Review: Warner Archive’s Lovely New Blu-Ray of 1981’s “Victory”

The year 1981 was an important year as far as my evolution as a movie fan goes. 

It was the year I went to see “Raiders of the Lost Ark” thirty-some-odd times at the Gemini Twin — a 99-cent movie theater in Omaha. “Raiders” played for weeks and weeks at the Gemini. 

This was a world before “mass consumers” owned VCRs and other home video devices like RCA’s VideoDisc Players (read my 2016 blog post on that ill-fated technology). 

That was also the year my mom and dad took me to see the movie “Victory,” starring Sylvester Stallone, Michael Caine, and Pelé (who designed the soccer plays in the movie). 

We went to see it at Omaha’s Cinema Center. I played youth soccer for the Rockbrook Rockets at the time, and we took a couple of my friends/teammates to the movie. 

I would have loved to have been a “fly on the wall” when this movie was pitched to studio execs: 

“Here’s the concept… think ‘Rocky’ in a World War II prisoner of war camp. Only instead of boxing, it’s going to be about soccer. Brazilian phenom Pelé will be cast for his soccer cred. We’re looking at Michael Caine and Max von Sydow to add ‘war movie gravitas.’ John Huston will direct.” 

While the idea might seem ridiculous, the movie actually works. 

“Victory” (released as “Escape to Victory” overseas) tells the story of a group of Allied POWs in World War II who agree to play an exhibition soccer match against a team made up of German military officers. 

What starts out as a friendly proposal by German Major Karl von Steiner (Max von Sydow) to English Captain John Colby (Michael Caine) soon becomes an overblown propaganda stunt.

The climactic soccer game at the end of the movie ultimately serves as a metaphor for World War II and humankind’s triumph over authoritarian regimes (a common theme in movies of the 1980s).

I love this movie and have watched it dozens of times over the years. In terms of “realism,”  however, the plot has all sorts of holes in it. But that doesn’t ruin the fun at all. 

One of the primary strengths of “Victory” is the rousing score by composer Bill Conti (who had composed the heady soundtrack for “Rocky” during that era). 

I know it might seem odd to lavish praise on a soundtrack, but many of my favorite films feature a strong musical score. Another popular 1981 sports movie — “Chariots of Fire” — was a better experience because of Vangelis’s amazing synthesizer score. 

“Victory” has the distinction of being the first time I saw a Sylvester Stallone movie in the theater. I was 8 years old at the time, and his performance as Canadian Army Captain Robert Hatch stuck with me long after the end credits rolled. 

Stallone’s films in the 1980s heavily influenced males of my generation. A number of my favorite movie-going memories involved seeing Stallone’s larger-than-life persona on the big screen during those years. 

While “Victory” might not rank among his best-known roles, his performance is affable and interesting. It was also nice to see him in more of supporting role. 

“This friggin’ game is wrecking my life,” says Hatch when he learns his plans to escape the POW camp are being thwarted by the soccer game. 

WARNER ARCHIVE’S NEW BLU-RAY OF “VICTORY” 

One of the first DVD’s I purchased in the late 1990s was “Victory.” It was one of Warner Bros early “flipper disc” releases (with the 2.40:1 letterbox version on one side, and a cropped version to fit 4:3 TVs on the other). 

It was a long wait for a high-definition version on Blu-ray. 

The Warner Archive Collection specializes in niche releases on DVD and Blu-ray. 

Warner Archive has brought a number of hard-to-find movies to Blu-ray, and is the only place you can find the A&E/Netflix series “Longmire” on Blu-ray (something I’ve written about before on this blog). 

(Warner Archive Collection titles are sold exclusively through online retailers such as the Warner Archive website and Amazon.com). 

Being a film of 1980s vintage, I was impressed with the overall video quality of the new “Victory” disc from Warner Archive. The image is generally crisp and clean (movies of that era tend to be a bit on the soft side — and that softness is seen at certain points in this transfer — but it is far superior to the DVD I own). 

Overall, the image looked better than ever on my 50-inch Vizio D50-E1 4K UHD TV.  

