Let me begin this article by commenting on how happy I am that this movie did something with an empty handgun other than the “bang bang click click look at gun throw away.” I mean, why would you do that? First of all, guns cost money, and you can always reload it later if you get the chance. Second, even empty it’s a solid chunk of metal (unless it’s a Glock, I suppose) that is just waiting to be creatively applied in other ways. During this film’s climactic showdown, North Korean spies Pyo and Dong spend some time taking pot shots at one another and, upon exhausting their supply of bullets, they both take to using their guns as sort of brass knuckles-meet-bludgeons. Gentlemen, I salute your ingenuity. And now, on to the review…
Like most New Yorker’s I read a lot. This is a function of having a daily commute between Sheepshead Bay in Brooklyn and the East Village in Manhattan, leaving me with a half hour or more, twice daily, with little to do other than sit on the train and read. I don’t tend to select especially challenging material for the ride. It simply isn’t an environment that lends itself to such. But a good espionage book, some non-fiction, a comic book — stuff like that. Recently, as I’ve mentioned previously, I started exploring the world of science fiction books from the 70s, 80s, and a bit of the 90s. Some of them were books I’d read before and wanted to reacquaint myself with. Most are things that I completely missed, having been largely unconnected to any sort of conduit that would have clued me in to such things. I have no idea what I was doing most of my life.
In the early 1990s, I read Neuromancer. I read it enthusiastically, devoured every word , and fell in love not so much with the story, which was good, but with William Gibson’s razor-sharp acumen with the written word, with his style, and above all, with his ability to articulately describe sensations and scenes in ways no one had ever thought of, and yet made absolute and perfect sense and conveyed exactly certain feelings and visions that could not, it would seem, ever have been described any other way. At least not effectively. And yet, despite my unbridled passion for the book, when I started talking about it to someone a few months ago during one of those late-night sessions where conversation devolves into fuzzy reminiscence about setting motherboard jumpers and using VAX terminals, I discovered that all I had were vague impressions. Besides the names of a couple characters and a thing about spacefarin’ Rastafarians, I remembered absolutely nothing about the book.
This past weekend offered a rare respite from our recent rainy weather. And speaking of rare, we got the rare opportunity to visit one of the jewels of off-limits subway lore: the abandoned City Hall station in Lower Manhattan. The station was the first station on New York’s brand new subway line. As such, it was designed to be particularly showy. Designed by Rafael Guastavino, the station opened on October 27, 1904 as the southern terminus of the IRT (Interborough Rapid Transit). It boasted Guastavino tile, skylights, stained glass, and brass chandeliers. Unfortunately some years later, transit passengers began to favor the much larger, nearby Brooklyn Bridge station. Because the City Hall station was built as a loop, it could not be easily expanded to compensate for larger crowds or extended to serve Brooklyn. And the curved track left a precarious gap between the train and the platform. Use of the station declined, until it was finally closed on December 31, 1945.
Over at Alcohol Professor, I have some things to say about Odd Bedfellows, a whiskey tasting at Brooklyn’s Tooker Alley that focused on whiskey that breaks the mold and challenges the imbiber with flavors and ideas not commonly associated with the spirit. Continue reading Alcohol Professor: Odd Bedfellows
Italian science fiction is an acquired taste, even more so than most other Italian genre films. They generally have a meandering quality to them, and the low budgets mean that a large portion of any film’s run time is composed of shots of guys sitting in front of decks of blinking lights. However, the Italians can only restrain themselves for so long, and eventually those scenes of people in control rooms will be replaced by wonderful space battles and miniatures of orbiting stations and rockets with upward drifting smoke wafting out of the backs. Antonio Margheriti, better known among the jet set who know Antonio Margheriti at all as the director of a bunch of “just entertaining enough” war and action films during the 1970s, was one of Italy’s first science fiction directors. His 1960s space “adventure,” Assignment: Outer Space proved that despite my interest in old science fiction and my profession as a journalist, combining the two into one talky film is not a recipe for maintaining my attention.
On Memorial Day Weekend 2013, we had the chance to go on one of the many neighborhood walking tours conducted by the NYC Tenement Museum. It was a cold and sporadically rainy day, but that didn’t stop every tour that day from selling out — something I gather is the case pretty much every weekend, so if you want to go on one, book ahead. We chose The Lower East Side: Then and Now, which focused on the ways in which the architecture and ethnic make-up of the neighborhood has changed over the years. It was a fantastic walk despite the weather, and well worth the price of admission.