Tag Archives: Eric Robert Nolan

We DIDN’T evolve from you.

We both evolved separately from a common ancestor.

Asshole.

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“American First, Irish Always”

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Publication Notice: Dead Snakes features “hens staring upward.”

Well, here is some nice news today — the good folks over at Dead Snakes have published my latest poem, “hens staring upward.”  (I know that its whimsical sounding title suggests another one of my joke poems, but this is definitely a darker piece, and does contain some disturbing imagery.)

Here’s the link:

“hens staring upward,” by Eric Robert Nolan

Thanks to Editor Stephen Jarrell Williams for graciously allowing me to share my voice once again over at Dead Snakes!

“Terminator Genisys” Terminated My Boredom!

There.  You see that truly sucky play on words that I employed in the headline for this blog post?  That should give you a sense of the quality of this film’s script.  I’m serious.  When one character expresses their desire to rule the world, another character shouts “Rule THIS!” before blasting the former with a laser.  Because the future is a long, looooong way from Tennessee Williams, Baby.

But hold up.  Believe it or not, this will actually be a positive review of “Terminator Genisys” (2015).  I’d reluctantly give it an 8 out of 10, because it was a fun summer popcorn movie, despite its flaws.

And there are flaws.  It isn’t high art, and it can’t even approach the pathos, drama, characters, rich themes and great old fashioned movie thrills of the true terminator classics: the 1984 original and James Cameron’s astonishingly superior sequel in 1991.

The dialogue for “Terminator Genisys” is terrible in many places.  The story’s most important character, Sarah Connor, falls flat.  She’s scripted as a chipper, upbeat, 20’ish “It Girl” who utterly fails to win viewer loyalty, as Linda Hamilton’s traumatized crusader did so beautifully in 1991.  I also humbly opine that Emilia Clarke did poorly with the role.  This is the first time I’ve ever seen her perform — I’ve heard that she’s actually considered a very good actress playing a queen on … that TV show.  “Game of Bones?”  “Crones?”  Or something?  People like that show, right?

A lackluster Sarah Connor might be a serious transgression in the fan community.  For a kid who learned to love science fiction movies in the 80’s and 90’s, Ellen Ripley will always be the paradigmatic heroine, but Sarah Connor was second.  No, no one can equal Hamilton’s performance, but others can still perform the role quite well when it is competently scripted.  Just see Lena Heady’s inspired turn in television’s “Terminator: The Sarah Connor Chronicles” (2008).

The “timey-wimey” stuff lost me early on.  Seriously — the time travel story elements confused and annoyed me as soon as Kyle Reese (Jesus, I almost wrote Corporal Hicks) entered the time machine and began having inexplicable memories of another timestream.

Who is sending multiple terminators on multiple missions?  Are they from various timelines and various iterations of Skynet, or are they from a single future?  Our heroes have an unknown benefactor with access to time machines?  A T-1000 attacks people on a rowboat?  Does it … float, then?  Walk on water?  It seems to me that hopping on a boat would be a rather ingenius way of escaping an unstoppable robot, unless he commandeers his own vehicle …  Hell, it’s something I’d never thought of, and I am precisely the sort of weirdo who thinks about things like that.  (Is it any worse than when other people have zombie contingency plans?)

I’m not even sure I understand the motives of the story’s antagonist who we see the most.  Is this character on nobody’s side, exactly?  If this character is a superior model composed of nanobots, shouldn’t Skynet be manufacturing and deploying dozens, instead of just one?  For that matter … why do individual terminators each have an individual consciousness and point of view?  Can Skynet simply download its own single collective consciousness to every unit?

I felt a little embarrassed at first, but the Internet reassures me that most, if not all viewers, are puzzled about these things.  The wonderful io9.com, for example, has an excellent tongue-in-cheek “FAQ” pointing out this movie’s surprising multitude of unanswered questions.  Warning: SPOILERS.

http://io9.com/terminator-genisys-the-spoilyr-faq-1716548070

Also … I really disliked this movie’s central plot twist.

Still, I have to give this movie a free pass.  I simply can’t give a negative review to a film during which I laughed and smiled throughout.  This is a fun summer event-movie.  It’s a fast-paced, sci-fi actioner with fantastic special effects, the return of Arnold Schwarzenegger, and tons of fan service and Easter eggs.  (Recreating the 1984 film’s sequences shot-for-shot?  C’mon!  That was just cool and fun.)

We’ve got nanobaddies, liquid metal terminators (made of mimetic polyalloy, to those of us in the know), aging T-800’s with stiff joints, time machines, terminators arriving in multiple decades, Bot-on-Bot violence, a schoolbus flipping over on the Golden Gate Bridge and … somebody does something totally sweet with an oxygen tank.  They really threw in everything but the kitchen sink for this movie.  The result is only kid stuff, but it’s still a good time.  If you see this movie, and you don’t smile when a T-1000 emerges from a police car windshield, then you have never been a 10-year-old boy.

