Rowan begins to lose his mind, Auggie helps Cynthia, and Agatha must make an unthinkable choice.
Astral Dreams takes people on... vacations, in space. Or, they say so. When an old woman wants to go to a decimated Earth, they agree for a hefty price.
Season 1, Episode 2: “Chestnut”
Directed by Richard J. Lewis
Written by Jonathan Nolan & Lisa Joy
* For a review of the premiere, “The Original” – click here
* For a review of the next episode, “The Stray” – click here
Poor old Dolores Abernathy (Evan Rachel Wood). A voice tells her to wake up, asking: “Do you remember?”
Cut to William (Jimmi Simpson) on a futuristic-looking train. A friend of his makes a quip about his sister having rode her “share of cowboys” while at the resort. So William is headed for a nice vacation stay. Or will it be? A guide brings William through to get ready for his adventure. You can tell already that he’s got a slight problem with the place.
Elsie Hughes (Shannon Woodward) and Bernard Lowe (Jeffrey Wright) talk about Dolores’ father having an “existential crisis” and how they’re going to fix it. She wants to make sure this episode won’t spread to other robots. That it may be infectious, as it were.
Well, Dolores, she keeps on keeping on. Yet all of a sudden that voice again – “Remember” – and she stops. Dolores sees a vision of people read in the streets, everywhere, screams in the distance. A wolf runs through the middle of the road. Dolores once again quotes her father, and Shakespeare to a baffled Maeve Millay (Thandie Newton). Uh oh. Is that the phrase which triggers the illness in the hosts?
“These violent delights have violent ends.” (Romeo & Juliet)
Inside Westworld, William and his buddy Logan (Ben Barnes) start experiencing the immersive thrills. It seems like Logan’s got lots of love for the place. He believes the resort reveals your true self. So, who is William exactly?
On a ranch, a man named Lawrence (Clifton Collins Jr.) is about to be hanged. Up turns The Man in Black (Ed Harris). He seems to not like the idea of a hanging today. A gunfight breaks out, naturally, and you know who comes out on top of that one. Bodies lay everywhere at his feet; is he the cause of all those bodies that Dolores saw? For now, The Man in Black tells Lawrence he’s going to help him discover the “deepest level of this game.” Although the bad dude enjoys killing, he’s there for something far bigger than murder.
Another great player piano cover: Radiohead’s “No Surprises” rolls on in the background. Maeve runs her sweet game on a client, telling tales of romantic intrigue. Then, the host in her glitches. She remembers a violent scene of Native Americans attacking people, blood, scalping. Quickly, the engineers have Maeve pulled out, callously talking about her like there’s nothing human inside. There is – there has to be – and still, they’re robots.
Bernard and Dr. Robert Ford (Anthony Hopkins) talk about Dolores’ father and his glitch. Lowe believes something else must’ve gone wrong other than him looking at that picture. The doctor tries assuaging his fears. A little cryptically. He also relays the idea that they essentially dabble in witchcraft. That if they did these things hundreds of years ago, they’d be burned at the stake.
Finally arriving in town, Logan and William see the sights, as the latter gets acquainted with things in Sweetwater. They briefly encounter Clementine Pennyfeather (Angela Sarafyan), a drunk, and Logan explains how it’s all part of the game. Every host has an adventure or story to sell you.
Out for a bit of maintenance, Dolores speaks with Lowe. He analyses her, asking specific questions to see if there’s been any tampering. He keeps telling her that they ought to keep their little chats between them. “Have you done something wrong?” Dolores asks. Lowe swiftly erases their conversation on the log and ends their conversation. Hmm.
Maeve is back in business, no glitches or problems like before. She’s up and running just fine. Except Clementine, she also complains about having bad dreams, trouble sleeping. The head mistress makes sure Clementine goes back to work, but Maeve keeps on having those visions. To the point Teddy Flood (James Marsden) notices nearby. Now it looks as if Stubbs (Luke Hemsworth) and his team outside have marked Maeve for decommissioning. That’s really sad.
