I'm a sucker for sci-fi. When I heard about V I couldn't help but be at least a little interested. I don't know much about the original 1983 series, but I thought I might as well watch an episode of the reboot.
To get straight to the point, the pilot was really good. However, I'll admit now that it did have a rather big 'wow factor' that I'm not sure they'll be able to maintain for the rest of the series. The special effects were some of the best I've ever seen for a TV show. There's little chance the budget will allow for that kind of spectacle every week.
The characters introduced were interesting and mostly 'real' (ok, so they're sometimes cheesy, but they mostly get away with it). There's some (albeit limited) chemistry between the actors that's unspectacular, but watchable. Also, two words - Alan Tudyk.
As with much of good sci-fi, the genius truly lies in the subtext. There was a fair amount of exposition to help demonstrate what the show will attempt to explore. There was clear mention of indoctrination (and parallels drawn with religious extremism), parental responsibility (and teenage rebellion - itself paralleled with political rebellion) and political corruption. These themes will almost certainly play a big role in the show overall. So far they've been compelling and I hope the writers can keep it up.
Whilst I can't say I truly believe that the series will continue to be as good as this episode, I think the creators deserve credit for making an excellent pilot. The plot and characters are laid out clearly and the direction was used very effectively to help tell the story. The image on screen is often contrasted with the dialogue to highlight differences in characters' viewpoints and, conversely, to draw parallels between other characters. The dialogue itself is quite clever and often carries dual meanings. I get the feeling this has all been very well thought out.
In addition, the episode was well-paced and there were interesting, believable plot points that moved the story along. I didn't notice any examples of lazy writing or deus ex machina. This is often a dead giveaway of a poor sci-fi show. If the same attention to detail is given to the whole season then this show could really work. I hope it does.
Showing posts with label Sci-Fi. Show all posts
Showing posts with label Sci-Fi. Show all posts
Wednesday, 9 June 2010
Tuesday, 1 June 2010
The Matrix: A Retrospective
It's no exaggeration to say that this film helps define our generation. When it came out it was revolutionary. I rewatched it and I still think it's revolutionary.
The philosophical element is possibly the reason The Matrix stands out so clearly from others around it. This film changed the way people think about the world. We take it for granted how easily this film is used to help people think about existential concepts. The phrase, "y'know, like in The Matrix?" is commonplace. Ordinary.
However, it's also easy to read this and think that's the only reason this film is so great. After rewatching it, I've found greater appreciation for its story-telling and, more importantly, its style.
The Matrix is incredibly referential. Some influences are far more obvious than others. Most notably Cyber-punk and Kung-fu films. It's interesting that the Wachowski brothers have chosen such vastly different styles to form the overall aesthetic.
These elements seem to be fairly self-contained within individual locations. This is especially clear in the training scene where Morpheus fights Neo. The dark, grey, harsh asthetic of the 'real world' is juxtaposed against the fluid, airy wire-fights of the 'training world'. Ancient Chinese Zen clashes with futuristic Western dystopia - Crouching Tiger versus Alien.
'The Matrix', the training programs and the 'real world' all feel completely different. Each is clearly distinguished by its cinematography, character movement and music. The green filters used during scenes in 'The Matrix' world are iconic, becoming almost synonymous with this film.
There are other notable cinematic references. Much of the gun-oriented sequences are reminiscient of old-fashioned Spaghetti Westerns, most obviously in the final show-down with Agent Smith. There's a lot of mirrored imagery here that is very Sergio Leone.
There are a LOT of religious references too, mainly Christian, although some Buddhism and general Eastern philosophy too. To name a few: Zion, Judas Iscariot (Cypher), The Nebuchadnezzar, (Holy) Trinity, Neo rising from the dead and 'Spoon Boy'. Much of this seems incidental, but it's clear that the brothers have an interest in (and significant knowledge of) Christianity.