This year’s “Jurassic World” had none of the earmarks of a great film, but it still entertained.  I gave that a positive review, so I’m going to go head and recommend this as well.

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Internal E-mails, “Terminator Genisys” Marketing Division, Paramount Pictures

Art Department:  Okay, so we have a movie about killer cyborgs, killer robots and embattled human resistance fighters, all time-traveling from a nightmarish dystopian future in which human beings are nearly eradicated.  Would you like imagery focused on warfare raging across a scorched future earth?  Or maybe a detailed image of the liquid metal terminator attacking the heroes in 1984 New York?

Management:  You know what?  Just place an image of the actress’ caboose front and center.

Art Department:  The actress’ what?

Management:  CABOOSE.  BACKSIDE.  Get your head out of your comic books.  Also, hold off on the title script.  We’re thinking of renaming this movie “Backside To The Future.”

Art Department:  Well, should we also show a future battle occurring around her?

Management:  Put her in a god damn wheat field.

Art Department:  What?

Management:  Send more coke to our office.

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Damn it, I just GAWLO’ed again.

(Grudgingly Agreeing With Len Ornstein.)

Stop CHALLENGING my preconceptions, you articulate conservative bastard!!

“Those were the dark days of America’s infancy.”

Following up on yesterday’s blog post about Nathan Hale for July 4th —  I actually wrote briefly about Hale and New York’s revolutionary history in “The Dogs Don’t Bark In Brooklyn Any More.”  It was background information about Brooklyn’s Prospect Park; the novel’s story, of course, takes place in a fictional future.

I actually made up the “local legend” about Hale’s ghost brooding around the arch.  I have no doubt that the park has its share of ghost stories, but this one was only a bit of poetic license on my part:

“[Prospect Park] is a haunted place. Many men have died in the vicinity of its gently rolling hills, though the occasion of their passing predates the park’s mid-nineteenth century creation. The area around Prospect Park is the site of the Revolutionary War’s first and largest major battle, fought in the waning summer of 1776, not two months after the signing of the Declaration of Independence. 

“The fledgling United States fielded its first official army there, with heartbreaking results. The Battle of Brooklyn was a disaster for America, whose sons were outnumbered two-to-one by 22,000 English and Hessian soldiers. George Washington, flush with his victory at Boston, found his forces routed. He barely escaped to Manhattan in a desperate, stealthy evacuation of more than 9,000 troops. On the morning of August 30, he and his retreating men were met along the Brooklyn hills with a miraculous surprise – a dense morning fog that concealed their perilous exit. To Washington and his war-weary comrades, it must have seemed like nothing short of divine intervention. 

“Those were the dark days of America’s infancy – Nathan Hale would not long after be captured on a mission of espionage in Manhattan, disguised as a Dutch schoolteacher, and would be hanged, after his immortal lament that he had but a single life to give for his country. The defeat in Brooklyn also cleared the way for the Crown’s capture of all of New York City. The Great Fire of 1776 would ravage Manhattan. And the city would remain in England’s hands until the end of the war. 

“Ironically, the park’s principal monument is devoted to another war entirely – one in which America turned upon itself. This is the Soldiers’ and Sailors’ Memorial Arch, a massive structure dedicated to the Union Army during the Civil War. If there is an afterlife, then perhaps it might break Washington’s heart – and Hale’s – to see the Arch as it stands today, a memorial to Americans killing Americans. Indeed, a local legend holds that Hale’s ghost occasions the site of the Arch and hangs his gaze upon it, glum with the knowledge of a nation divided and torn.”

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DAMN IT, this is good idea!

Soooooo.  Yesterday’s July 4th marked America’s 239th birthday … next year will be its 240th.  That’s 240 years.  Or 24 decades.

THIS WILL BE NEXT YEAR’S NATIONAL THEME SONG:

I propose that every American citizen endeavor to kill or capture at least one terrorist on July 4th of 2016.  In the event of failing this objective, he or she will be responsible for yelling “DAMN IT!!!” at least five times over the course of the day.

A mixed review of “The X Files,” Season 9.

[THIS REVIEW CONTAINS MINOR SPOILERS.]  Well … it pains me to admit it, but even a diehard fan of “The X Files” has got to admit that its quality waned in the last season of its regular run — 2001’s Season 9 was pretty uneven, with great “monster-of-the-week” episodes and surprisingly disappointing final entries into the show’s over-arching “mythology” episodes.  I’d give this season a 7 out of 10, and that’s from a biased fanboy who loves this show in much the same way that others love Star Wars and Star Trek.  Frankly, I’d recommend that you peruse Wikipedia’s episode list to select the standalone eps so that you can watch only those.  Skip the conspiracy eps entirely — even if you’re a lover of the long running mythology, as I am.  (You’ll only be disappointed.)

