Link Dump

Well, the weekend just sorta got away from me, so here, enjoy some links culled from the depths of ye olde internets: That's all for now!
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Teddy Roosevelt versus anti-Semitism

In Theodore Roosevelt's autobiography, he recalls a story from his time as Police Commissioner of NYC:
The many-sided ethnic character of the force now and then gives rise to, or affords opportunity for, queer happenings. Occasionally it enables one to meet emergencies in the best possible fashion. While I was Police Commissioner an anti-Semitic preacher from Berlin, Rector Ahlwardt, came over to New York to preach a crusade against the Jews. Many of the New York Jews were much excited and asked me to prevent him from speaking and not to give him police protection. This, I told them, was impossible; and if possible would have been undesirable because it would have made him a martyr. The proper thing to do was to make him ridiculous. Accordingly I detailed for his protection a Jew sergeant and a score or two of Jew policemen. He made his harangue against the Jews under the active protection of some forty policemen, every one of them a Jew! It was the most effective possible answer; and incidentally it was an object-lesson to our people, whose greatest need it is to learn that there must be no division by class hatred, whether this hatred be that of creed against creed, nationality against nationality, section against section, or men of one social or industrial condition against men of another social and industrial condition. We must ever judge each individual on his own conduct and merits, and not on his membership in any class, whether that class be based on theological, social, or industrial considerations.
Certainly a better solution than, say, lighting fires in the streets and threatening violence against those who promulgate ideas we find heinous.
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Link Dump

Time is short this week due to what's know as Fat Weekend, an annual gathering of portly gentlemen that involves much merriment. For you, we've just got some links to tide you over:
  • Nightmare Photography - Nicolas Bruno is a photographer who suffered from sleep paralysis and started recreating his nightmares using photography, leading to some wonderfully ominous photos. There are more on his Instagram, too.
  • Finding the most depressing Radiohead song - Someone used Spotify and Lyrics Genius' APIs to calculate a weighted average of valence (a measure of how sad a song sounds from a musical perspective) and lyrical sentiment, all to find out what the most depressing Radiohead song/album is...
  • The Myth of Apple's Great Design - Ian Bogost challenges the conventional wisdom that Apple is great at design. Perhaps a bit too contrarian, but he does make some good points. On a personal note, the latest iPhone I got looks as great as ever, but the stupid lack of a normal headphone jack is annoying and iTunes is garbage. I mean, it's always been garbage, but in this case, it had trouble recognizing the new phone, syncing, backing up, downloading pictures - all of these things were a disaster when the phone first came out. Some of these have been fixed by recent iOS upgrades, but it's still janky. Now that Android's pretty much caught up (and/or surpassed), I'm guessing my next phone will be one of those more useful devices.
  • Overwhelmed by Mutants - Interesting strategy for playing Defender:
    One day Burrell started doing something radical. He immediately shot all his humans! This was completely against the goal of the game! He didn’t even go after the aliens, and when he shot the last human, they all turned to mutants and attacked him from all sides. He glanced in my direction with a grin on his face and said “Make a mess, clean it up!” and proceeded to dodge the swarm of angry mutants noisily chasing after him. “Burrell’s not going to win this competition” I said to myself. “He’s not going to last long with a screen full of mutants!”
    Only he did. Interesting story about turning a weakness into a strength...
  • Riding Light - A 45 minute video depicting how slow light is. Of course, light is obscenely fast in terrestrial terms, but against the vastness of space, it's awfully slow. (That's why we need Ludicrous Speed!)
  • Why Does Your Sandwich Come With a Pickle? - The answer may shock you! Or probably not, but still a funny question.
  • Dénouement 2016 Part 1: It’s OVER! - Alright, I'm late to posting this link dump, so this two month old recap of 2016 video games from Kaedrin friend Shamus Young is a little old, but it has some nice insight on the year in general and video games in particular, like his take on VR:
    Some technological problems still haven`t been solved. For example, nobody can make a VR setup that won`t make you look like a giant dork when you`re using it.
    Nailed it.
  • Tasting Notes Through the Years - This is directed at beverage nerds (SKU is a whiskey guy, but it's equally applicable with only minor changes to my preferred vice, beer, and I'm sure most others as well), but it's probably broadly applicable to a lot of human endeavors.
  • 10 Halloween Urban Legends (Can You Tell Which Ones Are Real?) - Yeah, yeah, another link that would probably have been more relevant half a year ago, but still, this is a pretty great list of creepy Urban Legends...
And that's all for now folks. Hopefully more substantial posting will resume next week...
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The Oscars

The paradox of the Oscars is that no one claims to care about them, yet they spend a lot of time and effort in order to inform you of this. I don't think I'll ever write a better intro to the Oscars as I did a few years ago:
The funny thing about the Academy Awards is that your opinion about them is pretty boring. You think the Oscars are just a cynical circle jerk of self-satisfied Hollywood elites? Boring! You're outraged at [insert snub here]? Super fucking boring! You're genuinely excited about seeing films receive the recognition they deserve? You are both naive and boring! But the one thing that unites us all is the abject hatred of the short films categories. I think we can all agree on that.
This year promises to be vaguely more interesting giving that we're living in the age of Trump and thus celebrities will be falling all over themselves to make "important" statements that will be parsed to death in the following week. I guess this is a good thing, but only in the "May you live in interesting times" curse sort of way.

