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Tag Archive: borg


Review by C.J. Bunce

In all the flurry of late spring and early summer movie releases, don’t forget to see that X-Men movie sequel that drifted into theaters with less fanfare than the original two years ago.  That’s Deadpool 2, still in theaters nationwide in its fourth week, but probably phasing out soon.  So get to the theater before it’s gone.  More Ryan Reynolds sass and wisecracking, less of the supporting cast from the original, but more new characters fans of Marvel Comics and Marvel Comics-at-the-movies will want to see more of, Deadpool 2 has one big surprise you won’t glean from the trailers:  It’s a classic X-Men comic book story.

Take away the R-Rated humor and the jokes and you’ll find the backbone is a plot bringing the entirety of 20th Century Fox’s X-Men franchise full circle.  The themes of that very first story from the first film in 2000, the movie called X-Men, return.  In X-Men we met young teenager Rogue (Anna Paquin), struggling with her abilities and the burden they place on her.  Despite the superhero vs. superhero storyline, the real villain was Senator Kelly, trying to pass a federal Mutant Registration Act (similar in plot development as the legislation that divides the Avengers in Captain America: Civil War).  Here we meet an out-of-control and mistreated mutant from New Zealand called Firefist (Julian Dennison), and the villain is another Senator Kelly-type trying to do-away with the mutants, played by familiar British actor Eddie Marsan.  Coming back to this theme 18 years later is a smart move–even in a flurry of humor we’re reminded that the stories were sourced in an effort to address teen readers trying to fit into the world.

New characters Cable (Josh Brolin) and Domino (Zazie Beetz) are perfect transformations from comic to screen.  Cable is an expertly realized cyborg, not just a fill-in character but a fully developed new player in Marvel Studios’ arsenal.  Domino is a reminder that members of Marvel’s B-team line-up can steal the show (like Evan Peters’ Quicksilver in X-Men: Days of Future Past) when written well.  Any kid or kid at heart will appreciate a battle scene between Colossus (Stefan Kapicic) and Juggernaut (Ryan Reynolds) complete with its own humorous operatic accompaniment.  Time travel plays a key element in the story and Brolin’s cyborg is every bit as compelling as Arnold Schwarzenegger’s from the Terminator series, and the writers and director David Leitch (Atomic Blonde, John Wick) tap into that with dropped references every chance they get.

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Reboot.  Recharge.  Rebel.

Next week the Synths return in AMC’s Humans, the series we pegged as last year’s best look at life living with and as a borg.  Humans is back for its third season with its season premiere Tuesday.  When we last left Humans, Lucy Carless’s Mattie Hawkins had uploaded the software to free the Synths–those very human-looking and acting cyborg servants.  Season 3 begins a year later–a year after all the Synths became fully conscious.  Since then life in British society has become strained as the oppressed Synth population fights to survive in a world that hates and fears them.

Similar to iZombie’s shift last season from a normal world to a world living side-by-side with zombies both at peace and at war, the Synths of Season 3 have their own community of outsiders split in two: The original green-eyed Synths are the rogues, not content with their second-tier status, and the new Series 11 “Orange Eyes” are the new, safe, properly configured and upgraded Synths.

The Synth family of Mia (Gemma Chan), Niska (Emily Berrington) and Max (Ivanno Jeremiah) return, continuing to battle for their right to survival,  The rest of the Hawkins family is back, too, with Mattie’s parents Laura (Katherine Parkinson) and Joe (Tom Goodman-Hill) separated because of their divergent views of the Synths, and Mattie’s siblings Toby (Theo Stevenson) and Sophie (Pixie Davies) dealing with the upheavals all around them.

Here is a preview for Season 3 of AMC’s Humans:

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The best is back next month.  Television’s best comic book adaptation to date, the Emmy-winning Marvel’s Luke Cage, is returning next month as Season 2 arrives on Netflix.  Can Season 2 match the one-two punch of the first season?  It looks like we’re going to get a return of everything fans are after:  More Mike Colter protecting the streets of Harlem as “Power Man” Luke Cage.  The first trailer for the 2018 season is out and we’re learning a lot about what to look for in June as the next season is released on Netflix:  Supercop badass Misty Knight (Simone Missick) is bringing a new weapon to the law with her own cybernetic arm.   Alfre Woodard’s Mariah Dillard is taking her place as leader of the underground criminal element.  Luke’s pal Bobby (Ron Cephas Jones) is back with Rosario Dawson’s Claire Temple to watch over Luke.  And even Theo Rossi’s master manipulator and henchman “Shades” Alvarez makes an appearance in the trailer.