I mentioned the orchestral score by Bill Conti. The musical stylings sounded solid on the disc’s serviceable DTS-HD Master Audio 2.0 track emanating from my Vizio SmartCast 5.1 Soundbar System.

I’d like to thank the Warner Archive Collection for finally giving the film the treatment it deserves on physical media. 

The only bonus feature included on the Blu-ray is the theatrical trailer. In that regard, this new version of “Victory” is a fairly spartan release. 

That said, I’m just happy to have the movie on Blu-ray. 

In my quest to find additional information on the film, I did find this interesting interview from halftime at “Soccer Bowl 80” on ABC where Stallone and Pelé discussed the movie: 

Here’s hoping the folks behind Warner Archive decide to bring 1985’s “American Flyers” to Blu-ray in the near future (read my 2018 blog post on that entertaining sports movie). 

FINAL THOUGHTS

I know I write a lot about *new* movies, books, and TV shows on this blog. Be that as it may, there is something oddly comforting about consuming old favorites.  

I’ve considered adding a “retro movies” feature to the blog, and I might have to do that in the future. 

Watching “Victory” always takes me back to a simpler time in life. Sometimes that’s just what you need... 

Previous post: Review: “Star Trek: Picard” Season 1, Episode 8 (CBS All Access) 

Review: “Star Trek: Picard” Season 1, Episode 8 (CBS All Access Series)

“Am I a person?”

— Soji Asha in “Broken Pieces”

SPOILERS AHEAD!

Here we are, eight episodes into the first season of “Star Trek: Picard,” and I have to ask myself this question: “Have we gotten anywhere yet?” 

We’re several hours into this thing, and it’s definitely been a slow burn. We do learn new details along the way that move the overall narrative, but they typically come in dribs and drabs. 

And, new information is often presented in the form of info dumps — using the principle of “tell” instead of “show.” 

Some interesting background info is gleaned in Episode 8 (titled “Broken Pieces”). Most of it is presented in conversations on La Sirena.

We learn that Rios (Santiago Cabrera) and his fellow Starfleet crew members — when he served aboard the U.S.S. ibn Majid — came upon a starship of unknown design carrying two passengers on a diplomatic mission. 

With Starfleet’s permission, the passengers were beamed aboard the ibn Majid. One was an ambassador named Beautiful Flower. The other was his young protege named Jana. 

The captain that Rios served under — Alonzo Vandermeer — killed both of the visitors with “two quick pops of a phaser.” It was a black flag directive from Starfleet Security. Vandermeer told Rios that if he disobeyed, the ibn Majid would be destroyed, along with everyone on board. 

Vandermeer committed suicide after performing the heinous act, and Rios covered the whole thing up. 

Jana (the girl who was killed) looked just like android sisters Dahj and Soji Asha (Isa Briones) — a resemblance which proved distressing to Rios when Picard and Soji arrived on La Sirena.  

Of all the things Picard & Co. discuss during “Broken Pieces,” this was the most significant. 

Obviously, Rios has been distraught over the acts that took place during his Starfleet service, and was diagnosed with post-traumatic dysphoria as a result. The entire affair led him to where he is now. 

While Rios’s past on the U.S.S. ibn Majid proved to be a fascinating revelation, it just feels a little “too coincidental and convenient” that the character suddenly has a connection to the events taking place this season. 

I mean, what are the odds?

Don’t get me wrong, I’m interested in figuring out why the Romulan Zhat Vash (and their operatives in Starfleet) want synthetic life forms destroyed... and why they consider Soji to be the “Destroyer” called Sen Cheneb. 

Apparently, the Destroyer first appeared thousands of years before the events chronicled in “Star Trek: Picard.” 

That “mystery” is what keeps me going. That said, the fact remains that the story really hasn’t moved a whole lot since the sixth episode — and that’s a couple hours worth of narrative stuck in neutral. 

Despite the fact that I loved the seventh episode of “Star Trek: Picard” featuring Riker and Troi (read my review), the writers really haven’t moved the needle. I’m just hoping the payoff at the end of the season proves to be worthwhile. 

Stay tuned for my review of “Star Trek: Picard” Season 1, Episode 9. 