On a more personal level, I just like to drink a few beers and make fun of celebrities. Making predictions can also be fun, though I do tend to fall right around the same 80% or so success rate every year. This year's picks are below. Back in the before time, the long long ago, I used to do this thing called "liveblogging". For the uninitiated, back in the "dark" days before Facebook and Twitter, people would just update their blog every 2 minutes and we'd just sit there hitting F5 to see what people were saying. A few years ago, I finally got with the times and took it all to Twitter. And to be honest, I'm not that interesting, so I usually end up just retweeting a bunch of people who are funnier and more incisive than I am. But hey, if you want to chat, I'll be on Twitter @mciocco saying dumb things. If, for some ungodly reason, you want to see a decade's worth of previous predictions and commentary on the Oscars, check them out here: [2016 | 2015 | 2014 | 2013 | 2012 | 2011 | 2010 | 2009 | 2008 | 2007 | 2006 | 2005 | 2004]
  • Best Picture: La La Land. This appears pretty close to a lock. Critics are agitating for Moonlight, but I suspect the Academy will think that throwing it an award in one of the lesser categories will be enough. Still a chance for backlash, I guess, but it's small. Arrival would be my pick, but the Academy famously doesn't go for SF, though this seems better regarded than most. Similarly, Hell or High Water is well liked (including by me!), but is unlikely to really strike a chord with the Academy. Manchester by the Sea and Hidden Figures have some cred, I guess, but their chances seem vanishingly small (and may be rewarded elsewhere). Lion only got the nomination due to customary Weinstein wrangling and will thus probably not have any real chance of winning (regardless of the film's quality). Hacksaw Ridge is just an acknowledgement that Hollywood is giving Mel a chance again. In the end, it's La La Land or Moonlight or bust.
  • Best Director: Damien Chazelle for La La Land. Historically, Best Picture and Best Director tracked together, but they've diverged over the past few years (perhaps because of the expanded Best Picture category). That being said, La La Land has the momentum and will probably run the board. I think we're due to return to these two awards being tied together. Still a chance for Barry Jenkins to take it, though. The other nominees have approximately no chance. Denis Villenueve would be my choice. Mel Gibson and Kenneth Lonergan should just be happy for being out of director's jail.
  • Best Actress: Emma Stone for La La Land. My initial thought was that Natalie Portman would take this for Jackie, but her buzz seems to be waning while La La Land waxes. Moderate chance of an upset here though. Isabelle Huppert rides the dark horse with her performance in Elle and a few wins in other awards this season. Ruth Negga seems a tad behind that, and Meryl Streep is only nominated because she's always nominated. It's Hollywood law, or something. With Streep's exception, it's a pretty strong lineup though. I don't really have a preference.
  • Best Actor: Casey Affleck for Manchester by the Sea. He's been the clear frontrunner for a while, but Denzel Washington snagged a SAG award and has been generating buzz, so he has some momentum. Virtually no chance that the other nominees will win (maybe Gosling, riding on La La Land's momentum), though it's still a decent lineup. No real preference from my perspective.
  • Best Supporting Actress: Viola Davis for Fences. Seems like a lock, though I guess Michelle Williams could spoil because she's great in the short amount of time she's on screen in Manchester by the Sea. Naomie Harris is a longshot, and the other nominees are pretty much out of it. Seems like Davis' to lose.
  • Best Supporting Actor: Mahershala Ali for Moonlight. This is a near lock, and it should be.
  • Best Original Screenplay: Manchester by the Sea. Welcome back to Hollywood's embrace, Kenneth Lonergan. But don't get too excited, it's eminently possible that La La Land will run away with it on momentum alone. No real chance for anyone else, even if my vote would actually go to Hell or High Water.
  • Best Adapted Screenplay: Moonlight. This is probably a makeup for not giving it best picture (and it's probably not a bad choice). Personally, I'd go with Arrival, but that's just because I'm a nerd and I know how difficult it was to adapt that story...
  • Film Editing: La La Land. Seems like a pretty safe bet.
  • Cinematography: La La Land. Yuuup!
  • Visual Effects: The Jungle Book seems favored and is actually pretty deserving. I can't believe Rogue One: A Star Wars Story even got nominated (most of it is great, to be sure, but zombie Tarkin seems like a pretty clear disqualifier, no?)
  • Makeup: Star Trek Beyond. I guess? I mean, sure, why not?
  • Costumes: Jackie. It's got that iconic flair, I guess. Still can't rule out La La Land though.
  • Musical Score: La La Land, because it's a juggernaut.
  • Best Song: “City of Stars” from La La Land, because it's a juggernaut. I suppose there's fair chance that having two songs from the same movie nominated could split the votes and allow something like Moana to run away with it, but I'm not counting on it.
  • Best Animated Film: Zootopia seems to be the frontrunner, but Moana or Kubo and the Two Strings should probably also contend here (I would probably vote for the latter over the former).
  • Best Documentary: O.J.: Made in America, and it probably deserves it too. The only caveat is that it's so long that maybe the voters will get fed up and go with something else. Don't think it's likely though.
  • Best Foreign Language Film: Toni Erdmann seems to be the thing most critics have talked about, but The Salesman has enough buzz that it might pull through.
That about covers it. There are some missing categories, but these are the ones I pick each year and I don't feel like figuring out which categories I neglected (though I do know that two of them are short film categories, which we've already established are hot garb). Again, follow me on Twitter @mciocco for inane commentary throughout the ceremony.
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Favorite Films of 2016

We continue our recap of the year in movies with our top 10 list, only a month and half late! But I snuck it in before the Oscars, so there is that. This marks the eleventh year I've posted a top ten, which is pretty hard to believe. For reference, previous top 10s are here: [2015 | 2014 | 2013 | 2012 | 2011 | 2010 | 2009 | 2008 | 2007 | 2006]

Summing up the year in movies and compiling a list of 10 favorites is an arbitrary exercise, but it's something I enjoy wrangling with. A couple years ago, I observed that Hollywood had really pulled their shit together and put out a pretty impressive slate of blockbusters. Well, those stars are all misaligned right now, because this was a positively dreadful year for blockbusters, lead in particular by a never-ending series of sequels and remakes that literally no-one was asking for (and which did about as well). The Huntsman: Winter's War, Now You See Me 2, Mechanic: Resurrection, Inferno, and Ben Hur, just to name a few. Marvel managed a couple solid entries, and there was a decent Star Wars flick, but otherwise things looked pretty bleak. It's tempting to say we've reached "peak sequel", but that's just wishful thinking. The real problem this year was that all these sequels were just so bad. In 2015, we at least had movies like Creed or Mad Max: Fury Road (two long-gap sequels no one was really clamoring for, yet which turned out fantastic).

As a result of these underperforming tent-poles, us movie dorks had to put on our archeology hats and dig deep to find the real gems. It usually takes some effort to round out the top 10 by delving into the offbeat and obscure offerings of the year, but this year moreso than others. My favorite stuff tended to be the middle-tier (budget wise) offerings that seem to be an endangered species in our current movie environment, but they're still there if you know where to look.

