Is She Or Isn’t She?

Ex Machina Raises Eyebrows And Questions About The Singularity And The Nature Of Man And Machine

ON CONTINUITY

ARTH VADER (AV): A mostly original screenplay from sci-fi director/writer Alex “28 Days Later” Garland, Ex Machina explores a complex world of human/AI relations. While not directly emulating any existing sci-fi story this film feeds Hollywood’s almost morbid fascination with The Singularity, Garland’s sterile, almost asylum-like portrayal of a future AI development program is eerie and compelling. Thoughts, Pontificator. 

THE PONTIFICATOR (TP): Ex Machina is an original take on a very old science fiction theme of man playing God through replicating the creation of life. Although not the first film to touch on this subject, the delivery is unique, entertaining, and downright creepy at times. There is a lesson to be learned here that it seems the hubris of man will never allow to be learned.

CASTING, ACTING AND DIRECTION

AV: With a minimalist cast that works seamlessly, led by frontman Oscar “Inside Llewyn Davis” Isaac (also soon to be fully sci-fi indoctrinated in the upcoming Star Wars: Episode VII), who portrays the visionary/whack-job mad scientist Nathan who is out to create the next stage in AI evolution… the perfect human-like woman. Let talk direction for a moment, though, Ponty. I was blown away but the subtlety of this film and the minimalist environment of this film. In truth, the sci-fi/fantasy genre could use a whole lot more of this kind f storytelling. P-Man? 

TP: The casting was well done here Vader. I have taken a liking to Domhall Glesson ever since his performance in “About Time” and he doesn’t disappoint here as Caleb, the unsuspecting patsy used to test Ava (played by Alicia Vikander). Vikander also delivers in her role of a machine being tested for true sentience that keeps us guessing if she really does. Oscar Issac is Nathan, a genius billionaire recluse with alcohol issues and a god complex. He sells the roll convincingly and without a doubt, the unique direction of the film was pivotal in the delivery. 

SPECIAL EFFECTS

AV: As always my friends, the best visual effects are the ones you can barely identify, if not, that are down-right invisible... as Ex Machina excels at subtlety. The subterfuge of this movie is in concealing whats in plain view, women (“fembots” if one remembers THAT obscure reference) who are manipulative because they are fighting for their place in the world that turn out to be closet (literally closeted) psychopaths. With interchangeable body parts like layered skin and removable appendages, the visual effects are top notch and are subversively threaded throughout the film. 

TP: The special effects were outstanding! Without the need for big explosions or massive amounts of CGI, this film presented Ava as a real machine built on the cutting edge of technology. Although no new ground was broken, the mastery with which all the old tricks were used was absolutely breathtaking.

TAKING A DEEPER LOOK

AV: I was discussing this film recently with a friend of mine and one of his statements properly sums up the overall impact of this film. Hollywood needs more films like this. Not since 2014’s ‘Her’ has a film taken such a personal approach to the relationship between man and technology. Very soon–if not all ready the case–mankind will have a profound, evolutionary convergence with his technology. This film is deeply disturbing and exhilarating all at once. Just like the subject matter. Such a smart, next-level movie has done surprisingly well at the box office which makes me think our intellect is at least partially intact. Maybe we won’t be such easy pickings for the Robo-master race we are creating. If this is the face of sci-fi for the foreseeable future—then bring it on! 

TP: There was quite a bit going on in this film. I don’t know where to start… the question of what life truly is? The folly of man whenever he chooses to play God? The vulnerability of human nature when given cause and reason? The stagnating view of the role of women in society as seen through the insanely rich and eccentric? The power and drive of sexuality? The example humanity sets by the observance of such on the internet? This film has so many points of further discussion I could literally write a complete post about all the various subjects it touched upon. What I can say, with certainty, is that a film such as this that forces you to think and consider so many important aspects of our society is a rare gem worth watching intently. 

ON SEQUELS

AV: If we are at all lucky, this movie will be a stand-alone story. As most should be. This story has been told with no need for follow-up. Its predecessor should be a film of a completely different voice, of the same calibre. 

TP: There could certainly be a sequel to this film if they so desired, but like many classics.…this installment alone can stand on it’s own merit and by leaving us with some questions to Ava’s ultimate fate, we are forced to ponder the film long after the end credits finish.

