Marina Sirtis

  • Star Trek: Generations (1994)

    Star Trek: Generations (1994)

    ByChristian Sauvé Movie Review

    (Second Viewing, On Blu-ray, December 2019) My memories of Star Trek: Generations were not good, but it took a while for me to remember why. The first hour-or-so of Generations is not bad, especially if you’re watching it shortly after the previous instalments. After a decent prologue that sees Kirk sacrifice himself once again, the focus of the series switches to the second series, the entire cinematography of the Trek series gets a visual upgrade and we’re back in the comfy aesthetics of The Next Generation. Plus, there’s Gates McFadden and Marina Sirtis to look at. From a movie perspective, the series also gets an upgrade from 1980s to 1990s techniques, with much-improved special effects, better camera movements and a less stage-bound style. There’s even a good (if repetitive) space battle midway through. The early signs of the film’s problems are in the lacklustre script—Finally giving Data his emotion chip leads to scenes that go for cheap humour over wittiness, and as the plot of the film snaps into focus, it’s obvious that this is the least of the film’s Big Ideas that are wasted away. By the time Generations is over, Kirk is dead, the Enterprise-D is destroyed and Data has emotion … except that the scales are so small that it’s hard to reconcile the majesty of those ideas and the way they’re tossed off. The entire thing climaxes on … a metal platform in the middle of a desert—not exciting! The passing of the torch between both iconic crews, years in the making, ends up being a disappointment. With twenty-five years’ perspective, the Enterprise has been destroyed roughly five times in thirteen Trek movies—to the point when it’s now feeling like a cheap trick more than a momentous occasion. In fact, if we’re going to reflect on Generations in retrospective, it’s hard to avoid thinking that the TNG crew has only had one good movie in four attempts—while I’m upgrading Generations slightly in my mind, it’s still well under First Contact, and quite above the abysmal Insurrection and Nemesis. There were, of course, a few other factors harming the TNG movies—Paramount was almost paralyzed in fear of doing anything too crazy in the movie series with DS9 and Voyager running in parallel, and that may explain the timid and self-defeating lack of panache in those instalments. Generation at best manages a draw between good and bad, mostly because whatever is good (and let’s not deny the fun of having William Shatner and Patrick Stewart teaming up) is in service of a throwaway plot. It’s half-successes like Generations that lead otherwise well-meaning people to fanfiction.

  • Death Wish 3 (1985)

    Death Wish 3 (1985)

    ByChristian Sauvé Movie Review

    (In French, On Cable TV, July 2019) I’ve been plumbing the depths of 1980s Hollywood lately, and movies seldom get as crazy as Death Wish III. If the original 1974 film was arguably a statement on early-1970s urban crime and the second 1982 film became an outright exploitation picture, this third instalment goes full-on bonkers in an attempt to give more to the target audience. Here we have the series protagonist (once again played by Charles Bronson, here in his mid-sixties) coming back to New York to visit an old army buddy. Except that the cops know what he’s done and are aware of the bad neighbourhood where he’s going and they have a deal for him: kill as many criminals as you want, and let us claim the credit. With a setup like that, it’s no surprise to find out that the protagonist’s army buddy is one of the last decent people in a crime-ridden neighbourhood where even the police fear to tread. Put together as if someone had no experience of American cities other than the worst crime dramas of the 1980s, this neighbourhood hosts ludicrous gangs with stylish looks that pretty much do whatever they want to anyone. Bronson steps in with a crime-fighting attitude and an unexplained supply of heavy weaponry. It all escalates ludicrously to out-and-out urban warfare by the end of the film, complete with anti-tank rockets being used to dispatch opponents. We’re far, far away from the 1970s angst of revenge here … and that may be part of the film’s peculiar charm. The Death Wish series has never been about serious exploration of issues, and while Death Wish 3 is fantastical in the way it treats New York City as a playground for explosive mayhem … at least it’s a bit less hypocritical about its intention. It’s really not a good movie, but at least it’s interesting in its craziness. In keeping with the series’ tradition of having a famous actor in an early role, here we have the always-stunning Marina Sirtis playing a victim of the hooligans. I’m not even covering half the nonsense of the film: Suffice to say that Death Wish 3 inches toward the have-to-be-seen-to-be-believed category of the worst of 1980s Hollywood. Alas, there’s a lot of competition in that field, but still: at least it’s an improvement over Death Wish 2.