Showing posts with label giant robots. Show all posts
Showing posts with label giant robots. Show all posts

Friday, May 27, 2016

A Dialog About Firearms and Superheroes in Cinema with a British Intellectual


I sent a friend in London a link to the opening of Deadpool (2015) to show off some excellent use of 3D animation in the service of art, or at least superhero movies.

His response was less than ecstatic:

(edited slightly for formatting purposes)
Yeah pretty good i guess...
I'm just so bored with all american productions and their fixation with guns... I mean what is the attraction in watching people firing guns? And in most of the shows it is all unimportant characters that are being shot. The main cast rarely get hit. Its really boring...
I much prefer Scandinavian tv dramas which like British shows rarely have guns because basically we don't really have them... But i currently prefer the Nordic noirs because UK drama is being influenced by US ideas and although they don't have many guns (although they are succumbing to that too) they have picked up the American sentimentality with people hugging at the slightest opportunity - Where is our stiff upper lip anymore? But the Scandi's they have almost no sentimentality so i really like them...
Have you seen the original danish 20 part version of The Killing, or Borgen or The Bridge or Wallander... I really love those shows - in the whole of Borgen there wasn't one gun or one hug - sheer delight! Its like they took away the guns and hugging from madame secretary ;-)


I do not completely understand all his references here (e.g. “madame secretary”) but I do see what his point is. Here is my response:

We must make allowances for cultural diversity. When Paul Verhoeven in the 4th Man (1983) revealed that the nurse at the end was none other than the Blessed Virgin Mary, mother of God, he was taking a bold step for a Dutch protestant to acknowledge, in a practically Papist way, the Virgin Mary.

You see where this is going?

So it is with Americans and firearms.

The American cinema and its intellectual elite has moved beyond the giant robot and turned to the comic book superhero as a medium with which to express the totality of our civilization. And yes, there is a certain number of firearms in these movies, but there is also quite a few samurai swords, as well as more European broadsword types.

In the first Thor (2011) you will find very few firearms, but rather a lot of swords, some hand to hand, and most of all Mjolnir, the mighty hammer, "for if he is worthy, let him who wields this hammer have the power of Thor". (see attached picture)

To understand America is to understand the frontier of the old west. In the classic Western, good and evil must contend and settle once and for all which will triumph, and meet at noon for the shootout. What would you have them use instead of firearms?



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Notes


The 4th Man (1983) on IMDB

Tuesday, July 22, 2014

Pacific Grim


Warning: This essay contains spoilers for the film Pacific Rim (2013).


Some are born great and some have the mantle of greatness put upon them.

In our world there is mere craftsmanship, then art, then great art, then movies with giant robots.

But not everyone who is called to the altar of greatness is up to the challenge or in some way evil or circumstance interferes with its realization, and we experience the tragedy of a movie that could have been important but that fails and lives down to our worst expectations.

Such is the case with Pacific Rim (2013).  I had seen the effects reel at the Academy Bake Off and I was looking forward to the director's take on the critically important sub-genre of fiction: giant robots beating the shit out of alien and hostile ocean monsters.  But the great concept for the movie was let down by a truly puerile script and shallow characters. The humans were so stereotyped and uninteresting that even the giant alien monsters seemed more richly drawn, realistic and authentic in comparison.

Lucas claims that a movie is binary, that it either works for the audience and they ignore the flaws, or it does not work for them and the flaws are completely annoying.   I think that this principle of all or nothing has merit.   For example, I did not notice many of the flaws in Edge of Tomorrow (2014) when watching the film and when they eventually did occur to me it did not really bother me.

The flaws were made less important because the film was so entertaining.


A mashup between a German scientist and a Cambridge University mathematician, or something.


But not so for Pacific Rim, at least not for me.  There were so many problems and all of them attached to a very obvious and banal plot.   Not even giant robots could save this movie from its plot.   Here is a short list of just some of the problems in no particular order of importance:  1. If you are dying of radiation poisoning, you don't just get a nose bleed, or rather if you do, its because you are bleeding at all your orifices.   But none of that really matters because the radiation has probably killed all your blood stem cells and you will be dead in less than a week, horribly, and wont have the time to lead a group of desperate men and women in a last chance struggle to save humanity.   2. I found the cultural stereotypes of the German/Cambridge scientist to be offensive, although it was supposed to be funny, 3. The mind melt with the alien thing, aside from being improbable, is just confusing. Do the bad aliens read the stupid little scientist mind or not?  4. Umbilical cords are generally for mammals, as I understand it. Are the filmmakers saying that these hideous underwater alien monsters are descended from mammals? That doesn't seem very likely from what we know of them.  5. This may sound silly, but what is the motivation of our alien menace and the big fellows on the other side of the breach?   I mean what is going on?   Are they just attacking because they think its fun? Are they after our women?  What?  6. These big aliens although they are impressive looking seem rather average in terms of construction.   If they can be filleted with (for example) giant spinning sushi knives or a sock to the jaw then it seems logical that they would respond well to a couple of dozen standard, stand-off, air-to-air missiles, not to mention MK48 torpedoes.   7. Its all very well to throw around words like "analog" in regards to EMP, but for that to work that would mean that all the control systems of the adorable Gypsy Danger would have to be analog computers, etc, and I kind of doubt it.


