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The makers of Cloud Atlas and The Matrix trilogy return with a hectic combination of Cinderella meets Captain
Marvel, against a dark space-opera backdrop reminiscent of Dune. Very much an adventure in the astronomatrix, this is certainly not a remake of Al Adamson's soft-core skiffy musical farce Cinderella
2000 (1977), a minor cult flick that remains practically unwatchable when compared to the Wachowskis undeniably spectacular melange of Barbarella, Buck Rogers, Flash Gordon, and
several other SF icons we might point a telescope at as significant models for what appears in Jupiter Ascending.
Sax Rohmer created Dr Fu Manchu, embodiment of the 'Yellow Peril', in 1913. While dependent upon racial stereotypes and often descending into the lazy racism, the villain's role as cultural bogeyman
is offset by an acknowledgement that he is an innovative genius and a true mastermind, although a criminal one. Fu Manchu's nemesis Denis Nayland Smith, a colonial police commissioner seconded from
Burma to Scotland Yard with extraordinary powers of access and arrest, and his friend Dr Petrie, are almost powerless to prevent Fu Manchu's wave of murder and terror throughout London in the first
novel The Mystery Of Fu Manchu (1913).
Yes - zombies, but not as we know them. These are not decomposing flesh-eating Walking Dead zombies. Or brain-munching George
A. Romero Day Of The Dead, Dawn Of The Dead,
Land Of The Dead zombies. Or even Will Smith I Am Legend zombies. These are slower, more poetic zombies-as-metaphor.
Zombies in the original voodoo sense of the rich undead mythology. This is an elegant slow-paced meditation on the state of un-death. After all, they made horror films differently back in 1943. Today,
this might not even qualify for the genre at all. Horror..? Where's the horror? But it's there, even if it works in subtler more insinuating ways.