The most overt literary influence is Alice in Wonderland, which plays such a large part in the story. Neo follows the white rabbit, Morpheus asks him if he want to find out "how far the rabbit-hole goes" and Neo takes a pill in order to alter reality.
There's a lot of influence from classical literature too. The use of oracles and prophecies borrows from everything from Macbeth to Oedipus. There's also philosophy mixed in too. These elements are used as devices to explore the nature of destiny and free will. Neo is clearly a strong voice for Libertarianism, whilst Morpheus and The Oracle offer a more Compatibilist viewpoint.
However, simply listing everything that The Matrix has stolen from does not give the film-making duo the credit they deserve. Much of the content is entirely original. Who can forget the feeling when they first saw bullet-time, or the lobby-scene or even the crazy one-armed fight with Agent Smith at the film's climax? This was ground-breaking stuff!
All of these styles are layered over each other to form a hybrid that works exceptionally well. The Wachowski Brothers took influence from many other works and fused it with their own innovation and creativity to create one of the greatest and most influential films of our generation.
The philosophical element is possibly the reason The Matrix stands out so clearly from others around it. This film changed the way people think about the world. We take it for granted how easily this film is used to help people think about existential concepts. The phrase, "y'know, like in The Matrix?" is commonplace. Ordinary.
However, it's also easy to read this and think that's the only reason this film is so great. After rewatching it, I've found greater appreciation for its story-telling and, more importantly, its style.
The Matrix is incredibly referential. Some influences are far more obvious than others. Most notably Cyber-punk and Kung-fu films. It's interesting that the Wachowski brothers have chosen such vastly different styles to form the overall aesthetic.
These elements seem to be fairly self-contained within individual locations. This is especially clear in the training scene where Morpheus fights Neo. The dark, grey, harsh asthetic of the 'real world' is juxtaposed against the fluid, airy wire-fights of the 'training world'. Ancient Chinese Zen clashes with futuristic Western dystopia - Crouching Tiger versus Alien.
'The Matrix', the training programs and the 'real world' all feel completely different. Each is clearly distinguished by its cinematography, character movement and music. The green filters used during scenes in 'The Matrix' world are iconic, becoming almost synonymous with this film.
There are other notable cinematic references. Much of the gun-oriented sequences are reminiscient of old-fashioned Spaghetti Westerns, most obviously in the final show-down with Agent Smith. There's a lot of mirrored imagery here that is very Sergio Leone.
There are a LOT of religious references too, mainly Christian, although some Buddhism and general Eastern philosophy too. To name a few: Zion, Judas Iscariot (Cypher), The Nebuchadnezzar, (Holy) Trinity, Neo rising from the dead and 'Spoon Boy'. Much of this seems incidental, but it's clear that the brothers have an interest in (and significant knowledge of) Christianity.
The most overt literary influence is Alice in Wonderland, which plays such a large part in the story. Neo follows the white rabbit, Morpheus asks him if he want to find out "how far the rabbit-hole goes" and Neo takes a pill in order to alter reality.
There's a lot of influence from classical literature too. The use of oracles and prophecies borrows from everything from Macbeth to Oedipus. There's also philosophy mixed in too. These elements are used as devices to explore the nature of destiny and free will. Neo is clearly a strong voice for Libertarianism, whilst Morpheus and The Oracle offer a more Compatibilist viewpoint.
However, simply listing everything that The Matrix has stolen from does not give the film-making duo the credit they deserve. Much of the content is entirely original. Who can forget the feeling when they first saw bullet-time, or the lobby-scene or even the crazy one-armed fight with Agent Smith at the film's climax? This was ground-breaking stuff!
All of these styles are layered over each other to form a hybrid that works exceptionally well. The Wachowski Brothers took influence from many other works and fused it with their own innovation and creativity to create one of the greatest and most influential films of our generation.