Previous post: Movie Review: “Knives Out” is a Terrific Whodunnit 

Movie Review: “Knives Out” is a Terrific Whodunnit

Many of the “travel memories” I have from my childhood revolve around trying to find ways to entertain myself on long car rides. We didn’t fly anywhere (in that era, people just didn’t seem to take plane trips like they do today). 

I recall doing a fictitious radio show in the car where I called myself “Rocky Hockey the Disc Jockey” — I’d have news announcements, make up radio ads, sing all the music, and basically irritate my family members. 

When I wasn’t practicing for a future podcasting career, my mom would often read a book out loud to help us pass the time. A number of the novels chosen were Agatha Christie mysteries. 

Those trips planted in me a love of mysteries. I started reading “The Hardy Boys” books when I was in second grade. The first one I read was “The Secret of the Old Mill.” I loved the cover art on those blue-spined hardcovers, and had a sizable collection (my favorite at the time was “The Mysterious Caravan”). 

It’s nice to see today’s filmmakers rediscovering the joy of old school mysteries. I loved Kenneth Branagh’s 2017 version of “Murder on the Orient Express” (which, for some odd reason, I never reviewed on this blog).

Note: If you haven’t seen Branagh’s 1991 mystery movie “Dead Again,” it’s also worth your time. 

Rian Johnson’s 2019 whodunnit “Knives Out” is a wholly original tale that captures the essence of murder mysteries from the likes of Agatha Christie — and infuses the story with a modern sensibility.  

I missed seeing “Knives Out” when it was in theaters, so Bridget picked up the Blu-ray for me a couple weeks ago. 

I just want to say that I found this film fascinating, and have watched it three times since. 

“Knives Out” finds bestselling mystery novelist Harlan Thrombey (Christopher Plummer) celebrating his 85th birthday at his gothic-revival mansion in Massachusetts with his family in attendance. 

The morning after the festivities, Thrombey is found dead on a daybed in his attic study — dried blood running from his slit throat to the floor; a dagger resting adjacent. 

Local police — Detective Lieutenant Elliot (Lakeith Stanfield) and Trooper Wagner (Noah Segan) — question the family and staff about Harlan's death. 

Sitting quietly in the room behind the investigators is private detective Benoit Blanc (Daniel Craig). 

Blanc was hired in a shroud of mystery to investigate the murder of Harlan Thrombey (an envelope of cash showed up at his apartment with a news clipping of Thrombey’s death).  

At the center of everything is kind-hearted Marta Cabrera (Ana de Armas) — Harlan’s nurse/caretaker who can’t tell a lie without vomiting, or as Blanc describes her condition “a regurgitative reaction to mistruthin’.” 

The Thrombey clan includes an all-star cast played by the likes of Jamie Lee Curtis (Harlan’s daughter, Linda), Don Johnson (Linda’s husband, Richard), Toni Collette (Harlan’s daughter-in-law, Joni), Michael Shannon (Harlan’s son, Walt), and Chris Evans (Linda and Richard’s son, Ransom). 

Most of the narrative takes place at Harlan Thrombey’s sprawling estate. The brick mansion is decorated with an eclectic mix of statuary, oil paintings, oriental rugs, patterned wallpaper, and furniture spanning the decades. There are all sorts of nooks, crannies, and secret passageways that accent the peculiar mansion. 

“I mean, the guy practically lives in a Clue board,” quips Detective Lieutenant Elliot about Thrombey’s home. 

The whole movie feels like a game of Clue, but Johnson’s script turns the formula on its head. What seems obvious at first soon reveals a mystery with multiple layers. 

“Strange case from the start,” muses Benoit Blanc. “A case with a hole in the middle. A doughnut.” 

I’m a fan of writer/director Rian Johnson’s work. Some “Star Wars” fans were critical of his entry in the Skywalker Saga — “Star Wars: Episode VIII - The Last Jedi” — but I really enjoyed it. I praised that movie in the 2017 blog post “‘The Last Jedi’ Might Be The Greatest ‘Star Wars’ Film.”  

Johnson’s plotting skills are on full display in “Knives Out.” He’d apparently been working on the concept for a decade when he decided to make this film his followup to “The Last Jedi.” 

