Tonight I’ll be going to see Indiana Jones and the Kingdom of the Crystal Skull, which is notable not because it’s the first time in nearly twenty years that Harrison Ford will don the whip and fedora, but also because the movie is part of a move away from computer generated effects and back to real effects, and more importantly, real stuntmen. An article in the San Francisco Chronicle explains how stuntmen in movies allow a film that was made decades ago to still appear fresh, while the latest computer generated epics look out of date a year or two after they’re released.
Even though I love computer and visual effects, I’m compelled to agree. And not only are new movies using too many CGI elements in lieu of good old fashioned, clunky but lovable “real” effects, they aren’t even paying attention to the rules of yore regarding editing and composition. I recently stumbled upon “The Black Hole,” a forgettable B-grade sci-fi movie from Disney made in 1980. I was immediately struck by the fact that, despite the overall cheapness and second-string nature of the production, they went out of their way to create a decent pace and to make every shot look as cinematic as possible. And back in the old days, every movie had to at least try for that goal, because they weren’t able to fall back on the easy answers afforded today’s films with digital editing and fancy VFX tools.
Another week of lackluster Who, this time set in 1920’s England, starring Agatha Christie…and resulting in a bit of inconsequential fluff that added up to an at best average viewing experience. The RFS crew, always ready to make lemonade out of crap, soldiered bravely on and veered so wildly off-topic that they might just have gone full circle and accidentally gone back on topic again. Digressions ahoy!
We never go into a new RFS wishing to slag the living hell out of the latest episode of what is, after all, our favorite program…but we were left with little choice after “The Doctor’s Daughter,” which had such potential but fell far short of the mark. Our anger was tempered by the usual news, diversions, and a shout out to our new friends at Tachyon TV….but ouch, here’s hoping for better fare from the BBC next week. Still, our balderdash is as engaging and filled with bon mots as ever.
The Three Who Rule spent a mind-shattering 40-odd minutes conversing about the “Sontaran Stratagem,” a fine return to form for the Doctor’s beloved potato-headed enemies (unless you ask Chris, he thought the episode was a bit crap.) And good thing too, since there was very little in the news for your intrepid hosts to ponder, though that didn’t stop the usual digressions, tangents and nonsense.
In this gripping episode of Radio Free Skaro, the Three Who Rule discuss The Fires of Pompeii, the latest adventure for the Doctor and his erstwhile assistant Donna Noble….and not much else, really. It was a rather slow week for news, though much jocular speculation on the contents of the rest of the season did manage to fill some of the dead, dead air. Next week, fear the Ood!
With the Third Guy once again AWOL (this time in France) and not much in the way of news in the week prior to the Series Four premiere, Warren and Steven still threw down nearly an hour of jocularity as they discussed both recent Who-ish goings on and took time to reflect on their favorite story from each Doctor’s era. Next week, new Who! Oh yes, and Torchwood finale or something.
With the release of Be Kind Rewind (which i didn’t think much of), the phenomenon of “sweding” films has gripped Internet videographers like a VHS-fueled fever. “Sweding” is the art of remaking famous film scenes in as clunky and obviously lo-fi way as possible. Most of these efforts fall kind of flat, but this remake of Tron is absolutely beautiful.
The Third Guy was absent for this week’s podcast, and he missed a heap of news with the release of not only the Series 4 trailer and various teasers on the interwebs but an honest to goodness announcement of April 5th as the airdate of the Series 4 premiere. Warren and Steven tried to hold down the fort through jocularity and sarcasm, but their constant threats involving the Gun of Spite (and later, the Cannon of Hatred) because of the Third Guy’s impending trip to Paris and to a studio audience to view David Tennant in person meant an air of amusing menace permeated the proceedings.
