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Michael Giacchino

From the Vault #16: ROGUE ONE: A STAR WARS STORY (2016)

From 2012 onwards, before developing this blog, I wrote a multitude of reviews on the website Letterboxd. In this irregular series called From the Vault, I’m going to haul these earlier reviews out of mothballs and re-purpose them here.

This one is from Dec 19th, 2016, as we close in on Star Wars Episode IX: The Rise of Skywalker

For a while, let’s be honest, we didn’t know if the Force was with Rogue One, did we?

The first in Disney/LucasFilm’s attempt to build an extended Star Wars universe, in the vein of Marvel Studios, was for many an anthology story we didn’t need telling – specifically how the Death Star plans came not to be in the main computer at the very beginning of George Lucas’ opus in 1977’s A New Hope. Would it launch a brand new approach to the revived Star Wars franchise or would it be a pointless, bloated stain to sit alongside the painful prequels? All the news of Gareth Edwards being locked out of the editing suite, Tony Gilroy coming in to film extensive reshoots, they all suggested a misconceived project which many would have considered a mistake.

Here’s the great news: Rogue One isn’t just the prequel you never knew you wanted, the kind of prequel which makes the official episodic prequels look increasingly paltry, but it’s also quite possibly almost almost as good as A New Hope itself.

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From the Vault #11: CLOVERFIELD (2008)

From 2012 onwards, before developing this blog, I wrote a multitude of reviews on the website Letterboxd. In this irregular series called From the Vault, I’m going to haul these earlier reviews out of mothballs and re-purpose them here.

This one is from May 20th, 2014…

The secrecy and curiosity surrounding what would become known as Cloverfield remains seven years on as memorable as Matt Reeves’ resultant movie itself.

Shot in complete secrecy by Bad Robot, with Paramount’s backing, and inspired by BR’s founder JJ Abrams looking at Godzilla toys in Japan with his son and thinking how the movie world needed an American version, Cloverfield was trailered as simply 1-18-08 with no fanfare and took the world by storm – what was this mysterious found footage piece that seemed to simply be a light, preppy relationship drama until the Statue of Liberty head came crashing down the street?

Speculation was rife for months and finally the answer came as Cloverfield presented itself as a monster movie classic for the YouTube generation – a lithe, intense, chaotic piece of work with an emotional tether at its heart and a frenetic refusal to take a breath.

ALIAS – ‘Trust Me’ (2×02 – Review)

Over the course of last year, I began my first deep-dive TV review series looking at JJ Abrams’ Alias, which ran from 2001-2006. Over the next year, I’ll be looking at Season Two’s 22-episode run in detail…

On some level, Trust Me is really where Season Two of Alias begins.

The Enemy Walks In did everything required of a premiere episode of a new season, re-establishing the key characters and plot-lines while dealing with the dangling narrative threads from the previous season finale, but it also operated much like an epilogue to the climactic revelations and twists of Season One finale Almost Thirty Years. JJ Abrams had to remind audiences of the central mission statement of the show while getting the ensemble collection of characters back into their traditional roles but at the same time he added in new characters, new complications, and introduced the major new character of Irina Derevko who would drive the primary character arc for Sydney Bristow across the season.

Trust Me is more about establishing not just a sense of place but a central, driving theme that will permeate across the entire season: the titular trust. Immediately, in the previously discussed introductory segment reminding us of the series’ concept, Alias is keen to remind us that we may not be able to trust Irina, whose surrender to the CIA at the end of The Enemy Walks In tags onto the end of the introduction. “The true loyalty of Agent Bristow’s mother… remains unknown” Greg Grunberg ominously warns, as the word ‘UNKNOWN’ flashes on the screen across Irina’s moment of surrender. Alias is very much labouring the point that Season Two will be about answer this question – who is Irina and what does she want? Can she be trusted? And just how does that effect our main characters, particularly Syd?

Trust Me asks those questions right from the get go and packs a huge amount, from primarily a character perspective, into a short running time. We are left far more grounded concretely by the end in what Season Two is looking to achieve than we were at the end of the premiere.

New Podcast: Between the Notes – ‘Good Omens / Game of Thrones’ (ft / David Arnold)

Hosted by myself and journalist/film score aficionado Sean Wilson, Between the Notes is a podcast devoted to the sounds of cinema which airs between every two-four weeks.

This time, we’re talking TV Shows instead of movies with a discussion of Good Omens, featuring an interview with composer David Arnold, and dive into Ramin Djawadi’s Game of Thrones Season 8 score.

Plus we put together a Top 5 TV Show scores list to honour this TV special, including discussion of shows including Lost, Battlestar Galactica and The X-Files…

Mission Impossible: Fallout (2018)

Given the stature and prowess of the Mission Impossible franchise, the sixth movie is not likely to bring the curtain down on this series, but were Fallout to be the swansong for Tom Cruise as Ethan Hunt, it would quite honestly be a perfect way to bow out.

Everything about Fallout has the sense of an ending. Christopher McQuarrie’s second film as writer/director does numerous things. It fully transforms Mission Impossible, in its twilight years, into his personal baby, on which he stamps his mark in a way not seen since Brian De Palma’s original 1996 adaptation of the 1960’s original TV show. Fallout is not just a direct sequel to Rogue Nation, despite being the first Mission Impossible film to pick up where the previous one left off, but it also works to tie together from a storytelling perspective every film from Mission Impossible III onwards, while thematically reaching back to John Woo’s derided Mission Impossible II. It teaches a film like James Bond movie Spectre, which retroactively attempted to link Daniel Craig’s 007 into a string of continuity, how it’s done.

Mission Impossible: Fallout might just also boast some of the most intense, robust and powerful sequences of the entire franchise. This is doubly surprising given just how much of it doesn’t even feel like a Mission Impossible film at all.