I want to address the “Kentucky Fried Drawl” Daniel Craig uses in this movie. When I first saw the trailers for “Knives Out,” I thought the accent would be super distracting. 

After all, mass movie-goers have gotten used to Craig’s British accent during his tenure in the James Bond franchise (among other films the past 15 years). 

I had flashbacks to the time Kevin Costner thought it’d be wise to try a British accent in 1991’s “Robin Hood: Prince of Thieves.” 

Would a different accent work for Craig? Or would he sound like a poorly drawn character from a John Grisham novel?

Oddly enough, I didn’t mind Craig’s southern accent. He did a decent job with it, and stayed consistent throughout the movie. 

The fact is that his character is over-the-top — just like the rest of the players. This is a quirky and eclectic cast, and Johnson’s script strikes a nice balance between comedy and suspense. 

I’d also like to give a nod to actress Ana de Armas. She’s a relative unknown, but has appeared in recent movies like 2017’s “Blade Runner 2049” (read my review). 

She has to carry a lot of the film’s narrative, and does a good job crafting her character. Benoit Blanc refers to Marta as having “a kind heart.” In that spirit, de Armas strikes the right balance of vulnerability and altruism. 

Something I appreciated in “Knives Out” was Johnson’s attention to detail. 

I talked earlier about the mansion featured in the film. There are so many terrific nuggets strewn throughout the set decoration. 

I always enjoy seeing mocked up novels for fictitious authors in films. We see a number of Harlan Thrombey’s mysteries in the mansion (books with titles like “The Needle Game” and “This Little Piggy”). 

His favorite coffee mug has the words "My House. My Rules. My Coffee.” printed on it. While that detail might seem innocuous, it provides relevant information about the character in a brief shot. 

The score — which reminded me at times of the music on PBS’s classic “Mystery” intro — was composed by Nathan Johnson (Rian Johnson’s cousin). 

In addition, Christian artist Larry Norman’s song “Righteous Rocker” can be heard during the restaurant scene in the movie. Being a fan of Christian music, I owned some of Norman’s recordings (he was an eclectic artist who came on the scene in the 1970s) and I thought it was neat to see the song in the movie. 

Overall, I had a great time watching “Knives Out.” 

It’s nice to see original movies succeed that aren’t part of today’s bombastic, special-effects-laden franchises. 

A sequel to “Knives Out” (a brand-new mystery featuring Benoit Blanc) has been greenlit by Lionsgate. 

That’s a good thing. I’ll be fascinated to see what sort of tangled mystery Johnson crafts for the intrepid detective to solve. 

As Detective Lieutenant Elliot suggests, “When the great Benoit Blanc comes knocking at my door, I expect it’s going to be about something, if not extraordinary, then at least interesting.”

Previous post: Review: “Mythic Quest” Season 1 Levels Up The Fun (Apple TV+ Series) 

Review: “Mythic Quest” Season 1 Levels Up The Fun (Apple TV+ Series)

“We’re in the middle of a shovel crisis.” 

Ian Grimm in “Mythic Quest: Raven’s Banquet” 

If you’d told me a month ago that “Mythic Quest: Raven’s Banquet” would be the show that would motivate me to subscribe to Apple TV+, I would have said you were crazy. 

Welp, here’s to the crazy ones… 

When Apple announced they were entering the streaming fray with Apple TV+, I wrote a blog post with my thoughts, titled “Is Apple Too Late?” where I discussed the service. That was almost a year ago. 

In that review, I wrote “I’m wary” as it regarded Apple’s foray into subscription services (which also includes a beefed up news offering, a video game arcade, and the company’s branded credit card). 

Because Apple TV+ is focused on “originals only” (something the marketing team has tried to pimp as a virtue), I was skeptical about whether they’d be able to develop enough compelling programming to keep subscribers interested.

I’m still skeptical (based on the current lineup), but Apple has a winner in the new workplace comedy “Mythic Quest: Raven’s Banquet.” 

The series focuses on a fictitious video game development company with the “highest grossing multiplayer role-playing game of all time” (called Mythic Quest… obviously!). The game is played in 20 countries on six continents. 

As the first season begins, the team is getting ready to launch Raven’s Banquet — an expansion pack for the game. 