RATE IT!

ARTH VADER rates Ex Machina: For those who like their sci-fi filled with explosions, lame one-liners, over-the-top CGI, laser swords and giant, galaxy-spanning spaceships, would do well to avoid this film. However, if you’re of the ilk that likes intelligent, introspective and engaging films that keep you guessing and offer simple but smart dialogue, then Ex Machina is a must-see. If you’d like a glimpse of what Sci-Fi as genre is capable of and what expert story-telling can do, put on your artificial skin cover a full ten Busted Blocks for this surprisingly intelligent movie. 

THE PONTIFICATOR rates Ex Machina: Although a bit slow and more story–oriented than action focused, this was an excellent film filled with tension and mystery. Most of the fun in watching was spent not only trying to figure out Ava, but also Nathan and the effect their machinations were having on Caleb. In the end, this film escaped to the real world with seven (7) busted blocks.

Ex Machina: 8.5 / 10 Busted Blocks

Say Good Knight!

Parkour, Evil Babes On Blade Stilts, Secret Gadgets and Even Samuel Jackson With A Lisp, The New-Age Comic Spy Flick Kingsman: The Secret Service Has Everything. 

ON CONTINUITY

ARTH VADER (AV): Based heavily on the comic book series, Kingsman: The Secret Service is officially listed as a “spy/action/comedy/film”. A film with a sense of humor and sense of itself, the movie ingrains itself to the audience as a smart, almost self-aware film. At more than one point in the film, actors in the film proclaim how “this ain’t that kind of film.” A spawn of the new age of comic-inspired story-telling in cinema, Kingman is fast, fun, and clever, quite like the comics published by Icon. 

THE PONTIFICATOR (TP): This film is based of the comic series “Secret Service” which I collected and very much enjoyed. There have been some subtle changes made from the series to the film, but I can honestly say that when I watched the trailer for the first time, I recognized it as a screen adaption of the comics immediately, which speaks volumes to how closely the filmmakers tried to stay true to the comic representation.

CASTING, ACTING & DIRECTING

AV: With a strong, veteran cast, Kingsman is solid entertainment. Colin Firth as Galahad is just stellar and Mark Strong as Merlin was terrific. And mad props to sci-fi super-fan-boy favorite, Mark “I am a Jedi, like my father before me” Hamill as Professor Arnold. These three gentlemen came together to deliver a solid performance and brought the caliber of a well-crafted film and a superb screenplay to a level of awesome few films get to enjoy. Director Matthew “X-Men: First Class” Vaughn’s visual storytelling compliments the film’s try and genre magnificently. Excellent cinematic endeavor wouldn’t you say, Pontificator? 

TP: This film was well cast and well acted for what it was meant to represent Vader…namely a comic adaption of a spoof on the James Bond genre. Colin Firth played an excellent role as the emotionally invested mentor of Lee (Jonno Davies in his first major film role). Mark Strong was great in his supporting role as was the well established Michael Caine and beautiful Sofia Boutella. I think Samuel L. Jackson was just added for star power, but you really can’t go wrong with him…despite the shallowness of his role.

ON SPECIAL EFFECTS

AV: A very smart array of visual effects helps make this movie even cooler than it’s idea. This movie did something I have NEVER seen before, and to me, that is the earmark of greatness—success or failure. The in-church fight scene is so action-packed, so infused with choreographed fighting with mind-bending cinematography, you have to take a deep breath after the scene ends. Really. It is that good. When visual effects make me say “…wow that was cool” to myself, well… thats the definition of good effects. To put the cherry on top, it is possible to watch this whole film and not truly even notice the effects they are so seamlessly integrated into the storytelling. That, my friend, is the right stuff. 

TP: If “over-the-top” was an official classification of effects, this film had that ad nauseam. Although I enjoyed the film and effects, I was literally sitting in the theater saying to myself…”no” as I could not believe how absolutely extreme some of the scenes were (as noted by the Dark One above). There is certainly something to be said for the similarity in the graphic comic presentation, and the duplication of that presentation in film. The 3D was used well, but it is getting to be a habit for me to feel like more could be made of using 3D in films.

