Flash Gordon: The Time for Re-Entry Is Now!!!

Now that “Star Wars” has hit a mortifying slump with the fan backlash of “Last Jedi”, which has in turn determined “Solo’”s dismal, box-office fate, I suggest it's time for another space adventurer to return to the big screen: one designed decades past to conquer both the comic and cinematic universes. I’m talkin’ Flash Gordon. Of course, Buck Rogers would work as well, but Flash’s possible return has been kicked around a trifle more in recent years, so I'm stickin' with him for my proclamation...

As some may know, Matthew “Kick-Ass” Vaughn was (and maybe still is) assigned to remake our space hero's initial adventure. Vaughn has stated that he hoped to give his retelling a "Guardians of the Galaxy" spin, if not for those movies beating him to the punch. 

Adding irreverent humor to our hero's cause is an interesting idea, but let's face it, the Guardians' angle would at best result in a knock-off of what director Mike Hodges and writer Lorenzo Semple gave Dino De Laurentiis in 1980; and if so pursued, why not just do a sequel with the remaining cast members? In a similar way, a humorous track could smack of Howard Ziehm/Michael Benveniste’s “unofficial” 1972 risque remake, “Flesh Gordon”, sans the dirty tidbits. In either case, we've been there, done that. 

Really, why get all cutsey patoosey with some unnecessary reinvention? We should have learned that much from Disney's recent missteps. How 'bout instead lifting Flash's roots from the movie-serial adaptation(s) of Alex Raymond's King Features strip? Everything is there for the taking, with tested and consequential ingredients to ensure success:

Produced by Universal in 1936, “Space Soldiers” (as the first, Flash serial came to be subtitled) was graced by shaky spaceships and stock music that included Franz Waxman's "Bride of Frankenstein" cues. However, despite its budget and resulting limitations, the adaptation adhered to Raymond’s colorful concept, igniting a mighty, rock-engine roar of roughhouse thrills that left an indelible impression on a young George Lucas. The same can be said of its serialized sequels, “Flash Gordon Goes to Mars” and “Flash Gordon Conquers the Universe”: the third entry reputedly Lucas’ favorite of the trilogy, from which one can detect a number of ice-bound "Empire Strikes Back" influences.

The initial serial's casting was well conceived, with Olympian Larry "Buster" Crabbe in the lead; Jean Rogers as Dale Arden; Frank Shannon as Dr. Hans Zarkov; Richard Alexander as Prince Barin; Jack "Tiny" Lipson as Prince Vulton; Priscilla Lawson as Princess Aura; and Charles Middleton as Emperor Ming the Merciless. To complement the outstanding cast, the serial's breathless pacing left heads spinning and to this day remains unmatched, not only when compared to other chapter plays of its time, but to the best "Star Wars" episodes.

On this basis, the original serial would act as an ideal blueprint (i.e., live-action storyboard) for a big-budget translation. Sure, a few elements could be modified (like an explanation as to why Mongo's various factions all speak English: something the 2007 Sci Fi Channel series at least tackled), as well as the chapter-crawl that "Star Wars" stole. Nonetheless, on most other levels, the combined segments could comfortably encompass the running time of recent, action-adventure films. People have happily sat through "Infinity War"; why not a new take on a trailblazing escapade, especially if the content is built for speed?

What of the casting? I’d go for Scott Eastwood as Flash. Sure, he’d have to dye his hair a lighter hue, just like Crabbe and other actors have, but he’s strapping and skilled enough to become an honorable successor to the aforementioned, as well as Steve Holland, Sam Jones and Eric Johnson. And how 'bout Dale Arden? Scarlett Johansson, I say!!! And Ming? Bryan Cranston!!! Zarkov? Kelsey Grammer!!! Princess Aura? Eija Skarsgard!!! (Okay, I don’t know if she can act, but she looks exotic, and her family is acting-based; besides, Hammer's Carreras boys never once stumbled when recruiting models for their films.) As far as Prince Barin and the Prince Vultan go, I'm sure there are many crackerjack actors who'd be eager to compete for those coveted roles.

Embracing Raymond's architectural and rocket-ship designs (no matter the time line) should go without debate (something for which the De Laurentiis version deserves much credit). Still, if a committed translation from serial to modern film were applied, all such distinctive details would fall into place. 

