Dreamsongs Volume 2 (2004) by George R. R. Martin

Dreamsongs Volume 2 (2004) by George R. R. Martin:

This collection is generous and generously gifted with lengthy, illuminating essays by George R.R. Martin. Originally released in one volume, breaking it up into two volumes definitely helps with actually reading it.

• "A Beast for Norn" (1976): The first tale of Haviland Tuf showcases his biological and ecological engineering skills thanks to the massive seedship Ark, along with his idiosyncratic personality and one of the more medieval-futuristic planets of the far-future Thousand Worlds universe. This version is the original, while that in Tuf Voyaging has been edited and expanded.
• "Guardians"  (1981): A Haviland Tuf story that riffs on how seemingly minor changes to an alien environment lead to catastrophic consequences for the human inhabitants of a watery world. Tuf's favourite animals, cats, play a key role in this one.
• "The Road Less Travelled" (Unproduced screenplay, Twilight Zone) (1986): A never-produced screenplay would still make a dandy TZ episode.
• "Doorways" (Unproduced version of pilot) (1993): A different, less-expensive version of this screenplay was made into a pilot that never made it to series. This would now be familiar to viewers thanks to shows like Sliders.
• "Shell Games" (1987): One of Martin's first heroes in the shared-universe superhero series Wild Cards was the amiable Great and Powerful Turtle. Fun stuff.
• "From the Journal of Xavier Desmond" (1988): Compiles the linking story from Wild Cards novel Aces Abroad, focusing on the Mayor of Jokertown, the elephant-trunked Desmond.
• "Under Siege" (1985): Time-travel story incorporates a story Martin wrote for a history class (that story appears early in Volume 1 of Dreamsongs).
• "The Skin Trade" (1988): Award-winning novella involves a city run by werewolves and a mysterious mirror.
• "Unsound Variations" (1982): Martin turns his college experiences with chess tournaments into an excellent time-travel story.
• "The Glass Flower" (1986): Melancholy farewell (for now and then) to Martin's Thousand Worlds universe.
• "The Hedge Knight" (1998): A story from the Game of Thrones universe, set roughly a generation before the events of the novel.
• "Portraits of His Children" (1985): Somewhat metafictional horror story about the lengths some writers go for inspiration.

Overall: Excellent overview of Martin's writing from the mid-1980's to 2003, with a few dips further into the past to suit both thematic divisions and series that ended in the 1980's. Highly recommended.

Dreamsongs Volume 1 (2004) by George R. R. Martin

Dreamsongs Volume 1 (2004) by George R. R. Martin:

This collection is generous and generously gifted with lengthy, illuminating essays by George R.R. Martin. Originally released in one volume in 2003, breaking it up into two volumes definitely helps with actually reading it without being crushed.

Volume 1 covers Martin's career from his days writing for the amateur press in the 1960's to the greatest days of his success as a writer of short stories and novellas in the mid-1980's. I think Martin was a better writer of predominantly science-fictional stories than he is a fantasy novelist, but your results may vary. In any event, this is a fine introduction to Martin's work for those who haven't read much beyond his A Song of Ice and Fire. 

The stories:

"Only Kids Are Afraid of the Dark (1967): Almost juvenilia. Superhero stuff for an amateur press.
"The Fortress" (1960s): A short story submitted as an essay in a history course. Interesting.
"And Death His Legacy" (1960s): Started life as the first in a projected series about a billionaire super-assassin before transforming into a cautionary tale about the limits of political violence.
"The Hero" (1971): Martin's first professional sale, a stinger about the future of warfare.
"The Exit to San Breta" (1972): Science fiction ghost story. Minor but enjoyable.
"The Second Kind of Loneliness" (1972): From Martin's short-lived "Star Ring" series, a meditation on isolation and madness.
"With Morning Comes Mistfall" (1973): An entry in Martin's loose-knit far-future history of humanity dubbed "A Thousand Worlds." Martin's first truly top-notch story.
"A Song for Lya" (1974): Martin's second top-notch sf story, also set in the Thousand Worlds universe, explores an alien religion and its strange attraction for some humans.
"This Tower of Ashes" (1976): More of a character piece set on yet another of the Thousand Worlds. Bad spiders!
"And Seven Times Never Kill Man" (1975): The title comes from Kipling; Martin's notes indicate that he parodies Gordon R. Dickson's Dorsai series in specific (and militaristic sf in general) here. Thousand Worlds.
"The Stone City" (1977): A more Lovecraftian or Clark Ashton Smith-style take on the Thousand Worlds. Really a subtle piece of cosmic, science-fictional horror.
"Bitterblooms" (1977): A more fabulistic piece set on one of the more isolated Thousand Worlds of humanity.
"The Way of Cross and Dragon" (1979): Excellent sf story exploring religion and its mutations in the far future of the Thousand Worlds.
"The Lonely Songs of Laren Dorr" (1976): Universe-hopping fantasy story was meant to start a series. It didn't, though Martin would re-use elements in his 1990's pilot "Doorways" (see Dreamsongs Volume 2).
"The Ice Dragon" (1980): Martin is pretty sure he created the idea of a literal ice dragon here. Not part of the Game of Thrones universe, though there are some similarities.
"In the Lost Lands" (1982: Another first piece in a never-continued series, set in a world that combines traditional sword-and-sorcery elements with post-apocalyptic settings.
"Meathouse Man" (1976): The most mournful and disturbing of Martin's three 'Corpse-Handler' sf stories is sometimes viewed as a precursor to Splatterpunk.
"Remembering Melody" (1981): Precise 'traditional' horror story.
"Sandkings" (1979): My favourite of Martin's stories, a terrific novella of science-fictional horror that features a thoroughly rotten protagonist and a fascinating alien species, the eponymous Sandkings. Also meant to be part of a series!
"Nightflyers" (1976/1980): Fine science-fictional horror novella set in the far-future Thousand Worlds timeline was thoroughly misused in both a 1980's movie and the recent SyFy Channel series.
"The Monkey Treatment" (1983): Somewhat traditional 'Be careful what you wish for' horror.
"The Pear-Shaped Man" (1987): Nice horror piece does not go quite where the reader fears it will. It goes someplace way more disturbing!

Overall: Highly recommended.

Elevation (2018) by Stephen King

Review Here

Shaper of Worlds

He is Legend: An Anthology Celebrating Richard Matheson (2009), edited by Christopher Conlon with an Introduction by Ramsey Campbell, containing the following stories:

Throttle by Joe Hill and Stephen King
Recalled by F. Paul Wilson
I Am Legend, Too by Mick Garris
Two Shots from Fly's Photo Gallery by John Shirley
The Diary of Louise Carey by Thomas F. Monteleone
She Screech Like Me by Michael A. Arnzen
Everything of Beauty Taken from You in This Life Remains Forever by Gary A. Braunbeck
The Case of Peggy Ann Lister by John Maclay
Zachry Revisited by William F. Nolan
Comeback by Ed Gorman
An Island Unto Himself by Barry Hoffman
Venturi by Richard Christian Matheson
Quarry by Joe R. Lansdale
Return to Hell House by Nancy A. Collins
Cloud Rider by Whitley Strieber 

Award-winning, enjoyable anthology celebrating the late, great Richard Matheson, whose horror and suspense work in print, in movies, and on TV helped define horror and suspense for two generations of readers and viewers.  Duel; The Shrinking Man; Hell House; I Am Legend; What Dreams May Come; Stir of Echoes; Somewhere in Time; episodes of The Twilight Zone, including the William Shatner-on-a-plane "Nightmare at 20,000 Feet" remade with John Lithgow in The Twilight Zone movie; adaptations of Poe for Roger Corman's film studio: these are just some of Matheson's contributions to pop culture. 

