The texture of “Short Treks” in the Star Trek Universe allows for those short vignettes that allow us to see perceptions into more of the lives of perhaps those that have continued on in the night. The first of this new season: “Q&A” examined Spock’s first day as an ensign on Captain Pike’s Enterprise. With the second entry: “The Trouble With Edward” we are treated to the genesis of what caused the Tribbles to become what they did. In its treatment of this lore, it is half human error and half problem solving gone wrong. Pike’s head science officer (played in a nice homage by Alita’s Rosa Salazar) is given the captain’s spot on her own science ship which has to deal with a famine/starvation situation on a planet on the edge of Klingon space.
Everything seems to go wrong mostly because of the crewman who creates the Tribble trouble in the first place because of his stubbornness, ego and slight lack of talent. Archer voice H. Jon Benjamin is a perfect foil in this way since he doesn’t mind playing the depreciation because it works as a form of satire. Salazar is good but she can be much more fluid an actress in a different situation than this small journey allows but it is great to see her being given the opportunity overall. Ultimately, “The Trouble With Edward” is a nice little tome within the pantheon and definitely brings to bear the reproducing situation of these animals, especially when it is a funneled as a food source. As usual, the human condition creates the problem against its best wishes. Plus it is good to see flaws since not every crewman is perfect. The added bonus after the credits also shows the humor that sometimes is not allowed to shine through in such a specific way on an episodic show per se.
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