The building of path interrelates to a spirit of trust. The series so far this season has been building on the basis of faith, or perhaps in a more esoteric way, trust. The mythic overtones whether in intimate relationships or in large scale pursuit paths define much of what is happening to the crew. The search for Spock is no uncertain terms is one of redemption for multiple characters, not just Michael Burnham. This episode interrelates a certain idea of the spore drive and its unintentional side effects. Tilly plays a big part in this and Mary Wiseman’s portrayal is starting to play a big deeper, which is of undeniable strength. Some characters intersect and go in and out of the story so perhaps there is too many working parts. But in league with some of the insights on faith and science that Sonequa spoke about in the character, the path becomes both more clear and more puzzling, especially when a certain type of radiation is detected towards the end of the episode. The key in this review is not to reveal any more of the plot points then needed. But ultimately the idea comes down to the path we choose. Now granted some of the dialogue can border on the melodramatic when it might need to be at times, more cutting. But in serving the story, especially with these amounts of special effects for a weekly show, the line needs to be walked. But in an unique way with the slow motion codas at the beginning and end, the tale of Discovery continues to be shaped in small bits.
By Tim Wassberg
The mixture of James Cameron and Robert Rodriguez definitely has a great angle to it. “Alita: Battle Angel” was a title heard years ago and moved around as myth actually for a time. Harrison Ford was attached per se at one point. This story of stories that Cameron had developed for years actually was something Rodriguez told Inside Reel in a Fest Track interview at SxSW in March 2018. Reading the first 3 volumes before talking with producer Jon Landau as well as leads Rosa Salazar & Keaan Johnson in Austin (see their Fest Track interview here), gave a good perception of the structure but what is one to say between an anime/graphic novel that was written many years ago versus the ideals of the actual script (which having been co-written by James Cameron definitely should retain his story sense). What “Alita: Battle Angel” does very well is keep itself focused. The one true balance that stays pretty crisp and clear throughout the film is Rosa Salazar as Alita. Many may think that it is simply a computer performance but that could not put the sense of innocence, anger and breathe in what is seen here. Granted it is not Andy Serkis but who can compete on that level. What Rosa brings is a soul to this girl who was originally built as a killing machine. Salazar has been missing in part from many of the media rounds per se (in large part) but that might be better so the character simply exists on her own. Rodriguez’s touch is here for sure but it is sometimes lost in the bigger sequences. Oddly enough, this reviewer kept seeing “Speed Racer” in the race sequences per se. They are good but at a certain point are more video game oriented.
The character build even though it takes a while in the beginning does the film correctly but there is no “a-ha” moment. The scene though where Alita first tries her new body with fighting moves shows a path to identity and the sequence inside a bar (a very visceral scene in the graphic novel) definitely comes to life. The reason why is that all the characters in there are so unique. It makes one think of “From Dusk Till Dawn”. What seems to be missing is some of Robert’s camera tricks and stylistic touches although to be fair Rodriguez did mention in that same interview that this was not him doing a Robert Rodriguez film but instead doing a Jim Cameron film. So in that respect it does work, the script is tight, the visuals are fluid and it does its job. It is fun to watch but it is not spectacular. There is never quite a moment where Alita becomes the chosen one or that her love against her own life will ring out. One scene inside the apartment of Hugo (played by Johnson) comes close and really makes the CG of Rosa as a cyborg really key into the story. The climax, like most, has to serve a story point and that is understandable. Christoph Waltz does an admirable job as the Doc and Jennifer Connelly & Mahershala Ali do their part within the structure but Ed Skrein as a competitor is the only one who brings an edge to the proceedings. Here is hoping “Alita” connects to the audience because unlike many recent popcorn films, it understands the concept of a beginning, middle and end within a true story arc. But it is in the silent moments, when you can hear the acting, that make the most impact. One simple act of Alita laying her head on her father’s shoulder has almost more power than a large action sequence. But that said, one does not exist in the large scale, big budget film without the other.
By Tim Wassberg