In November of 1989, The Berlin Wall — perhaps the most potent symbol of the Cold War other than Ivan Drago — became a minor speed bump as the physical, social, and political barriers separating West and East Germany collapsed. As Germans began streaming back and forth across the once imposing border, the entirety of the Soviet-era Iron Curtain began to crumble as well, and before anyone knew what was happening, the world had changed. In the ensuing weeks and months, East and West German were reunited into a single country, the Berlin Wall was demolished, and the Soviet Union ceased to be while the satellites that had once comprised it became new countries. It was a heady mix of joy, terror, confusion, elation, and ambivalence that I remember well.
By the time the 1990s rolled around, I think everyone had given up on Rutger Hauer becoming some awesome super cool megastar, and “everyone” included Rutger Hauer himself. On the one hand, that’s too bad, because there for a while, he was a genuinely cool dude, good looking and charming but with something cruel and disturbing about him. There was no wonder a lot of the spooky ladies (and a fair number of lads) with whom I hung out with back in the day were loopy for Rutger. I’m pretty sure we had plans, at some point, to make a movie featuring Roy Batty in his little leather booty shorts from Blade Runner teaming up with Sting’s Feyd Rautha in his little metal thong thingie to… I don’t know glisten as they traveled from town to town, solving people’s problems.
In the Summer of 2003, the movie Koi Mil Gaya opened on India’s theater screens. While in most respect no different from other big budget Bollywood romances of its day, the picture boasted a couple of elements that enabled its publicity department to set it apart from the pack. If you’ve seen the film, you know what I’m talking about: Our hero, played by doe-eyed muscle farmer Hrithik Roshan, is one of those lovable movie retarded guys, but a lovable movie retarded guy who somehow has to be gotten into pole position to romance the film’s lovable but not at all retarded heroine, who is played by Preity Zinta. How KMG bridges this troublesome, albeit poignant, gap is to have Hrithik granted a genius IQ as the result of his close encounter with a gnomish, benevolent space alien.
After struggling through the lackluster Resident Evil: Degeneration, I wasn’t overly excited to jump headfirst into another animated feature film prequel to a scary video game. Even less inclined was I to watch Dead Space: Downfall because I’d never played the game and likely won’t play it for a very long time, as I do not own a gaming system for which the game is produced. Still, there was no way I was not going to watch, at some point, an animated sci-fi/horror movie, so I figured I may as well get it over with. If nothing else, at least this one was traditional cel animation (or the computer-enhanced version of cel animation that exists today).
It turns out that Dead Space: Downfall is pretty acceptable. Totally generic, yeah. Completely devoid of originality or imagination, yep. Utterly disposable, sure. But after such a rocky road through recent science fiction, horror, and animated films (a road that brought me to Resident Evil: Degeneration, Diary of the Dead, and Heavy Metal 2000), generic formula executed in adequate fashion was more than enough to draw a sigh of relief and unengaged satisfaction from me. Continue reading Dead Space: Downfall
You’d think that the isolation of Soviet-style communism would have at least shielded the citizens of East Germany from the worst excesses of seventies fashion, but the 1976 space opera In the Dust of the Stars tells us otherwise. Neither, apparently, did it prevent the creatives at the state-run DEFA studio from falling under the influence of such decadent western cultural products as Jess Franco movies and the swinging sci-fi TV series of Gerry Anderson. That this film never saw release on this side of the Iron Curtain is no surprise, given that the vision of a socialist utopia it presents — marked by free love, frequent casual nudity, and a distinctly lopsided female-to-male ratio — is one that many healthy young Western men could easily get behind. The resulting sudden spike in defections Eastward would have been truly crippling to national security.
Who’d have thought, back in the 1960s, that our nation’s youngsters were being fed communist propaganda by one of the most mercenary elements within the American film industry? Well, a lot of people, probably. It was a pretty paranoid time. Still, had they known, those people could have at least taken comfort in the fact that it was being done out of only the most purely capitalistic motives. After all, Eastern Bloc science fiction movies presented an irresistible lure to B movie producers like Roger Corman and his ilk. Being that they served as representations of the bright, technologically-advanced future achievable through socialism, these films were often the beneficiaries of relatively lavish government funding, and, as a result, boasted special effects and production design that were well beyond what makers of American sci-fi cheapies could afford. All that remained for these yanks to do, then, was to acquire these films and then strip them of everything that might identify them as being the product of a communist country — a process of Americanization that often resulted in the original films being disfigured almost beyond recognition.
It didn’t take long for the genres of horror and science fiction to start mingling. It’s a natural marriage, after all, and the two often blend seamlessly, the best and among the earliest example likely being the first two Universal “Frankenstein” movies. Throughout the 1950s, horror and science fiction were frequent bedfellows as atomic terrors ran amok across assorted landscapes. Increasingly, however, it was the science fiction element of the films that was in the forefront, with the horror placed in the background unless one was genuinely terrified of superimposed grasshoppers. By the middle of the 1950s, science fiction was still enjoying the occasional big budget celebration a la This Island Earth (1955) and Forbidden Planet (1956) while horror films were becoming increasingly cheap, b-movie quickie affairs. Not that that means there weren’t plenty of gems in the mix, but compared to science fiction, horror was lagging.