The score, however, should be original, but capture the spirit of the stock music used: Hans Zimmer, James Newton Howard or Danny Elfman would do; though for old times' sake, it would be nice if the chosen composer made an occasional nod to Franz Liszt and Brian May. 

Think of it, folks: A new space-hero adventure that blasts from the past and looks to the future, constructed without a speck of apology or regret: a film that folks of all ages (and varying backgrounds and ideologies) could enjoy solely for the sake of it. After that, we could get sequels based on the classic Crabbe follow-ups. Buck Rogers and even John Carter could then get back into the swing. Man, oh man, doesn't that sound beyond epic...beyond glorious...precisely the thing we need to hit that venturesome, galactic spot?

Well, "you may say I'm dreamer", but you can't blame an old, space-opera enthusiast for that.

I saw Pacific Rim 2...

Guillermo del Toro's "Pacific Rim" surprised a lot of people (myself included) by being more than a clobbering, CGI giant-robot fest and something driven by empathetic characters and engaging scenarios. 

Four years after the mega-hit comes Steven S. DeKnight's "Pacific Rim: Uprising", which jumps ten years farther into the future, beyond the big "Battle of the Breach", leaving the saga to a new group of Jaeger-puppeteers and new, colossal threats. For all intents and purposes, the sequel (penned by DeKnight; Emily Carmichael; and Kira Snyder) exceeds the first film's wonderment and takes the concept to clever and refreshing heights. 

Though Charlie Hunnam's Raleigh Becket and Idris Elba's Stacker Pentecost aren't on hand for this outing, fans of the original film will be comforted to know that Mako Mori (Kinko Kikudi) has a significant, supporting role. Otherwise "Uprising'"s (new and old) cast consists of quirky but heroic Hermann Gottlieb (Burn Gorman); nervous and enigmatic Newton Geiszler (Charlie Day); supportive and alluring Jules Reyes (Adri Arjoni); demanding and determined Liwen Shao (Tian Jing); and resentful but capable Cadet Viktoria (Ivana Sakhno). There's also the film's leading lady, spunky and inventive Amara Namani (Cailee Spaeney); accompanied by the commanding, by-the-book Nate Lambert (Scott Eastwood, resembling his dad to a startling tee); and Petecost's sometimes freewheeling yet anguished son, Jake (John Boyega). The latter eventually leads the courageous way against the gigantic problems that await, at first struggling to find his mettle, but then embracing his cause with respectable gusto.

Young Pentecost's somber refocus is the script's steady motif, but his relationship with Lambert is also important, as well as his mentoring of Namani, who must prove herself every step of the way. There are rocky moments that rise from out the various intermingling, and things do get heated, but as del Toro's film taught us, teamwork is essential when it comes to monster fighting, or for that matter, any avenue of life. To its credit, "Uprising" doesn't forget this purposeful notion.

As the teamwork builds, we're fed plenty of thunderous flash, and as far as computerized calamity goes, many will find the results arresting and therefore, fulfilling. However, with hardware and monsters as massive as those depicted, nations would fall under their impetuous pounding within seconds, thus defeating the purpose of any Jaeger intervention. For better or worse, "Uprising'"s big, final battle occurs on congested, urban turf and for a period far too long to remain credible. The first film (and the same can be said of most Toho, DC and Marvel flicks) could be blamed for this approach as well, but "Uprising" hurls it to novel exaggeration.  

There are,  however, quiet, philosophical moments that counter that exaggeration. They give the sequel a benevolent brush of "Ultraman" "Space Giants" and "Johnny Sokko", where sacrifice, bravery and honor were always at play. That "Uprising" makes use of these aspects designates it to a more special and human category than most of its building-breaking, cling-clanging competition. 

The film also twists the kaiju threat in a unique way, so that it becomes a kind of "Real Steal" goliathon midway through. An air of mystery and betrayal shines through this plot device, though its resourcefulness might prove a hard act to follow. 

Perhaps, in this respect, the next chapter should throw caution to the wind and dispatch a giant-monster battle royal to rival all others. The "Pacific Rim" technology could even reintroduce King Kong and Godzilla's mechanical counterparts. I sure wouldn't mind seeing those simulations in the brawling, Legends Films brew, and as far as extended universes go, that kind of crossover would guarantee ticket sales from here to Timbuktu.