Sunday, 9 May 2010
Firefly: Second Opinion
Ok, so it's not exactly a second opinion, seeing as it's pretty much the same opinion I had before but now I've just watched more. If you didn't read my original post, I can pretty much sum it up by saying that Firefly is the greatest sci-fi show ever made...In fact, why don't we go all the way? It's also the best adventure show ever made and beats the crap out of most dramas and comedies too. It's awesome, genre-spanning stuff.
I'm halfway through the series now - after spending the past two days locked to my TV - and have just finished watching Jaynestown. This episode really struck me for two reasons: firstly, it's an exceptional episode and secondly, Joss didn't write it.
I'm a huge fan of Whedon's shows and I've always liked that he uses the same core writing staff. There is something that does niggle at me though. Almost all the best Angel, Buffy and Dollhouse episodes are written and/or directed by Whedon himself. Seriously, he's just always amazing. His episodes are the smartest, funniest and most moving.
It seems like a weird criticism to say that Whedon is just TOO good, but he really does outshine his writing staff by a significant amount. I've always felt that others should get a shot. I was pretty stoked when I found out this episode was written by Ben Edlund, mastermind of the brilliant Angel episode, Smile Time. To keep it brief, Jaynestown is also incredible. So kudos, Mr Edlund!
Jayne, a character that mainly serves as the comic relief, has a real meaty story here to help flesh out and develop his character. I love how Whedon's shows don't ever forget the little guy - or in Jayne's case, the very BIG little guy! The episode is funny, moving and deep. Edlund manages to work in an incredibly interesting sub-plot for River and Book covering humanity's need for faith and spirituality whilst simultaneously using Jayne's main plot to challenge our nature of relying on those greater than us (i.e. God) to make our future better. This isn't just an episode. This is an essay, presenting both arguments and supporting them. IN-CRED-IBLE stuff.
In the other episodes I watched there has been much done to build on the solid foundation of the premiere. Best of all is Mal and Inara's relationship which, as I alluded to before, could very well be Joss's best on-screen romance, providing ample (and well-exploited) opportunity for both comedy and drama. I can't imagine myself ever getting tired of their fiery passion and constant conflict.
Credit is due to the writing staff who consistently manage to make Inara's role link in seamlessly with the work of Mal's crew, without ever appearing contrived or peculiar. Even though she works alone they manage to incorporate her into every episode. Whether she's on an 'ambassadorial' mission or with the rest of the crew, it always feels like she belongs on Serenity. Nothing breaks that reality and reminds you that you're watching a TV show. It all just feels right.
I love how the documentary-style shaky cam is used for all the shots on the ship to help maintain this realism. For all you Battlestar fans, this was done over 2 years before BSG was made. In fact, by comparison, Battlestar just seems so over-the-top. Every event is so GODSDAMN life-threatening that the camera has to move around at 100mph just to keep up with all the GODSDAMN FRAKKING important stuff. It's hard to watch that series without getting carsick.
However, Firefly has a gentle, natural shake and they use just the right amount of lens flare. They juxtapose the function and fluidity of running a crew of space pirates with the stillness and eerie beauty of space. It looks stunning and sets a great tone for the show - perfect for the whole Space-Cowboy theme.
Brilliant writing. Brilliant direction. Based on what I've seen so far, I'd be tempted to say that this show is perfect.
I'm halfway through the series now - after spending the past two days locked to my TV - and have just finished watching Jaynestown. This episode really struck me for two reasons: firstly, it's an exceptional episode and secondly, Joss didn't write it.
I'm a huge fan of Whedon's shows and I've always liked that he uses the same core writing staff. There is something that does niggle at me though. Almost all the best Angel, Buffy and Dollhouse episodes are written and/or directed by Whedon himself. Seriously, he's just always amazing. His episodes are the smartest, funniest and most moving.
It seems like a weird criticism to say that Whedon is just TOO good, but he really does outshine his writing staff by a significant amount. I've always felt that others should get a shot. I was pretty stoked when I found out this episode was written by Ben Edlund, mastermind of the brilliant Angel episode, Smile Time. To keep it brief, Jaynestown is also incredible. So kudos, Mr Edlund!