TAKING A CLOSER LOOK

AV: Graphic novel adaptations have a checkered past in hollywood. Whether we’re talking the Men in Black franchise, Watchmen, Kick Ass or R.I.P.D., the graphic novel/comic book adaptation is a money making prospect for studios but hit-or-miss for content. Kingsman is a breed apart and can be considered as good as one of the best graphic novel adaptations. It shows how an action/comedy/adventure/spy thriller can entertain, delight and leave us wanting more. Gritty, senses-gripping action makes this film exciting. The characters and screenplay make it a must-watch. My only pause was the mousey or subservient nature of every single female character in the film. This of course, gives us the opportunity to do a more engaging female arc in coming films. Regardless, Kingsman is by far the best film I have seen so far this year. Ponty? 

TP: Heh… the year is still young Vader. This film was an obvious spoof on the James Bond series of films although the comic books never felt like that when reading them. Despite the insanely over-the-top gore in the effects, I found myself having extreme fun while watching it. I imagine many people that saw this film were not accustomed to the thick British accents throughout the film, but being an avid watcher of BBC America…I was right at home. I think if there was a template for a super spy spoof film that didn’t take itself too seriously, but still delivered some serious fun, this film fits that mold perfectly.

ON SEQUELS

AV: If there’s more in the store for Kingsman, I’m buying. This movie was solid entertainment, with a screenplay as smart as it was quirky. I could sit through a new Kingsman film every 20-24 months and enjoy it MUCH more than a Fast & Furious flick. Seriously. Action, adventure, comedy, social commentary and visual effects like a boss? Hell’s yeah, sign this brother up for 10 more just like it. 

TP: Of course they could continue the story beyond the books and make entertaining spy spoof films from now until whenever…but there is something to be said for doing a story just right, and leaving it to stand on it’s own merits.

RATE IT!

ARTH VADER rates Kingsman: The Secret Service: Truly a great film for action and spy flick lovers. If you like your films fun, your script witty and your action non-stop then I have no idea why you are still in your seat. Kingsman: The Secret Service is the type of movie Hollywood–and audiences–desperately need more of. It sets the pace for the genre and delivers an experience we have all too little of in films these days… a good one. So Kingsman: The Secret Service suits up with nine (9) very well-groomed and deviously-outfitted busted blocks.

THE PONTIFICATOR rates Kingsman: The Secret Service: Knowing the source material well, I was happy to see how successfully it transitioned to the silver screen. I think the effects being extremely graphic while the acting being a bit campy was the perfect blend of fun and entertainment... killing eight (8) busted blocks for King and country.

Kingsman: The Secret Service – 8.5 / 10 Busted Blocks

Interstellar is (somewhat) stellar

With no shortage of quirky speed bumps, Christopher Nolan’s Interstellar takes mankind (and audiences) on a trip that is literally out of this world.

ON CONTINUITY

ARTH VADER (AV): The big day arrives and interstellar opens to a $50 million (domestic) weekend. Christopher (Dark Knight) Nolan delivers an original but all-too-familiar plot of an Earth dying out and withering natural planetary resources, Interstellar offers a new twist on an old science fiction story, would you agree Pontificator? 

THE PONTIFICATOR (TP): Interstellar is a human driven story about extraordinary circumstances Vader. It grounds us with situations we can understand and relate to…like family, but also bombards us with things we can’t quite wrap our heads around…like time paradoxes. That said, the continuity of the film is great, until you try to figure out the “how” of it all…then you’re just lost cause the film never finds this either. 

CASTING, DIRECTION AND ACTING

AV: With an oscar-worthy cast flitting across the screen like so many… (ahem) stars, I had higher hopes for this film’s story. The quality of the screenplay is middle-of-the-road, with enough holes in the plot to foment and entire year’s worth of swiss cheese. The cast is first rate (I will leave the casting call inhale very capable hands of my co-blogger) but the acting was–at best–dialed. The forced ‘your-line-is-read-here’ dialogue is mostly flat and predictable. The story pacing is good and Nolan’s now-famous cinematography does not disappoint. P-Man, tell us more about this (Inter)stellar cast. 