Meanwhile, Lowe chats with Theresa Cullen (Sides Babett Knudsen) about the goings on at the company. She’s had an especially rough day. They get on about updates, upcoming events. He says things are “back to normal” yet I’m not so sure. Even worse, Theresa refers to their customers as coming in to “rape and pillage.” Yikes. Know your market, I guess.
During dinner that evening William gets a visit from the drunk he’d helped in the street earlier. Logan gets pissed off, no time for fucking around with their game, and puts a fork into the old guy’s hand. The sight of the blood alone is enough to turn William off from it all. Logan’s more interested in having some weird sex with the host prostitutes. William isn’t so thrilled about all that, he has a lady at home.
Lee Sizemore (Simon Quarterman) is in the workshop getting a new narrative ready. He’s a bit of a psycho, too. Uptight and genius-like. Cullen tries to make sure he’s on budget, though it seems he likes doing things his own way. Whatever works.
We find out that Dr. Ford of course has his own little elevator into the Westworld interior. He heads through the desert and comes across a young boy, one who could almost be him years and years ago. They head off for a walk together.
Back to The Man in Black, stringing Lawrence along through the desert. He’s brought him to a little Mexican cantina. Turns out Lawrence’s family is there, a wife and a daughter. “The real world‘s just chaos, an accident. But in here every detail adds up to something,” The Man in Black explains. He wants to find the entrance to “the maze.” That labyrinth from the scalp tattoo. Soon, the violence erupts. Outside we see Stubbs make a remark about The Man in Black getting whatever he wants. Afterwards, the bad, bad dude takes out a gang of Mexican men hoping to help Lawrence. No such luck. Things get a lot worse for Lawrence before they get any better. And now se know that The Man in Black is in this trip for the long run.
Side note: Ed Harris is a god damn bad ass, which I knew before, but GOOD LORD! Westworld is bringing out his quality acting, as well as his nasty nature. Dig it.
The Man in Black: “When you‘re suffering, that‘s when you‘re most real.”
Out on the desert plain, Ford and the boy come across a rattlesnake. The doctor stops it in mid movement, commanding its movements. Control over every aspect of his created world. In the distance is an odd structure with a cross on it. A church? Or something far different?
Lowe heads back to his futuristic, cosy little apartment. Awhile later Cullen comes to his door to apologise for their bit of an argument. Oh, and they’re lovers. I actually hadn’t seen that coming already. They don’t do much talking, more lying in bed and such.
In the maintenance room, Elsie takes a look at Maeve. She works on the madame’s qualities, to make her more emotionally perceptive. We find out that the hosts are given “the concept of dreams,” which often comes in the form of nightmares. Elsie believes she’s got Maeve fixed up. Back to the whorehouse floor with her! A tragic life. She recites her lines, this time with more emotion than hardness. Everything in its right place. She winds up talking to Teddy along the bar, who sees right through her act. Oh, the life of the hosts. Teddy then gets murdered at the bar viciously: “Now that‘s a fuckin‘ vacation,” yells the guest.
This takes Maeve back to memories, dreams of another life. She sees herself on a farm with a little girl, her daughter. They run and play, as if they were actually happy. Only those moments bleed into those of the Native Americans attacking, nearly scalping her. A terrifying massacre, ending with The Man in Black walking through her door, impervious to her gun’s bullets. She wakes before any further bloodshed.
Some surgeons work on Maeve’s inside parts, removing bad bits. Except she comes to while being worked on, pulling a blade on the men. They try calming her back onto the table. Not good enough. She escapes into the darkened halls of the Westworld facility, trying to find somewhere to go. She sees other hosts being taken apart, hosed down. It’s too much for her. The surgeons catch up and put her into sleep mode. But will any damage linger? Maybe they’ll just take her out of commission altogether now.
In the night Dolores wakes. She goes outside and finds a gun hidden in the dirt. What will she do with it?
Inside the facility, Lee is unveiling his latest narrative – the “apex” of the park’s attractions. He’s a very confident man. His new program is called Odyssey on Red River, an immersive experience to help people understand themselves better through a new Wild West journey. But Dr. Ford doesn’t believe it’s any good. He knows the true idea of the park, and that Lee’s narrative only reveals his personality, nothing about the guests.