Open wide and stick out your tongue... 


Ok, enough.

It is a principle of visual effects that great visual effects will not save a bad movie.   That is certainly true in this case, but there are some things to note about the film that are positive, in terms of cost reduction, costume design, production design and, of course, visual effects.   

1. They probably saved a lot of money on the writer.

Many people feel that having a script in a visual effects movie is just throwing good money after bad. Certainly, Michael Bay has never been held back by not having a writer on his films.  They probably saved several hundred thousand dollars on this one item, which would leave them more money for visual effects. 

2. The female lead was given an excellent costume.

Movies of this type are often calculated to appeal to adolescent boys of all ages, and one way to get their attention is to put your female lead, suitably cast, into a skintight and/or polyethylene outfit. Actress Rinko Kikuchi plays the role of Mako Mori, the spunky and strong female technocrat and martial arts specialist. I think that the rubber/latex outfit that they have her wear while controlling the giant robot in partnership with our hero is very practical and shows off her intelligence among other attributes very well.   I am still looking for the right single frame to show you what I mean, this image is a standin for now.


The properly sexist still of Mako in her latex jumpsuit has eluded me so far.  


3. In visual effects, objects interacting with water is very difficult to achieve in a realistic manner.

4. One reason that water generally looks fake in earlier visual effects (see WW2 movies or pirate movies with ships generated with model photography on a pond or swimming pool) is how off the sense of scale is, no matter what the visual effects people did.   We get an excellent sensation of scale for most of the important fight scenes of the film which either take place in shallow water or under water.

5. Finally, it is a non-trivial thing to give these 3D models a sense of scale while they are beating the shit out of each other.   And most of the shots, although often ridiculous, were also dramatic and did have good scale to them.   I was very impressed.  

ILM did all these things very well.   Have a look at some of these stills and remember that IMHO the only way to really judge the work is in motion and on a big screen.






6. Very few movies get to show what it is like on the other side: to show the unspeakable and unknowable alien world. This movie did that acceptably I thought, the pacing was good and the reveal of the horror that is the vast and evil alien intelligence is suspensful... Of course the implacable menace is just beginning to understand that they are doomed as disaster overwhelms them.


Pleasantly abstract, the alien menace sees their doom approach.


Its the stories and the characters and the details that let them down. The movie feels like it was written for 10 year olds, and maybe it was. Only a 10 year old could go with the hackneyed characterizations and the stupid plot points. And of course the whole premise is ridiculous. Although it would be moderately expensive (1) and messy to turn these monsters into shredded fish food, it would be straightforward to do so with the weapons at hand in any modern air force or navy.  I mean they are big and ugly and spray acid and look pretty mean, but it seems to me that they blowup pretty much like normal flesh and blood, alien though they may be.


The other scientist stupidly visits the alien fishbait abortion.  Nice eyes.


But I prefer to emphasize the positive about this movie and hope that something better will happen next time. Good art direction and creature animation does not a good monster movie make. del Toro has the capability of doing great work, I hope we will see better and more moving, plausible, end of the world implacable monster movies from him in the future.

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Notes:

1. The cost of a Hellfire missile is roughly $70K but I think that is a little underpowered for this activity.  A Tomahawk missile from Raytheon is about $600K - $1M depending on how you look at the accounting. A Mark 48 torpedo is roughly a million a pop, I think.   Delivering these munitions is not cheap either.  We are talking about flying F-18 Super Hornets off of aircraft carriers or of attack submarines delivering many torpedoes as suitably modified for this application.   So it would be completely plausible for the destruction of one giant alien sea monster to cost at least $50M and probably more like $100M  if not more per critter.   Not cheap, but immensely cheaper than what is portrayed in the movie as the last hope of mankind.  No nuclear weapons would be necessary.

Tomahawk Missile
http://en.wikipedia.org/wiki/Tomahawk_(missile)

Mark 48 Torpedo
Pacific Rim on IMDB


Friday, June 28, 2013

The Fate of Giant Robots in Cinema


[in progress 7/1/2013]

There is some real content here: and it is the following.  First, that Pacific Rim is an example of a video game character / voice makes the transition from games to film.  In this case, its the voice of the computer in Portal and it is also the voice of the computer in the giant robot, I think.  It is usually the other way around (e.g. from movie to game).   Second, that water in visual effects is hard, very hard.  And big water, e.g. water that is scaled up is even harder.  I don't care how fast your computers are, although that helps, it is a very tough problem for reasons we can go into later.  Third, the plot device of the "neural bridge" has amusing psychosexual implications, I hope they make good use of it.  Fourth, its been a long time since we destroyed Tokyo in cinema, I hope the filmmakers are up to the task.