The stories include homages, sequels, revisionist takes, and riffs on Mathesonian ideas. "Cloud Rider" by Whitley Strieber is the wildest riff in the anthology, inspired as it is by Matheson's entire Collected Stories. The other stories are a bit more specific.

Standouts include Nancy Collins' novella-length prequel to Hell House, that inspired haunted-house story of the 1960's. Collins shows us the events that preceded those in Matheson's novel, to good effect. Mick Garris also offers a prequel in "I Am Legend, Too," and it also offers a revisionist take on the original Matheson novel's vampire-fighting protagonist from the POV of his vampiric next-door neighbour. "She Screech Like Me" by Michael A. Arnzen effectively extends Matheson's stunning debut story, "Born of Man and Woman," while "The Diary of Louise Carey" by Thomas F. Monteleone retells The Shrinking Man from the viewpoint of his increasingly beleaguered, non-shrinking wife.

The venerable William F. Nolan offers a short, brutal sequel to another Matheson horror story, while Joe Lansdale presents a sequel/sidequel to Matheson's "Prey" -- a.k.a. the Matheson story adapted for the TV movie Trilogy of Terror, in which Karen Black does battle with a tiny, violent, highly animated African fetish doll in her own apartment. And Stephen King and son Joe Hill (King) collaborate on a story for the first time, a riff on "Duel" that involves a motorcycle gang and a transport truck instead of the original's station-wagon-driving salesman and a monster of a truck.

Overall, this is a fittingly strong anthology to honour such a major figure in the modern history of fantasy. As Ramsey Campbell notes in his introduction, Matheson helped move horror out of Gothic castles and into suburban bedrooms and America's endless blacktop highways. And because Matheson worked in television and movies so much after 1960, his works reached much larger audiences than those generally afforded writers of prose. Recommended.

Exorcising the Future

Looking for Jake and Other Stories (2005) by China Mieville, containing the following stories:

"Foundation" (2003); "The Ball Room" (2005); "Reports of Certain Events in London" (2004); "Familiar" (2002); "Entry Taken from a Medical Encyclopedia" (2005); "Details" (2002); "Go Between" (2005); "Different Skies" (1999); "An End to Hunger" (2000); "'Tis the Season" (2004); "Jack" (2005); "On the Way to the Front" (2005); and "The Tain" (2002).

The lessons we're supposed to learn from many of these stories are so up-front, so undigested into narrative form, that Mieville sometimes seems to be earnestly auditioning for a socialist Twilight Zone TV series. "The Monsters are Due in Buckingham Palace."

Mieville is a fine writer. At novel length, the message becomes part of the narrative, for the most part, and effectively so, at least in the four novels I've read. So, too, the post-modernist tic of foregrounding the artificiality of the story throughout the telling of that story, which can be an annoyance in the longer works, but a minor one. 

Of the stories here, though, Mieville abandons both overt message and foregrounded artificiality only rarely. "Details," his much-reprinted story from an H.P. Lovecraft-themed anthology, is a brilliant piece of contemporary Cthulhu Mythos-making.  Its settings and characters are grounded in the normative and the mundane; its implications are cosmic and disturbing. I also quite like "The Ball Room," which subtly weaves questions about racial identity and immigration and corporate ethics into a sharp, smart horror story.

Of the other stories, "Jack" works best if you've had some experience with the world of New Corbuzan, that epic-steampunk city of three of Mieville's novels. "The Tain" and "Looking for Jake" are both (intentionally) attenuated, elliptical tales of existential invasion by mysterious forces from Outside. London falls, and not the one in Ontario, Canada.  

The rest are either funny and slight, grim and slight, or bleakly funny and slight. They almost remind me more of some of the more didactic short fiction of frequent Twilight Zone contributor Charles Beaumont than anyone else -- Beaumont of "The Howling Man," punching you in the face with allegory, inexplicably made more subtle for Serling's TV version of the story. Uneven but recommended.