Before I go any further, I should note that you DO NOT have to be a “game geek” to enjoy the series. I haven’t played video games since I parted with my PS2 several years ago, and haven’t delved into the current generation of games at all. 

The joy of the nine-episode first season lies in the quirky characters and dysfunctional workplace dynamic seen in the show. It’s all done with a light touch and the show has some genuinely funny moments. 

The tone of the show is sort of a whisked-together mix of the NBC show “Community,” HBO’s “Silicon Valley,” and the 1999 movie “Office Space.” 

The ringleader of the “Mythic Quest” team is Ian Grimm (Rob McElhenney) — a creative director who exudes an oddly charming “God complex” as he perpetually pushes his vision for the game. McElhenney imbues a sort of an everyman Ryan Reynolds vibe. (Bridget called him a “poor man’s Ryan Reynolds.”)

As Grimm tries to navigate the ever-changing world of the game, he’ll use pithy phrases like “just let me noodle” to describe his creative process. 

The game’s lead engineer is Poppy Li (Charlotte Nicdao) — a plucky hipster who serves as a foil to some of Grimm’s more grandiose plans (the interplay between Li and Grimm is one of the show’s strengths). 

The executive producer of the game is David Brittlesbee (David Hornsby) — a Ms. Pac-Man-loving, straight-arrow manager who sports a ’stache that looks like it jumped out of an 80s detective show. 

The head of monetization is Brad Bakshi (Danny Pudi) — an aloof bean counter concerned about maximizing the game’s revenue potential. One of his contributions to the game is the MQ Grand Casino (referred to as “an artless money grab that has no connection to the game”). 

(I loved Pudi as Abed Nadir on “Community”… ).

The main slate of characters is rounded out by C.W. Longbottom (F. Murray Abraham). Longbottom is a washed-up science fiction writer (winner of the 1973 Nebula Award) who builds the narrative structure for the game. Ian met him at a state fair where he (Longbottom) was selling rotisserie chicken. 

(A look at the character’s bookshelf in the second episode shows his bibliography of novels — including one called “Dances With Elves”). 

Highlight episodes for me were Episode 3 (“Dinner Party”) and Episode 5 (“A Dark Quiet Death”). 

The third episode had me chuckling in quite a few spots. It was definitely a novel take on crisis management in a 21st century tech company. Since we provide PR services in our business, we could sympathize with “Mythic Quest’s” trod-upon community relations expert Sue (Caitlin McGee). 

A number of fans online have talked about how good the fifth episode is, and I wholeheartedly agree with that sentiment. 

It is a tonal/narrative shift from the other eight episodes in the first season, and features “New Girl’s” Jake Johnson as the developer of a video game called Dark Quiet Death. The episode builds an emotional core for the first season, and illustrates the melancholy side of partnerships in business. It’s a really terrific story. 

The series was created by “It’s Always Sunny in Philadelphia” writers Rob McElhenney, Charlie Day, and Megan Ganz. 

My friend Jason Combs recommended “Mythic Quest: Raven’s Banquet” to me shortly after it dropped on Apple TV+, and I’m glad I checked it out. 

There were a number of interesting supporting characters in the first season. Game testers Rachel (Ashly Burch) and Dana (Imani Hakim) added dimension to the series. David Brittlebee’s assistant (and the company’s newest employee) Jo (Jessie Ennis) provides moments of levity as a slightly unhinged fan girl of Ian Grimm. Snarky programmer Michelle (Aparna Nancherla) adds… well… snark. 

The show manages to poke fun at the trappings of millennial life as it regards the so-called “influencers” in pop culture. Many of these moments are played out via a 14-year-old gamer known as “Pootie_Shoe” (Elisha Henig) — a live streamer with over 10 million followers who can determine the success (or failure) of a video game with one flippant comment.

I also want to mention how much I enjoyed some of the fun cut scenes and interstitials that were included in the structure of the show. Video game maker Ubisoft is one of the series producers. 

Bridget and I breezed through the first nine episodes of “Mythic Quest: Raven’s Banquet” in a couple days. The first two episodes are available for free (without a subscription) on Apple TV (via the website or the app) if you’d like to check it out for yourself. 

