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Tag Archive: Soylent Green


Review by C.J. Bunce

In her debut in Star Wars: The Force Awakens, Captain Phasma was an enigma, the latest of the uniquely costumed bad guys in the Star Wars universe, following in a line that progressed from Darth Maul to General Grievous, Count Dooku, and Darth Vader in the prequels, and later into Director Krennic and Grand Moff Tarkin in Rogue One, and Grand Admiral Thrawn in Star Wars Rebels.  In Delilah S. Dawson’s new novel, Star Wars: Phasma, Phasma finally gets the spotlight.  Readers learn about her backstory through an interrogation of a Resistance spy working for General Leia Organa, by yet another aspiring Imperial/First Order warrior, Captain Cardinal.

The spy, Vi Moradi, is pressed to provide Cardinal with damning information to help him bring down Phasma with the current leader, General Armitage Hux, son of General Brendol Hux, the leader who ushered both Cardinal and Phasma from their primitive worlds to train the future warriors of the First Order.  Dawson tells this story as a play on A Thousand and One Nights, where the reader is compelled to wonder whether the information is true or that the end will be of the Keyser Söze variety.  Moradi reveals a story of Phasma’s rise to power among a tribe on the planet Parnassos, and her discovery by Brendol Hux when his ship crashes on the planet and his emergency escape pod leaves him and his Stormtroopers far from the wreckage and any chance to communicate back to the First Order for assistance.

Phasma’s story will be most familiar to readers of the Star Wars universe novel Thrawn (reviewed here earlier at borg.com).  Both Phasma and Thrawn literally battled their way to the top.  Those familiar with the third trilogy novels will find an interesting parallel in the selection of the stories released leading up to the new canon films, including Catalyst: A Rogue One Novel centered on the feud between Krennic, Tarkin, and Galen Erso, and Tarkin, introducing readers to Tarkin’s confrontations with Darth Vader.  Star Wars: Phasma has much in common with the Star Wars Rebels prequel novel A New Dawn, and indeed Vi Moradi would fit in well with the crew of the Ghost.  Dawson pits Cardinal against Phasma like the Emperor pitted Anakin Skywalker against Grievous and Dooku, continuing some consistency from earlier Star Wars stories.

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Snowpiercer clip B

Review by C.J. Bunce

After a long and clunky path to theaters that we first discussed in our review of the graphic novel source material here at borg.com, Snowpiercer, the highly, almost ludicrously improbable story of a train carrying the last humans on Earth akin to Noah’s Ark is finally in wide release.  With below freezing temperatures and the wind howling across the country this week, it’s a good time to hunker down and take a look at this new home release.

The film sees a lower class of humans living at the back of a giant train that is strangely bigger on the inside as they send a small band to try to get to the front of the train controlled by the wealthy.  Numerous reviews call Snowpiercer an allegory, and that’s completely wrong.  Snowpiercer is literal.  It’s a post-apocalyptic science fiction survival story, not the deep symbolic stuff of Plato or even Orwell.  Snowpiercer–the film–is pretty much devoid of any subtle hidden meanings. It’s overt B-movie sci-fi.  In fact it’s closer to Escape from New York or Logan’s Run than a high-brow philosophical look at life, as it was categorized by many critics on its theatrical release.

Snowpiercer strange cargo

Likewise, don’t try to compare it to the much heralded source material, the black and white graphic novel Le Transperceneige by Jacques Lob, Benjamin Legrand, and Jean-Marc Rochette reviewed here.  Other than the story being about someone trying to get from the back of a train to the front, it’s pretty much unrecognizable.

Yet if you can watch Snowpiercer for what it is, an action vehicle (no pun intended) for star Chris Evans between big picture roles, then you might agree it’s a winner.

Bouncing back and forth between taunts of a gotcha a la Soylent Green, The Road, or War Games, the movie answers every (simple) question it poses, which is surprisingly satisfying.  Korean director Bong Joon-ho peppers each new train car he breaks through in Panama Joe Atari video game style with enough new questions that you’ll find yourself paying attention for the entire ride, just to get to what ultimate wisdom may be found at story’s end.

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