The Caves of Steel by Isaac Asimov (1952): Sometimes one forgets how much social critique there was in the works of quintessentially American, quintessentially Golden-Age-of-Science-Fiction writers such as Isaac Asimov. Asimov never attempted anything resembling complex literary style and his characterizations could often be rudimentary. It really didn't matter unless one or both of those things are deal-breakers for a reader: the ideas were the thing, sometimes developed, sometimes simply spun off on the way to another idea.

The Caves of Steel is a remarkably seminal version of what we'd now call a genre mash-up -- the mystery novel and the science-fiction novel. On a crowded and somewhat dystopian Earth of about 1100 years into the future, someone murders a roboticist visiting Earth from one of the long-self-emancipated  colony worlds. 

This murder is bad for a number of reasons, not least of which being that the colony worlds are far, far, far more technologically and militarily advanced than Earth. Many -- both Terran and sympathetic Spacer -- fear retaliatory invasion, even though 'Spacers' as they're called by Terrans really hate spending time on Earth or among Earth humans, whom they seem to regard as being diseased and unclean.

So the New York City police commissioner puts Elijah 'Lije' Bailey, C-5 level detective in the New York City Police Department (though New York City now occupies pretty much all of New York State and New Jersey as well) on the case. But he'll have to work with a Spacer detective. That detective is R. Daneel Olivaw. The 'R.' stands for 'Robot.' 

Relatively primitive robots are being forced into the Earth work-force by the Spacers through pressure on the Earth's government, ostensibly to make the lives of Terrans better. Earth people tend to hate robots because they take people's jobs. But the Spacers have also refined robots over the centuries, relying on them as important parts of their relatively unpopulated worlds, making them in a wide variety of shapes and sizes -- including Olivaw's type, which can pass for human unless subjected to quite a  bit of specialized scrutiny.

The commissioner trusts Bailey's tact and his detective skills. Bailey may dislike both Spacers and robots, but he's got an open mind -- for a Terran. So off go Bailey and Olivaw, to solve a crime with no apparent physical evidence. The mystery is pretty solid. Bailey makes some mistakes along the way, and we're treated to more than one pretty good explanation of what turns out to be faulty reasoning. 

Was Asimov 'right' in his predictions? Well, probably not -- the assumptions made for why robots cannot kill human beings seem pretty ludicrous in the light of the last 60 years of computer evolution. Asimov's Three Laws of Robotics are an integral part of his long-lived robotic universe (by the time The Caves of Steel came out in 1953, Asimov had been writing about his Three Laws robots for more than a decade, and he'd keep writing about them until his death in 1992). They don't seem plausible now, at least in the sense that robots in Asimov's universe simply can't be programmed without the laws for reasons explained in the novel.

Asimov's hive-like, overpopulated Earth does seem a lot more plausible, especially after another 1100 years of resource usage. Asimov's future Earth lives on the constant edge of complete collapse due to resource exhaustion and an increasingly over-strained infrastructure. Earth has also undergone a sort of acculturated agoraphobia: human beings are afraid to go outside of the domed-in cities. So afraid that to Bailey, it seems reasonable to exclude the idea that a person could have walked across open land as part of the murder plot. 

It's a lot of fun to see Asimov explore the sorts of social conventions that might arise after hundreds of years living in a quasi-communal mega-city. The gender conventions of public washroom behavior become important in a world where 95% of all people only have access to public washrooms (or 'Personals' as they're called in the novel). So, too, does importance attach to some of the games played by teenagers on the massive moving sidewalks that move people around New York (and every other mega-city). Bailey's memories sketch in the peculiar, over-populated homogeneity of the future Earth throughout the novel: one such memory involves a trip to the New York City zoo to see sparrows, cats, and dogs. 