TP: The casting of this film was excellent as was the acting. There was a tremendous amount of talent in this film (Michael Caine, Anne Hathaway, even a surprise appearance of Matt Damon) but don’t fool yourself for a moment into thinking this film wasn’t carried by Matthew McConaughey. He absolutely set the tone of the film and the directing gave it a pace that complimented his style and allowed everyone else to present their talent.

SPECIAL EFFECTS

AV: If you’re going to journey to the stars, your movie has got to look good. This movie, looks good. What I struggled with was the old Star Wars-esque vision of worlds defined by one geographic feature (Jungle planets, Ice planets, etc,) At first, the explores touchdown on a gravity-dense world defined by 1000-foot tides that sweep across the planet. While that science is horribly flawed, the visual effect is astounding. But all this planet stuff pales next to this film’s biggest visual effect – the robots! Hot damn, if I could have a robot like CASE or TARS I dare say my life would be pretty darn sweet! Well-written and even better imagined, Nolan’s vision of super-funny, supper-enabled ‘bots is a definite film highlight. 

TP: Visually stunning is the only way to describe the effects of this film. From the scenes on a slowly dying Earth to the awesome sequences of deep space, seeing this film in IMAX was the only way to see it. We often talk about how the best CGI is the kind you never think about while watching it. Well, this film delivers that type of quality as everything looks very real giving you a sense of being wherever the film takes you.

TAKING A CLOSER LOOK

AV: There is a lot not right with Interstellar. Too many plot holes, time gaps, implausible science and downright confusing character motivations. For one, I struggle with trying to determine some hard dot ignore points. First, Why would you send so many humans out when you had such sophisticated robots to do the hard stuff better and faster? How did Cooper to stumble across a secret NASA facility just down the road? Why was he then the single most important person for the mission? Do you mean to tell me that after spending nearly 80 (Earth) years struggling to get back in touch with each other that 98-year-old Murph and 124 year-old Coop spend just 3 minutes together before he decides to shoot off into space to find a stranded Anne Hathaway? 

Too many things that don’t come together (which we can expect in Nolan films, remember: Inception, Dark Knight Rises) but there does come a point when I can no longer gorge myself on a steady diet of unexplainable plot points and non-sensical science. I did truly enjoy the film but this one goes onto the shelf for me. Ponty? 

TP: Great points Vader! This was a long film topping out at almost three hours and given that it wasn’t constant action, it’s a testament to the quality of the script an the actors that it was so engrossing that it never felt like a three hour film. The film kept the pressure on as it constantly flowed with an “all is lost” feel even though McConaughey was the constant beacon of hope. The science of the film could have been much heavier than it was and I was glad when they decided to simplify some of it for the audience by simply telling us things like “every hour there is seven years here.” This made for some hefty heart dropping moments when they showed just how the effects of time relativity really works. The only gripe I had was that I really did not need to be treated to another time paradox plot. In the end you are left to question the “how” of it all and the only answer given leads you in a never-ending loop of impossible.

ON SEQUELS

AV: Umm, no. This is a stand-alone film. One that will do particularly well at the box office but I don’t ever need to relive any part of this film or story again. Good film, one and done.

TP: A great film that could certainly stand alone…I can certainly see how a sequel could be made, given the unanswered (or should I say unsatisfactorily answer) of how it all came about and the leaving off of where it all goes from here. That said, given one of the main points of the film was to save humanity, I’d say accomplishing that closes the door on a sequel.

RATE IT!

ARTH VADER rates Interstellar: Interstellar is truly an epic, big budget Hollywood juggernaut. Whats more, it will likely be on the lips of the Hollywood in-crowd when oscar season rolls around (Though I am doubtful of its chances). The film is fun, big and kinda dumb (as C Nolan films go). Still, there is solid entertainment and the very 2001: A Space Odessy-like ending is a bit tough to swallow. Still, it is a solid event (enhanced by IMAX) and one that entertains, in spite of its sited flaws. I will venture out into the stars with seven (7) Busted Blocks and move on to the next great sci-fi epic. 

THE PONTIFICATOR rates Interstellar: A fine film filled with heavy drama and great acting, then accented with killer special effects, there isn’t too that can be said about it that isn’t positive. It takes you on a journey not only into space, but into our own humanity as well…  and delivers eight (8) busted blocks just in time to save us all.  