Jayne, a character that mainly serves as the comic relief, has a real meaty story here to help flesh out and develop his character. I love how Whedon's shows don't ever forget the little guy - or in Jayne's case, the very BIG little guy! The episode is funny, moving and deep. Edlund manages to work in an incredibly interesting sub-plot for River and Book covering humanity's need for faith and spirituality whilst simultaneously using Jayne's main plot to challenge our nature of relying on those greater than us (i.e. God) to make our future better. This isn't just an episode. This is an essay, presenting both arguments and supporting them. IN-CRED-IBLE stuff.
In the other episodes I watched there has been much done to build on the solid foundation of the premiere. Best of all is Mal and Inara's relationship which, as I alluded to before, could very well be Joss's best on-screen romance, providing ample (and well-exploited) opportunity for both comedy and drama. I can't imagine myself ever getting tired of their fiery passion and constant conflict.
Credit is due to the writing staff who consistently manage to make Inara's role link in seamlessly with the work of Mal's crew, without ever appearing contrived or peculiar. Even though she works alone they manage to incorporate her into every episode. Whether she's on an 'ambassadorial' mission or with the rest of the crew, it always feels like she belongs on Serenity. Nothing breaks that reality and reminds you that you're watching a TV show. It all just feels right.
I love how the documentary-style shaky cam is used for all the shots on the ship to help maintain this realism. For all you Battlestar fans, this was done over 2 years before BSG was made. In fact, by comparison, Battlestar just seems so over-the-top. Every event is so GODSDAMN life-threatening that the camera has to move around at 100mph just to keep up with all the GODSDAMN FRAKKING important stuff. It's hard to watch that series without getting carsick.
However, Firefly has a gentle, natural shake and they use just the right amount of lens flare. They juxtapose the function and fluidity of running a crew of space pirates with the stillness and eerie beauty of space. It looks stunning and sets a great tone for the show - perfect for the whole Space-Cowboy theme.
Brilliant writing. Brilliant direction. Based on what I've seen so far, I'd be tempted to say that this show is perfect.
Saturday, 8 May 2010
Firefly
Ok, so I'm a bit of a Joss Whedon fanboy and any opinion I have has to be taken with a pinch of salt. In my experience it's hard for a die hard fan to express any opinion (about the thing they're a die hard fan of) that can be even remotely comprehended by anyone who isn't themselves a die hard fan. I generally try to avoid the kind of overt bias typical of fanboy writing because it's pointless for most people to read. Nevertheless I can't ignore that after rewatching the first episode of Firefly there is a part of my brain that's just screaming "OMFGWTF!THISISTHEGREATESTSCI-FIPROGRAMEVER!!!". I just needed to get that out of the way.
Admittedly I loved it the first time around, but having gone through a phase of rewatching many of Whedon's shows, I've come to find greater respect for the artistry behind much of his work. If there's one important common element in all of these shows, it's that if you look hard enough, you see the hidden depth of thought beneath the surface. They're very deceptive actually because even the 'surface' is deeper than most shows. It's easy to be fooled into thinking that all the writers' time was spent writing the incredibly witty dialogue, charming characters and on creating interesting set pieces, but they go far beyond that. Firefly is no exception and after (re)watching only one episode I've discovered a greater love for it than ever before.
Well let's start off with the simple stuff. Firefly is witty, exciting and entertaining. The series' film-length premiere was jam-packed full of brilliant one-liners, expansive environments and frequent nail-biting tension. It's easy to think this is just a classic adventure sci-fi akin to something like Star Wars (I would actually go so far as saying it actually does this better). In 83 minutes the pacing never once lets up. We're introduced to a cast of over 10 major characters and 4 completely distinct sets of antagonists (Badger, Patience, The Alliance and the Reavers). In one episode! One episode!! Not once during this time did I feel that any plot-point was contrived or truncated. It all just works.
