Category: TV Sci-Fi (Page 15 of 81)

Lost 6.15 – Across the Sea

Ever since we were introduced to Jacob and the Man in Black at the end of Season Five, fans have been foaming at the mouth for more answers about their past. And with only two episodes until the series finale, it seems the writers have finally deemed us worthy of exactly that. Though it wasn’t as great as everyone was probably expecting it to be, tonight’s episode did fill in some of the gaps. In fact, along with shedding some light on the early lives of Jacob and MIB, it also explained why the latter is so damned obsessed with leaving the island… or did it?

Here’s what we do know. A pregnant woman named Claudia washed onto the island after surviving a shipwreck many years ago, and upon meeting another woman in the jungle, she gives birth to a pair of twin boys. The first is named Jacob, but because she wasn’t expecting to have more than one, the other is never given a name – and it remains without one after the woman kills Claudia and raises the two boys as her own. Flashforward to their teenage years and the unnamed child (who we now know as the Man in Black) finds a box on the beach containing white and black rocks that he fashions into a game to play with his brother, Jacob.

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When the boys come across some other people on the island, however, they run back to tell Mother, who tells them that the visitors are evil. She later explains that the two of them are on the island for a reason, and that she’s made it impossible for either of them to hurt the other. She then takes them to a glowing waterfall in the jungle to show them just what they’re supposed to be protecting, and though she refuses to say exactly what it is, she warns them that the visitors will try to take the light, and if it goes out, it will go out everywhere. Of course, if MIB had been paying attention, he would have caught this slip-up, as Mother had previously told him that there was nothing else in the world beyond the island. Of course, that’s quickly remedied when the ghost of MIB’s real mother visits him in the jungle and leads him the other side of the island where the survivors of the shipwreck live. She also tells him about her murder at the hands of Mother, and although MIB tries to convince Jacob to come with him until he can figure out a way to leave the island, Jacob stays behind.

Flashforward again to their adulthood, and though they now live on separate sides of the island, Jacob and MIB still get together to play their childhood game. MIB even admits that Mother was right about the other men being evil, but he needs their help in order to find a way off the island. And as it happens, he’s done just that by digging into areas of the island radiating electromagnetic energy (or as he calls it, places “where the metal acts weird”), in order to locate the source of the glowing waterfall. But when Mother finds out about his dig site – one that includes the yet-to-be-frozen Donkey Wheel that will allow him to leave the island – she throws him against the wall knocking him out. And you wonder why the guy has been holding a grudge against her for all these years.

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Doctor Who 5.4 – The Time of Angels

After being so thoroughly underwhelmed for the past two weeks, “The Time of Angels” almost leaves me speechless. I wish I could just write, “Man, that was so fuckin’ cool” and be done with it, since anything I’ve got to say isn’t going to make it any cooler. With this episode, we’ve finally gotten to material with major promise – probably even beyond promise, but since it’s only part one of a two-parter, everything could fall apart in the second half. But man oh man, what a setup!

The opening sequence – which begins with a man tripping balls – sets the stage for a whacked-out adventure. He’s been dosed with hallucinogenic lipstick by River Song (Alex Kingston). Was the field he was standing in part of the hallucination, or was it a part of the spaceship Byzantium? Clearly River has been up to something on the ship, but we don’t find out what that is straight up. 12,000 years in the future, the Doctor (Matt Smith) is showing Amy (Karen Gillan) a museum, and pointing out all the objects he’s had in hand in saving, which is really quite funny, and vaguely romantic, but mostly just boastful and stodgy on his part, especially since what Amy really wants to see is an alien planet. They come across an ancient home box on which some Old High Gallifreyan is written – it amusingly says “Hello sweetie.” The Doctor steals the box from the museum, which leads him to a rendezvous with River right outside the Byzantium. River, on the run from powers that be, releases an airlock and flies straight through the waiting, open TARDIS doors, and lands on the Doctor. The Byzantium flies away, and River issues a single order: “Follow that ship!” It’s an exhilarating start and very James Bond-like, directed by Adam Smith with precision and thought, as is the rest of the episode.