Interstellar: 7.5 / 10 Busted Blocks

47 Ronin A Confusing Journey

Keanu Reeves stars as feudal Japan's 'Great White Hope' in the beautiful and odd 47 Ronin.

ON  CONTINUITY

ARTH VADER (AV): While this movie does NOT follow a predecessor directly, this story has been told a few time by Hollywood. In the vain of the bumbling westerner (or 'Half-breed" in this case) a non-Japanese hero rises to become a savior. We saw this with Tom Cruise in The Last Samurai, with MIchael Douglas in Black Rain and now again in this film. Also, as the film shares during the end-credit roll, that the story of the 47 Ronin is one that has been passed down through the years and is highly regarded example of Japanese heroism, revered the world over. Did Hollywood do this story justice, Pontificator?

THE PONTIFICATOR (TP): Well Vader, that depends on whom you ask. Based on “true” accounts, this film strays from the “facts” in many areas. Firstly, Kai (Keanu Reeves) is completely made up for the film. No doubt all the magical stuff is also fictional (but you never really know huh?). Chikara (Oishi’s son) was not spared by the Shogun. There are undoubtedly more inconsistencies, but the film was still very entertaining despite some continuity divergence.

CASTING, DIRECTING AND ACTING

AV: Director Carl Rinsch shoots a handsomely crafted visual experience in 47 Ronin. The cinematic display of this film is gorgeous. As for the casting, well I will say, that the cast is a near-perfect depiction of prominent Japanese and asian actors and actresses that would make this film gripping and authentic in the order of Crouching Tiger, Hidden Dragon, Kagemucha or The House of Flying Daggers or any number of other Critically acclaimed Asian-only casts (yes I am aware that many of these stories are Chinese in origin, but please savior my point I apologize for any offense). In the case of this film, Keanu is as out of place as Tom Cruise in The Last Samurai. Thoughts?

TP: Keanu Reeves headlines the film as the outcast Kai (a fictional character added for the film) and adds an interesting element to the film as well as an identifiable persona to widen audience interest. However, I’d say he’s more out of place than Cruise was in The Last Samurai. Rinko Kikuchi (last seen in Pacific Rim) plays the Witch, the main proponent of the mystical elements of the film. Hiroyuki Sanada (last seen in The Wolverine) plays Oishi, the lead Ronin (leaderless Samurai) charged with restoring honor to Clan Asano. It was good to see Cary-Hiroyuki Tagawa as Shogun Tsunayoshi, he’s been around for awhile and has always been a great actor. Overall, well cast for what it delivered with directing that made the film flow at a steady pace.

SPECIAL EFFECTS

AV: Though I am hard pressed to understand precisely why, 47 Ronin commands some stunning visual effects. Complete with dragons, witches, mystical warriors and giant galloping beasts, not to mention some of thew most gorgeous environmental effects around. There were very cool visual effects sequences, Ponty, I just wasn't sure why they were all there. Am I being too persnickety, P-Man? 

TP: Maybe Vader, but I thought there was nothing groundbreaking in the special effects department… at all. In fact, the CGI was sub-par in comparison to what I have become accustomed to. The best effects were the costume design and fight choreography, which gave me sense of watching the classic series Shogun, mixed with The Matrix.The best effects were the simplest ones, while the big stuff suffered… big time.

TAKING A DEEPER LOOK

AV: Wikipedia calls fictionalized accounts of popular japanese literature Chūshingura. This is probably the best way, I can think of Mr. Pontificator, to categorize this film. I know Mr. Reeves was inserted to add a 'familiar western face' to the film's otherwise completely Japanese cast but it comes off as the better-than-everyone-else-white-guy syndrome, also known as the great white hope syndrome and that just turns my stomach here at the end of 2013. C'mon Hollywood, we already have instances of critically acclaimed non-white films that have done well on their own; Hotel Rwanda, Slum-dog Millionaire, the original Old Boy (2004), 3 Idiots, The Life of Pi, and Yojimbo to name a short list of a deep selection of successful and cinematically important non-white films. 