The challenge of all superhero tales ultimately is the same:  How intriguing and compelling is the villain?  Season 1 had Shades and Mariah, Frank Whaley’s cool bad cop Detective Scarfe, Erik LaRay Harvey’s sinister Diamondback, and the awesome and gritty Mahershala Ali’s Cottonmouth.  With Scharfe, Cottonmouth, and Diamondback out of the picture, we’re getting a new villain: Quarry’s Mustafa Shakir is Bushmaster.  Showing Cage there’s always someone bigger and stronger to come along, Bushmaster surprises our hero with equal strength and power.

Does Bushmaster hail from the same mad science that created Cage, or is someone new behind the scenes?

Take a look at this first trailer for Season 2 of Marvel’s Luke Cage:

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Review by C.J. Bunce

Nearly one hundred years after Bushnell’s Turtle (the submersible, not the sandwich shop), Jules Verne introduced the world to his futuristic advanced submarine the Nautilus.  In the pages of his novel 20,000 Leagues Under the Sea, an expedition is investigating a giant sea monster that ends up being Captain Nemo’s famous submarine.   A predecessor to modern steampunk stories, 20,000 Leagues gets a sequel 145 years later in C. Courtney Joyner’s new steampunk novel Nemo Rising

Pushing aside Verne’s own sequel The Mysterious Island, Nemo Rising finds Captain Nemo a prisoner of the United States, jailed in a vault in Virginia in a form of solitary confinement and set to be hanged for destroying the USS Abraham Lincoln.  Partially destroyed but slightly rebuilt and sitting in drydock, the Nautilus would seem to be calling for its captain as a bevy of sea monsters begins to destroy European vessels in the Atlantic.  U.S. President Ulysses S. Grant is eager to hang Nemo, but realizes he needs to negotiate a deal for Nemo’s cooperation to prove that these sea monsters are causing the destruction to get the international community off his back.  As the President dodges assassination attempts riding his trusty horse Cincinnati, he finally resorts to using a new invention, an airship, to redouble the efforts to see that Nemo completes his mission and learns the truth behind these attacks.  Accompanied against his wishes by the airship inventor’s intrepid daughter, Nemo seeks his own form of payback as he takes the choice of the mission over the gallows.  The result is a classic seafaring adventure any fan of classic science fiction or pirate tales will love.

First edition of the original Jules Verne Captain Nemo novel, 20,000 Leagues Under the Seas.

With the pacing and action level of Tom Clancy’s The Hunt for Red October, Nemo Rising reveals a brother-in-arms of Herman Melville’s Captain Ahab on the footing of a modern vengeance story as found in Guardians of the Galaxy 2 or Netflix’s The Punisher.  This Captain Nemo story is a fun read that will be gobbled up by fans of Verne (especially his novel Master of the World) and the Pirates of the Caribbean movies.  It also reflects the realism of living and working at sea, but without all the precise detail like you’d find in C.S. Forester’s Horatio Hornblower, the Patrick O’Brian Jack Aubrey books, or the famous mutiny stories–it’s more like watching their television adaptations.

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It’s been one long year of great entertainment.  Before we wrap our coverage of 2017, it’s time for the fifth annual round of new honorees for the borg Hall of Fame.  We have plenty of honorees from 2017 films, plus many from past years, and a peek at some from the future.  You can always check out the updated borg Hall of Fame on our home page under “Know your borg.”

In anticipation of the 2017 film Logan, last year we added Old Man Logan, Laura/X-23, and cyborg-armed mercenary Donald Pierce.  We also added Scarlet Johansson’s character The Major, previewing 2017’s live-action film The Ghost in the Shell.

We didn’t get the big ballroom at our venue reserved early enough for the induction ceremony this year, so it limited us to tapping only 24 named characters into the revered Hall of Fame this year.


As with last year, we’re granting a few early entrances this year, first to Simone Missick’s badass cop Misty Knight, who is getting a borg arm for season two of Luke Cage in 2018.


And here is an early look at Josh Brolin’s Cable, from 2018’s Deadpool sequel.  The borg comic book character Cable was a first round honoree to the Hall, so this is just another update to the character.