As of this writing, I have seen 78 movies that could be considered a 2016 release. This is about on-par for me, more than your typical moviegoer, but less than your average critic. Not exactly comprehensive, but enough such that a top 10 is actually a meaningful segment. Standard disclaimers apply, let's get to it:

Top 10 Movies of 2016
* In roughly reverse order
  • Tickled - Ostensibly about a journalist's attempts to get to the bottom of a mysterious ring of online tickling competitions, this documentary quickly pivots to an odd and more relevant exploration of online abuse. While this particular story only covers a tiny chunk of people impacted, it has broader implications. Perhaps not as formally inventive as its subject matter, it nonetheless makes an impression that is hard to shake.
    More Info: [IMDB] [Amazon]
  • Love & Friendship - Jane Austen period costume dramas are not exactly in my sweet spot, but this movie pleasantly surprised me. I attribute a big part of this to an excellent lead performance from Kate Beckinsale, wry and manipulative. The witty writing from Whit Stillman also deserves recognition, and the movie as a whole is a delight. Comedies, especially unusual ones like this, often get left out of the end-of-year conversation, so I'm really happy to point to this one...
    More Info: [IMDB] [Amazon] [Kaedrin Movie Award Winner]
  • Green Room - Jeremy Saulnier's tense thriller really knows how to ratchet the tension. Excellent performances all around, but the standout is the menacing Patrick Stewart (he didn't win the Best Villain award for nothing, folks). Not an easy movie, but very well executed.
    More Info: [IMDB] [Amazon] [Kaedrin Movie Award Winner]
  • Hunt for the Wilderpeople - Taika Waititi is quickly becoming a Kaedrin favorite. This tale of a rebellious kid (a "bad egg") taking off with his foster-uncle (a gruff-looking Sam Neill) turns out to be a heartwarming treat. Most descriptions make it sound overly familiar or cliched, but while the overarching skeleton may appear that way, the details and execution are on point. It doesn't come off anywhere near as cliched as you might expect.
    More Info: [IMDB] [Amazon]
  • The Nice Guys - Writer/Director Shane Black didn't invent the buddy comedy dynamic, but he's made a career out of tweaking the formula. A pair of irregular private detectives try to locate a missing girl and get wrapped up in a convoluted conspiracy surrounding a murder case.
    The Nice Guys
    Great performances from Russell Crowe and Ryan Gosling, and Black's sharp script helps too.
    More Info: [IMDB] [Amazon]
  • Hell or High Water - One of the quiet surprises of the year, this tale of West Texas bank robbers and the policemen on their tale is well paced and clever. Writer Taylor Sheridan produced a real gem here, with the best dialogue of the year servicing a complex and culturally relevant plot.
    Hell or High Water
    This is a prime example of the sort of endangered mid-budget movie I mentioned in the intro, and it would truly be a shame to miss out on movies like this. Well worth your time.
    More Info: [IMDB] [Amazon] [Kaedrin Arbitrary Award Winner]
  • The Handmaiden - Chan-wook Park's latest and among his best, this tale of a Korean handmaiden attempting to pull a con on a Japanese heiress is twisty and turny in the best way possible. Great performances and visually gorgeous to boot. It's surprisingly funny too. Perhaps not for everyone, but I loved it.
    More Info: [IMDB] [Amazon] [Kaedrin Movie Award Winner]
  • Weiner - This portrait of Anthony Weiner's self-destruction is made all the more remarkable due to the extraordinary amount of access the filmmakers had during Weiner's doomed mayoral campaign. It's got its tragic elements, but also enough pathos to soften the blow without shifting blame or sugarcoating anything. An unflinching look at a train wreck.
    More Info: [IMDB] [Amazon]
  • The Witch - An exceptional exercise in verisimilitude... except for one key detail: Witches are real! This actually represents a clever twist on your typical Witch Hunt narrative, one that makes it much more relevant to today's climate than you would initially think.
    The Witch
    Chilling and fascinating, this is a movie that really stuck with me.
    More Info: [IMDB] [Amazon] [Full Review]
  • Arrival - I'm often hard on science fiction films because it's so rare to see what I love about SF literature captured on screen. What's more, when you read Ted Chiang's Story of Your Life, you are not immediately struck by the story's cinematic potential. But Denis Villeneuve and writer Eric Heisserer managed a near miracle in adapting Chiang's complex tale of language and motherhood. They add some geopolitical wrangling to spice things up, but they don't devolve into typical Hollywood alien invasion shenanigans and still manage to evoke the same, more personal feelings and questions I had while reading the story. It also arrived at a politically opportune moment, giving it an added dose of relevance. One of the best pieces of cinematic SF of all time, and certainly the best of the year.
    More Info: [IMDB] [Amazon] [Kaedrin Movie Award Winner] [Full Review]
Special Jury Prize
Awarded to the movie that doesn't quite fit the traditional notion of a movie and thus does not make the top 10, but deserves recognition beyond Arbitrary Awards or Honorable Mentions nonetheless.
  • O.J.: Made in America - At almost 8 hours long, it's hard to consider this documentary a traditional "movie"... and yet, it's so well done that it deserves some form of unique recognition. It covers O.J.'s life and times leading up to the infamous murder trial, but it also delves into much of the social and political context for the trial. It never feels like pandering, but it doesn't flinch at difficult subjects either. It's certainly an achievement and well worth watching.
    More Info: [IMDB] [Amazon]
Honorable Mention
* In alphabetical order
  • 10 Cloverfield Lane - One of the year's baffling long-gap sequels that no one was really looking for, this one is actually a standalone tale (barely connected to its predecessor) and perhaps that's why it succeeded where so many other sequels failed. A tense, bottled story, an unhinged villain, and some deft twists make this thriller well worth your time.
    More Info: [IMDB] [Amazon]
  • Captain America: Civil War - The premise behind this story, while a time-honored tradition among comic book fans, is one of my least favorite tropes. Pitting heroes against one another is fine in isolation, more problematic in context. Nevertheless, Marvel manages to pull it off in fine style here, in part because they are able to acknowledge both sides of the argument and then delve into more interpersonal conflicts. It's certainly not a perfect movie, nor does it live up to the previous installment in the series, but it was still wildly entertaining, which is all I really need from these movies.
    More Info: [IMDB] [Amazon] [Full Review]
  • Doctor Strange - Another Marvel shot in the dark that manages to hit its target, one of the things I love about the MCU is their willingness to take a chance on more obscure or out-there characters like Doctor Strange. As I understand it, they maybe softened the edges a bit too much, but there's plenty of weird stuff here, some interesting visual cues, and a relatively clever climax that kinda subverts the typical blockbuster explodey ending.
    More Info: [IMDB] [Amazon]
  • Don't Breathe - This tale of a group of hoodlums attempting to rob a blind man, only to have him turn the tables on them, is one of the best horror movies of the year. Tense, well crafted, and thrilling, it suffers from a third act twist involving a turkey baster. A little more care in that (rather gross) situation could have easily put this in the top 10, but alas, that was not to be.
    More Info: [IMDB] [Amazon]
  • Hail, Caesar! - Howard Hawks famously described what makes a good movie: "Three great scenes, no bad ones." Well, this movie does have three of my favorite scenes of the year: A studio executive discusses God with an assortment of priests and a rabbi. "Would that it 'twere so simple." And a group of communists calling themselves "The Future" discuss class conflict as it relates to the devision of labor on a movie set. Or maybe the Channing Tatum-led musical number. Or Scarlett Johansson's synchronised swimming bit. Or about ten other scenes. Nearly a top 10 pick (i.e. Hawks isn't wrong here), but it falls just short because all these great scenes never really coalesce into more than the sum of their parts. This could change with a rewatch and further consideration, as sometimes happens with the Coen Brothers' more unruly efforts, but for now, it remains an honorable mention.
    More Info: [IMDB] [Amazon]
