Trailer for Movie of HP Lovecraft’s ‘The Colour out of Space’

I found this trailer for a forthcoming movie version of H.P. Lovecraft’s short story, The Colour out of Space, over on YouTube. It stars Nicholas Cage and is directed by Richard Stanley.

Lovecraft was a master of cosmic horror, and the creator of the Cthulu mythos about malign, alien gods that seeped down from the stars untold aeons ago. Although they were banished from Earth by the ancient Elder Races, they are constantly seeking ways back. And when the stars are right, and the sunken city of R’lyeh rises from the deep, Cthulhu, the bat-winged, octopus-headed god will rule over a mankind reveling and killing. And in untold aeons even death may die.

The trailer says it marks the return of Stanley to directing. This is welcome news. He made an excellent film about a berserk robot going on the rampage in a decaying future, Hardware, back in 1989.  2000AD sued and won for plagiarism, as the film’s plot appeared to be stolen from a short story from comic, ‘Shocc!’, drawn by the master of macabre art, Kevin O’Neill. This was about an explorer, who finds a war robot and gives it to his girlfriend. It then comes back to life, and goes on the rampage. The film has cameos with Lemmy, a member of the Goth band The Mission, and Iggy Pop as the DJ, Angry Bob, and the soundtrack includes Motorhead’s ‘Ace of Spades’, The Mission’s ‘Power’ and Pil’s ‘Order of Death’. There’s a reference to the earlier film in the trailer. A shot of the family’s kitchen shows a framed Biblical quotation, ‘No flesh shall be spared’. This was also used in Hardware to explain the B.A.A.L. robot’s genocidal mission to exterminate all humanity.

Stanley disappeared from directing movies, although he continued to make documentaries and pop videos, after the debacle of a version of H.G. Wells’ The Island of Dr. Moreau. Stanley originally intended it to be a relatively low budget film, but the studio wanted a big star. Stanley chose Marlon Brando. Big mistake. Once in the movie, Brando proceeded to do his best to wreck it through bizarre demands and massively arrogant behaviour. There was a documentary made about this whole shambles a few years ago. One of the actresses provided an example of Brando’s weird, cavalier attitude to the film. She went to him to ask the great Hollywood star for acting tips. He told her to carry on doing whatever she liked, because it didn’t matter as the film would be shut down in three weeks anyway. He also asked a member of the production crew if they should ‘f**k with’ one of the producers. When the man asked why, as the producer was a good guy, Brando made a very lame excuse. It’s pretty clear from this that Brando didn’t have any respect for the film. With costs and time overrunning, Stanley was sacked, and a veteran Hollywood director brought in instead to salvage something from the mess. The result apparently is a competent film, but it’s not the really amazing movie that would have appeared if Stanley had been able to complete it according to his vision.

It’s a pity that there was that plagiarism case between 2000AD and Stanley over Hardware. 2000AD want to produce films based on their characters. Two films have been made of ‘Judge Dredd’, but both have performed less than expected at the box office. The most recent, 2012’s Dredd, starring Karl Urban, was a critical success. There’s too much enmity there, but I’d say that if anyone could direct a great movie based on 2000AD’s cast of heroes, Stanley is the man for the job.

Looking at the trailer for the movie, it seems to have rejected Lovecraft’s original plot for the Hollywood cliche of a happy American family that moves into a rural area, only to find something sinister and threatening. It’s a long time since I read the original story, but I don’t think it’s the one Lovecraft wrote. Still, it looks like it could be a really good film, even if it is somewhat less than faithful to Lovecraft.

And to show everyone what Stanley’s Hardware was like, here’s a video for Pil’s ‘Order of Death’ using clips from the film from Hert Zollner’s channel on YouTube.

Enjoy!

Zarjaz! Documentary about 2000 AD!

Borag Thungg, Earthlets! As the Mighty Tharg used to say. I found over at Moria, the Science Fiction Film and Television database, a review of the 2014 documentary Future Shock! The Story of 2000 AD, directed by Paul Goodwin, and made by Stanton Media/Deviant Films. The film tells the story of the Galaxy’s Greatest Comic, and the crew of recidivist cultural deviants, who responsible, amongst other offences, for bringing the world Judge Dredd, Mega-City 1’s toughest lawman. Among those speaking in the movie are the mighty comics creators Pat Mills, Kevin O’Neill, Brian Bolland, Neil Gaiman, Carlos Ezquerra, John Wagner, Dave Gibbon, Bryan Talbot, Alan Grant, Grant Morrison, Cam Kennedy and Karl Urban, who played Dredd in the movie of the same name a few years ago.

