An imperfect man in a perfect world

Gattaca Starring Ethan Hawke, Uma Thurman Rated PG-13 112 Minutes

n the not-too-distant future a new form of discrimination has been bred in the labs: genoism. It is the line that divides the genetically engineered from normal humans. The engineered, superior homo sapiens--known in future parlance as "valids"--have all the cards stacked in their favor. They are free from disease, deformity and even minor inconveniences such as left-handedness, while all of their most desirable traits have been enhanced. On the other hand, the "faith births" or "in-valids" are subject to all the genetic shortfalls that can occur in nature.

Vincent Freeman (Hawke) is a faith birth who dreams of traveling to the stars. But with a heart condition that will likely see him dead by 30, he has no chance of making it into an astronaut program, especially when the competition has been tailor made for the job. Yet there may be hope for him in the underground world where valids who have suffered crippling injuries use DNA brokers to find in-valids who can assume their identities. Vincent finds such a valid in Jerome (Jude Law), a perfect genetic specimen who has a shot at earning a spot at the Gattaca Corporation, which is involved in advanced space research.

But while Jerome can supply Vincent with the genetic samples (urine, blood, hair, etc.) he needs to gain entrance into the valid world and pass the continual testing Gattaca subjects its employees to, only Vincent can supply the willpower to overcome the odds against him. Because to make it into space, he will have to be better than the best humans that science can engineer. And when an executive at Gattaca is murdered, he will have to stay hidden in the one place where it is impossible for an in-valid to hide.

There is no gene for the human spirit

Gattaca is a compelling film on a number of levels, from its riveting storyline and set design to its universal metaphor of the individual versus society and versus science. Writer/Director Andrew Niccol knows the story he wants to tell and uses a sure hand to guide viewers through it, and both Ethan Hawke and Uma Thurman (who plays Irene, a human quality control monitor at Gattaca who is drawn to what she believes to be Vincent's perfect qualities) are utterly convincing in their roles.

Niccol does a particularly good job creating his genoistic future, which he accomplishes almost entirely without special effects, relying instead on the subtleties of costumes and sets. Everything from the cars people drive to the desks they work at has been given a lightly-brushed retro-future look that creates a perfect ambiance for the film. Niccol also manages to create a draconian atmosphere where citizens are subject to constant genetic testing that seems almost justified--and therefore horrific--because it is done through the impartiality of science.

All of that wouldn't be much good without a story, of course, but Niccol has backed up his handiwork with a powerful tale about the ultimate everyman defying impossible odds. It's difficult not to sympathize with Vincent, who represents all of humanity's frailties as well as its hopes and dreams in one determined package. It is satisfying to see him thwart the system at every turn, and every minute he stays alive and undiscovered is another victory for the human spirit.

The one major fault of Gattaca is that it ties up all of its loose ends a bit too neatly by the film's end, which reveals an artificial hand in what is otherwise a naturally flowing film. But this is a minor glitch that should not keep viewers from watching a truly excellent SF film.

I went in not knowing what to expect and was absolutely dazzled by Niccol's work. I have the feeling this film will have a lasting, if subtle, impact. -- Craig E.

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Yo! The undead are in the house...

House of Frankenstein: 1997 Starring Adrian Pasdar, Greg Wise, Teri Polo NBC Part 1, Nov. 2, 9 p.m. ET Part 2, Nov. 3, 9 p.m. ET

istinctly mutilated bodies are being dropped all over Los Angeles like so much arcane propaganda. No one, however, knows how to read the message. The police are secretly baffled while the press has made the only stab at profiling the killer, calling the perpetrator The Midnight Raptor. Grace Dawkins is the Raptor's latest victim, and the only one to have survived an attack, but she's little help to the investigation. Grace insists she was attacked by some sort of wolf, and Detective Vernon Coyle, although he is intrigued by her beauty and animal magnetism, thinks she's just terribly confused.

While Vernon ponders the dearth of clues, the press believes it has the prime suspect: a developmentally disabled homeless man, a hulking giant of immense strength. And while Vernon thinks he knows better, what he doesn't know is that this giant is actually Frankenstein's monster, brought from Arctic wastes to L.A.'s wasteland by mysterious entrepreneur Crispin Grimes. Crispin financed the Arctic expedition to outfit his horror-themed nightclub with the monster, and the photo-phobic businessman might have more to do with the killings than Frankenstein's woeful creature.

