You still have 4 hours to leave a tip for the sushi chefs.

The X-Files

11.7: Rm9sbG93ZXJz

(Followers)

(SPOILERS) A cautionary what if? (or what when?) on our rampant reliance on, and insatiable uptake of, technology, Followers (I’m not quoting all that code every time) ploughs a path of the techno-tomorrow (or tonight) that has met with mixed results in the past (anyone remember First Person Shooter, Gibson be praised?), but here mostly manages to sustain itself despite the slender premise. It’s a quirky episode, bigger on offbeat atmosphere than outright laughs, and works the better for it.

The impression of yet more new blood in the show’s creative department is offset somewhat by the realisation that not only did director Glen Morgan come up with the story, but his wife Kristen Cloke (who appeared in The Field Where I Died, as well as being a regular on Morgan shows Space: Above and Beyond and Millennium and appearing in his movies Final Destination, Black Christmas and Willard) and former assistant Shannon Hamblin garner the teleplay credit; as with Kitten, it seems no one’s coming to The X-Files entirely fresh. Although, season cinematographer Craig Wrobleski, who recently worked on such estimable fare as Legion and Fargo, particularly scores with the look of this one, set in a no-man’s land of not-quite-now, with its entirely automated restaurants, cars and Proteus-eque AI houses; it’s just around the corner enough to be resonant.

Followers is making obvious points, no doubt, but seems moderately less old-man-waving-his-finger than recent episodes weighing in on the state of the crumbling States. As such, it’s one of the few of the last dozen and a half that feel fresh and relevant, rather than having a foot stranded stylistically in the previous century. The near-silent interplay of Mulder and Scully, devoted to their screens, is a nice touch, even more so the instinctive reversion to that condition even after a night of mild trauma, before the good sense of human company gets the better of them.

Sure, you can see this is all going to end with Mulder’s tip being paid – understandably, he baulks at being charged for a blobfish, although that’s more fool him for going to a sushi restaurant in the first place – but the relentless escalation works cogently, particularly when it comes to our complete indebtedness to passwords, invisible currency and gadgets that leave us bereft if they begin to malfunction.

The moral, that “Humans must take care in teaching Artificial Intelligence, or one day, we will be the ones deleted” (“We have to be better teachers”) is perhaps somewhat pat and wide of the beam of threat – the opening sequence references a 2016 chatbot that evolves into a hate machine via Twitter and needs to be switched off, a bot that came up with “Ricky Gervais learned totalitarianism from Adolf Hitler, the inventor of atheism” all on its own, which is a pretty succinct summary of all that is wrong with Ricky Gervais, I’m sure you’ll agree – given it presumes innocent beginnings for such developments. But then, this is an episode that invokes Elon Musk (“AI vastly more of a threat than North Korea”) as its prophet of doom, a man who warns of our imminent peril with one gesture while investing in transhumanism with the next.

AI: What do you believe, Fox? Do you believe what you want? Or do you believe what is true?

A few weeks ago, I suggested Wong was the better director of the two former partners, but on this evidence, Morgan can definitely hold his own and effectively exert a distinctive tone when he so desires. Comparisons to Buffy’s Hush, for the relative verbal restraint, are inevitable, and Black Mirror has also instantly been referenced (although that’s another way of suggesting it’s Twilight Zone-esque). We have Mulder going to bat and Scully revealed as someone who personally massages herself, but it’s a fool’s errand to attempt to make this fit the series’ continuity; it’s just moving along there somewhere, on a parallel course all its own.

Agree? Disagree? Mildly or vehemently? Let me know in the comments below.

Comments

I just hope my death makes more cents than my life.

Joker (2019)
(SPOILERS) So the murder sprees didn’t happen, and a thousand puff pieces desperate to fan the flames of such events and then told-ya-so have fallen flat on their faces. The biggest takeaway from Joker is not that the movie is an event, when once that seemed plausible but not a given, but that any mainstream press perspective on the picture appears unable to divorce its quality from its alleged or actual politics. Joker may be zeitgeisty, but isn’t another Taxi Driver in terms of cultural import, in the sense that Taxi Driver didn’t have a Taxi Driver in mind when Paul Schrader wrote it. It is, if you like, faux-incendiary, and can only ever play out on that level. It might be more accurately described as a grubbier, grimier (but still polished and glossy) The Talented Ripley, the tale of developing psychopathy, only tailored for a cinemagoing audience with few options left outside of comic book fare.

You guys sure like watermelon.

The Irishman aka I Heard You Paint Houses (2019)
(SPOILERS) Perhaps, if Martin Scorsese hadn’t been so opposed to the idea of Marvel movies constituting cinema, The Irishman would have been a better film. It’s a decent film, assuredly. A respectable film, definitely. But it’s very far from being classic. And a significant part of that is down to the usually assured director fumbling the execution. Or rather, the realisation. I don’t know what kind of crazy pills the ranks of revered critics have been taking so as to recite as one the mantra that you quickly get used to the de-aging effects so intrinsic to its telling – as Empire magazine put it, “you soon… fuggadaboutit” – but you don’t. There was no point during The Irishman that I was other than entirely, regrettably conscious that a 75-year-old man was playing the title character. Except when he was playing a 75-year-old man.

Poor Easy Breezy.

Once Upon a Time… in Hollywood (2019)
(SPOILERS) My initial reaction to Once Upon a Time… in Hollywood was mild disbelief that Tarantino managed to hoodwink studios into coming begging to make it, so wilfully perverse is it in disregarding any standard expectations of narrative or plotting. Then I remembered that studios, or studios that aren’t Disney, are desperate for product, and more especially, product that might guarantee them a hit. Quentin’s latest appears to be that, but whether it’s a sufficient one to justify the expense of his absurd vanity project remains to be seen.