Now, chances are, that I've already lost you and you've written me off as just another sci-fi geek whose sole idea of excitement is the release of a new issue of his favourite comic book. Well, sadly you'd probably be right there, but I'm going to have to continue anyway. If anything just so that my brain doesn't explode from having to contain all this information.
All this stuff is great. In case you haven't got it already, it's really great. Imagine my glee when, upon rewatching, I realised there was actually more to this than I initially thought. Several core themes hit me much harder this time. Greatest of all is the 'religious' triangle that connects Mal, Book and Inara - Christianity, Far Eastern spirituality and Mal's loss of Christian faith, all clash here. Particularly in Book's initial meeting with Inara and then later as Book breaks down in front of her, both scenes involving Mal's aggressive attacks on the two strong religious figures.
Mal and Inara's relationship is a constant source of really interesting interpersonal dynamics. Their fierce arguments and clear yearning for each other provide endless opportunity not only to serve as the series' core romantic interest (I say 'core' because there are no fewer than 3 interesting romances on board Serenity) but also as important device for exploring these characters. I really didn't believe Whedon could improve on the Buffy-Angel exchange, but I think he's onto a winner here.
There are seeds sown all over the place for seemingly endless exploration. Zoe and Wash's love triangle with Mal, the mysterious and malevolant Alliance, Reavers, Wild West style pioneer culture, Zoe and Mal's involvement in the War, Jayne's potential for betrayal, Simon and Kaylee's romance, River's experience in 'the programme', Book's mysterious past. Seriously, I'm not even covering everything. Once again, I stress that this is ONE episode! Alright, so it's the length of two episodes back-to-back, but still, I can't think of a better series opener. I just can't wait to watch the next one.
Admittedly I loved it the first time around, but having gone through a phase of rewatching many of Whedon's shows, I've come to find greater respect for the artistry behind much of his work. If there's one important common element in all of these shows, it's that if you look hard enough, you see the hidden depth of thought beneath the surface. They're very deceptive actually because even the 'surface' is deeper than most shows. It's easy to be fooled into thinking that all the writers' time was spent writing the incredibly witty dialogue, charming characters and on creating interesting set pieces, but they go far beyond that. Firefly is no exception and after (re)watching only one episode I've discovered a greater love for it than ever before.
Well let's start off with the simple stuff. Firefly is witty, exciting and entertaining. The series' film-length premiere was jam-packed full of brilliant one-liners, expansive environments and frequent nail-biting tension. It's easy to think this is just a classic adventure sci-fi akin to something like Star Wars (I would actually go so far as saying it actually does this better). In 83 minutes the pacing never once lets up. We're introduced to a cast of over 10 major characters and 4 completely distinct sets of antagonists (Badger, Patience, The Alliance and the Reavers). In one episode! One episode!! Not once during this time did I feel that any plot-point was contrived or truncated. It all just works.
Now, chances are, that I've already lost you and you've written me off as just another sci-fi geek whose sole idea of excitement is the release of a new issue of his favourite comic book. Well, sadly you'd probably be right there, but I'm going to have to continue anyway. If anything just so that my brain doesn't explode from having to contain all this information.
All this stuff is great. In case you haven't got it already, it's really great. Imagine my glee when, upon rewatching, I realised there was actually more to this than I initially thought. Several core themes hit me much harder this time. Greatest of all is the 'religious' triangle that connects Mal, Book and Inara - Christianity, Far Eastern spirituality and Mal's loss of Christian faith, all clash here. Particularly in Book's initial meeting with Inara and then later as Book breaks down in front of her, both scenes involving Mal's aggressive attacks on the two strong religious figures.
Mal and Inara's relationship is a constant source of really interesting interpersonal dynamics. Their fierce arguments and clear yearning for each other provide endless opportunity not only to serve as the series' core romantic interest (I say 'core' because there are no fewer than 3 interesting romances on board Serenity) but also as important device for exploring these characters. I really didn't believe Whedon could improve on the Buffy-Angel exchange, but I think he's onto a winner here.