  • The Invitation - A man goes to a dinner party hosted by his ex-wife and her new husband. Soon, he starts to suspect something more sinister is going on. Director Karyn Kusama's deliberate, meticulous thriller builds tension slowly but steadily, lulling you in until violence starts to break out. Then things escalate even further, culminating in the slowly dawning dread of the its final shot. A strong contender for a #10 slot, and on another day, it might have show up there.
    More Info: [IMDB] [Amazon]
  • Kill Zone 2 - The best action movie I saw all year, this also aspires to a bit more with a script filled with interlocking coincidences and missed connections being discovered. But still, the real reason to watch this is the fight choreography and the execution from the likes of Tony Jaa. I'm not an expert in martial arts, but this is the best action I've seen since the last Raid movie.
    More Info: [IMDB] [Amazon]
  • La La Land - I'm not a huge fan of musicals and while this movie didn't completely convert me, I did find myself enjoying it quite a bit. I didn't find myself taken by the music itself, but rather the filmmaking. The opening number, filmed to appear as one long take. Or the bittersweet montage towards the end of the film. Director Damien Chazelle clearly knows what he's doing and I have to respect going against the grain like this. That being said, it doesn't quite stack up against the classic musicals of yore that it clearly intends to evoke.
    More Info: [IMDB] [Amazon]
  • Manchester by the Sea - A subtle study in grief centered on the notion that someone who is broken by tragedy might not be able to recover, I found myself respecting and admiring this film more than feeling for it. Not an easy movie to shake, and Casey Affleck's central performance is deserving of praise, but it all left me feeling a bit cold. That's kinda the point, and I do like the very end, which gives a well earned glimpse of hope. Still not sure it needed to be as long as it was, but writer/director Kenneth Lonergan clearly knows what he's doing, and even the extraneous bits feel exquisitely observed (in particular, the "band practice" scenes are probably unnecessary, even if they're brilliantly conceived and executed).
    More Info: [IMDB] [Amazon]
  • The Mermaid - Stephen Chow's latest certainly fits his particular brand of manic nonsense. It's funny (I particularly enjoyed the police sketch artist bit), even if some of the gags don't quite survive translation and the tone (especially towards the end) is a little unsteady.
    The Mermaid
    Still, Chow's kinetic genius is on full display, and this is well worth a watch.
    More Info: [IMDB] [Amazon]
  • Moana - Disney continues a strong run of animated hits of late, and this Polynesian-inspired tale of adventure hits the mark. As musical numbers go, this one has more memorable bits than La La Land (if not quite as numerous), and a more exciting story too. It's a lot of fun.
    More Info: [IMDB] [Amazon]
  • Moonlight - A character study divided into three sections, titled "Little," "Chiron," and "Black," each a name our protagonist adopts at a different stage of life. It's strongest in its first third, anchored by Mahershala Ali's performance as a drug dealer who helps out a kid ("Little") being chased by bullies. Impeccably crafted and empathetic, this is the critics' choice of the year, and I can see why, even if these sorts of movies don't appeal to me as much.
    More Info: [IMDB] [Amazon]
  • Popstar: Never Stop Never Stopping - Comedies get short shrift in the end-of-the-year hustle, but this one seems to have struck a nerve. Another musically inclined film that deserves recognition, and it's quite funny too. Pleasantly silly and sharp. Well worth a watch.
    More Info: [IMDB] [Amazon]
  • Sing Street - Of the musically inclined movies of the year, this one is the most joyous and entertaining. Writer/director John Carney has carved out this niche of musicians discovering one another through collaboration, and while this tale of a young boy starting a band to impress a girl might seem cliched, it still works. It was a great movie to catch up with after wading through depressing end-of-year fare (not to mention the election). It's on Netflix instant and it's a big ball of fun, watch it!
    More Info: [IMDB] [Amazon]
Just Missed the Cut:
But still worthwhile, in their own way. Presented without comment and in no particular order: Should Have Seen:
Despite having seen 78 of this year's movies (and listing out 30+ of my favorites in this post), there are a few that got away. Or never made themselves available here. Regardless, there are several movies here that I probably should have caught up with: That about covers it! Stay tuned for some Oscars commentary next week, after which we'll probably return to some SF and books...
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We announced the official 2016 Kaedrin Movie Award winners last week, but while a purpose of those awards is to throw a spotlight on movies that aren't traditionally recognized by awards or top 10 lists, the categories don't always perfectly capture everything they should. Sometimes movies are weird or flawed in ways that don't fit quite right, but they still deserve acknowledgement. The point of the Arbitrary Awards is to highlight these oddities. A few of these "awards" have become an annual tradition, but most are just, well, arbitrary. Let's get to it:
  • The "You know what happens when a toad gets struck by lightning? The same thing that happens to everything else" Award for Worst Dialogue: Suicide Squad. Pretty much anything Rick Flagg says in the movie qualifies, but the real howler is his introduction of Katana: "This is Katana. She’s got my back. She can cut all of you in half with one sword stroke, just like mowing the lawn. I would advise not getting killed by her. Her sword traps the souls of its victims." Perfectly delivered, cringe-inducing exposition there... As runner up, there are a couple of candidates. Ghostbusters has a "That's gonna leave a mark" joke, which was tired and hackey, like, 30 years ago (and don't get me started on "You just got Holtzmanned baby!"). Blair Witch has some of the least deft exposition of the year as well.
  • The Proximity to Jason Vorhees Award for Heroic Stupidity: Blair Witch. Some really dumb stuff here, like taking off shoes to cross a river, or to climb up to the top of the tree to retrieve a broken drone that you know wouldn't help, or figuring out that facing the corner prevents the Blair Witch from attacking... then turning around to face the Blair Witch for no reason. Sheesh.
  • Best Hero/Badass (Non-Human Edition):The Cloak of Levitation from Doctor Strange. In a year of lackluster heroics, this cape really stepped up. In fact, I'm more excited about this "character" than the one who won the human-centered award. I suppose I could have relaxed the rules and whatnot, but I'll settle for the Arbitrary Award.
  • Best Long Take/Tracking Shot: La La Land, particularly the opening sequence, which might be one of those things that is a compilation of several long takes assembled in a way to appear like one really big long take, but who cares, it's delightful.
  • Most Action Packed Long Take: London Has Fallen. Say what you will about this movie's reactionary sentiments, it still has one of the most thrilling action sequences of the year, as Gerard Butler makes his way towards an enemy stronghold in a single take. Lots of moving parts, a bravura sequence worthy of recognition.
  • Best Historical Reenactment: Sully. The rest of the movie is somewhat tame, exaggerated yet paint-by-numbers drama, but the reenactment of the airplane crash at the heart of the film (seen multiple times, from multiple perspectives) is exceedingly well done and worth the price of admission alone.
  • Biggest Balls Award: Phantasm: Ravager. Ba dum tsss!
  • Best Waitress of the Year: Margaret Bowman as T-Bone Waitress in Hell or High Water. Total scene stealer, one of the best scenes of the year. "Ain't nobody ever ordered nothing but a T-Bone steak and baked potato. Except one time, this asshole from New York ordered a trout, back in 1987. We ain't got no goddamned trout."
  • Best Soundtrack: Sing Street. If you're into 80s music, at least. I didn't exactly do a thorough accounting of the year's soundtracks, but I knew I wanted to recognize this movie somehow and this seemed like the best way to do it. If you haven't seen it and enjoy 80s music, get thee to Netflix, post haste.
  • Best Alcohol Reference: Sour Grapes. Fascinating documentary about rare wine fraud that is well worth your time, even if you're not a booze hound.
Let's give our winners a round of applause. Stay tuned for the top 10 of 2016, coming next week! After that, we'll wrap of 2016 movie season with some Oscar commentary and whatnot...
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2016 Kaedrin Movie Award Winners!