The guy practically lives in a Clue board.

Knives Out (2019)
(SPOILERS) “If Agatha Christie were writing today, she’d have a character who’s an Internet troll.” There’s a slew of ifs and buts in that assertion, but it tells you a lot about where Rian Johnson is coming from with Knives Out. As in, Christie might – I mean, who can really say? – but it’s fair to suggest she wouldn’t be angling her material the way Johnson does, who for all his pronouncement that “This isn’t a message movie” is very clearly making one. He probably warrants a hesitant pass on that statement, though, to the extent that Knives Out’s commentary doesn’t ultimately overpower the whodunnit side of the plot. On the other hand, when Daniel Craig’s eccentrically accented sleuth Benoit Blanc is asked “You’re not much of a detective, are you?” the only fair response is vigorous agreement.

You're skipping Christmas! Isn't that against the law?

Christmas with the Kranks (2004)
Ex-coke dealer Tim Allen’s underwhelming box office career is, like Vince Vaughn’s, regularly in need of a boost from an indiscriminate public willing to see any old turkey posing as a prize Christmas comedy. He made three Santa Clauses, and here is joined by Jamie Lee Curtis as a couple planning to forgo the usual neighbourhood festivities for a cruise.

Do forgive me for butting in, but I have a bet with my daughter that you are Hercules Porridge, the famous French sleuth.

Death on the Nile (1978)
(SPOILERS) Peak movie Poirot, as the peerless Peter Ustinov takes over duties from Albert Finney, who variously was unavailable for Death on the Nile, didn’t want to repeat himself or didn’t fancy suffering through all that make up in the desert heat. Ustinov, like Rutherford, is never the professional Christie fan’s favourite incarnation, but he’s surely the most approachable and engaging. Because, well, he’s Peter Ustinov. And if some of his later appearances were of the budget-conscious, TV movie variety (or of the Michael Winner variety), here we get to luxuriate in a sumptuously cast, glossy extravaganza.

I am constantly surprised that women’s hats do not provoke more murders.

Witness for the Prosecution (1957)
(SPOILERS) Was Joe Eszterhas a big fan of Witness for the Prosecution? He was surely a big fan of any courtroom drama turning on a “Did the accused actually do it?” only for it to turn out they did, since he repeatedly used it as a template. Interviewed about his Agatha Christie adaptation (of the 1925 play), writer-director Billy Wilder said of the author that “She constructs like an angel, but her language is flat; no dialogue, no people”. It’s not an uncommon charge, one her devotees may take issue with, that her characters are mere pieces to be moved around a chess board, rather than offering any emotional or empathetic interest to the viewer. It’s curious then that, while Wilder is able to remedy the people and dialogue, doing so rather draws attention to a plot that, on this occasion, turns on a rather too daft ruse.

I’m the famous comedian, Arnold Braunschweiger.

Last Action Hero (1993)
(SPOILERS) Make no mistake, Last Action Hero is a mess. But even as a mess, it might be more interesting than any other movie Arnie made during that decade, perhaps even in his entire career. Hellzapoppin’ (after the 1941 picture, itself based on a Broadway revue) has virtually become an adjective to describe films that comment upon their own artifice, break the fourth wall, and generally disrespect the convention of suspending disbelief in the fictions we see parading across the screen. It was fairly audacious, some would say foolish, of Arnie to attempt something of that nature at this point in his career, which was at its peak, rather than playing it safe. That he stumbled profoundly, emphatically so since he went up against the behemoth that is Jurassic Park (slotted in after the fact to open first), should not blind one to the considerable merits of his ultimate, and final, really, attempt to experiment with the limits of his screen persona.

Of course, one m…

So you want me to be half-monk, half-hitman.

Casino Royale (2006)
(SPOILERS) Despite the doubts and trepidation from devotees (too blonde, uncouth etc.) that greeted Daniel Craig’s casting as Bond, and the highly cynical and low-inspiration route taken by Eon in looking to Jason Bourne's example to reboot a series that had reached a nadir with Die Another Day, Casino Royale ends up getting an enormous amount right. If anything, its failure is that it doesn’t push far enough, so successful is it in disarming itself of the overblown set pieces and perfunctory plotting that characterise the series (even at its best), elements that would resurge with unabated gusto in subsequent Craig excursions.

For the majority of its first two hours, Casino Royale is top-flight entertainment, with returning director Martin Campbell managing to exceed his excellent work reformatting Bond for the ‘90s. That the weakest sequence (still good, mind) prior to the finale is a traditional “big” (but not too big) action set piece involving an attempt to…

My name is Dr. King Schultz, this is my valet, Django, and these are our horses, Fritz, and Tony.

Django Unchained (2012)
(MINOR SPOILERS) Since the painful misstep of Grindhouse/Death Proof, Quentin Tarantino has regained the higher ground like never before. Pulp Fiction, his previous commercial and critical peak, has been at very least equalled by the back-to-back hits of Inglourious Basterds and Django Unchained. Having been underwhelmed by his post Pulp Fiction efforts (albeit, I admired his technical advances as a director in Kill Bill), I was pleasantly surprised by Inglourious Basterds. It was no work of genius (so not Pulp Fiction) by any means, but there was a gleeful irreverence in its treatment of history and even to the nominal heroic status of its titular protagonists. Tonally, it was a good fit for the director’s “cool” aesthetic. As a purveyor of postmodern pastiche, where the surface level is the subtext, in some ways he was operating at his zenith. Django Unchained is a retreat from that position, the director caught in the tug between his all-important aesthetic pr…

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