Onto this year… Kingsman’s almost-a-Kingsman Charlie was thought to have been killed off in the first film.  But he was back in the 2017 film Kingsman: The Golden Circle, sporting cyborg components.


A host of new borgs–Replicants in Philip K. Dick’s novel Do Androids Dream of Electric Sheep?–returned to the big screen in Blade Runner 2049, including some new names and faces, like Ryan Gosling’s K

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It’s been three months since the last preview for Star Wars: The Last Jedi, released as part of the Disney convention in Anaheim, California, with no trailers or significant presence at San Diego Comic-Con.  Again bypassing one of the two major comic book and pop culture conventions, Disney passed over New York Comic Con this past weekend to release the next trailer for the eagerly awaited Episode IX late Monday.  Disney included far more visuals and significant story elements in this preview, which tells a story of a young Padawan who is reaching out for someone to help her forge her path ahead.  Who will help her?  Luke Skywalker?  Kylo Ren?  Snoke?

Her future looks bleak.  This definitely carries the hallmarks of a Dark Side-heavy story like that hinted at with the early looks at The Empire Strikes Back, 37 years ago.  Frankly, we’re backing the team with Chewbacca and his Porg co-pilot.

Implied in the trailer are plenty of spoilers, including at least one key character’s death.  Or are they just tricks meant to tease us?  As Luke says, “This is not going to go the way you think.”  Check out the great detail on Luke’s borg hand–Luke was the first character of any major franchise to use the term “borg” for cyborgs, in the original Star Wars 1970s comic book series:

Disney also released another poster for the film Monday (above).  Check out this new trailer for Star Wars: The Last Jedi:

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Review by C.J. Bunce

Credit for the success of Blade Runner 2049 as a worthy sequel to 1982’s Blade Runner is a shared prize for director Denis Villeneuve (Arrival, Sicario), the writers, including screenwriter Michael Green (Logan, Alien: Covenant), source material creator Philip K. Dick, and original Blade Runner screenwriter Hampton Fancher (The Mighty Quinn), plus at least two dozen other unnamed creators whose early science fiction works were mined for the story.  Predictable, derivative, slow-paced, and overly long, Blade Runner 2049 still lands as a solid sequel and will no doubt please fans loyal to the 1982 film.  The beauty of the sequel is the earnest, ambitious effort of Villeneuve under the eye of executive producer and original Blade Runner director Ridley Scott to give the story a reserved touch.  The sequel has the now classic dystopian look of the Mad Max or Terminator: Salvation variety, stretching the original Syd Mead futurism and punk noir vibe into a different but logical new direction–think Blade Runner with the lights turned on.

From the first scene Villeneuve & Co. dig in to not just sci-fi tropes but cyborg heavy themes that sci-fi fans know very well from similar explorations in countless books, television series, and films since the early 1980s, when the idea of adapting something like Dick’s novel Do Androids Dream of Electric Sheep? into a big budget film was something less familiar to film audiences.  The filmmakers touch on many classics–Frankenstein, Bride of Frankenstein, Pinocchio, Shakespearean tragedy–to countless episodes of the Star Trek franchise (lead character and Replicant K/Joe played by Ryan Gosling revisits several direct themes the android Data explored in Star Trek: The Next Generation).  More than ten minutes is spent revisiting the latest technology called an “emanator” that Star Trek Voyager fans will be familiar with as the Emergency Medical Hologram’s “holo-emitter,” a device allowing holograms to move around the world.  What in the early 1980s may have wowed audiences is here not so eye-popping because of the legacy Trek tech called the holodeck.  But none of these flashbacks to sci-fi’s past really takes anything away from the elements re-used in Blade Runner 2049 because they are all stitched together into a clean story.  To some it will be a Where’s Waldo? of sci-fi storytelling and to others the simple nostalgia of exploring Isaac Asimov’s themes of the Robot and the Self will be worth a revisit.