There are seeds sown all over the place for seemingly endless exploration. Zoe and Wash's love triangle with Mal, the mysterious and malevolant Alliance, Reavers, Wild West style pioneer culture, Zoe and Mal's involvement in the War, Jayne's potential for betrayal, Simon and Kaylee's romance, River's experience in 'the programme', Book's mysterious past. Seriously, I'm not even covering everything. Once again, I stress that this is ONE episode! Alright, so it's the length of two episodes back-to-back, but still, I can't think of a better series opener. I just can't wait to watch the next one.
The Man in the High Castle
I've not read much Philip K Dick, but he comes highly recommended from several friends of mine. I've read parts of Ubik, Do Androids Dream of Electric Sheep? and A Scanner Darkly but never found them engaging enough to finish. Having now completed The Man in the High Castle, I realise that many of my original criticisms were probably well-founded - confusing plots, odd characters and unnatural and erratic pacing. However, I've also realised that none of this matters. I've really come to appreciate Dick's genius.
The story is set in an alternate reality in which the Nazis won WWII. They control Europe, Africa, South America and the East Coast of the (now former) United States. The story takes place on the West Coast of the USA, now the Japanese occupied PSA (Pacific States of America). Reading all this in the blurb, I expected a highly political plot, centering mainly on events that help flesh out the alternate history Dick has created.
To a certain extent this is correct, but it's such a small part of the overall piece. Dick goes to incredible lengths to create this detailed and thoughtful alternate world and then writes an entire chapter about a character (Mr Childan) struggling with the dilemna of giving a gift to a customer's wife for feeling it would be improper. Another chapter ponders the nature of historicity and authenticity of antiques.
This is not at all a flaw. If anything it's an example of his greatness. Not only does Dick create a vivid alternate world - displaying incredible insight into Japanese culture, Nazi psychology and an uncanny ability to emotionally channel the characters he writes for - but he manages to incorporate in-depth philiosophical and existential discussion.
The novel is unlike any other I've read before. It constantly challenges the expectations of the reader, jumping around unpredictably and always providing food for thought. It's unconventional, interesting and always brilliantly written. This should definitely be on more reading lists. It truly is under-appreciated genius.
The story is set in an alternate reality in which the Nazis won WWII. They control Europe, Africa, South America and the East Coast of the (now former) United States. The story takes place on the West Coast of the USA, now the Japanese occupied PSA (Pacific States of America). Reading all this in the blurb, I expected a highly political plot, centering mainly on events that help flesh out the alternate history Dick has created.
To a certain extent this is correct, but it's such a small part of the overall piece. Dick goes to incredible lengths to create this detailed and thoughtful alternate world and then writes an entire chapter about a character (Mr Childan) struggling with the dilemna of giving a gift to a customer's wife for feeling it would be improper. Another chapter ponders the nature of historicity and authenticity of antiques.
This is not at all a flaw. If anything it's an example of his greatness. Not only does Dick create a vivid alternate world - displaying incredible insight into Japanese culture, Nazi psychology and an uncanny ability to emotionally channel the characters he writes for - but he manages to incorporate in-depth philiosophical and existential discussion.
The novel is unlike any other I've read before. It constantly challenges the expectations of the reader, jumping around unpredictably and always providing food for thought. It's unconventional, interesting and always brilliantly written. This should definitely be on more reading lists. It truly is under-appreciated genius.
Friday, 19 March 2010
Silent Running
So I'm feeling adventurous. I remember watching Mark Kermode's film blog and him mentioning Doug Trumbull's Silent Running and how amazing it is. The name didn't exactly ring any bells, but apparently he did the special effects for 2001. At the very least, I expect some interesting visuals.
The film is slow. Really slow. There's also something about early 70s cinema that my brain interprets as 'time to fall asleep' (I've nodded off during A Clockwork Orange. Twice). It's the minimalistic visuals, the music and the melodramatic acting style. They just do something to me. This film was no different and it really was quite the uphill battle.