The Moria review sets the origins of the comic in the context of Britain in the late 70s and early 80s, when Margaret Thatcher was in power, unemployment was at three million and the National Front was on the march. 2000 AD appeared following the cancellation of Action, a previous comic that had been banned after parents’ concerns that it was too violent. The team assembled to produce the new comic were partly drawn from those responsible for Action, like Mills, and the new comic definitely had a subversive edge. It was partly reacting against the old Fleetway children’s comics, whose stories were very safe. It takes its title from a series of unrelated bizarre stories, ‘Tharg’s Future Shocks’. As I recall, the strip in which these stories were first announced set the tone by showing a jaded, spoiled sprog, defiantly unimpressed with the previous offerings from British comics, who is then taken by Tharg to see the terrible and dangerous visions that the Future Shock strips will introduce. This is too much for the enfant terrible, and the traumatised brat is led away to received much-needed medical care, while Tharg urges them to ‘treat him gently’. An example of the strong subversive theme running through the comic is Dredd himself. Dredd was deliberately intended to be something of an ambivalent hero, a parody of Fascistic US policing. The Moria review notes that the more extreme Dredd became, the more popular he was, to the point where Carlos Ezquerra didn’t want to continue drawing the character after producing the original design. This probably shouldn’t be too surprising, as Ezquerra had as his inspiration for Dredd’s uniform that of Franco’s Fascists with their helmets and shoulder pads, though the review doesn’t mention this. John Wagner, Dredd’s creator, was always insistent that the character should never take off his helmet and show his face, as he was the symbol of the faceless police state.

The review discusses 2000 AD’s role as the first British comic to credit the artists and writers, and how this led to a brain drain as their leading creators were then lured off by the big American comic firms like Vertigo. I don’t think 2000 AD were quite the first. I think a few years before then the war comic, Battle, had also started to credit the people creating the strips. It also covers the magazine’s drop in quality and popularity in the 1990s, and then it’s revival under Matt Smith. It notes that all of the creators interviewed saw the comic as edgy, subversive and individualistic. This is certainly born out by some of the comments made in the movie’s trailer, which is also included in the review. This features the various writers and illustrators remarking on the comic and what they intended to achieve with it. Several of them, such as one by Pat Mills, are along the lines that the comics company really didn’t know what was about to hit them.

I don’t think they did. 2000 AD was never as controversial as Action, but nevertheless there were concerns occasionally that the comic was too violent. It did, however, produce some of the greatest comic strips that are still going thirty years later, like the ABC Warriors, Slaine, Nemesis the Warlock, Strontium Dog, The Ballad of Halo Jones, and, of course, Judge Dredd. The future’s ultimate cop was hailed at the time by the space fact magazine, New Voyager, as the Dan Dare for the 1980s. High praise indeed!

The review also talks about the three films or so have that were released based on the comic. These include the two Judge Dredd films, Judge Dredd, which appeared in the 1990s with Sylvester Stallone playing Dredd; and Dredd, which came out a couple of years ago, with Karl Urban in the title role. They also include Richard Stanley’s Hardware, which was taken uncredited from Shok!, a short story told by Dredd’s mechanical friend, Walter the Wobot. 2000 AD took the film’s producers to court in plagiarism case, and won. The film’s producers were forced to credit the 2000 AD strip, though I think Stanley still maintains that he didn’t steal the idea from 2000 AD. Of the two Dredd films, the first is considered a disaster, while the second was a hit with both audiences and the strip’s creators, who praise the movie in the film. Stanley’s Hardware is also a classic of low budget SF film-making, and has rightly received wide praise. It was made in 1989, but still looks good a quarter of a century and more later, and its relatively high quality of design and production makes it appear that it had a bigger budget than it actually had. Stanley’s career as a cinema director I think ended after he was sacked from directing the 1990s remake of The Island of Dr. Moreau. This was at least partly the result of the utterly bizarre behaviour of Marlon Brando, who took the part of Moreau. There’s also a film about the making of that movie, which shows just how bonkers and extremely difficult to work with Brando was, to the point where filming at time degenerated something close to farce. it’s a pity, as Stanley was and is a talented film-maker with fresh, interesting concepts. If things were ideal, he and 2000 AD would ideally make their peace, and he should produce a film based on some of the comics’ other strips. But this ain’t an ideal world, and so that very definitely won’t happen.

I don’t know if the documentary is available on YouTube, and I don’t recall having seen it on the shelves of HMV, but it might be worth checking out your local comics shop, like Forbidden Planet.