So into the desert go Ford and Lowe. The doctor has something brewing – “something quite original” – and it has to do with that structure out there, with the cross on top. Almost looks like an old oil well structure combined with a church. Either way, it looks intriguing. And what does Dr. Ford have up his sleeve?
Loved this episode! Amazing follow-up to the premiere. Next is “The Stray” – really glad HBO served this up early before the Presidential Debate on Sunday. A true treat for us fans that were going to perish before then.
Halloween III: Season of the Witch. 1982. Directed & Written by Tommy Lee Wallace.
Starring Tom Atkins, Stacey Nelkin, Dan O’Herlihy, Michael Currie, Ralph Strait, Jadeen Barbor, Brad Schacter, Garn Stephens, Nancy Kyes, Jonathan Terry, Al Berry, Wendy Wessberg, Essex Smith, Maidie Norman, John MacBride, and Loyd Catlett.
Dino De Laurentiis Company/Universal Pictures.
Rated R. 98 minutes.
The Halloween franchise is one of my favourites in horror. Not a big fan of the last couple. But seriously, from John Carpenter’s original masterpiece Halloween right up to Halloween V, I’m right in there with the biggest of fans. Each of them aren’t equally as amazing. They’ve each got their merits, though. I’ll say this: the first two are slasher horror masterpieces.
In the middle of all the regular Michael Myers pictures, there stands Halloween III: Season of the Witch. What ought to have been marketed as a spin-off from the franchise rather than actually being the permanent third installment has been banished to the world of cult classic verging on generally maligned. There are several camps of people who talk about this Halloween film – some say it’s terrible and has no merit, others (like me) think it’s real good and should’ve done better had the producers marketed it correctly, and then crazier people than I who say it’s the best of the series (sorry that honour belongs to the very first; no matter how much I enjoy some of the others).
What I know for sure is this is a good horror movie. It doesn’t deserve to be torn up, it also doesn’t need to be over praised. If you go into it knowing this is NOT a Michael Myers slasher, then there’s a chance you’ll come at it correctly and find the horror and quasi-science fiction elements enjoyable. Watch a trailer, any trailer for this film and you can understand it’s different from the others. But it isn’t bad different, it’s simply not a typical Halloween entry. Much as I love Michael, this movie has a creep factor wholly of its own and I firmly believe – without any hype – the only reason this movie isn’t more widely loved is solely due to how its been marketed. Take the Halloween title off this, keep Season of the Witch and maybe make a few more tenuous ties to Myers (like showing the original film on a television), you’ve got yourself a solid 1980s horror classic.
Small shop owner Harry Grimbridge ((Al Berry) is attacked by unknown men in the night. He flees and eventually ends up in the hospital. There, he’s later killed by one of these same men. Although, Dr. Daniel Challis (Tom Atkins) is witness to the man’s last words, and shows up just after his murder. Following the killer outside, he sees the man pour gas all over himself and strike a match, blowing his car sky high. This sets him off on a quest to figure out what happened – alongside him is Harry’s daughter, Ellie (Stacey Nelkin).
What they end up uncovering is a vast and horrific plot by businessman Conal Cochran (Dan O’Herlihy); one involving Halloween, threatening every boy and girl looking to put on a mask so they can head out for candy.
The whole opening 20-minute sequence is extremely creepy and a whole lot of fun: from when Harry Grimbridge is attacked by the suit & glove wearing assailants to the moment Dr. Challis watches one of them light himself on fire and the car explodes. Can’t think of a better way this movie could’ve started out. The writing here from director-writer Tommy Lee Wallace is solid and makes the film’s energy pump hard immediately.
Bartender: “What’s the matter – don’t you have any Halloween spirit?”
Dr. Challis: “No”
An obvious viewing of this film holds themes involving big versus small business, consumerism, corporations feeding off the figurative soul of children via Halloween, and more. I’m not the first to try and draw any of that out, nor will I be the last.
