Read all The Faithful Wookiee reviews in chronological order.
Of course we understand that The Faithful Wookiee was an animation for children and teens, the script of which was thrown together in a short time. We understand that it is meant to be entertainment and not a prediction, building on the somewhat-unexpected success of a sci-fi movie released the year before. We get that the plot is, well, unlikely. We understand that 1978 was not a time when much thought was given to consistent and deeply thought-through worldbuilding with technology. We understand it is hand-drawn animation and all the limitations that come with this.
But, still, to ensure a critique is valuable to us, we must bypass these archaeological excuses and focus instead on the thing as produced. And for that, the short does not fare well.
Read all the Oblivion reviews in chronological order.
According to the director, Oblivion is “a daylight science fiction film with a kind of Twilight Zone story,” a callback to pre-Star Wars, 1970’s lonely man sci-fi set against a huge backdrop. (Read the full interview by Germain Lussier on /Film for more.) Certainly, it’s more visually-satisfying thing than intellectually-satisfying thing, but fortunately that same thing does not play out in the interfaces.
Starship Troopers is an unlikely movie to have come out of the 1990s. Director Paul Verhoeven says that it got made because it was a high-turnover time at Sony, and the script just got shooed along as studio leads paraded in and out. The irony, hyperbole, and critique of American neocons as fascist warmongers was all in the script from the beginning. Had anyone looked at the script or the dailies, he says, it might not have been made. That’s probably why I like this movie so much, in that it’s a criticism of hawkishness and the culture that gives rise to it.
But despite that soft spot that I have for it, I’m here to rate the interfaces, and in that regard, it is lucky I don’t send it to the brig.
Wall•E is a humorous, robo-everything, sci-fi dystopia. This puts some challenges for the interfaces, as they have to sometimes break believability for the joke. Still, the humor is meant to be all in-world (or diegetic), so we can apply a thorough real-world critique. Continue reading
For our purposes, Dome City is a service. Provided by the city’s ancestors to provide a “good life” for their cloned descendants in a sustainable way, i.e., a way that does not risk the problems of overpopulation. The “good life” in this case is a particular hedonistic vision full of fashion, time at the spa, and easy casual sex.
There’s an ethical, philosophical, and anthropological question on whether this is the “right” sort of life one would want to structure a service around. I suspect it’s a good conversation that will last at least a few beers. Fascinating as that question may be, looking into the interaction design requires us to accept those as a given and see how well the touchpoints help these personas address their goal in this framework. Continue reading
Oh, for the days when a movie had only five technologies to review.
In full disclosure, The Fifth Element may be one of my favorite sci-fi films of all time. So I had to be extra vigilant about the reviews so as not to come off as a fanboy. Even with all that due diligence, Besson’s movie fared really well on a close examination of its interfaces.
Prometheus had an unreasonably high bar to vault. It had to work as a prequel to one of the most successful and revered sci-fi movies ever. It was directed by Ridley Scott, who produced Alien and another of the most successful and revered sci-fi movies ever. And in the 33 years since Alien premiered, Hollywood’s special effects capabilities have evolved beyond all ken, along with audience’s expectations of what makes for an exciting and engaging interface.
Even cutting it a bit of slack for these massive challenges, it was quite a letdown for its ofttimes inexplicable plot, wan characters, science-iness, and getting so caught up in its own grandoise themes it forgot about being a movie. But here at scifiinterfaces.com, reviews must be of interfaces, and to that end I’ll bypass much of these script objections, to focus in on the tech.
From the sudden and hilarious appearance of the title on screen, I knew that The Cabin in the Woods was going to be a special film. And in fact, it is one of my favorite movies of the past year, and dare I say one of the best sci-fi/horror hybrid movies of all time. (Admittedly it’s not a giant subgenre.) When we focus in on the interfaces, they ultimately help tell this dark story of epic come-uppance, even if they stumble a bit on the details.
Forbidden Planet is an influential film not just because of its positive audience reaction and later cult success, but also because Gene Roddenberry has stated that it deeply influenced his massive science fiction property Star Trek, in look, general plot structure, and even some of the same effects.
The film is also notable for the introduction of Robbie the Robot, an anthropomorphic robot who was such a hit (and so expensive for MGM to create) that he warranted a follow-up movie all to himself, and inspired the creator Robert Kinoshita to make a similar robot for the long-running family-friendly serial Lost in Space.
But as much as we adore the nostalgic themes and effects, and as much as we recognize the influence of the film, our review must be of its interfaces, and for that it does not ultimately fare well.