Many questions are asked in the lengthy 2 hour-and 43 minute-long film, and some, but not all, will be answered, disappointing a few loyal fans of the original.  Deaths of characters and actors since the original limit the return of certain characters from the original, but where they happen it’s done right.  One scene, however, is a complete misfire–a character walked onto the screen to the gasp of this reviewer’s theater audience, only to find it wasn’t really who was expected based on the build up of the scene.  But the biggest misfire is Villeneuve’s use of sound and score.  Villeneuve turned to Benjamin Wallfisch and Hans Zimmer for the musical score, unfortunately creating a dreadful use of sound in the film, compared to the original film’s excellent score by Vangelis.  Where the use of Vangelis’s synthesized cautious, futuristic melodies took a backseat to story and dialogue in the original, here Wallfisch and Zimmer lean on dissonant John Cage-esque chords and blare noises like someone sitting on a piano or a kid plugging his guitar into an amp for the first time, over and over, at full volume–the aural equivalent of J.J. Abrams’ lens flares.  The poor sound takes away from a visual work that could have benefitted from a closer look at the use of sound in the original.  I.e. take at least one earplug along, especially in an IMAX or other digital theater.

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Review by C.J. Bunce

The new sequel to Kingsman: The Secret Service (reviewed here at borg.com) starts as you’d hope for, immediately slamming viewers into high gear with a frenetic car chase featuring BAFTA-winning actor Taron Egerton’s Brit spy Eggsy, defending himself from a kidnapping with the same level of over-the-top superhero moves that saved him from similar threats in the first film.  After the introduction of Kingsman: The Golden Circle, which opens this Friday nationwide, the film loses the freshness and style of the original and shifts from a faithful James Bond homage to Bond as it might be interpreted by the Coen Brothers.  Where the original careened into the stuff of a Quentin Tarentino film in its major action sequences, the sequel shifts into a quirky blend of gore, explosives, and caricatures that moves beyond Bond homage to more of an Austin Powers parody.

The sequel offers up a top tier cast.  BAFTA winner Mark Strong (Sherlock Holmes, Stardust, Kick-Ass, Green Lantern, John Carter, Zero Dark Thirty) returns as Merlin and–no surprise from the trailers–Academy Award-winning actor Colin Firth (The King’s Speech, Shakespeare in Love, Pride and Prejudice) is back as agent Galahad and Edward Holcroft (Wolf Hall) returns as rejected Kingsman Charlie.  Audiences saw both die in the original.  Firth is picture-perfect in every scene, as if he was always destined to have a 007 role.  Holcroft, who you might easily mistake for Chris Evans, offers up a more fleshed out character this round, and he gets some of the better one-on-one battles against Eggsy, complete with a nifty Swiss Army multi-functional borg arm.

New to the world of the Kingsmen are their American spy agency counterparts.  The leader is played by Academy Award-winning actor Jeff Bridges (The Big Lebowski, RIPD, Hell or High Water, Tron, True Grit, Iron Man) in a classic Southern-accented delivery, appearing for a few brief scenes.  Pedro Pascal (The Great Wall, The Adjustment Bureau, Game of Thrones, Buffy the Vampire Slayer), whose moustache makes him a ringer for a 1970s Burt Reynolds, breaks out in his performance as an agent with some mad lasso skills.  And true to form, genre favorite Channing Tatum (21 Jump Street) shows up with the swagger of a Southern lawman, but in only the briefest of scenes, much like his smaller roles in G.I. Joe: Retribution and Hail, Caesar!  The U.S. spy squad is full of Hee Haw-vibed caricatures of Americans, albeit echoing Joe Don Baker’s drawling U.S. roles in three Bond movies (The Living Daylights, GoldenEye, Tomorrow Never Dies).  The women have the better parts in Kingsman: The Golden Circle:  Academy Award winner Halle Barry (X-Men series, Catwoman, Monster’s Ball) is the American “Q” with the nicely Ian Fleming name of Ginger Ale–the former “Bond girl” flipping sides this time from Bond co-lead and love interest (Die Another Day) to the current Ben Whishaw I.T. guru role.  And Academy Award winner Julianne Moore (The Big Lebowski, The Lost World: Jurassic Park, Children of Men) is the film’s villain, a drug kingpin named Poppy–a strange, comic books-meet-Coen Brothers baddie bent on world domination, with scary calm Jack Nicholson Joker insanity and a 1950s chic.  We’ve seen some Bond villains far out there, but Moore’s Poppy is one who could out-crazy them all.