TP: I’ve always been intrigued by feudal Japan and absolutely love good films depicting that era… even ones that take liberty and add mystical beings to the mix. Sadly, not everyone is as enthralled as I am, thus the need to add Keanu Reeves to make the film palatable for an American audience. Without his name headlining, this film would likely get no response from moviegoers, and that speaks volumes about the state of our society. Digging deeper still, I’m betting the whole “forbidden love” angle of Reeves character was a larger, if not equally so, object of intrigue for audiences as the appearance of Reeves himself. Now, what does that say about our society?

ON SEQUELS

AV: No, please… just no. One was enough, thank you very much.

TP: This story has a beginning, a middle, and an ending. There is no room, nor any need to do a sequel. If Hollywood is smart, it will leave this classic Japanese story alone (err, too late).

RATE IT!

ARTH VADER rates 47 Ronin: Can't in all consciousness suggest that someone go and spend hard-earned money on this movie. Rental? NetFlix? Amazon Prime? Hulu? Maybe but consider this, I am an avid movie goer and mire watcher with a high tolerance for toxically bad films but I fell asleep on this film… twice. Had to go back and see it a second time to fill in the gaps of awfulness. So with that, I turn over just three (3) busted blocks to 47 Ronin. 

THE PONTIFICATOR rates 47 Ronin: I’m a fan of films like these, but even I can see how the average moviegoer could get lost. Unlike Shogun, which kinda walked you through Japanese culture so as to establish an understanding before going deep into the material, there was no such help here, and I fear this lost a lot of people. The substandard effects didn’t help either, but I think this film still managed to slice seven (7) busted blocks…clean. 

47 Ronin: 5/10 Busted Blocks

Ender's Game Has Muddeled Beginning

With lots of effects, little substance and a few shinning moments, Ender's Game offers a lot for the audience to ponder.

ON CONTINUITY

ARTH VADER (AV): Well, old friend, Hollywood's done it again. From the ranks of fan favoritism, Hollywood snatches mediocrity from the jaws of potential awesomeness. Based on the beloved military sci-fi novel series of the same name by Orson Scott Card, Ender's Game attempts to make social commentary through Earth's repelling of an alien invasion from the mysterious bug-like 'Formics.' By training young cadets to become nearly clairvoyant strategists, Earth's defense forces hope to tap into a latent hidden power in humans to win the day. As a subtext for the misalignment for military, humane and scientific imperatives, Ender's Game is a complicated context for survival and the human condition the movie attempts to give us a concise overview. 

THE PONTIFICATOR (TP): The film seems to be a blend of “Ender’s Game” and “Ender’s Shadow,” although heavier on the latter. Continuity will certainly suffer a bit in a situation like this, but the result of being able to tell a story that works for the silver screen and entertains may well be worth it. 

CASTING DIRECTING & ACTING 

AV: What if they gave a movie and no big name actors came? Sure this movie has a super-studded cast of acting/sci-fi all-stars like Harrison (Han-Shot-First) Ford, Sir Ben (Don't call me the real Mandarin) Kingsley and the lovely and talented Viola (State-of-Play) Davis. These folks drop some credibility up in Ender's Game but I don't know if the movie is better or worse for it. I'm slowly migrating to the belief that some star power actually hurts a movie. Asa Butterfield's Ender is curious. The portrayal at times is passionate, at others overacted. While it was great to see Harry Ford return to our beloved sci-fi genre, he edged more toward grumpy old guy and less seasoned space-war vet. Director Gavin Wood paced the movie competently but leaves gaps in the storytelling big enough to drive a space cruiser through. Pontificator? 

TP: The delivery of Harrison Ford and Ben Kingsley was exactly as expected. They are both excellent actors that immersed themselves in their roles. The unexpected treats were Asa Butterfield and the entire cast of child actors. It was simply superb how they carried the film and never once made it feel cheesy or scripted. The performances of the cast were absolutely enthralling and the direction of the film kept it at a steady and intense pace which added to the immersion experience. As for those “gaps” Vader, I’ll get to that later.

SPECIAL EFFECTS

AV: Ponty, I am about ready to cry "Uncle" with the overdone visual effects of today's Hollywood. While everything looks stunning in this movie, the plastic and fiberglass-looking environments look woefully uninviting. We would be better served to spend more of the movie time in the half-human and half-fornic base or the Fornic hive near the end of the film. Most of the time was spent on the zero gravity training sessions and that was just all-out boring to me (especially given that Gravity came out just last month). The visual effects were quite good but just overdone for me. 