This Earth has been emptied out of almost everything that doesn't serve a purpose. The population's diet consists to a great extent of products made from a multitude of varieties of genetically engineered yeast. Petroleum has been exhausted. Uranium and other fissionable materials may soon be exhausted, as will coal. The powers that be discuss various forms of solar power, but no one has the will to build them. No one has the will to walk outside, much less the will to colonize new worlds or create and deploy new technologies.

There's a certain amount of serious thinking going on for a mystery novel -- about how civilizations fall, and about how their fall can be prevented. Both Earth and Spacer society need radical revision to survive. It's the robots that may be the key -- rational, cool-minded, and incapable of causing harm to humans. And Bailey and Olivaw would have more crime-solving to do. Highly recommended.

Prodigy Lost

Night Ride and Other Journeys by Charles Beaumont (1960) containing the following stories: The Music of the Yellow Brass (1959) ; A Classic Affair (1955); The New People (1958); Buck Fever (1960); The Magic Man (1960); Father, Dear Father (1957); Perchance to Dream (1958); Song for a Lady (1960); The Trigger (1959); The Guests of Chance (1956) (with Chad Oliver); The Love-Master (1957); A Death in the Country (1957); The Neighbors (1960); The Howling Man (1959); and Night Ride (1957):

Charles Beaumont's career output would be good for someone who'd lived to be 80. As he died before he was 40 from what appeared to be Pick's Disease and/or Alzheimer's Disease, that output becomes even more impressive given that his last few years saw many of his friends 'ghosting' for him so that he could meet his writing commitments.

Beaumont (born Charles Leroy Nutt) became one of Rod Serling's go-to writers on The Twilight Zone, credited with writing or co-writing 22 episodes. Much of Beaumont's short-story output was in the fantasy genre, with forays into absurdist science fiction and suspense stories with twists. But not all. This volume, collected in 1960, consists almost entirely of stories from Beaumont's breakthrough years into the well-paying slicks, specifically that new magazine on the block, Playboy.

And one can see, in several of these stories, a writer pushing at his own comfort zone, moving away from a strict genre construction of things. "Buck Fever" seems like an homage to Hemingway, but an homage inverted in its view on hunting and the modern man. "Night Ride" and "The Neighbours" have twist endings of a sort, but neither is even remotely a thriller or a fantasy story. And "The Music of the Yellow Brass" seems like a melancholy tip of the hat to Ray Bradbury in his Mexican phase, with a twist that only increases the mournful quality of the story.

It's the genre stories here that seem slight; the much-anthologized "The Howling Man," adapted for The Twilight Zone, seems like something of a gimmick next to the more realistic rhythms of "A Death in the Country." "The Neighbours," while something of a 'preachy,' nonetheless provides strong characterization and much more satisfaction than the similarly structured "The New People."

Many have noted that Beaumont may be one of the most influential fantasy writers of the 1950's and early 1960's because of his naturalistic prose style, concerns with suburban fantasy, and high-profile Twilight Zone output. This collection also suggests a writer in the process of growing despite the commercial success that had already come his way -- it, too, is melancholy, a gesture towards a later career and a later man that never was. Recommended.

De-Klein

Reassuring Tales by T.E.D. Klein (2006), containing the following stories: Camera Shy (1988); Growing Things (1999); Curtains for Nat Crumley (1996); Magic Carpet (1976); One Size Eats All (1993); Ladder (1990); Well-Connected (1987); S.F. (1975); They Don't Write 'em Like This Anymore: A TV Treatment in Two Versions (1989); and The Events at Poroth Farm (1972).

Oh, T.E.D. Klein. One of the four or five great editors of horror of the past fifty years. Writer of a handful of the scariest novellas ever written. Writer of one great horror novel, The Ceremonies (1984), which should be read by anyone who enjoys reading literate horror. And so, so, so writer's-blocked since the mid-1980's, though rumour has had it for years that lurking somewhere in Klein's house is a lengthy, unfinished horror novel which may yet be completed and see the light of day.

