'll find that watching it can be enjoyable.

Oh, and for the record the transplantation of a human head onto another body is still beyond the reach of medical science, the biggest obstacles being keeping the brain alive during the procedure, fusing two different spinal cords, and transplant rejection.  It is technically possible to keep a human head biologically functional apart from its body, but so far we only have highly controversial experiments on animals as evidence to that effect.


15. Mr. Sardonicus (1961)

A peasant turned nobleman becomes a "ghoul" after a traumatic experience involving his father's death.  It's well acted and the dialogue is much better than what you'll find in The Brain That Wouldn't Die, but Mr. Sardonicus is somehow less memorable for all that.

I would recommend, however, skipping ahead to the last few minutes of this movie.  The "vote" conducted by Mr. Sardonicus' host is a fun idea.

The producer and director of this film, William Castle, was known as "The King of Gimmicks."  He was the driving force behind movies such as The Tingler, House on Haunted Hill and Bug.  I hereby refer you to his Wikipedia entry for details on all his weird and wonderful promotional stunts.

Don't Bother?


16. Smashing Time (1967)

NOT funny, in any way, shape or form.  There are two kinds of British humor (or is it "humour?"): the clever, ironic kind and the crude, somewhat repressed, somewhat sexual kind exemplified in Smashing TimeSmashing Time is most definitely NOT Monty Python, but rather a film about people engaging in senseless food fights, spraying one another with liquid manure, and rape-like scenarios present for comedic effect.

For what it's worth Smashing Time details the exploits of two girls newly arrived in London, both looking for fun, excitement, fame and fortune.  In the course of their journey they find all four, but by the end of the film they've decided that life in swinging London isn't for them, and that it's time to return whence they came.  The glimpses of Carnaby Street fashions are interesting, but that's about it.

Those with keen eyes will notice the band Tomorrow in the opening credits.  Unfortunately none of Tomorrow's music actually ended up in the film, and the band would implode soon thereafter.  Steve Howe, the guitarist for Tomorrow, would go on to form Yes in 1968.


17. First Spaceship on Venus (a.k.a. "The Silent Star") (1960)

I'm only placing this above Mission: Stardust (below) because a) "Sumiko" is more attractive to me than whoever plays the blondish alien in Mission: Stardust, and b) it is, on average, weirder and less "logical" than the other film discussed below.

Oh, and it's also: c) an East German-Polish co-production, and d) an adaptation of a short story by Stanislaw Lem, one of my favorite science fiction writers.  In terms of science fiction cinema it's a pioneering film in many ways, which isn't to say that it's "good" in the way movies at the top of this entry are good.  Inventive?  Sure, but definitely not good.


18. Mission Stardust (1967)

Science fiction via the Italian film industry.  None of the plot elements bear thinking about, but most mystifying of all is why the crime lord character thinks he can capture the alien spaceship.

If you're ever wondering why the original Star Wars was so popular give this film a look.  It's everything George Lucas' movie was trying not to be.


19. The Wild Angels (1966)

Several years before Easy Rider, Peter Fonda starred in this Roger Corman picture about a neo Nazi biker gang.  It's NOT awesome, and Nancy Sinatra proves that no, not all singers are destined to become noted actresses, but it is historic in a sense.  Some credit it with restarting the biker genre in the 60s, especially in connection to the rising counterculture, but I have doubts about this claim.  There were plenty of other biker movies both before and after this one, and in my opinion saying that The Wild Angels is/was so influential is a stretch.



A space monster resembling a pile of discarded rugs disrupts the daily schedules of several residents of a small town.  The weakest point of this movie isn't its low budget, but rather the narration, which all but suffocates the story it's trying to tell.

Wikipedia describes this movie as "a cult film."  I don't know what cult that is or why anyone would want to join it.

And speaking of cults, the infamous Spahn Ranch, hideout formerly used by the Manson Family, was where The Creeping Terror was filmed.

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