The sequence that follows it, set in the TARDIS, is equally entertaining, although on a more intimate level. The bickering back and forth from the Doctor and River is reminiscent of the Fourth Doctor (Tom Baker) and Romana I (Mary Tamm) from the early Key to Time stories, although whereas that relationship was two Time Lords getting to know one another, this one is, at least from River’s POV, rooted in familiarity. One really nice touch that gives me huge giggles is how River hangs her heels on the TARDIS scanner. I love that. Also, the fact that the TARDIS only makes the grinding noise it makes when it materializes because the Doctor leaves the brakes on. Hilarious, as is Smith’s impression of the sound. And of course the blue stabilizers, which the Doctor dubs “blue boringers.” Priceless dialogue here, all the way around.

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Season Pass Deleted: “V”

Truthfully, I stuck with this series longer than I should have, probably due to the presence of Elizabeth Mitchell (“Lost”) and Morena Baccarin (“Firefly”). But I just can’t sit through another episode. The overacting, the plot holes, the general lack of excitement — three strikes and you’re out.

This week’s episode — “Hearts and Minds” — was confounding. First of all, is it just me, or are television shows using the opening scene-then-flashback device way too much? I know there’s a rule in screenwriting that says a movie/episode should “start with an event” but it seems like every time I turn on the TV, some familiar character is in a weird situation and then five minutes later I get to start to see how he got there. I think this is fine in small doses, but it becomes a crutch when used too much.

**SPOILERS AHEAD**

In this episode, we see Ryan, Father Jack, and Kyle blow up a shuttle that was supposed to be filled with “seekers.” After they shoot it down with some advanced V technology that looks like it was cobbled together with items from the local Wal-Mart, Father Jack starts running through the wreckage to find that there are only human remains. Uh-oh. Now we’re going to spend the rest of the episode wishing they wouldn’t make the decisions they’re about to make. That’s fun.

After an awkward scene where Father Jack flirts with Erica over a punching bag — I’m sorry, but I just can’t see Catholic priests as sexual beings — Ryan tells the gang that the seekers are coming and he knows where the shuttle is going to land. Just to underline the importance of this mission, he says that if the seekers land, it’s the end of the Fifth Column. Uh-oh.

It was at this point that I deleted my season pass. If the seekers were so powerful, why didn’t Anna send them down before, or send down two or three or even ten shuttles to ensure some of them made it to the surface? If she’s apparently putting all of her eggs in one basket, why wouldn’t these nitwits figure out that this is probably a trap?

Part of the problem is that I’ve seen this story before when it originally aired in the ’80s. I know remakes/reboots/rewhatevers are all the rage, but was anyone really clamoring for more “V”? I’m a fan of sci-fi, and with “Battlestar Galactica” now over, I feel compelled to support sci-fi where I can. But “V’ just doesn’t cut it. I mentioned “BG” — now that’s how you do a reboot. “V” just pales in comparison.

The main problem is that I didn’t really care about any of these characters, save for maybe Erica, but even she refuses to tell her son the truth about the visitors even though he’s about to move up to the freaking mothership! Father Jack runs around like an impotent ninny, wondering about the spiritual ramifications of every little thing he or anyone around him does. Ryan lied to his girlfriend the entire time they were together, even after she got pregnant with his alien child. Chad Decker is a narcissistic talking head who would betray his own planet if it meant he got an exclusive.

It almost got to the point where I started rooting for the visitors.

So long, “V” — I wish I could say it was nice knowing ya.

Lost 6.14 – The Candidate

In the words of Hurley: “Whoa.” Just when it looked like tonight’s episode was going to be yet another week of unfortunate filler, that happens. And by that, of course, I mean Smokey’s devious plan to sneak a bomb onto the submarine in order to kill all the Losties in one fell swoop. I was under the impression that Smokey couldn’t harm any of the candidates (Jack, Hurley, Sayid, Sawyer and Sun/Jin), but apparently, that isn’t the case. Sure, one could argue that he didn’t directly kill any of them, but that’s kind of like saying that bullets kill people – not the ones who pull the trigger.