Mission Impossible III (2006)

Mission Impossible III may not be the strongest outing in the franchise, but it may be the most human.

Surprisingly, this works as both a strength and to the film’s detriment in the eyes of many. For everyone who considers Mission Impossible II the weakest episode of the saga, which you can find my thoughts on here, not far behind will be a detractor of JJ Abrams’ sequel to John Woo’s own take on Bruce Geller’s kitsch 1960’s series. This, to me, is hard to fathom, and not simply as a big fan of Abrams and the dominance his works have achieved on pop culture, both in television and cinema.

The reason this revisionist disdain for MI:3 is strange to me is because Abrams’ movie arguably saved the franchise, and allowed Tom Cruise to not just reinvent his character Ethan Hunt but position Mission Impossible as a series which blended fantasy escapism with a relatable heart and soul.

Alias – ‘Spirit’ (1×10)

Spirit works not just as a follow on from Mea Culpa but as a companion piece of sorts, continuing Alias’ mid-season exploration of its own central morality.

We saw in the previous episode the difficult soul searching experienced by SD-6 head honcho Arvin Sloane when it came to contemplating that Sydney Bristow, a woman he has spent his life deluding himself into believing a surrogate daughter figure, could have betrayed him – and the consequence of potentially having to sanction her murder. Spirit, by the very nature of how Syd gets out of what looked like at the end of Mea Culpa the end of her life as a double agent for the CIA, shifts this moral question over to Syd’s *real* father, and to some degree the mirror image of Sloane – Jack Bristow. In order to save Syd’s life, Jack has to go beyond simply being Sloane’s weapon of murder—as previous episodes have established—into sacrificing the life of an ‘innocent’ man as part of the greater good.

In reality, as Vaughn later reassures Syd once she realises what Jack has done, the sacrificial lamb of Anthony Russek—an SD-6 agent who Jack frames as a mole working for K-Directorate after faking a transmission to them on a mission we saw in Mea Culpa to disguise Syd’s *actual* transmission to the CIA—was no innocent. “He was an early member of SD-6, he knew he was working for the bad guys”. Russek was culpable in the hidden crimes of SD-6, aware of the Alliance underpinning their ruse of being part of the American intelligence network, and involved in weapons sales used against American interests across the world. “He got what he deserved” Vaughn states, showing that he may not have agreed with Jack’s slippery methods, but from a moral perspective he agrees with the choice Jack made in the heat of the moment. “What would you have done if it had been your daughter, or son, or Danny?” he asks Syd. She has no clear answer.

Alias – ‘Reckoning’ (1×06)

JACK BRISTOW: There are rules, Sydney!
SYDNEY BRISTOW: Then you break them!

Alias is steadily building toward a larger point of revelation across its first season, as the title of Reckoning alludes to. Thematically, the journey of super-spy double agent Sydney Bristow continues to be about her own understanding of the bigger picture, and her place within it.

The complexities of the narrative inside JJ Abrams show even facilitate, starting with Reckoning, a change to the recap preamble of the series’ concept. I’ve talked about how Alias doesn’t just employ a ‘previously’ recap akin to many other TV shows, but starts with a bigger explanation and contextualisation of the broader story the serialised narrative is telling. Here, Alias expands that recap by weaving the scene-setting around the four key characters at the outset of the series – Syd, her handler Michael Vaughn, her boss Arvin Sloane and her father Jack Bristow, the recap showing their faces and names just in case the people at the back AREN’T QUITE GETTING IT. I can’t recall another show which ever quite felt the need to prime the audience week by week with so much detail before even the previously recap.

Perhaps the choice was made because even just six episodes in, Alias is already starting to grow quite knotty and dense, and the show hasn’t even scratched the surface yet in many ways. Reckoning has a multitude of narratives bubbling away – Syd’s suspicion that Jack may have been working for the KGB, Vaughn and the CIA’s slow-burning backdoor hack into SD-6 established in the previous episode Doppleganger, Francie’s uncertainty about her boyfriend Charlie, Will’s investigation into the Kate Jones mystery. That’s just for starters, before any of the main episodic missions for Sydney are even covered, though really so far they have largely just been window-dressing around which the series can delve into these deeper storylines and building character arcs.

Reckoning, if anything, feels like the first example of what would have been a traditional two-part episode of a more conventional network TV show version of Alias.

Alias – ‘Truth Be Told’ (1×01)

It is easy to forget, for all the subsequent success with the Mission Impossible, Star Trek and now Star Wars mega-franchises, that the pilot episode of ABC’s Alias remains one of the best things producing and show-running supremo J.J. Abrams has ever done. ‘Truth Be Told’ is a blistering sixty five minute opening to a rare TV show – one which comes on the face of it fully packaged, fully formed, and with a confidence and spring in its step that belies its quiet, low-fi origins. There is more to this package, and how it was created however, than meets the eye.

Think back to 2001. Had anyone heard of Abrams at that point? He was established – a proven Hollywood screenwriter with credits such as Michael Bay’s Armageddon or Harrison Ford vehicle Regarding Henry, not to mention four seasons of teen drama Felicity as a show runner. Those movies were nonetheless famous for their stars and directors, not the glasses-wearing megamind of Abrams bashing away at the words, and Felicity was never particularly that big of a hit – I’m not sure it ever even aired in my native UK, and if it did it went largely unnoticed. Alias was the series which put Abrams, and most of his writing staff, on the map. The first season of his spy drama races out the gate with fast-paced, stylish storytelling, which crucially never forgets to place character at the heart of every beat, every scene and every plot-twist. ‘Truth Be Told’ is B-movie, pulp action with significant heart and soul.