Enticing Hollywood directors with money and creative freedom, streaming services Netflix, Amazon, Hulu and others pulled a number of filmmakers into the world of television. The result has been a number of high-profile projects that require much more of a time commitment than a film. For that reason, I’ve ignored Mindhunter and left Too Old to Die Young and Devs unfinished despite being from creatives I adore.
Victorian England usually evokes images of Dickens bustling portraits of city life or the Gothic Romanticism of the Bronte sisters. JoJo’s Bizarre Adventure: Phantom Blood certainly pulls from both traditions, but more heavily from the Bronte side as the series progresses. But far from being an actual drama, the story of Jojo is an over-the-top supernatural action extravaganza. Weird, right? That’s not the half of it.
I hate Enemy. Both what the film is and what the film is trying to say is abhorrent and appalling. It’s an offense to my intelligence and a waste of a concept that has been treated much better many times over. It’s a toxic film with an unremarkable story, heavy-handed symbolism and bad execution. It has been a long time since I’ve seen a film I despise as much as I despise Enemy.
Annihilation evokes two formative stories in my own life, two stories that linger in my mind as defining experiences. The first is the creation/fall/redemption story that runs through The Bible; the second is Andrei Tarkovsky’s haunting film Stalker. The three stories all pivot around a moment of corruption and a distortion of reality.
Can a machine pass for a human? It’s the biggest question around one of the most important ideas in computers: The Turing Test. Put simply, could a machine fool a human into thinking it was a human if the human couldn’t see that it was a machine. It’s a fascinating thought experiment with all sorts of philosophical and technological implications and also has a likelihood of being a reality within our lifetime.