The events leading up to the explosion weren’t particularly engaging, either. In fact, it was more of the same stuff we’ve been hearing for weeks now. Smokey rescues the Losties, Jack tells Smokey that he’s not leaving the island, Sawyer tries to double-cross Smokey because he doesn’t trust him, yadda yadda… only for Smokey to get the upper hand in the end. So how was Smokey able to do it? I’m a little curious to hear the explanation for that one (as well as how he was able to survive a dip in the water when he couldn’t even travel by boat a few episodes ago), but go ahead and add four more Losties to the death tally while we wait.

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Lapidus was knocked out by a steel door when the water came rushing through, and Sayid (after informing Jack of Desmond’s whereabouts) sacrificed himself by absorbing the bulk of the blast. At least he died honorably. The same could be said of Jin, who refused to leave Sun to die on her own after she became trapped under all that wreckage. Of course, the fact that the writers would do this only a week after their half-assed reunion is pretty damn mean. If there was anyone I was hoping would get off the island safely, it was those two, but now that they’re goners, I really couldn’t care what happens to the rest of them. Jack clearly doesn’t want to leave, Kate has become as useless as an asshole on an elbow, Sawyer is a selfish prick again, and Hurley, well, he’s just unlucky.

It’s gotten to the point that a happy ending on Earth-2 just isn’t going to be enough anymore. I love these characters (at least, most of them) – I don’t want to see them all die. Unfortunately, that’s the way it’s starting to look with only a few episodes remaining. Stay on the island or die trying to leave. Hopefully, that won’t be the case, because then what would have been the point of telling their story? There has to be something that makes all this worthwhile, but I don’t think we’re going to get a hint of what that could possibly be until the finale. For now, it looks like we’ll just have to keep guessing as the pieces slowly come together. The fact that Jack is starting to notice the strange connection between everyone on Earth-2 is certainly a start, but while it’s fun getting to see the different paths that each character has taken in the mirror universe, I’m left wanting more. Here’s hoping the writers can deliver whatever it is we’re expecting.

Doctor Who 5.3: Victory of the Daleks

“Daleks. I sometimes think those mutated misfits will terrorize the universe for the rest of time.”

Peter Davison’s Fifth Doctor, following yet another skirmish with the cockroaches from Skaro, uttered the above quote near the end of his reign as the Time Lord. If he’d known then that he’d still be dealing with them in his Eleventh incarnation, he may well have decided to forego his impending regeneration, and just gone ahead and called it a millennium. Many “Doctor Who” fans would likely have sympathized with him had he done so. Having been writing these recaps for five years now, I am exhausted by Daleks as well. What else is there for me to say about them that I haven’t already said, or hasn’t been said by countless others time and again? And yet here I am, once again backed into a corner by some angry pepperpots demanding that I find something fresh to say on the subject. Of course, if the series can’t be bothered to do so, I don’t really see why I should, either.

Surprisingly, “Victory of the Daleks,” written by Mark Gatiss, is drenched in promise at its start. Surprising not only because all ground concerning the Daleks seems so thoroughly trod at this point, but also because the last thing Gatiss wrote for the series, “The Idiot’s Lantern,” was a forgettable misfire. The idea of subservient, benevolent Daleks isn’t a new one. It was first explored in Patrick Troughton’s first story “The Power of the Daleks,” but since that serial was junked by the BBC ages ago, only the most hardcore of fans are going to care about this. For all intents and purposes the idea is new, or at least new to us. And the show has a field day with the notion for about ten minutes. Professor Bracewell’s (Bill Paterson) Ironsides are going to win the war against the Nazis, and they’ll serve you tea as well. Just the notion that the Daleks will become this story’s Inglourious Basterds is a fun one, since the Nazis are what the Daleks were based on in the first place. With “Victory of the Daleks,” on some obscure meta level, the entire concept of the Daleks has seemingly come full circle.

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