TP: This film could have gone very wrong at this point, but absolutely didn’t. The special effects were fantastic, but it was the small areas that brought it home for me. Certainly the giant space battle scenes were epic, filling the screen with more action than the eye could follow, but for me, it was the space arena training that took my imagination. Coming off of “Gravity,” I’m still reeling from the idea of floating in space, and the zero gravity environment presented (easily done with wire work) was splendidly done both in effects and to further the story in showcasing the superior tactical mind of Ender Wiggins.  

TAKING A DEEPER LOOK

AV: Science Fiction is starting to find a different voice. With beginnings in Mary Shelley's Frankenstein and through the Earth-as-an-Alien target story arcs of today, Sci-Fi hasn't proven to be a particularly kind genre to mankind. But things are changing. Such is the case with Ender's Game. The age-old tale of the sacrifice of a select few for the greater good–and survival of us all–is the story of Ender Wiggin's place in our fictional future. Does the survival of man justify the genocide of an other-worldly species... even if they did throw the first punch? Does survival dictate that we sacrifice the innocence and lives of a few for the good of all over a perceived threat? Do the people we chose to fight our wars deserve full disclosure of the context and consequences of their actions? There is even a subtext of survival of the fittest as well. The story broker's better conversation than the movie suggests–or delivers.

TP: There was much to see in this film. The portrayal of Ender as a strategic genius by the various situations he was manipulated into, was riveting. As a fan of Sherlock Holmes and Batman, “figuring it out” really appeals to me. This helped me cope with the planet-sized plot holes at the end of the film. The twist ending that the “games” weren’t really games was excellent. The shock and awe this realization had on Ender, after he ended the war with a brilliant, but genocidal strategy, was heavy. His breakdown coincided with the breakdown of all sense for the film after that. The thought that this minor, in that mental state, would be left alone to roam and wander freely didn’t make sense.  That he would find a live Formic and queen embryo just a short walk from the military base, didn’t make sense. Bringing the embryo back to the base undetected… yup, no sense. Promoted and left on his own wandering through space with said embryo, nope… not a shred of sense to that either. A rushed ending if ever there was one.

ON SEQUELS 

AV: The movie implies that Ender's journey is not over. Author Orson Scott Card wrote a series of adventures and trials further chronicling Ender's travels. Perhaps later installments deserve a deeper, more authentic view of the universe of conflict and morality this story starts us on. I would be interested but the experience of the next movie cannot rival the first. There is an opportunity here to tell a much better story than that of the 'young gifted hero who saves us all'—but Hollywood will have to take a chance on a script that doesn't follow the 'good guy always wins' convention. Ponty, what did you think? 

TP: Box office sales are a great determining factor when contemplating a sequel Vader, but for this film, more goes into the thought, in my opinion. Let’s suppose it does well enough to warrant a sequel (which is doesn’t look to be doing), there is the problem of having nowhere to go with the story that I would want to follow. Wandering through space with a Formic queen embryo can have many possibilities, but everything that made this film enjoyable for me has already been wrapped up. I’ll be happy with a release on Blu-ray that adds all the deleted scenes back into the film so it all makes sense in the end.

RATE IT!

ARTH VADER rates Ender's Game: This movie has its moments. There are times I have empathy and even respect for the hero and there are other times that, as a viewer, I could care less about what happens next. Though slow and at times witless, the story and statements are indeed weightier than the film itself. Certainly worth a watch, but this movie's lack of unique identity and story gaps are filled in with long sessions of so-what space training that leaves this fan hopeful that the next installment of the Ender's Game saga fares better than the six (6) busted blocks of the first film. 

THE PONTIFICATOR rates Ender’s Game: This film wasn’t a terrible film, in fact it was downright excellent with great effects, superb acting, intriguing story and a pace that kept me locked in. I found myself surprised at how enjoyable the film was given the fact it was mainly driven by child actors, with some excellent Harrison Ford sprinkled in. That said, I think the ending was rushed and dropped the ball, a tactical error, which strategically busted only seven (7) blocks… when it could have done much better. 

Ender's Game: 6.5 / 10 Busted Blocks