The nominations for the 2016 Kaedrin Movie Awards were announced a couple weeks ago. I'm sure you've been waiting with bated breath, so today, I'll be announcing the winners of said awards. Next week, I'll cover less traditional categories in what we like to call the Arbitrary Awards, and not long after that, I'll post my top 10 of 2016. Finally, we'll have some Oscars talk (predictions and probably live-tweeting or retweeting funnier people than me) and then it's on to 2017. Without further ado:
  • Best Villain/Badass: Darcy, played by Patrick Stewart in Green Room. Nothing worse than a calm, collected white supremecist who almost sounds reasonable... before he tries to kill you. There's an understated menace to Stewart's performance that really solidified his win in this category.
    Patrick Stewart is not a Nazi
    As for the other nominees, a shoutout to John Goodman's turn in 10 Cloverfield Lane, a little more unhinged than Stewart, but no less menacing. Stephen Lang did great work in Don't Breathe, believably blind but still, um, menacing. I seem to be using that word too much. Alas, Lang didn't quite make the cut, mostly due to the scripted issue of that stupid turkey baster (which really held the movie back for me). Finally, I thought I'd give a shoutout to Black Phillip in The Witch, who could probably have taken this award in a weaker year, despite not even being human.
  • Best Hero/Badass: Wade / Deadpool, played by Ryan Reynolds in Deadpool. Sometimes when I'm figuring out nominees, I have an obvious winner in mind and am just filling in the rest of the slots out of obligation. Other times, I have no idea who will win, like this award. I'm actually a little surprised it came to this. Reynolds is, of course, perfect for the role, mixing the proper degrees of sophmoric humor and self-referential snark, and near as I can tell, he's capturing what made the character so popular in the source material. Yet I can't help but think the win here is due to a generally weak year for heroism. Indeed, as Deadpool opines repeatedly throughout the movie, he's not even a hero! But the competition was pretty scarce this year. As runner up, I was seriously considering Russell Crowe's bruiser from The Nice Guys. Gerard Butler's throwback reactionary in London Has Fallen is so inappropriate that he almost crosses through to score an ironic win, but still can't quite manage it. Sofia Boutella injected a much needed hit of energy into Star Trek Beyond, but the role is perhaps too small to really get there. I'm giving it to Deadpool, but honestly this was the toughest category to pick this year, and it could easily have moved to someone else depending on my mood. Get with the program Hollywood, we need better heroes.
  • Best Comedic Performance: Kate Beckinsale and Tom Bennet in Love & Friendship (tie) A cheat, to be sure, and emblematic of the challenge of this particular award. Standout comedic performances turn out to be somewhat rare. Instead, what we mostly get are great performances as part of an ensemble. In this case, we've got Kate Beckinsale schredding up the screen with her wry, manipulative wit, contrasted perfectly Tom Bennet's delightful oaf. The "peas" scene alone is worth the win in this category.
    Love and Friendship
    Runner up would be Ryan Gosling in The Nice Guys, another unconventionally funny performance. Kate McKinnon's mugging in Ghostbusters could be percieved as too showy, but I really enjoyed it (despite the ill-conceived "You just got Holtzmanned baby!" line, which is just abysmal). Other performances also good, but I was taken enough with Love & Friendship to give those performances the nod.
  • Breakthrough Performance: Alden Ehrenreich in Hail, Caesar!. In a movie filled with great moments, Alden Ehrenreich managed a couple of classics. First, you've got "Would that it 'twere so simple", one of the best scenes from any movie of the year. Then, in a more subtle sequence, when Ehrenreich's character is waiting for his date and pulls out a lasso and starts absent-mindeldy doing tricks with it, it's just great. He's going to be a star, and his casting as young Han Solo will probably really cement that in a couple years. Runner up, actually, is Janelle Monáe. She was great in Hidden Figures, but what made me bump her higher on the list was her supporting role in Moonlight. I think she's going to do well in the next few years too. If I awarded this to the person with the best name, Royalty Hightower would obviously win (and she's great in The Fits too, I guess). Brianna Hildebrand did a lot with a little in Deadpool, and Tom Holland managed to almost single-handedly save a languishing character with his tangential appearance in Captain America: Civil War. The future looks bright, is what I'm saying.
  • Most Visually Stunning: The Handmaiden. Usually this award goes to an arthouse flick so concerned with making things pretty that they forget to give the movie a story, but not this year. This is one of may favorite movies of the year, and it's gorgeous to boot.
    The Handmaiden
    Actually not a ton of truly spectacular feasts for the eyes this year, though obviously all the other nominees were visually impressive. I'd probably go with The Witch as runner up, but who knows.
  • Best Sci-Fi or Horror Film: Arrival. SF has been making a pretty strong showing in the past few years, but that sort of fell off this year. Then again, the only true SF nominee is winning the award this year. It's one of the few SF movies to genuinely capture the sense of wonder and conceptual breakthrough that I love so much in SF literature. True, it's an adaptation of an award-winning novella, but while I wouldn't go so far as to call it unfilmable, I think the film came out as good as I ever could have hoped for. Runner up is definitely The Witch, which I gather I enjoy more than most people. Indeed, these are probably my two favorite movies of the year.
  • Best Sequel/Reboot: 10 Cloverfield Lane. A generally tepid year for sequels, I think it's telling that my choice doesn't have much of a connection to its predecessor. That said, this movie was an unexpected and pleasant surprise. In a year of "Who wanted a sequel to that?" movies, this one actually delivered something solid. I also quite enjoyed Captain America: Civil War and Star Trek Beyond, which are vying it out for the number two slot in my head. Fortunately, we only really award the number one slot, so let's move on.
  • Biggest Disappointment: Blair Witch. While not the worst movie of the year... or maybe even not the worst movie on this list, it was, in fact, the biggest disappointment. The reason for this is that I had much higher expectations for this movie than for anything else on the list, and I was really, really let down by the final product (i.e. this scored really poorly on Joe Posnanski's Plus-Minus Scale). I've already laid out my disappointments on this, so I will move on. It's bad. Runner up is Suicide Squad, mostly because I liked the concept and because those trailers really were fantastic. That being said, my guard was already up after years of DC movie ineptitude.
  • Best Action Sequences: Kill Zone 2. Perhaps an obscure choice and choosing martial arts movies feels like cheating, but this has some really solid action and while Tony Jaa hasn't turned out to be quite the superstar we expected when he burst on the scene, he's still fantastic at action. The airport setpiece in Captain America: Civil War is wonderful, though it suffers a bit because I don't like seeing superheroes fight each other like that. London Has Fallen is worth mentioning for the bravura long-take assault on an enemy stronghold, and I enjoyed the other nominees welle enough as well.
  • Best Plot Twist/Surprise: Arrival. I often try to spread around these awards to different movies, but I can't help myself here. To complicate matters, the runner up would be The Handmaiden, which also already has an award. I suppose even mentioning that there's a twist is a bit of a spoiler, but I will refrain from more detailed discussions here. THis was actually a pretty good year for this sort of thing, with the rest of the nominees that too far behind the winner...
  • Best High Concept Film: The Lobster. Look, Yorgos Lanthimos pretty much has a lock on this category. This story is about single people who are sent to a hotel to find a romantic partner in forty-five days or they will be transformed into an animal and sent out into the wild (our protagonist chooses a Lobster). It's a fascinating movie. Not sure how much I really like it, but whatever you may think of it, it doesn't get more high concept than that.
  • 2016's 2015 Movie of the Year: JoyThis category grew out of a specific year in which I managed to catch up with a couple of movies that I truly loved, but too far into the following year to give them any love. The problem is that I normally manage to see most movies that I think I'll love before the year runs out. So I'm not entirely sure about this category. I did wind up enjoying Joy though. It's a bit of a mess, but it holds a certain personal connection and has some bits that work pretty well for me, so it gets the award. The other nominees were all worthwhile, but none of the nominees would really break into last year's top 10...
Up next is the fabled Arbitrary Awards, followed by my top 10 and finally the Oscars. Stay tuned!
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Dennis Cozzalio of the Sergio Leone and the Infield Fly Rule blog has posted another of his famous movie quizes, and as always, I'm excited to participate. Previous installments answering questions from Professor Hubert Farnsworth, David Huxley, Professor Fate, Professor Russell Johnson, Dr. Smith, Professor Peabody, Professor Severus Snape, Professor Ed Avery, Dr. Anton Phibes, Sister Clodagh, Professor Arthur Chipping, Miss Jean Brodie, Professor Larry Gopnick, Professor Dewey Finn, Ms. Elizabeth Halsey, Professor Abraham Setrakian, Mr. Dadier, and Professor Abronsius are also available. Let's get to it:

1) Best movie of 2016

Not to take the wind out of my forthcoming top 10 list's sails, but my favorite movie of the year (that I've managed to see, at least) is Arrival. It has many qualities to like and perhaps a few flaws, but more than anything else, I adore this movie because it brings a certain sense of wonder and conceptual breakthrough that is common in SF literature to the screen (where it is nearly absent).


2) Worst movie of 2016

A tough choice. I watch a lot of movies, so there are several contenders here, but I'm not a critic who is forced to watch some truly interminable movies on a semi-regular basis, so my available choices are probably not authoritative enough. Also, in deference to the Biggest Disappointment category in this year's Kaedrin Movie Awards, I will go with something I just saw called Minimalism: A Documentary About the Important Things. I was hoping this would be about visual design, but it's really just a documentary following a bunch of ridiculously photogenic rich people who made terrible decisions about their goals in life but were nonetheless able to opt out of the traditional capitalist lifestyle. They mostly come off as bland, boring versions Tyler Durden who can't even throw a punch. The ideas behind the movement aren't terrible, per say, but this movie doesn't do a good job exploring or interrogating them or those who espouse them. Minimalism is alright, but this documentary taught me that minimalists are the worst.

3) Best actress of 2016

I haven't seen some of the heavy-hitters in this category yet, but I was quite taken with Kate Beckinsale in Love & Friendship. As someone not predisposed to enjoying period costume dramas, I attribute a big portion of my enjoyment of this movie to Beckinsale's sharply comic turn as a manipulative widow.

Kate Beckinsale

4) Best actor of 2016

Once again, I haven't seen some of the favored few in this category yet, but the obvious choice that I have seen is Casey Affleck in Manchester by the Sea. A boring choice, perhaps, but what are you going to do? Stop reading? NO, don't stop. Please don't stop. I'll be good.

5) What movie from 2016 would you prefer not hearing another word about? Why?

I'm sick of hearing certain people say that Moonlight is the best movie of the year and then pivoting to complaining about how they're superior to everyone else because they will go for La La Land. The one caveat I have here is that I have not seen this movie yet, and thus I could be in for a Short Term 12-style reversal of opinion. (Update! I have just seen Moonlight. It's very good, but to my mind, not the obvious #1 critics seem to unanimously proclaim. I would say that though. I'm the worst.)

6) Second-favorite Olivier Assayas movie

I've only seen the three part Carlos, so I guess I could pick one of those (it would be one of the two that didn't cover the OPEC raid). Cheating? I'm good with that for now.

7) Miriam Hopkins or Kay Francis?

I've seen more Miriam Hopkins, but I don't really know either of these actresses so... mulligan!

8) What’s the story of your first R-rated movie?

Nothing particularly exciting about the story except that the movie was The Terminator, which remains one of my all-time favorite movies. I'd like to think this is based on more than just nostalgia and I do believe the movie holds up well, but I can't quite rule out my history with the film either. That being said, who cares, the movie is awesome.

The Terminator

9) What movie from any era that you haven’t yet seen would you be willing to resolve to see before this day next year?

I am woefully inexperienced with French New Wave films. I've seen several, for sure, but some of the most influential examples elude me. I know, I'm the worst. I will resolve to watch Breathless this year. I'd still have a lot of movies to watch, but it's a start, right?