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Review by C.J. Bunce

This year’s first cinematic examination of life as a borg came from a beloved international favorite, Ghost in the Shell, starring Scarlett Johansson as “Major,” a truly badass heroine who turns a mission of criminal pursuit into a discovery of the self.  Originally published in Japan as a manga comic written and illustrated by Masimune Shirow in 1989, The Ghost in the Shell went on to become an even more popular anime film series beginning in 1995.  Originally titled Mobile Armored Riot Police, Shirow wanted (and eventually secured) the title Ghost in the Shell to pay tribute to Arthur Koestler’s The Ghost in the Machine, which inspired his story.  This year’s early spring release of the live action Ghost in the Shell is based on the manga, and its available on streaming services, Blu-ray, and DVD this month.

Any fan of cyberpunk, future Earth, replicants and borgs shouldn’t miss this one.  Rupert Sanders (Snow White and the Huntsman) directed a visual treat, a futureworld that is not on par with the dazzle of either Ridley Scott’s Blade Runner or Luc Besson’s Valerian and the City of a Thousand Planets, yet it still works well, and the cinematography choices by Jess Hall (Transcendence, Hot Fuzz, Grindhouse) combined with the music of Lorne Balfe and Clint Mansell (which owes much to the scores for Ridley Scott’s Blade Runner and Tron Legacy) sucks viewers into a surreal plane in a sister realm to Tron or Source Code.  Major is probably Johansson’s best lead role, too–a tempered, thoughtful, deliberate performance dotted with the action and violence her fans look for.  She was well-prepped for the role, starring in as the lead in the dark world of director Luc Besson’s stylish action thriller Lucy, and it’s easy to see Johansson getting cast for this role after that performance.

Although the story begins slowly, as more pieces are added to the puzzles and plot threads the film builds to become a thought-provoking examination of the dark side of cybernetics and future technologies.  The source material for Ghost in the Shell is relatively late to the discussion table for cyborgs, following after Philip K. Dick’s replicants in Blade Runner, the similarly themed man-turned-machine in Robocop, and Martin Caidin’s Bionic Man in Cyborg.  More than anything, the story calls back to the Bionic Woman and Jameson Parker and Mare Winningham made-for-TV movie Who is Julia?, a story of a woman struggling to deal with the world’s first brain transplant.  In Ghost in the Shell Johansson’s character wakes up after a near-death, her brain transplanted into a new (better, stronger, etc.) mechanical body as the first brain transplant subject in a world where cybernetics are now commonplace.  Her doctor is played as an elegant and caring protector by Academy Award-winning actress Juliette Binoche.  But the beauty of the film is that just as it has in parts a very predictable story for its place in science fiction (following a long line of visionary medicine stories beginning with Mary Shelley’s Frankenstein), Ghost in the Shell offers some satisfying surprises that sets up the story well for a superhero-esque sequel or film series.

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Author Simon Ward has crafted a new behind-the-scenes account of a sci-fi film, this time the latest entry and third Ridley Scott-helmed film in his Alien series, Alien: Covenant.  As you would expect, The Art and Making of Alien: Covenant features hundreds of photographs from what is probably the goriest film in the series.  Like another sci-fi/horror mash-up film 10 Cloverfield Lane, it also has its share of surprises, particularly as it leaves viewers in suspense as they learn the kind of horror film unfolding isn’t what they first thought.  Ward’s new book doesn’t reveal all the surprises, but enough to encourage readers to wait until they’ve seen the film to read the book.  Since a book like this is mainly for the diehard Alien fan, this won’t be an issue to most of its readers.

The Art and Making of Alien: Covenant, like Ward’s previous works The Art and Making of Independence Day: Resurgence (reviewed here at borg.com) and Aliens: The Set Photography (reviewed here) is more about the making of the film than a traditional “art of” film resource.  so don’t look for the typical concept art.  You will see plenty of film stills, behind the scenes shots with the actors, and some good visuals of the film’s set design.  Ward also moves step-by-step through the film, pulling in production staff and actors to give insight into the filmmaking process for this unique movie.

Ward interviewed director Ridley Scott, revealing Scott’s thought process behind this film and its place in the series, each key cast member discusses their view of their characters.  Concept artist Steve Burg describes the differences between Alien: Covenant and the last film in the series, Prometheus.  Creatures supervisor Conor O’Sullivan reveals the influences in the new Xenomorph designs.  Director of photography Dariusz Wolski provides a look at scene set-up and his lighting and cinematography choices.

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