I did not like the lab scene where they implanted an eXistenZ gamepod port into a dog’s underside. After that, I felt free to skip ahead during the other b/w lab horrors. Observational long takes of Moscow street dogs pays off when one is filmed catching and killing a housecat. Or maybe “pays off” isn’t the term, since Kedi played theaters across the country, and this one played nowhere. Narrator (the star of Leviathan) tells of Russia’s history of firing animals into space, intercut with observational doc scenes of Moscow street dogs. The directors followed up with another Moscow street dogs movie, and their first film about people debuts in a couple days at Locarno. The Tori Amos song > the movie… Katy’s least-favorite shorts director edited.

The directors didn’t have space in mind when they started filming [Seventh Row]:

Suddenly, when we found out that Laika had been living on the streets, the film became so rich. These street dogs we see in the film are real explorers. They have to be in order to survive. They have to understand every movement in the city. They have to know how the city is changing and how they can find a place to stay and survive. We found it interesting that there were similarities between these dogs and their ancestors, the heroic cosmonaut dogs.

Space explorers set out to find a home beyond the reach of monopolist capitalism – sounds serious, but the actors in the rebel mission’s crew are absolutely goofing around. Early on, their ship catches fire and they’re not sure whether to try to save it or to sell it for scrap.

Some good montage, and the lo-fi outer space effects are fun, but the actors reading from scripts with indifferent blocking is too much. I guess this is self-consciously bad, but it is bad. Raymond Gun-Virus speaks for us all: “Extra .5 star for the 100+ individually designed intertitles and a live-in-space performance by Amon Düül II.”

My first by film-philospher Kluge, falling somewhere in the middle of his features both chronologically and in popularity. I don’t know what his whole deal is yet, besides that his career spans from Lang’s latest works to our all-digital present, and Cornell calls him “the German Godard.” This movie’s janky space-travel aspect reminds me of Ga-Ga, which I loved – am I not supposed to be watching more of Szulkin’s weird sci-fi films instead of digging up new German nonsense?

Hark Bohm, Fassbinder regular and a doctor in Underground:

Pattison is an idiot, fleeing into space pursued by loansharks after he and Steven Yeun lost a fortune on their macaroon business. Turns out he signed up to be an expendable, now he’s always being sent on deadly missions then getting resurrected in the 3D printer. Movie starts in the middle, when 17 has fallen in a hole surrounded by beasties who rescue him instead of eating him like everyone assumed, while they go ahead and print up 18. Now his girlfriend Naomi Ackie (a friendly interloper in Education) enjoys having two Mickeys while rat spy Kai (Jane from The Empire, a specialist in awkward uneven scifi movies) wants to turn them in.

Bong remains the least subtle dude around, as the ship is led by Trumpian Hulk Ruffalo and Toni Collette, shithead politicians who aim to create “a pure white planet full of superior people.” 17’s narration is funny at least, but it’s no Starship Troopers.

Never seen this before! Rock monster digi-fx are bad, the muppet fx and the acting all hold up, especially V-Mars’ dad as the lead alien. I liked that Justin Long’s hopeless sci-fi nerd is named Brandon, and enjoyed seeing Sigourney’s curse word get blatantly PG-13’d. Twenty years later Parisot made the very good Bill & Ted 3.

The mythology of warring intergalactic races (the evil Zeroes and noble Ones) battling for control of the hearts of humanity is cheesy even for Dumont, but his French countryside weirdos-getting-exponentially-weirder schtick is on point. Both sides are pretty ramshackle, the antichrist kid Freddy is pretty easily kidnapped then re-kidnapped. If you follow the characters and story, it’s all deflated and lame – the long pauses and awkwardness and mismatched performances are the whole show. The space forces collide, forming a black hole over Earth which annihilates all of them and the police car belonging to Team Quinquin – Carpentier gets all the dialogue, the Captain now too twitchy to handle anything else. Elsewhere, the cellphone demon was in the latest Three Musketeers reboot, angel Jane in the latest Count of Monte Cristo.

Unflappable prisoner is sent from one horrid planet to another, his mission to plant a flag claiming the new world for humanity. But this place has received “heroes” from space before and has a ritual for dealing with them: they’re given booze and prostitutes, encouraged to commit crimes, then sentenced to sitting on long sharp pole. At his first stop, hero Daniel Olbrychski (great, of The Tin Drum) is attacked by a severed arm and served fingers instead of hotdogs, then his preferred girl has been replaced by an annoying new one, so he plots to find his original girl and exit this shitty planet. Inspirational, I’ll have to check out more by Szulkin. Having just rewatched Crimes of the Future, I appreciate when a sci-fi movie makes do with a minimum of shabby locations. Everyone here has also been in Wajda and Kieslowski movies, particularly the hero’s handler Jerzy Stuhr.

Some poor guy “went to a forbidden place” involving a fake moon lander and got his tongue cut out, now thinks about outer space and moves in slow-motion (perfect scenario for a severe 4:3 b/w mastershot festfilm). Soon as he gets back his mom dies, but Siman works hard despite his speed condition, makes a small fortune, apparently travels through time (and through color + aspect ratios; I can’t tell when different scenes are set), and builds himself a spaceship-shaped house out of broken appliances.

The director’s latest is a D.O.A.-style mystery that nobody is watching on netflix. Lead guy starred in Noen’s Solo, Solitude, a couple other actors were in Vengeance Is Mine, All Others Pay Cash. Later that night I unpaused the first episode of MST3K season 4 on my laptop, and the first line I heard was “poor bastard thinks he’s a spaceman,” which is proof that I’m living in a simulation.

Watched because I thought this might illuminate Ferrari, but it would’ve paired better with Oppenheimer – long entertaining stories about historical situations where Americans lived in makeshift communities in the desert trying to achieve great feats. It’s a bunch of tough guys and their suffering wives until Harry Shearer and Jeff Goldblum show up as a comic team – the addition of humor and absurdity helps immensely. Good work by Jordan Belson on the space visuals.

I wonder if this winning best picture led directly to Top Gun:

Oppenheimer needed them:

My first time rewatching since becoming a Paul WS Anderson convert from the Resident Evil series and Monster Hunter. Funny to learn that the studio cut a half-hour of footage, then tried to restore it for the DVD release but couldn’t find it. Also very nice to see Sam Neill going mad in space so soon after I rewatched In the Mouth of Madness.

Before the hellship Solaris-es Neill into blinding himself and murdering the crew, he was the ship’s designer, brought along on a rescue mission by Captain Laurence Fishburne. Their fellow astronauts have all done other sci-fi/horror work: Quinlan in the Joe Dante segment of Twilight Zone: The Movie, Richardson as the mom of Color Out of Space, Jones in the bad 2014 Godzilla, Noseworthy in Bruce Willis virtual thriller Surrogates, Pertwee in Doomsday and Dog Soldiers, and Isaacs in A Cure for Wellness and Don’t.