10) Second-favorite Pedro Almodovar movie

On second thought, perhaps I should resolve to watch more Almodovar. The answer here is Volver by default (i.e. I've only seen two Almodovar movies).

11) What movie do you think comes closest to summing up or otherwise addressing the qualities of 2016?

It's tempting to resort to something snarky, like Titanic, but there's got to be something more insightful, right? Nah, let's go with The Final Conflict instead.

12) Chris Pine or Chris Pratt?

An interesting pairing that is roughly equivalent. Pratt has more innate charisma and comic timing, but Pine seems to have more range. Based on their current filmographies, I'd go Pratt, but Pine has the potential to overtake.

13) Your favorite movie theater, presently or from the past

I couldn't think of a theater that wasn't interchangeable with dozens of others until I remembered that I spent a week in Austin at the Alamo Draft House, at which point the answer became crystal clear. The South Lamar location that I remember fondly has apparently even been refurbished, so I'm sure it's even better now. Regardless, the thing that made it great was the intangibles like the attitude and philosophy of the company and even the customers.

14) Favorite movie involving a family celebration

Was having trouble with this one and started looking around. Found Dogtooth which fits, in an odd sort of way. I guess. I mean, oof.

15) Second-favorite Paul Schrader movie

I usually read these questions to refer to the person in question's directorial efforts, but in this case, I'm going with Schrader's screenwriting, which leads me to Raging Bull.

16) Ruth Negga or Hayley Atwell?

Hayley Atwell is clearly the winner in terms of Marvel properties here, though Ruth Negga seems to have the buzz for her work in film this year. Alas, I have not seen Loving yet, so Atwell carries the day.

17) Last three movies you saw, in any format

Beware the Slenderman, an HBO true crime documentary about the infamous 2014 stabbing inspired by an internet boogeyman. Well done, affecting, and thought provoking.

Minimalism: A Documentary About the Important Things, of which I've already said too much.

The Handmaiden, Chan-wook Park's latest, which immediately rocketed into my top 10 list for 2016. Twisty, turny, and beautiful.

18) Your first X-rated, or porn movie?

Apparently A Clockwork Orange was rated X, so there you have it.

19) Richard Boone or Charles McGraw?

Charles McGraw, for I have seen more of his movies. I know this sort of criteria is probably not the point of these types of questions, but it does make them easy to answer, that's for sure.

20) Second-favorite Chan-wook Park movie

On the other hand, sometimes I've actually seen the majority of someone's filmography and struggle mightily to find a good answer. Here it is a toss-up between Oldboy and The Handmaiden. Since I've only just seen The Handmaiden recently, let's give it to Oldboy, eh? (Incidentally, Lady Vengeance is my favorite, which I gather is an unconventional choice.)

21) Movie that best encompasses or expresses loneliness

Taxi Driver's portrait of "God's lonely man" Travis Bickle comes to mind.

Taxi Driver

22) What’s your favorite movie to watch with your best friend?

Top movie watching buddies usually go for new movies we haven't seen. That said, we've probably watched some early aughts comedy too many times, something like Old School or Anchorman.

23) Who’s the current actor you most look forward to seeing in 2017?

Part of the reason my answers to questions #3 and 4 were so lackluster is that I apparently have an attitude towards actors similar to Hitchcock's: “All actors are cattle.” Alright, so I would probably never declare such a dismissive thing myself, but I do tend to gravitate more towards directors and story than acting. Big acting showcases often leave me a bit cold, and thus I don't really have much of an answer to this question.

24) Your New Year’s wish for the movies

I wish something other than sequels and remakes could break through and teach Hollywood to move in a more original direction, but I'm not holding my breath and past success on this front hasn't exactly helped. I suppose I should also wish that if you're going to make sequels and remakes, at least make them well. I thought they had a pretty good handle on this in the past few years, with truly fabulous stuff like Mad Max: Fury Road, Creed, and whatever you consider the Marvel movies (which did alright this year, to be sure). Some good potential this year, but I guess we'll have to wait and watch and see.

Stay tuned, Kaedrin Movie Award winners will be announced next week!

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2016 Kaedrin Movie Awards

Welcome to the eleventh annual Kaedrin Movie Awards! Eleven years! Over a decade of conceptual continuity! The idea is to recognize films for various achievements that don't always reflect well on top 10 lists or traditional awards. There are lots of formal award categories and nominees listed below, but once those are announced, we'll also leave some room for Arbitrary Awards that are more freeform. Finally, we'll post a traditional top 10 list (usually sometime in mid-February). But first up is the awards! [Previous Installments here: 2006 | 2007 | 2008 | 2009 | 2010 | 2011 | 2012 | 2013 | 2014 | 2015]

Standard disclaimers apply: It must be a 2016 movie (with the one caveat that some 2015 films were not accessible until 2016 and are thus eligible under fiat) and I obviously have to have seen the movie. As of this writing, I've seen 68 movies that would be considered a 2016 release. Significantly less than your typical critic, but more than your average moviegoer and enough to populate these awards. Obviously this is a personal exercise that is subjective in nature, but the world would be a boring place indeed if we all loved the same things for the same reasons, right? Sound good? Let's get this party going:

Best Villain/Badass
Another middling year for villainy. I didn't have any problem populating the list, but true standouts were rare. Special note here to Captain America: Civil War, which blurred the lines between villain and hero enough that I just didn't include it in either category (I suppose I could have nominated the Zemo character, but... I'm not going to). As usual, my picks in this category are limited to individuals, not groups (i.e. no vampires or zombies as a general menace, etc...) or ideas.

Best Hero/Badass
A moderate year for heroism, but again, standouts are rare. Another nod to Captain America: Civil War, not nominated for reasons already explained. Again limited to individuals and not groups.

Best Comedic Performance
This category is sometimes difficult to populate because comedy so often comes in the form of an ensemble, but we had a pretty great year of comic performances (albeit, mostly unconventional ones), even if I have some duplication going on here.

Breakthrough Performance
Always an interesting category to populate. Sometimes, it's not so much about someone's industry breakthrough, but a more personal breakthrough. This can happen even with established actors. This year, we've got more of a moderate crop of young up-and-comers. The main criteria for this category was if I watched a movie, then immediately looking up the actor/actress on IMDB to see what else they've done (or where they came from). A somewhat vague category, but that's why these awards are fun.

Most Visually Stunning
Sometimes even bad movies can look really great... and we've got a light year here, but still plenty of good choices.

Best Sci-Fi or Horror Film
I like to give a little love to my favorite genres, hence this category. When I started this category, I always had trouble finding good SF movies, so I had to pad out the category with horror. But we've seen an astonishing increase in good SF in recent years, mostly micro-budget independent stuff, but this year has been a bit slower in that respect, even if we've got a really solid SF contender!