This relatively recent volume collects pretty much every piece of short fiction not collected in Klein's cyclopean masterpiece of a collection of four novellas, 1985's Dark Gods. And Reassuring Tales is for Klein completists, really, and perhaps no one else. Though the great, early novella that Klein would expand into The Ceremonies, "The Events at Poroth Farm," is indeed collected here.

Some of the other stories are close to being juvenilia ("S.F.") while others are short gimmick stories ("One Size Eats All"). Klein's introduction to the volume is hilariously, almost troublingly self-deprecating -- if you've ever wanted to read a writer mercilessly trashing his own work even when it's decent material, then this is the collection for you.

But, "The Events at Poroth Farm." Pop pop! Some intelligent person at a publishing house great or small or in-between needs to publish a new edition of Dark Gods, with "...Poroth Farm" installed in its more reasonable place among those four other great novellas. Klein's output has been relatively tiny, but he still looms as a giant over American horror fiction for this exact handful of novellas and that one dynamite novel (and the editorship of Twilight Zone magazine for five years in the 1980's). Recommended for the novella, and for Klein completists.

Catching Up Is Hard To Do

Shock Rock (1992), edited by Jeff Gelb; containing

Stephen King - You Know They've Got a Hell Of A Band
F. Paul Wilson - Bob Dylan, Troy Jonson, and The Speed Queen
David J. Schow - Odeed
Nancy A. Collins - Vargr Rule
Ronald Kelly - Blood Suede Shoes
Don D'Ammassa - The Dead Beat Society
Graham Masterton - Voodoo Child
Paul Dale Anderson - Rites Of Spring
Michael E. Garrett - Dedicated To The One I Loathe
Brian J. Hodge - Requiem
R. Patrick Gates - Heavy Metal
Rex Miller - Bunky
Bill Mumy & Peter David - The Black '59
Richard Christian Matheson - Groupies
Michael Newton - Reunion
Mark Verheiden - Bootleg
Ray Garton - Weird Gig
John L. Byrne - Hide In Plain Sight
Thomas Tessier - Addicted To Love
John Shirley - Flaming Telepaths

　

Very uneven original anthology of rock-and-roll horror stories from the early 1990's. I've always liked King's contribution, an ultimately nihilistic story from the 'We stumbled across a weird town' sub-genre of horror. John Shirley's story cleverly inverts the stereotypes that too many of the other stories play straight with (specifically, 'Rock-and-roll is the Devil's music!'), as does Ray Garton's "Weird Gig." The Wilson, Tessier, Verheiden, Masterson, and Schow stories are also solid work. The graphic sex and violence in a couple of the stories manages to be unpleasant without really being horrifying (or terrifying, for that matter). Lightly recommended.
　

　

Shatner Rules by William Shatner and Chris Regan (2012): What seems like Shatner's umpteenth non-fiction book goes down as smoothly as a Romulan Ale Smoothie. More anecdotes, more self-promotion, more pointed comments about George Takei's Shatner obsession, and so on, and so forth. Recommended.

　

Hellboy: House of the Living Dead, written by Mike Mignola; illustrated by Richard Corben (2011): Fun original graphic novel set during Hellboy's "lost months" while on a bender in Mexico during the 1950's, during which time he professionally wrestled and fought various supernatural menaces, generally while either drunk or severely hung over. Forced to kill a young wrestling, monster-fighting ally after vampires turned the young man into a bat-headed monstrosity, Hellboy went on a blackout-inducing bender, the end of which we see here.

Richard Corben's art combines the grotesque and the voluptuous in a variety of fun, pleasing ways, while Mignola's script strikes the right balance between humour and heartbreak. Hellboy has to face his guilt before he can get out of Mexico, but the whole voyage of self-discovery avoids the usual rote, Afterschool Special platitudes and lessons we often see in such a story. Recommended.

　

　

Fright Night, written and directed by Todd Holland, starring William Ragsdale (Charlie Brewster), Chris Sarandon (Jerry Dandridge), Amanda Bearse (Amy Peterson), Roddy McDowall (Peter Vincent) and Stephen Geoffreys (Evil Ed) (1985): About as good as I remembered it, which is to say spotty but with a great performance by Roddy McDowall as a horror-movie actor turned late-night horror-movie television host.