Again, a few of the single stories really shined, and weren’t symptomatic of the creative problems that visibly plagued the show near the end of its 90’s era run.  At the top of the list is the outstanding “Release,” in which the murder of John Doggett’s son is resolved.  This episode had everything that made “The X Files” great — good guys, bad guys, and ambiguous guys all working at cross purposes; a tragic mystery; a haunted past; pathos; twists and red herrings; and great emotional interactions among key characters.  Plus … wrath and gunshots. Damn cool.

“Release” also highlighted Cary Elwes’ wonderful talent.  What a great, darkly ambiguous character he made Brad Follmer.  I liked him far better in this role than his comic caricature in “The Princess Bride” (1987) or his traumatized victim in the “Saw” movies.  This show could have taken on great new directions if it had emphasized the triangle among Doggett, Monica Reyes and Follmer, instead of belaboring past stories so much to retain fans of Fox Mulder and Dana Scully.

Other episodes shined as well.  “4D” and “Audrey Pauley” were like great episodes of the classic “The Outer Limits” (1963).  “Audrey Pauley” benefited from a fantastic actress (Tracey Ellis) in the title role.  “Hellbound” frighteningly pushed the limits of gore and shock-horror.  And “John Doe” was a pretty decent old-fashioned Hitchcock-type crime tale.

Let’s … just not dwell on “Improbable,” the utterly stupid … “numerology episode.”  They bagged an amazing guest actor like the iconic Burt Reynolds and subjected him to this?!  If anyone can tell me the significance of those two unidentified Italian men crooning in the episode’s coda, I’d be eternally grateful.

The mythology episodes … sigh.  They failed to please.  I know that many fans point to David Duchovny’s absence as the reason, but I disagree.  This is the story of a decades-old, global, inter-planetary conspiracy.  It isn’t just one man’s story, and we’d followed Fox Mulder’s quest for the prior eight years.  We can have a coherent and logical continuation of the story without him.  And the writers and actors of “The X Files” did just fine in introducing more crusaders that we care about — two great characters in the form of Doggett and Reyes.  Robert Patrick was terrific; Annabeth Gish wasn’t perfect, but had room to grow, as Gillian Anderson did in the early years.  And of course Anderson’s immense talents still made Scully a perfect heroine.  You know what would have been a daring creative decision?  Martyring Mulder to motivate the survivors.  (Duchovny wanted to leave anyway, didn’t he?)

For me, two other problems were responsible for the show’s decline.  The first was structure, and the second was the redundancies with past seasons.  Season 9 was all over the place — at this point, I’d bet the viewers had largely lost hope that the show’s long-running mysteries would be resolved.  Subplots were raised and dropped with little impact; the episodes concerning baby “William” were maudlin and tiresome.  The season moved forward with minimal clues and exposition.  Its penultimate episode, “Sunshine Days,” was … a mythology episode?  Or not?  I’m not sure — we have a new superpowered character whose unique gifts might be “the answer to everything.”  Well … that’s pretty much the same plot point with which we left off with Gibson Praise in a prior season.  It was a nebulous plot point that wasn’t well supported in the script then, and it’s even less believable now.  And the final episode was a cobbled together rush job, in which past guest stars cameoed in a literal trial for Mulder.  (Admittedly, I, for one, thought Chris Carter did a decent job of wrapping up pre-existing story arcs.)  The we leave off with a kind of … distant-future cliffhanger … which was subsequently unaddressed by the second feature film in 2008.

But the recycled story arcs were worse.  Instead of a conspiracy, we have “a new conspiracy.” Instead of superpowered Alien Bounty Hunters with a little known Achilles’ heel, we have … “super-soldiers” with a little known Achilles’ heel. (And this silly story device seems like something out of the old “Roadrunner” cartoons.)  Instead of a credulous guy and a skeptical lady, we have a credulous lady and a skeptical guy.  I’m not sure what Carter was thinking, except that he must have been consciously paralleling past seasons that had proven so popular.

Oh, well.  It’s still “The X Files.”  And it wasn’t all bad.  Check it out on Netflix and decide what you think.

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Happy Fourth of July, To One and All!!!

Maybe it is a bit rainier here on the East Coast than we had hoped, but we’ll still find some way to blow something up.  (We’re Americans, after all.)

Please don’t drink and drive.  Also, please keep your pets indoors.  (I’m told that more pets are lost on July 4th than any other day of the year.)

Everyone have an awesome national birthday party!!!

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