I love the character of Harry Grimbridge to start. Right off the bat you’ve got this small business owner, running a hold-out shop against the big supermalls and chain stores, still getting much of his business from kids just out of school – and he’s being hunted down by the robot-like, suit & glove wearing henchmen, the identical looking murderers; they are legion. A little later there’s a homeless man Dr. Challis comes across. He gets his head pulled off by two of them because he’s out rallying against the man. The homeless man happens to tell Challis about how Cochran (Dan O’Herlihy) won’t employ the good ole local boys, but rather imports his workers from elsewhere. Can this get any clearer really? It’s not quite on the nose, definitely in the vicinity. No matter, I think it works great because there’s metaphor yet it’s blatant and still that’s perfect. Makes for a bit of unsettling horror.
The effects aren’t all spot on, though, they are certainly effective. I love when one of the clone-like henchmen pulls Grimbridge’s skull apart by the eye sockets and nose. Incredibly vicious, both during and afterwards! When a woman dies at the motel, I thought the initial parts of the makeup effects looked great, but the the longer Wallace lingers on her the worse it looks. Still, there are other worthwhile effects. Particularly once the science fiction type elements find their way into the screenplay, the practical makeup effects are ghastly at times; in the appropriate sense. The orange juice-looking liquid used at one point is sickly and makes for an uneasy feeling in the guts. Great, great stuff.
A subtle scene involves a drill – we never get to see the brutish stuff, we’re left by Wallace to imagine it instead. Which I often find even more tough. Nice choice by him on this one. Could’ve easily been a gory kill and here it’s something that will probably make you cringe in different way.
Favourite effects scene has to be when the first young boy has his head destroyed by the pumpkin mask. The way the mask looks to start, breaking down and decaying like it’s burning up inside and out, then all the insects, the snake slithering through the boy’s dead mouth… it’s raw and disturbing. Some intense shots here, especially considering the whole family of three dies in the made-up living room set. It’s a shocker of a scene, super effective.
Taken on its own, as a sort of standalone spin-off, Halloween III: Season of the Witch is a 3.5 out of 5 star horror movie. There are plenty of chilling moments, different in subject matter yet similar in tone to the rest of the franchise. As well as the fact you’ll see several wild kills, a few of those even further contain fun practical effects. It isn’t as great as Halloween or Halloween II, but it is damn good stuff. A little different spin on the franchise, and why not? The whole series wears out past the fifth entry, even earlier for some other viewers, so what’s the harm in one movie taking another path? I see no reason why this should be a widely panned film. It’s not perfect, but there is great horror and a dose of science fiction even. Check this one out if you’ve avoided it until now. You may find yourself pleasantly surprised; or horrified, possibly.
Turbo Kid. 2015. Directed/Written by François Simard, Anouk Whissell, & Yoann-Karl Whissell.
Starring Munro Chambers, Laurence Leboeuf, Michael Ironside, Edwin Wright, Aaron Jeffery, and Romano Orzari. Epic Pictures Group/Timpson Films.
Rated R. 93 minutes.
Always interesting to see the different 1980s (& further) throwbacks coming out now over the past 8 years or so since Grindhouse brought the whole concept back. Ever since Nicolas Winding Refn’s Drive especially, there’s been a want for the retro 80s style soundtracks, or the entire aesthetic. Even before that with stuff like Ti West’s The House of the Devil, film fans have gotten a taste for the homage films being made by directors and writers who grew up watching movies in the 1980s and that’s where they cut their teeth in terms of influence. What’s even cooler is a lot of these retro homages are coming from indie filmmakers, bonafide genre filmmakers, and so it’s exceptionally cool that these are being made outside of the Hollywood system mostly. Furthermore, even with the heavy dose of homage in films like these, the concepts and premises are often innovative and fresh compared to so much of the recycled, rehashed, rebooted, remade material we’re being fed in theatres nowadays.
While some of these movies opting to go for a throwback retro aesthetic don’t actually do a period piece, or particularly set things in the 1970s or 1980s, Turbo Kid is straight out of both the ’80s and ’90s. At the same time, it’s futuristic. Set in 1997, it’s as if things stopped in the 1980s and everyone’s stuck.