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Minor Spoiler Alert, but nothing you would not learn from any trailer.
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The very future of Giant Robots, the apex of sophistication of all cinematic art, is at risk.

This important subgenre, pioneered by the Japanese and others in the far east, was created and nurtured in the field of Anime. But then it jumped out of that subgenre and into the world of mainstream filmmaking through the genius of Michael Bay, that underrated director of robotic conflict, whose Transformers can be said to have changed the very face of the cinema, transforming, as it were, the worn and old-fashioned ideas of story, character, mere plot and nuance into a vigorous and renewed art form of the clash of giant robot on giant robot.

Whereas previous narrative was limited to "person vs nature", "nature vs nature" and so forth, we can now add "robot vs robot" and "robot vs alien" greatly expanding the range of narrative possibilities.

No more weak cop buddy movies for Hollywood, or High Noon in space, or a repeat of Halloween XIII, all were swept away by the magnificence of the Transformers films. But as geniuses are wont to do, Michael Bay became bored with the genre he had helped to create and lost his way. And the genre of giant robots itself fell into decay, fallen from its former glory.

Now the entire field of Giant Robots in the hands of a tyro, a beginner to the art form, Guillermo del Toro, who is an esteemed but imperfect filmmaker. His first Hellboy was a triumph, and so were some of his earlier low budget films to a varying degree, but Hellboy II was a disappointment for reasons that were entirely under his command.  He recouped some ground with Labyrinth of Pan, but one could hardly call Labyrinth a giant blockbuster hit and, as we all know so well, in American all that really matters is money.

Thus the fate of this important genre may ride on the box office performance of Pacific Rim. Hollywood being what it is, were Pacific Rim not a "monster" at the box office, and failed, it would impose a chill on the financing of other giant robot projects, no matter how worthy. That is the normal craven behavior of Hollywood and is just a fact of our lives.

The premise of Pacific Rim is sophisticated and rich in nuance. Giant aliens menace the earth from under the seas, not from outer space, and proceed to destroy civilization and small children while we are powerless to stop them. Perhaps we have a homage here to Godzilla, even though of course Godzilla was not an alien, but an earth creature mutated into its cinematic form through the plot device of nuclear mutations. So the first thing we know is that the plot premise "aliens attack and try to destroy earth" is totally original.


From out of the alien rift comes this aquatic menace to destroy Tokyo

The second important element of Pacific Rim is that all our weapons fail to stop this menace, and we are reduced to one last chance, one last resort, a vintage, early-model Jaeger, which is a giant robotic device controlled by not one, but two, humans in concert.

Is there any science in this fiction? Well, there might be. It is generally believed by those who study such things that a large part of the brain mass of different creatures is proportional to the size of the creature. In other words, whether or not an elephant or a gorilla is intelligent (which they certainly are), a certain amount of their very large brains is used up by the sheer mechanics of controlling their large bodies. The larger the body, the larger the brain, so this argument goes.


The two buddy giant robot controller team

Thus in Pacific Rim, we need not one, but two, humans whose combined brain mass, roughly divided left and right, is necessary to control the Jaeger in its sophisticated war against the sea aliens. The two humans are brought together in "neural fusion" which is a privacy destroying mechanism in which all their dreams, mistakes, fears, emotions and memories are fused. Anyone who agreed to neural fusion must be a very brave person indeed, who would want to be fused with their girl or boy friend? You would break up at once.


The incredibly hot Japanese martial artist teenage lust object robot controller

So through this plot device we actually have a nice undercurrent of sex/relationship politics. Do we have two beefy guys in a homosexual neural fusion, or do we go the heterosexual route, particularly with a hot oriental martial arts master. We do go the heterosexual route, indeed, and it could be fun. Will the neurally fused couple be able to stay together long enough to beat up the giant sea aliens, or will their relationship break apart, will they start throwing things at each other instead of the deadly Kaifu, leading to the defeat of all humanity?

For those of you who are interested in mere visual effects, there are a number of interesting challenges to this film and they generally have the word "water" in them, lots of water.  Water in scale.  Very hard to do.  Very expensive, very annoying.

Pacific Rim has another first to the best of my knowledge.  A voice character from video games has made the transition to feature films.  You may recognize the voice of "Portal" in key places in Pacific Rim as the voice of (what I think is) the computer that helps manage the Jaegers.  If you listen carefully near the beginning of this trailer, you will hear a very recognizable voice say "Pilot to Pilot connection: engaged".

http://www.youtube.com/watch?feature=player_embedded&v=6irOTZ0WskU#at=16

So much is riding on this one film, I hope Guillermo doesn't "fuck it up" as they say.



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Pacific Rim on IMDB