Star Trek: The Next Generation – Imzadi by Peter David (Review)

the m0vie blog

This January and February, we’ll be finishing up our look at the second season of Star Trek: The Next Generation and moving on to the third year of the show, both recently and lovingly remastered for high definition. Check back daily for the latest review.

We’ll be supplementing our coverage of the episodes with some additional materials – mainly novels and comics and films. This is one such entry.

As far as tie-in novels for Star Trek: The Next Generation go, Imzadi is the big one. It’s Peter David’s magnum opus for The Next Generation – a wonderfully clever character study that allows David to bask in the character dynamics of the show, while playing with big ideas and grand themes. It’s very easily the strongest Next Generation novel published while the show was on television, and remains a strong contender for the best Next Generation novel ever published.

tng-imzadi

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Film Review: ‘Like Father, Like Son’ looks deep into familial bonds by undoing them

Independent Ethos

lfls_web With his latest film, Japanese director Hirokazu Kore-eda adds another film to his oeuvre that closely examines familial relations and how the smallest efforts can resolve the most daunting of circumstances. The most difficult obstacles to overcome often arise between people who love one another the most. One of the most powerful relationships has to be that between a father and son. With Like Father, Like Son , Kore-eda brews up a situation and digs so deep it cuts to a core rarely seen in cinema, despite what some may think is a plot contrivance.

Ryota and Midori Nonomiya (Masaharu Fukuyamaand Machiko Ono) are a well-off husband and wife living in a luxury condo with an only child, 6-year-old Keita (Keita Ninomiya). Ryota is a hard-working project manager involved in a plan to up-date the design of Shinjuku Station in Tokyo, the central hub of…

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Book Review: Citizen in Space, Robert Sheckley (1955)

Science Fiction and Other Suspect Ruminations

(Richard Powers’ cover for the 1955 edition

4/5 (collated rating: Good)

Robert Sheckley’s easily one of the best SF satirists in the short story form.  The collection Citizen in Space (1955), although not as uniformly brilliant as the collection Store of Infinity (1960), is chock full of gems including “The Luckiest Man in the World” (1955), “Something for Nothing” (1954), “Ask a Foolish Question” (1953), and “Skulking Permit” (1954).  Sheckley exposes in all their glory the vast variety of humankind’s follies and utopic delusions.

Later in the 50s and in the span of 6os his visions would become increasingly searing and metafictional.  This early collection

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Non-Review Review: Locke

the m0vie blog

This film was seen as part of the Jameson Dublin International Film Festival 2014.

Lock a character in a tight space for an extended period of time, crank up the pressure, watch the results. It’s a tried and true method of generating compelling drama – albeit one that depends on a wide range of variables. Films like Phone Booth and Buried demonstrate – to varying degrees of success – the appeal of such a format. If you can get a good actor in a tight space for an extended period of time and crush them, the results are inevitably fascinating.

At the same time, it’s a very delicate cocktail. The set-up has to be convincing, the script has to be tight without being contrived, the direction needs to be spot on, the performance needs to be perfectly modulated. Steven Knight’s sophomoric feature-length film manages to maintain this fine balance…

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