The only one with any off-beat expertise is an anthropology professor, who thinks the killings are the work of a master vampire. She also has taken some field notes on Vernon's new squeeze, Grace, and shares her findings with the detective. It's a bit much for Vernon, who not only must accept the theory of a killer vampire, but now must consider that his new companion might be a werewolf.

Empty calories, but sometimes junk food tastes good

House of Frankenstein: 1997 is a wonderful mishmash of horror and SF classics--if viewers like drama the consistency of porridge. The fault lies mainly with the off-camera staff, the producers, the director and the writer, rather than with the actors, who are largely competent, if uncompelling. The sets, the props, and the wardrobe give the film that elusive Silk Stalkings flair, rendering it ordinary and too-familiar.

The affair begins promisingly enough, like a modern spook tale (and who doesn't want to be spooked on Halloween?). Tension is strung as the police close in and as Crispin is increasingly seen as unstable by his own vampire minions. However, the overlit production is littered with silly special effects (vampire-o vision) and Duh!-dialogue. To explain why Crispin is so taken with Grace, the anthropologist states that old truism: vampires just have a thing for werewolves. Duh!

When House of Frankenstein: 1997 is not shamelessly stealing from Forever Knight and From Dusk 'Til Dawn, it's entertaining, in a knows-its-place kind of way. Some scenes revisiting the exchanges between Frankenstein's monster and the blind hermit are somewhat amusing and humanizing. Overall, it would be false to say that this production is a waste of time, for it might be just the sort of visual junk food that folks would relish ingesting at the end of Halloween weekend (and who doesn't crave junk food now and again?) Just be advised that these are largely empty calories.

There was so much unexplored territory here. Truly the most intriguing theme was an ancient vampire descending into a malaise that rendered him unfit for leadership of his kindred. -- Tamara

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He's on a planet of his own

Rocket Man Starring Harland Williams, Jessica Lundy, William Sadler Rated PG

ocket Man is a well-timed spoof of the space program, astronauts and interplanetary travel. Starring Harland Williams ("whale sounds guy" in Down Periscope), the movie explores the thrill and grandeur of the first manned mission to Mars. It also explores flatulence, free fall toilets, and has a cute chimp. What more could viewers ask for?

The story begins when one of the Mars team is scrubbed due to an injury, and the choice for his replacement is between a veteran astronaut and Fred Randall (Williams), the computer geek who programmed the mission flight software. Randall makes quite a contrast to the average square-jawed rocket jockey, with his child-like propensity to wander, pick things up, and usually break them. He is naive and uncouth but possesses a nearly superhuman tolerance of isolation and high g. So he is chosen, much to the chagrin of his straightlaced crew mates, pilot William Overbeck and geologist Julie Ford. While those two attempt to regard this historic mission with a properly serious attitude, Randall blithely continues to pester, say inappropriate things, and have fun. He's also in love with Julie, whose reaction to him ranges from indifference to violence.

Mars, of course, is a hostile environment, even in a Disney film, and soon after landing Fred and the team are up to their necks in trouble. It's up to Fred to save his love, his chimp, and the valuable rock samples that are the whole reason for the mission. If he can overcome his fear. If he can stop squealing.

The fool on Mars

Thematically Rocket Man can be seen as Apollo 13's evil, but very funny, twin. Its portrayal of NASA and the space program is irreverent, poking fun at such Right Stuff icons as the spinning g-force chair, the lung capacity test, and food in squeeze tubes. Some of the jokes are cliched, such as a running gag in which one of the stuffed shirts is constantly injured, often due to Randall's bumbling. Many other segments, though, are quite good, such as Randall's descent into madness as he endures eight months alone in space, a hilarious stream of intercut, music video-like bits. Williams has a lively presence, and the film makes good use of his amazing vocal talents: amid his jabbering and squeaking, he provides at least half the sound effects all on his own. He also sings and yodels.

What's especially satisfying is that Rocket Man hangs its shenanigans on a solid story framework of defeat and success, love, rescue, exploration and friendship. It's not a brilliant story, but at least it's there.

So while half the jokes are dubious, and certainly all of the science is, the film has two planets' worth of charm. It's a goofily satisfying fantasy of an average guy being called upon to perform amazing feats. With fart jokes.

Watch out, Jim Carey, Harland Williams is poised to upset you from your throne. -- Brooks

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