Author: oddmoonmediareviews

Written by Tom DeMichael

SUMMARY:

Published by Applause Theatre & Cinema Books in 2014, this 383-page paperback analyzes numerous sci-fi films and their significance to the genre.  Author Tom DeMichael opens with an explanation of how science fiction films were first derived from literature, whether it was pulp magazines or novels.  He also profiles a number of authors (i.e. Phillip K. Dick; Michael Crichton; Frank Herbert; Carl Sagan; Richard Matheson, and most recently, Stephenie Meyer), whose works have been readily adapted to film.  DeMichael’s guide is divided into chapters that analyze significant  sci-fi movies since 1970.  Individually, he provides a cast list; a plot synopsis; and an ‘afterwords,’ as his insightful analysis, as well as describing some technical aspects of the film’s production.  The film’s box office impact is also visited.    

First up is “Worlds of Tomorrow:” A Clockwork Orange; THX-1138; Westworld; Soylent Green; Blade Runner; The Running Man; Total Recall; Demolition Man; 12 Monkeys; The Fifth Element; The Matrix; A.I. Artificial Intelligence; Minority Report; and Elsyium.  Second is “Alternate Worlds:” Mad Max; Pitch Black; Sky Captain and the World of Tomorrow; Children of Men; and Avatar.  Then, there is “Time Travel:” Slaughterhouse-Five; Sleeper; Back to the Future; Bill and Ted’s Excellent Adventure; Hot Tub Time Machine; and Looper.  The section for “Space Travel” covers: Star Wars; Alien; Star Trek: The Motion Picture; Stargate; Contact; Starship Troopers; and Prometheus.

As for “Fiends from Other Worlds,” the films are: Invasion of the Body Snatchers; Predator; Alien Nation; They Live; Species; Independence Day; Mar Attacks!; Deep Impact; Galaxy Quest; and Cowboys & Aliens.  Of course, there is also “Friends from Other Worlds,” which looks at: Close Encounters of the Third Kind; E.T. – The Extra-Terrestrial; Starman; Cocoon; Men in Black; District 9; and Super 8.  Regarding “Sci-Fi-entists and Their Experiments,” DeMichael reviews Altered States; Ghostbusters; Re-Animator; Jurassic Park; I Am Legend; a lengthy plot synopsis on Inception; and Contagion.  Lastly, the “Robot and Robot Wanna-Bes,” are: The Terminator; RoboCop; I, Robot; and Real Steel. 

Though referenced, some titles, such as Silent Running, Brainstorm, and Logan’s Run, missed this cut for analysis.  Though They Live is included, other John Carpenter genre films (i.e. Escape from New York and the 1982 remake The Thing) are not.  With the exception of Invasion of the Body Snatchers, other horror remakes (i.e. Godzilla; King Kong; and The Fly) aren’t examined.  Representing an obvious parody of Star Wars, Spaceballs isn’t included.  The same applies to cheap knock-offs (i.e. Roger Corman’s Battle Beyond the Stars).  For consistency’s stake, this copycat standard is further applied to Armageddon, as DeMichael states he opted for the similar Deep Impact.  However, he makes one notable exception: both Mars Attacks! and Independence Day are included, despite their alien invasion similarities.       

Note: Despite the silhouette on the cover’s lower right corner, the Lord of the Rings films aren’t discussed.

REVIEW:

As informative, fair-handed, and insightful as DeMichael’s book is, what proves most handy is the index.  Figuring out exactly where certain films, cast members, or technicians appear, otherwise, would be a bit challenging.  As for the bonus sections re: various ships and regular behind-the-scenes players in sci-fi films, DeMichael’s work is excellent.  Reading of Rick Baker, Rob Bottin, Stan Winston, and Ve Neill’s experiences proves just as interesting, if not more so, as that of celebrities like George Lucas, James Cameron, and Steven Spielberg.  DeMichael’s mixture of biographical text and describing his subjects’ contributions is perhaps the book’s best asset.  Accordingly, for science fiction movie buffs and/or amateur film historians, this book serves as an invaluable reference guide.

ADDITIONAL FEATURES:

Special effects legend Dennis Muren provides the introduction.  The author offers acknowledgements and a brief introduction.  DeMichael later includes his analysis on significant vehicles and spacecraft (i.e. the U.S.S. Enterprise; The Millennium Falcon).  He also provides profiles/filmographies for some significant special effects technicians, make-up artists, and directors.  The last section explains the author’s five favorite sci-fi flicks of the modern era.  It’s curious to compare this list to DeMichael’s assessment of the five best sci-fi films of the same era.  A bibliography and an index are also included.    

BRIAN’S ODD MOON RATING:                            9 Stars

Written by Glen A. Larson & Roger Hill

SUMMARY:

Released in 1983 by MCA Publishing through Pinnacle Books, this 245-page paperback novelization adapts Knight Rider’s 1982 feature-length pilot episode (aka Knight of the Phoenix).  Saved from certain death by terminally ill billionaire Wilton Knight, undercover police detective Michael Long emerges from innovative plastic surgery with a new face and a new identity as ‘Michael Knight.’  Reluctantly partnering with the futuristic KITT (Knight Industries Two Thousand) AI unit housed inside an indestructible, black Pontiac Firebird Trans-Am, Michael vengefully pursues justice against an industrial espionage ring.  Once Michael and KITT show up in quiet Millston, California, a fiery showdown vs. Tanya Walker’s murderous band of thieves is imminent.      

Still, KITT’s technological wonders might not be enough to thwart these ruthless bandits, once they realize who the mysterious Michael Knight really is. 

Note: One jailhouse scene includes a racial slur.

REVIEW:

This well-written novel is different than the TV pilot beyond adding or changing some cosmetic details.  For instance, a comedic sub-plot re: two hapless car thieves is omitted, and the opening Las Vegas sequence now occurs in Reno, Nevada.  Another intriguing twist is a change in the individual fates of Tanya and her co-conspirators.  Frankly, this new outcome for femme fatale Tanya isn’t plausible (its irony is too perfect).  Far more glaring is that two tantalizing mysteries are still left unaddressed: 1. How did Wilton Knight know of Michael Long in the first place?  2. More so, how did Knight’s team know when and where to search for a critically-wounded Long after Tanya’s gang leaves him for dead?  Even a quick hint re: Knight employing well-placed spies would have sufficed, but readers aren’t divulged the necessary answers.  

Still, there’s some intriguing depth to Michael’s backstory re: his childhood, Vietnam War experiences, and a decade’s experience as a cop.  It’s not surprising that this adaptation more plausibly conveys Michael as a savvy ex-undercover cop and Vietnam veteran than David Hasselhoff’s cheesy on-screen acting.  Further, the realistic use of other perspectives and some potential double-crosses (i.e. Tanya and crony Fred Wilson) fleshes out the characters past existing as merely talking cardboard.  Michael’s developing respect for both KITT and Devon is also a well-played element.  Ultimately, this darker version of Knight Rider makes an entertaining read, especially as it isn’t as cartoony or formulaic as the TV series itself.       

ADDITIONAL FEATURES:

None.

BRIAN’S ODD MOON RATING:                                       7 Stars

Notes: Subsequent Knight Rider novelizations included the first KARR episode: “Trust Doesn’t Rust.”  Larson also co-authored an adaptation of Battlestar Galactica’s pilot episode.