Best Sequel/Reboot
Often a difficult category to populate, but after a few stellar years of Hollywood output, we dropped off the "they made a sequel to what?" cliff this year. That said, a few things managed to stand out:

Biggest Disappointment
A category usually dominated by sequels, and what do you know, all of these are sequels (or whatever the heck you consider Suicide Squad) . This category is definitely weird in that sometimes I actually enjoy some of these movies... but my expectations were just too high when I saw them. Related reading: Joe Posnanski's Plus-Minus Scale (these movies scored especially poor on that scale).

Best Action Sequences
This award isn't for individual action sequences, but rather an overall estimation of each film, and this has been a decent but not overwhelmingly awesome year for action.

Best Plot Twist/Surprise
Well, I suppose even listing nominees here constitutes something of a spoiler, but it's a risk we'll have to take, right?

Best High Concept Film
A nebulous category, to be sure, but a fun one because these are generally interesting movies. Lots of borderline cases this year, but a few strong standouts...

2016's 2015 Movie of the Year
There are always movies I miss out on, whether due to availability or laziness, but when I do catch up with them, I'm often taken with them. Sometimes a very difficult category to populate, maybe because I didn't see much, or didn't like it, or just plain forgot that I saw it (which, to be fair, probably says something about the movie's chances). Still, a pretty respectable list this year, with plenty to choose from.

So The Witch leads the way with 5 nominations, with Rogue One, Kill Zone 2, and 10 Cloverfield Lane not far behind with 4 nominations each. The numbers expand dramatically from there, with 9 movies soaking up 3 nominations, and lots of movies getting 1 or 2 nominations. Overall, 43 different movies were nominated this year (not counting the last category, which would put me at 48. Also worth noting that 5 of the 43 were the disappointing movies...) making this a very broad year with few films really standing out... in these categories, at least. Stay tuned for the winners, which will be announced in 1-2 weeks. I still have a few movies to catch up with, so you may even see a winner that wasn't nominated (it's happened before!)

* This is the actual title of the movie. Someone actually thought that up, and then more people actually approved it and put hundreds of millions dollars behind it.

Update: So I just saw The Handmaiden and yep, it steps into two awards, easily. You will probably hear more about it later in the Kaedrin Movie Award season...

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Vintage SF Month is hosted by the Little Red Reviewer. The objective: Read and discuss "older than I am" Science Fiction in the month of January.

“Their flight was not less exhilarating for being explainable.” - Tau Zero, Page 19

Poul Anderson's Tau Zero follows the story of the starship Leonora Christine, a colonization vessel staffed with 50 of the best and brightest that Earth has to offer. Their goal is to travel to a distant star system using a Bussard ramjet to accelerate at a modest but constant rate until they reach an appreciable fraction of the speed of light. This makes their voyage subject to relativity and time dilation; it will take 5 years from the crew's subjective, while 33 years will pass on earth. Tragedy strikes when the ship passes through an unexpected nebula, damaging the deceleration capabilities of the ship. Since the ship's engines must be kept running in order to provide protection from stray objects and radiation, the crew is doomed to continue accelerating ever closer to the speed of light, thus increasing time dilation and traveling ever farther from home in terms of both distance and time. Will the crew manage to find a way to slow down and find a suitable planet for colonization in time to create a viable population that can thrive?

So this book has a reputation as a classic, and indeed, the hard SF bits are nice and chunky giving the reader that sense of wonder so many of us crave from our SF. Alas, it's the crew interactions and character touches that didn't quite connect with me. I find this to be a relatively common challenge with novels from this period between the New Wave in the 60s and the hard SF revival in the 80s (another example of great hard SF ideas mixed with middling character work from this same era is The Mote in God's Eye, even if that remains one of the great first-contact stories due to the lower proportion of character work there).

To be fair, much of the interior reflection in the novel works. The crew handles their initial setbacks well, but as the true implications dawn, there are some pretty weighty troubles to deal with. It doesn't take long before they realize that while only a few years have passed for them, it's likely that everyone they have ever known has long since passed away. Once they reach a speed where millions of years are passing for every one year of travel, these implications start to take a even more of a toll on the crew, as it becomes clear that all of humanity as they knew it is probably long gone. Unfortunately, much of the crew interactions feel forced and unrelatable. Old Earth politics, love triangles, cheating, authoritarian controls on various aspects of life aboard a spaceship are all viable story components, I guess, but I found myself not caring much about these aspects of the story, which actually do comprise a sizable portion of the narrative.

The hard SF bits are harnessed into an effective driver for the story, even if some things don't quite fit with the current science and cosmology. I mean, yeah, at the speed they the ship was moving, it would be blueshifted far enough to kill people instantly from radiation poisoning, but that would make for a pretty anticlimactic story. Similarly, the "Big Crunch" speculated in the book probably wouldn't work that way and even if it did, the ship's odds at surviving are doubtful. None of this is enough to totally outweigh the sense of wonder brought on by a ship traveling so fast that it could witness the end of the current universe, the big bang of a new universe, and travel billions of years into the span of said new universe to find a planet that would be habitable in a timeframe that would allow for 50 people to create a viable colony. (Spoilers, I guess.) All in all, Anderson evokes the grandeur and scale of the universe well enough that it kept me motivated to get past the characterization bits.

So it's a neat idea, reasonably well executed, but the character work is middling at best. In this way, it also reminded me a bit of Gregory Benford's Timescape (cool ideas bogged down by inane dinner parties), which is funny, because I recently read a Benford short story called "Relativistic Effects" which recalls Tau Zero to such an extent that I have to believe Benford was directly inspired by Anderson's work. Another runaway ship witnessing a new big bang, and so on, but captured in a tiny fraction of Tau Zero's already pretty short length (approximately 200 pages). Incidentally, that short story collection that had the Benford work also contained an Anderson story called "Kyrie" that also deals with time dilation (as it relates to black holes). That story really kicked me in the face and was the inspiration for picking up Tau Zero in the first place. Ultimately, I'm glad I read this and hope to read more Anderson at some point, but I'd recommend checking out The Ascent of Wonder: The Evolution of Hard SF and reading the two aforementioned stories rather than Tau Zero... which I guess says something about this book. On the other hand, I can see why it's hailed as a classic, the science bits are interesting, and it's definitely worth reading for students of the genre. However, back on that first hand, while I generally don't mind the stereotypical flat characters of hard SF, I feel like this book shot for some ambitious litfic characterization and didn't quite clear the bar on that front, which lessens the overall appeal some.

Will I manage a third Vintage review this month? Only time will tell, but I do have a book lined up (assuming I finish the two I'm currently reading...)

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