The Moria review can be read at: http://moria.co.nz/sciencefiction/future-shock-the-story-of-2000ad-2014.htm

Bugbots – Military Nano Drones, and a Warning from Polish SF Author Stanislaw Lem

This is another interesting – and chilling – video I found on Youtube. It’s a promotional film from one of the US aerospace contractors talking up nanorobotic drones. This is drones about the size of a small bird or children’s toy helicopters. The video hypes their use for gather intelligence, both singly and in swarms like insects. It also states that they may be used to kill enemy soldiers or combatants.

We’re already using miniature drones like those above to gather information in Afghanistan.

This video shows British soldiers talking about the Black Hornet nano drone, which can be controlled in the same way you can operate a playstation.

I find this chilling, as it starts to confirm a prediction the Polish Science Fiction author, Stanislaw Lem made, about the future direction of military technology in the 1980s/90s. Lem was impressed by the increasing power and intelligence of computers, and predicted that eventually this would effect even politics. The short story played with the idea that political parties would compete to show the electorate that they had the best computer, and therefore the best solutions to the country’s problems.

He also believed that as weapons and equipment, such as planes, ships and tanks became increasingly sophisticated, so they would also become prohibitively expensive. As a result, government would turn to miniaturisation, using swarms of extremely small robots to attack their enemies.

This would result in a global situation that was neither war nor peace, as it would be unclear whether natural disasters, such as, for example, devastation of crops by bad weather or insect swarms, were genuine or caused by enemy robot intervention.

Fortunately, we haven’t got to the point where politics is decided by which party has the biggest, cleverest computer. I think if that point every comes, we may as well say goodbye to democracy and just hand the world over to Microsoft, IBM or Apple. Military technology and equipment is becoming more expensive, and in Britain we are seeing extensive cuts which may well harm our ability to fight and win wars. However, American politics is strongly coloured by the arms and other industries sponsoring politicians campaigns, in return for them continuing to receive extremely generous subsidies from the taxpayer. I really don’t see the Americans cutting back on their military spending anytime soon, still less Russia and China.

And with miniature killer drones disguised as insects, it really does look like the frowning Polish grandmaster of SF was right about the use of such robots, and the highly uncertain hostile and militarised ‘peace’ that would arise through their use.

Here’s another video, this time from Reason TV, giving three reasons why the use of drones is a bad idea.

The transcript for the video on its Youtube page runs

President Barack Obama and former Massachusetts Gov. Mitt Romney may not agree on much, but they’re both totally into the use of unmanned aircraft known as drones to hunt down and kill real and imagined threats to the American way of life.

Whenever you’ve got top Democrats and top Republicans getting along, you know something has gone horribly wrong.

Here are three reasons why drone strikes are really freaking scary.

1. They’re not that accurate.

One of the main selling points of drone strikes is their supposedly surgical precision. Rather than carpet-bombing entire city blocks to nail one or two bad guys, now we can just zap them without harming anyone else.

But a new study from researchers at NYU and Stanford concludes that as many 881 civilians – including 176 children – have been killed by US drone strikes in northern Pakistan since 2004. Worse still are reports that targets get blasted repeatedly, to ward off rescuers from helping the wounded.

2. There’s no legal framework.

Drone strikes have been carried out in countries with whom we’re allies or against whom we’ve yet to declare war. They are the principal way in which President Obama’s infamous “kill list” is made operational and yet nobody knows how such decisions are being made. As The New York Times said earlier this year, “a unilateral campaign of death is untenable.”

Not only is such a campaign immoral on its face, it only damages America’s standing in the world.

3. It’s only going to get worse.

The Federal Aviation Administration estimates that in 20 years, as many as 30,000 drones could be filling the skies over America, doing everything from promoting local restaurants to executing warrantless snooping for local, state, and federal cops. That includes “nano drones,” that will the size of a small flying insect. As it stands, the taxpaying public has basically zero information on how many drones are being used by which parts of government.

That’s led the ACLU to file a series of Freedom of Information Act requests to find out more about the technical capabilities of drones and what parts of government are already up there in the wild blue yonder.

We need to force the government to be transparent on drones long before the machines start blotting out the sun.

This is powerful technology that clearly is a real threat to the freedom of the countries using them, as well as being unethical and counterproductive when used against the enemy. And the secrecy surrounding them should be real cause for concern.

It’s no accident that the first appearance of something like a drone – an airborne camera to spy on citizens – made its appearance as long ago as the 1980s in 2000 AD’s Judge Dredd. And a drone can also be seen flying around in the opening scenes of the Dredd movie that came out a few years ago, starring Karl Urban. Dredd is the ultimate lawman, but he’s also a deliberately ambiguous figure. John Wagner in an interview around 1983 or so stated that he would never take off his helmet because he represents the faceless police state.

When real life starts to resemble the nightmare black comedy of Megacity 1, you know something’s gone very seriously wrong.