It can be a crapshoot recommending comedies since it is a genre that appeals to specific tastes. I’ve had an affection for workplace comedies like “Community,” “Parks & Rec,” and “Superstore” for quite some time, so this show was right up my alley. 

We had a good time watching the first season. It was irreverent, charming, and a lot of fun. With all the craziness going on in the world right now, I think you’ll enjoy escaping into “Mythic Quest: Raven’s Banquet” too. 

Previous post: Review: “Star Trek: Picard” Season 1, Episode 7 (CBS All Access Series)

Review: “Star Trek: Picard” Season 1, Episode 7 (CBS All Access Series)

“They seem to be carrying more baggage than all of you ever did.” 

Jean-Luc Picard to Will Riker in “Nepenthe” 

The seventh episode of “Star Trek: Picard” (titled “Nepenthe”) manages to nurse the first season back to a healthy path. 

Sometimes a dose of familiar faces from the past is the best remedy in these situations. 

This episode sees Picard (Patrick Stewart) and Soji (Isa Briones) transporting to the planet of Nepenthe — the current residence of William Riker (Jonathan Frakes) and Deanna Troi (Marina Sirtis). The two characters tied the knot in the 2002 film “Star Trek: Nemesis” and were part of Picard’s venerable crew on the U.S.S. Enterprise.  

Riker and Troi have a precocious pre-teen daughter named Kestra (Lulu Wilson). She greets Picard and Soji as they are traversing the wilderness toward the family home. She is wearing a tribal-looking costume and is brandishing a bow and arrow when she surprises the pair as they beam in.

Bridget commented on how much she liked the Kestra character as the episode progressed. 

I also liked the character and thought the entire family dynamic was nice. I think their interaction benefits from how well drawn Riker and Troi were in “Star Trek: The Next Generation.” 

Their presence is (in my opinion) why this episode is so successful. Honorable characters, well drawn, are so much more interesting than edgy characters who are merely there to serve the plot. 

All too often, edgy becomes synonymous with “compelling drama” in the 21st century (or the 24th century, for that matter). 

Part of the reason I’ve shifted back-and-forth with my feelings regarding “Star Trek: Picard” is that the “textured” nature of the new characters sometimes feels overly manufactured — a plot device designed to appeal to modern tastes. 

While I understand the desire to stay on par with your contemporaries, I also know that “Star Trek” hasn’t enjoyed popularity over 50-plus years for following the herd. 

In addition to the storyline involving Riker’s brood, we learn that Romulan warrior Elnor did indeed survive recent events on the Artifact (which took place at the end of the sixth episode).

We also learn more about Dr. Jurati’s (Alison Pill) conversation with Commodore Oh (Tamlyn Tomita) at the Daystrom Institute (which was teased in the third episode). 

Despite the fact that those threads were also going on, the core of the “Nepenthe” episode was Picard and Soji’s interactions with Troi, Riker, and Kestra.

There’s something oddly comforting about watching William Riker make wood-fired pizza (topped with Antarean basil, fresh tomatoes, and bunnicorn sausage) in an outdoor oven.  

“Soji,” says Riker as he is serving the pizza for dinner. “Welcome to our home. Guests get two (slices).” 

Riker and Troi planted roots on Nepenthe because their late son Thad was suffering from a silicone-based ailment, and the soil on the planet was known for its regenerative properties. 

(We also learn that an “active positronic matrix” could have helped cure the disease, but due to the ban on synthetic life, there wasn’t one available. This tidbit in the script felt a tad bit forced and convenient under the circumstances, but I’ll let it pass in this instance.)

It was neat to see the family living a rural life away from the futuristic cacophony of starships and uniform jumpsuits. I particularly liked how their son had a creative bent during his life and developed numerous pretend languages (among them, Viveen) and a fantasy home world (Ardani). 

To be honest, I would watch a show called “Star Trek: Riker.” Think about how interesting a series could have been where Riker & Co. scoured the galaxy looking for an android to help cure his son’s life-threatening illness. 

Bridget agreed. She mused: “Why couldn’t the show have been this from the beginning?” 

Why, indeed. 