　

A vampire moves in next door to high-school student Charlie. With remarkably little set-up, Charlie is soon battling for his life and the lives of friends, family, and everyone else with a neck and a pulse against 1980's fashion-victim vampire Chris Sarandon. For a vampire, Sarandon eats an awful lot of fruit. The movie picks up once McDowall comes on the scene as a vain, failed actor who is nonetheless the only vampire hunter Charlie has access to.

　

80's-style cheese gets smeared across the lens by the soundtrack (mostly awful) and some awful 'sexy' scenes between Chris Sarandon and Charlie's girlfriend Amy. There's also full-frontal nudity and lots of swearing, two things that are probably missing from the 2011 remake, along with Roddy McDowall. Writer-director Todd Holland seems to have lifted all his vampire lore directly from Stephen King's Salem's Lot. Retro fun. Recommended.
　

　

Twilight Zone: The Movie, written by John Landis, George Clayton Johnson, Richard Matheson, Melissa Mathison, Jerome Bixby, and Robert Garland, based on the TV series created by Rod Serling; directed by John Landis, Steven Spielberg, Joe Dante, and George Miller; starring Vic Morrow, Dan Aykroyd, Albert Brooks, Scatman Crothers, John Lithgow, Kathleen Quinlan, Kevin McCarthy, Nancy Cartwright, Donna Dixon, Abbe Lane, Dick Miller, and Bill Mumy (1983): Veteran TV actor Vic Morrow and two children died while filming the John Landis segment of this movie when a helicopter blade decapitated them thanks to a special-effects explosion that should never have been green-lighted but was because John Landis is a big fucking idiot. That the segment, a ham-fisted bit about prejudice, is awful only adds a last insult to the injury.

　

This Hollywood tribute to that mostly unHollywoodish writer-producer Rod Serling and his 1960's TV series is pretty uneven. Well, the Landis segment and the Spielberg segment stink on ice. The Joe Dante sequence and the George Miller sequence are good, owing a lot of that goodness to veteran TZ screenwriter Richard Matheson's screenplays.

　

Dante remakes the famous "It's a Good Life" episode of TZ with a lot less menace and realism but a lot more visual effects zing, while Miller directs a remake of "Nightmare at 20,000 Feet", a great TZ episode starring William Shatner as an airplane passenger who sees something walking on the wing of the plane...at 20,000 feet.

Lithgow's screaming, sweating performance makes Shatner's original turn look restrained by comparison -- the 1980's version now seems much more campy than the original, though it remains fun. Recommended if you skip the first two segments. The Albert Brooks/Dan Aykroyd frame story is pointless, probably because it, too, was written and directed by John Landis, who as I mentioned before is a big fucking idiot.
　

　

Mission: Impossible -- Ghost Protocol, written by Josh Applebaum and Andre Nemec, based on the series created by Bruce Geller; directed by Brad Bird; starring Tom Cruise (Ethan Hunt), Jeremy Renner (Brandt), Simon Pegg (Benji), Paula Patton (Jane), and Michael Nyqvist (Hendricks) (2012): Pretty much every Mission: Impossible movie involves the Impossible Mission Force being disgraced, framed, discarded, and/or hunted by its own employers while nonetheless tracking down the real miscreants.

　
And that's the plot of this movie.

　
The globe-trotting seems more James Bondian than ever, and animation director Brad Bird (The Incredibles, The Iron Giant) makes a nice transition to live-action directing, especially in several snazzy, convoluted action sequences. The movie does invoke Hudson Hawk in its utopian vision of the life-saving power of airbags. And no, that's not how ballistic missiles work during the descent stage. Extra marks for blowing up a landmark I haven't seen blown up in a spy-thriller before. Recommended.