The Year's Best Science Fiction, Vol. 20

The year’s other heavy-hitter at the box-office was Spider-Man, which I suppose most people wouldn’t consider to be a fantasy movie, but which is certainly not a science fiction movie (or at least not a good one), as the “science” is complete nonsense-what it really is, of course, is a comic-book movie, practically a genre of their own, which straddle the borderline of both fantasy and science fiction, and play by their own aesthetic rules and their own brand of internal logic (which is why nobody ever realizes that Clark Kent looks exactly like Superman with glasses on). By the rules of real-world logic that the rest of us operate on, Spider-Man makes not a lick of sense, of course, but judged on its own terms, by comic-book aesthetics and comic-book logic, it’s a pretty good version of the adventures of perhaps the most famous superhero of all, after Superman and Batman. Spider-Man was always the comic of choice of intellectual nerds who got slammed up against lockers in high-school and laughed at in gym class, and the movie does a good job of capturing this part of the character’s appeal, with Tobey McGuire somehow managing to actually look like one of Steve Ditko’s drawings of the scrawny, squamulous, lopsided-headed Peter Parker in some of the early scenes. Even after the character’s transformation into a being with vast superpowers, when we’re deep into classic wish-fulfillment/Revenge Fantasy territory, McGuire does a good job of somehow letting us know that, deep inside the skintight costume and the bulging muscles, Peter Parker realizes that he’s still a loser no woman would touch with a stick-an intelligent job of acting. Spider-Man is the most successful film version of a comic-book, both critically and financially, since The X-Men, if not the original Tim Burton Batman, and not only has spawned a new franchise, with several sequels already in the works, but has sent producers scurrying to buy film rights to every comic-book they can find, no matter how obscure. So, like it or loathe it, there’s lot more of this stuff yet to come.

Things were less interesting on the science fiction side of the ledger. The most commercially successful of the year’s SF movies was also in some ways the most disappointing: Star Wars: Episode II-Attack of the Clones still managed to pack in the audiences, but was savaged critically, and, more significantly, didn’t get good word-of-mouth afterward from People who’d seen it, with even most stone Star Wars fans being unable to find anything more positive about it to say than “it was better than The Phantom Menace, anyway.” In spite of good special effects, evocative CGI-generated or augmented sets, wonderful costuming and set-dressing, and even a few good fight scenes (the light-saber battle between Yoda and Christopher Lee was a knockout, but unfortunately was good enough to make most of the rest of the movie look even more limp by comparison), this lack of enthusiasm Was not unearned-the dialog was awful, the storyline made even less sense than it had in The Phantom Menace (and twisted the backstory into even more contradictory knots), and the acting was so flat and wooden throughout, even from ordinarily good actors, that one finds it hard not to give some credence to the rumor that Lucas deliberately directs them to act that way. Hayden Christensen as Anakin Skywalker is an improvement over that creepy little kid from the previous movie, but his portrayal of the Darth-Vader-To-Be as a sullen, whiny, and sulky teenager, seemingly always on the verge of throwing a tantrum and holding his breath until he turns blue (“Why CAN’T I be the most powerful Jedi Knight? I WANNA be the most powerful Jedi Knight! You never let me do ANYTHING!”), lacks any sort of impact or conviction (his love scenes are enough to make a cat laugh), and drains the power from what, in the right hands, could have been an archetypically potent role. A review from The New York Times famously referred to Attack of the Clones as “a two-hour-and-12-minute action-figure commercial,” and, sadly, that largely sums it up.