Obviously, the side trip to Nepenthe was a moment of fan service, but it was a worthwhile one. It reminds you that the success of TNG was built on the “ensemble chemistry” the cast developed over seven seasons. 

It also reminds you that few new characters on “Picard” (other than Soji and Dahj Asha) are particularly compelling at this point in the show’s development. 

If nothing else, the episode illustrates that the kinder and gentler elements “Star Trek” has embued for decades can still make for compelling drama in the year 2020. 

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Read my review of “Star Trek: Picard” Season 1, Episode 8! 

Previous post: Review: “Star Trek: Picard” Season 1, Episode 6 (CBS All Access Series) 

Review: “Star Trek: Picard” Season 1, Episode 6 (CBS All Access Series)

“I believe she’s close to discovering who she really is...”

Jean-Luc Picard in “The Impossible Box”

SPOILERS AHEAD!

Here we are… the sixth episode. We’re on the downward slide of the first season of “Star Trek: Picard.” 

The episode is titled “The Impossible Box.” 

In this episode, we start to see the narrative move forward a bit. Not a lot, but a bit. 

Soji Asha (Isa Briones) learns she isn’t real. The initial clue is that she makes phone calls to her mother each night that last exactly 70 seconds. Digging further, she soon starts analyzing all her family photos, childhood drawings, etc. 

All of those items are exactly 37 months old, suggesting her life is a fabrication. 

This episode also sees her betrayed by Romulan love interest Narek (Harry Treadaway). He has been working undercover since the first episode to figure out her origin (Spoiler: she comes from a planet with two red moons that has electrical storms.)

Picard (Patrick Stewart) finally arrives at the Artifact and meets up with former Borg Hugh (Jonathan Del Arco). We get a little exposition (early in the episode) about Picard’s past experiences with the Borg (including his assimilation).

An unexpected moment in the episode finds Dr. Agnes Jurati (Alison Pill) and Captain Cristobal Rios (Santiago Cabrera) kissing (apparently they’ve become romantically inclined since the last episode). 

I don’t see them as a potential couple at all, and I’m not sure why the writers decided to have a romantic interlude. Whatever the outcome, this story arc feels rushed. 

We apparently spent a significant chunk of episode 4 convincing the warrior Elnor (Evan Evangora) to come along on Picard’s mission just so he could sacrifice himself at the end of episode 6. 

We might see him again, but he (apparently) makes the ultimate sacrifice so Picard and Soji can escape from the clutches of the Tal Shiar on the Artifact.

If this is the end, it seems like an unceremonious exit. 

I feel like all of this is leading to a point where we discover that the android Data (Brent Spiner) is still alive. If so, it feels like we’ve invested a lot of time and money to make what is essentially a sequel to 2002’s “Star Trek: Nemesis.” 

I was listening to “The John Campea Show” a few days ago, and Robert Meyer Burnett had some thoughts on “Star Trek: Picard.” 

Burnett edited, wrote, and produced all the special features for the Blu-ray release of “Star Trek: The Next Generation” series boxed set. 

Burnett has been tepid regarding “Star Trek: Picard,” and questions whether it is the forward-thinking vision the franchise needs.  

“It’s so steeped in ‘Star Trek’ lore… I mean, you’ve got ‘7 of 9,’ and you’ve got the Borg, and you’ve got Hugh,” said Burnett. “If you’ve never watched ‘Star Trek’ before, ‘Picard’ is not a great place for you to jump on — because it’s so locked into what’s come before.” 

I tend to agree. 

What made “Star Trek: The Next Generation” compelling when it debuted in 1987 was that you didn’t need to have watched a previous episode or movie in the franchise to understand what was going on. Sure, there were nods to the original series, but it was far enough in the future that it was its own living thing. 

So far, I feel like the first season of “Star Trek: Picard” is an interesting idea that could have been executed better. From a story perspective, it seems like the entire thing could have been a two-hour movie instead of a multi-episode series. 

We’ll see what happens in the final four episodes of this season. Maybe I’ll be eating my words by the end… ;-)

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Read my review of “Star Trek: Picard” Season 1, Episode 7! 

Previous post: Movie Review: "The Call of the Wild"