Probably what excites me most about Turbo Kid is the fact this is a film spun off from the short segment “T is for Turbo” that was meant to be in The ABCs of Death. Though the segment did not make it into the film, I’m super happy it ended up being made into a film. Now out on iTunes and other VOD platforms, this is a new indie film that deserves much attention. Not simply because of its origins from the horror anthology in which it was hoped to be included, Turbo Kid is also an example of how neat, interesting movies can get made with the support of film fans. Paying a few dollars to see an awesomely original, independent film ought to be a privilege, and this is one of the latest new films that will hopefully remind people how indie filmmakers are still thinking outside of the box, not following all the latest trends to the letter and still thinking for themselves. Because like I said, while this is pure retro homage filmmaking, there’s a highly original quality to Turbo Kid which evokes equal parts hope and nostalgia.
Turbo Kid takes place in the year 1997, in a post-apocalyptic vision of the world. The Kid (Munro Chambers) wanders around in the wasteland, fending for himself, reading salvaged comic books of Turbo Rider. Along the way he meets the chipper, upbeat Apple (Laurence Leboeuf). She attaches herself to him immediately and tags along for the ride. The Kid is reluctant at first, however, he warms to her quickly.
Meanwhile in other parts, an arm wrestler named Frederic (Aaron Jeffery) is also fending for himself across the barren lands plagued by drought and acid rains. He’s trying to find his brother, fighting against a one-eyed man named Zeus (Michael Ironside), Skeletron (Edwin Wright) and a band of other insane henchman. Zeus kills people, feeding them to a contraption built for extracting water from human remains.
After The Kid saves Frederic and Apple from Zeus, captured in his savage fighting arena, the fight and the chase are on. Across the wasteland Apple and The Kid venture, Zeus on the warpath, and there’s no telling what might happen in the unstable post-apocalyptic world amongst the dirt, the blood, and the acid rains.
Naturally one of the greatest parts about Turbo Kid is the incredibly authentic retro ’80s score. With original music from Jean-Philippe Bernier, Jean-Nicolas Leupi, and Le Matos, there’s an incredible part of the aesthetic in this film that’s built up through the music. Particularly during some of the small intense sequences, like when The Kid (Chambers) is pedalling fast as he can away from a villain on his bike, there’s this amazing synth chase piece that blew me away. I expected lots of this, however, to hear it composed so well and fit so perfectly with the scenes and sequences is a damn treat!
The score’s individual pieces are so fitting when it comes to the ’80s homage because we get a bunch of great little montages, typical of that era of filmmaking. So not only is the score awesome, it plays into the film in so many ways I think work directly towards cultivating that super cool throwback feeling. You’d swear this was done back in the ’80s, all around.
My favourite part of the score is during a massive fight involving Frederic and The Kid versus Skeletron and the rest of Zeus’ henchman crew. It’s just PUMPING the whole time and it makes you want to kick some ass. Coupled with the incredible practical effects, all the blood and gore we’re treated to, the music makes this section full of adrenaline and a hell of a lot of fun to watch.
The apocalyptic angle of the film comes off really well. Particularly I love their use of locations and the sets; not sure how much of this is on location and how much, if any, was done on a set/soundstage. Either way, the post-apocalyptic feeling comes across excellently simply through virtue of how they use their locations. We get the post-apocalyptic settings and sense from everything together, as well as the very palpable sense on top of all that of when the apocalypse happened through the ’80s costuming.
Not only is there a science fiction-ish aspect to Turbo Kid with the apocalypse’s destruction of civilization, this movie has BUCKETS OF BLOOD and PLENTY OF GORE. I thought there’d definitely be a fair share, but man was I pleasantly surprised! Not only that, the practical special makeup effects were out of this world. Just absolutely something to behold. The gory moments get even better once The Kid discovers the Turbo Rider’s gear in a crashed plane; he picks up the glove and begins to blast away at the villains threatening him and his friend Apple.