The story is pretty simple sci-fi stuff. Far in the future people have destroyed all of nature and humans are able to survive on synthetic products alone. The last remaining flora have been sent into space by the 'corporations' and are maintained in biospheres on huge space-stations (that look exactly like those from the Doctor Who episode, The Waters of Mars). Freeman Lowell has spent the last 8 years of his life alone, tending to these 'space-forests' that no-one seems to care very much about any more. It consumes him. He gives up everything to maintain the last trace of non-human life.
Initially it's all a pretty hippy, 'save the forests' message. Lowell waxes lyrical to his crew-mates about how great 'real' fruit is and how terrible the synthetic crap they eat is, but they're never even remotely interested. The strength of his beliefs only serves to alienate him from them. The truth is that Lowell is a bit insane. He seems a little off his rocker at the start, but when the order is finally given to jettison the biospheres and return home, he decides to take severe action. Mutiny. He kills his three crew-mates and takes over the ship.
Lowell's motives are really hard to understand (hence me just calling him insane earlier). He saves the trees and even kills for them, but there isn't much he can do with them. No-one is interested in living things any more so he can't bring them back to Earth. All he can do is remain with them for as long as they survive. There is no purpose to his murderous acts. I suppose what this leads me to conclude is that the environmental message isn't what the film is about. The film is about the isolation of space and the real reason for the murders is just plain old cabin fever.
This was a disappointing really, mainly because I feel like I've seen this done far better before. Richard Matheson's novel, I Am Legend just explored the nature of isolation so well that I can't help but be disappointed. Silent Running just doesn't measure up.
The film has some brilliant visuals that alone are worth the watch, but it's pretty poor sci-fi. It has a boring central character and an inconsistent, confused message. Ignore this and watch Moon instead.
The film is slow. Really slow. There's also something about early 70s cinema that my brain interprets as 'time to fall asleep' (I've nodded off during A Clockwork Orange. Twice). It's the minimalistic visuals, the music and the melodramatic acting style. They just do something to me. This film was no different and it really was quite the uphill battle.
The story is pretty simple sci-fi stuff. Far in the future people have destroyed all of nature and humans are able to survive on synthetic products alone. The last remaining flora have been sent into space by the 'corporations' and are maintained in biospheres on huge space-stations (that look exactly like those from the Doctor Who episode, The Waters of Mars). Freeman Lowell has spent the last 8 years of his life alone, tending to these 'space-forests' that no-one seems to care very much about any more. It consumes him. He gives up everything to maintain the last trace of non-human life.
Initially it's all a pretty hippy, 'save the forests' message. Lowell waxes lyrical to his crew-mates about how great 'real' fruit is and how terrible the synthetic crap they eat is, but they're never even remotely interested. The strength of his beliefs only serves to alienate him from them. The truth is that Lowell is a bit insane. He seems a little off his rocker at the start, but when the order is finally given to jettison the biospheres and return home, he decides to take severe action. Mutiny. He kills his three crew-mates and takes over the ship.
Lowell's motives are really hard to understand (hence me just calling him insane earlier). He saves the trees and even kills for them, but there isn't much he can do with them. No-one is interested in living things any more so he can't bring them back to Earth. All he can do is remain with them for as long as they survive. There is no purpose to his murderous acts. I suppose what this leads me to conclude is that the environmental message isn't what the film is about. The film is about the isolation of space and the real reason for the murders is just plain old cabin fever.
This was a disappointing really, mainly because I feel like I've seen this done far better before. Richard Matheson's novel, I Am Legend just explored the nature of isolation so well that I can't help but be disappointed. Silent Running just doesn't measure up.
The film has some brilliant visuals that alone are worth the watch, but it's pretty poor sci-fi. It has a boring central character and an inconsistent, confused message. Ignore this and watch Moon instead.
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