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The new TV series George R.R. Martin is more of an event horizon than the Game of Thrones

Photo: Jonathan Hession (Syfy)

Fantastic horror can sometimes feel like an odd attack. The last genre is more entrenched in the past than the future, better suited to organic fears than technological nightmares – hence the propensity to use science fiction as a transparent dress of an old-fashioned monster. (There is a reason StrangerChimneys are rooted in the untidy body, and malicious A.I. drama 2001 does not play like a horror.) Nightflyers, the new Syfy show based on the 1980 novel Game of Thrones by George R.R. Martin is trying to find stinking fears in the machine, and while serving brilliant images and tempting performances, the show has no execution. Never bored but trying to lift over uneven handling of the material.

An obvious point of comparison is the 1997 film Horizon of the event, another story about the crew of spaceships tortured by an unknown source of evil. (The less talk about the former attempt to adapt Martin's novel, the limp 1987 film acting on Catherine Mary Stuart, is the better.) But this series goes further into the imagination area, including the psychic among its spaceships of space travelers. By discovering an alien dish, the scientist Dr. Karl D & amp; Branin (Night shiftThe Ely Macken & # 39;) gathers a team approaching the long-running Spacecraft The Nightflyer, attempting to reach such a remote, irresponsible alien ship and establishing the first contact, hoping to find the means to save the rapid disappearance of the human population country. Unfortunately, the nightmare is more scary than a telepathon capable of deadly damage (Sam Strike) brought by D & B's as an alien communicator rather than optimistic about the new mission. Even worse, someone or something causes dangerous hallucinations, sabotaging the ship, and putting the mission in jeopardy. Much is happening, and the series is racing across the country, often before it has a chance to actually sign up. Still, this is probably the best, because this thing can not handle much control.


C +


Jeff Buhler (based on the "Nightflyers" by George R. R. Martin)

who plays

Eoin Macken, Gretchen Mol, David Ajala, Jodi Turner-Smith, Angus Sampson, Maya Eshet, Sam Strike


10 o'clock. Eastern, from Sunday to Thursday, starting on December 2nd


Journal horror of science fiction. Five episodes were viewed for review.

This is a sudden show. Developing the surface was introduced in a small construction opportunity, leaving the viewer feeling angry as they tried to process what happened between the scenes. At one point, it is suggested that a boat has been passed on a ship for a month without any sign of passing time except for the sign that announces it so much. Some of them are a problem of editing – the characters will suddenly appear in different places on a ship, which, when there is a force that creates shameless digital projections of people in the story, can easily cause confusion – but this is mainly the problem of scripting where the dialectic mysteries that grab the characters which are too easy to obscure in the secrets of the story of the series itself.

It would simply be embarrassing to the proliferation of confusing characters and points. There is a telepath, but his powers are at best ambiguous, causing more confusion from the intriguing mystery. Captain Eris (David Ajala, who gives the best of the roles he has taken), was forced to shake the narrative water, pulling out the old "I can not tell you this yet", only to explain it later, without a logical reason for the delay. Too often, the issue will introduce a question that could develop into something more (is this the experience really? Is this the threat of red haring?) Just to blow it abruptly offside with "Oh, I guess not" shortly afterwards. The emergence of genre conventions with which Martin has perfected Game of Thrones here is improper or undeveloped as well as normal horror horror trophies that appear as standard problems – some are presented with formative knowledge, others that never flourish in anything that is sufficiently different to appear fresh. There is a feeling that all this has been done, and Jeff Buhler has not shown how to feel new again.

Eoin Macken, Gretchen Mol, and Angus Sampson at Nightflyers.
Photo: Jonathan Hession (Syfy)

This is proof of a pulp of dramatics of the original material that Nightflyers it remains a pleasure to look at these weaknesses. Surprisingly, the B-movie's appeal to the process, and the series quickly flipped from an absurd sequence to the effort to keep the story falling under the weight of many imple- mentability. ("Anyone on board accepts that a certain figure has heard voices in their heads for decades without questioning their mental stability, so who are you, the TV watchers, to doubt it?" One of the examples of massive good faith in the show is from their audience. ) At some point, either you go along with the random nature of your choices or throw you your hands in frustration on many problems left unaddressed. (Early a woman who is covered by bees appears, and yet an immediate thought –surely this is another hallucination– he quickly fell for the benefit of a convincing reality. If it's a surprise to get out in half the show, it's awkward.)

Replacing the Syfy budget for a massive pay-cable one of its authors is more successful received (and leaving Martin out of the creative process, his HBO contract is exclusive), the series still manages to create an appealing visual style. Credit Manager Mike Cahill (I Origins. Another country) creating a cold sense of space inventiveness: The camera will come out of one window and skate along the exterior of a massive boat, enjoying its reach, before entering the second part The Nightflyer start a new scene. He well understands how to remove the standard conventions of horror; from the start-up scene directly from spilling over to the ghostly projections that can appear at any time, brings some real scary scenes that later episodes succeed in imitating with reasonable success.

Similarly, actors mostly sell all this supernatural covert sci-fi hokum. So many characters are inconsistent or forced into narrative situations that move them like ping-pong balls from one emotion to another; this is a relief when a pro like Ajala or Angus Sampson just choose a mood and roll with it. Maya Eshet, an actor with whom I had previously been unknown, is particularly good; her computer expert Lommie (from the harbor in her hand, allowing her to literally connect with the ship's controls) is the most complex and subtly shaded performance in a pile. It may be a deeply charismatic, magnetic presence that raises every scene in which it appears. It is no accident that the fifth episode, which puts the front and the central backdrop story of entering the mainframe computer, is best in the first half of the season.

Finally, your tolerance for Nightflyers it may depend on your love for the fruits of the genre. It does not matter that everything is so good, and as the whole thing develops with the unstoppable rhythm of a typical horror movie, "look at the best of intentions and make a terrible mistake" (and in a quick snippet, lucky) lack of depth of good human drama to anchor all stupidity. Ultimately, the silent and unknown alien entity in distant spaces of space may feel more associated with these unwanted people.

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