Inarguably, one of the best gory scenes is when a friend of The Kid, Bagu (Romano Orzari), is captured by Skeletron and Zeus. They tie a hook into his guts, which are ripped slightly out of his abdomen, attached to a bicycle then Skeletron proceeds to pedal hard and haul a big string of intestine out. It’s an awesome practical effect that’s pretty savage and awesomely gnarly. Hard to say the ULTIMATE BEST, because there are just so many unreal gory, bloodletting moments.
We get a bunch of real awesome bloody shots when The Kid blasts people with the Turbo Rider glove. It’s so video game-like that I can’t help love it. Even the glove itself sort of reminds me of the Nintendo Power Glove, as well as how Apple’s little heart monitor is pretty much (wonderfully) torn out of The Legend of Zelda. But the head shots and the torso blow-ups from the glove look perfectly like something you’d see in a video game, it adds tons of flavour to the retro ’80s feeling. Brings me right back to childhood.
Almost all the performances in this movie are spot on. Incredible talent, especially in the younger actors.
Munro Chambers plays The Kid and I found him both charming and funny. He’s got a likeable quality to him instantly, but seeing him rock out to a Walkman and painting his helmet, just hopping about the post-apocalyptic wasteland, it’s a lot of fun. The charm he brings to the role of The Kid helps because there are moments in the script which are purposely cheesy, and he sells these scenes and little brief bits. The performance he gives is awesome. The best thing, though? He actually seems to be having a ton of fun, while still playing his character.
I’ve loved Laurence Leboeuf ever since her turn on the wickedly dark Canadian show, alongside Hugh Dillon playing her father, Durham County. Here she is quite different than that character, which is fun to see. She has a lot of range. Here, Leboeuf plays a beyond quirky, hyper young lady named Apple who turns out to be a synthetic human being, or a robot; whatever you prefer. I cannot count how many times she made me laugh out loud, over and over. There’s energy in her performance unparalleled in this film, maybe unparalleled in most of the roles out of 2015. Honestly, she’s a joy to watch here, as a character who is slightly familiar but plenty innovative. Well cast in this role, there’s no doubt about it, and Lebouef – like Chambers – seems to revel in a chance to do something different, fun, and a bit wild.
Along the edges there’s Aaron Jeffery, whose character Frederic is the typical badass yet with his own square jawed charm and intensity, on top of a rough machismo so familiar from the films of the 1980s. Plus, legendary actor Michael Ironside shows up here as the villainous Zeus, controlling the water sources amongst the desert-like lands of the post-apocalyptic landscape; as usual, Ironside gives a solid performance with the right material and this is one sci-fi/horror I hope he’ll be known for in these later portions of his career. Even the eternally silent Edwin Wright as Skeletron does a fantastic job with a fun, video game/cartoon-ish character who is also a solidly creepy villain alongside Ironside’s Zeus.
This is a 5 star film. I know some may roll their eyes, but whatever. Fuck those eye rollers. This is an incredibly retro 1980s throwback, which is not simply full of homage and an attempt at capturing a nostalgic feel but a very fun, innovative movie in its own right. Part of what works in its favour is absolutely nostalgia. However, this is not all that works for it. The performances are worth a good deal of enjoyment, the blood and gore are ABSOLUTELY PERFECT with the practical effects to make everything worthwhile, and the original music for the score is something I can’t truly describe that’s how much I love it to the core.
So PAY for this because it is one amazing example of how the dreams of filmmakers can come alive when a bunch of people work towards a collective and unique vision; there’s so much effort behind every bit of this film, I was impressed. Watch it and support indie film. Maybe you won’t love it as much as I did, but I guarantee you’ll walk away with at least some degree of respect for how well all its retro elements work together to make an outstanding homage to a simpler time in filmmaking, as well as it makes for a super enjoyable to spend 90 odd minutes. Kudos to the filmmakers for giving it their best effort and pulling out ALL the stops.
Check it out – available on iTunes (not sure if it’s out on VOD anywhere else yet) – and tell me what YOU think! I dig it so hard that it’s not even sensible. You may or may not. Either way, I’d love to hear your opinion, too.