No Turning Back (2019), a view

– Science. Fiction.

No Turning Back (2019)

serious topic: the lack of space to be. For some.

I have never before written a review of a movie I did not see. But in regards to this one I feel compelled.

Judging from the trailer the acting and the cinematography leaves something to be desired. The lighting is off, there is an abundance of close-ups of actors, who all seem wooden from lack of competence or bad directing, the script is too casually “normal” – all tell tale signs of a low budget, lack of professionalism on all levels, including the financiers.

None the less “No Turning Back” has won or been nominated for several awards – best picture, best director – which could be due to lower quality of other contestants. But.

The topic is relevant. That’s it. Why would anyone with a functioning family leave all and everyone for a place there is no coming back from?

When the world was colonised, most often by men, women often only being along for amusement or procreation, there was rarely an idea of “coming back”. What was left behind was the grueling monotony of basic survival, often at the merciless hands of diseases, local wars and despots, lack of food and entertainment – basically the idea that “standing still” was equal to dying, the death of the spirit. Men became pioneers and scouts, ofte paying with their life for this dream of variation in life, of “freedom to roam”, to make a buck to secure the path for those following to establish secure outposts of civilisation.

Then came the migration of whole families to the sparse lands, often to more gruelling work, but with the opportunity initially to stake out their own claims and become their own masters. Nothing fancy about it – every luxury that had preciously been enjoyed had to be made from the bottom up, but there was freedom to roam, free space.

And now we are over-civilised. Our cities are mostly just filled with people surviving in a complex trade of time for sustenance and entertainment. There is little freedom affordable for anyone in a family. Just like… always. And there is little excitement, for anyone, which is not either a depravity of lust outside of common acceptance or understanding, or an enjoyment of knowing and understanding something “before anyone else”. Where to go to feel a real freedom of the soul? Something that feels not like a repair of a faulty culture or yet another fragmentation of scientific facts into another new field of study, that one can “own”, or a manuscript or novel or poetry collection or record or play or series of paintings or performance or building or invention of a gadget that brings some cashflow and shifts some jobs or create a few new ones, or a power position, which changes nothing from lack of absolute dominion…

The only thing left is the spaces in-between everything. There is no more room for real expansion. Exploration, yes, and relatively safe as such – often a rescue helicopter a call away – excelling at sports, production, academic studies, vaccines. But the feeling is generally that the Earth is full.

Humanity has exhausted its options as a species. Which is why you will read and see lots of fantasies about AI overlords, alien invasions, deadly vira (yeah, that one didn’t change much, did it?!), time travel… a million more fantastic tropes await you – because life is predictable and monotonous in the overall picture. And we try to imagine what would not be boring, while at the same time feel worth the risk of dying.

Preparing the whole human species for life on a new planet. Maybe that is it? Life on Earth is not “fixable” – barring a natural or man made catastrophe, which would “re-boot civilisation” (essentially wipe out too many people to keep everything running as it is) – but tackling the impossible, setting down stakes on a barren planet, first for science to “conquer” (understand and make habitable), then setting up shop and create a life and begin the exploration of the NEW again, while being forced to invent on the spot and make new language for new experiences, and new rules to fit new circumstance, and raise children in a fresh environment unhampered by old morals and ethics (well, exporting hetero normative sexuality and similar ideals of personal ownership might be the easiest, but it would also guarantee a fast return to internal strife, so think hard on that one) – all of it appeals to everyone, who re-watched “The Martian” seven times.

Believing it CAN BE DONE, and I MIGHT NOT DIE, and IT’S WORTHWILE and EXCITING are all traits of business, war, exploration, conquest, and science. And going on a one-way trip to Mars for science, while leaving everyone behind… How do you actually defend that?

Maybe this film does or does not argue that question well, but it tries. And we need that. For we are still those explorers, the primitives longing for the big open expanse, and the collaborators, who carve out nieces and go about changing malfunctions from within. And the primitives have no more room to be. On Earth.

Oh – and notice how the poster title uses the NASA font. Not the TRUMP font.

Then it happened. I spent a lot of money. On a domain.

At least I think I did. It seems that dot film is reserved for people, who are part of a union of filmmakers and/or affiliated with a certain movie title.

I will argue, if it comes to that, that my time travel film list counts as a service to film lovers on both side of the fence, and as a service to all who take a specific interest in TT movies and TV series.

To this end I need help program the database:

  • I have a list of titles with separation markers, making it ready for import.
  • approx. 11 fields pr. post
  • dreaming of more fields (greater variety of search results)
  • A WP database?
  • is presently empty, but I will soon need to install a WP and import the list from its present location
  • I would like a line listing like the original, with movie posters and stills thrown in
  • window shade pop-down of posts containing an in-depth view of data not seen in the line-view, eg. a synopsis and screenshots
  • search results, based on keywords, with options similar to the line-view
  • easy expansion of database to accommodate more fields
  • easy administration of database
  • comments as window shade pop-down
  • stars given to different criteria of a movie

= data feels accessible as one layer, right there waiting for you; there is a lightness to search results, and time travel movies is one menu, while tt TV is another, but content can still be combined by choice

How can you help, if you are interested?



Film set i 2015

Året er ikke slut, men det ser ikke godt ud.

Ikke noget stort film-år endnu, om end Birdman med sine teater-rammer og -spil på beskrivelse af indre liv nødvendigvis må stå som årets hidtil bedste film, stærkt efterfulgt af animationen HERO, der er totalt tæt og glædesfuld med en smitsom energi henad “UP”. Har mere brugt året på serier end film. Det trækker pt. mere at lære karakterer at kende over tid end at få stukket filmens mere eller mindre stereotypiske grundbeskrivelser af personerne ud som grundlag for alle handlinger. Det har således både været en fornøjelse at se samtlige 240 afsnit Stargate SG-1 OG tage afsked med figurerne, da manuskriptforfatterne ikke længere ville gå i dybden med karakterudviklingen.

Filmlisten 2015, foreløbig: Continue reading “Film set i 2015”

Life Supporting Illusions

Technologification of mythology blurrs the line btw fact and fiction.

I am delving into the drama-mythos for the Stargate franchise SG-1, and came across two relevant inputs:

A master thesis by Sandra Whitelaw: “The Attraction of Sloppy Nonsense: Resolving Cognitive Estrangement in Stargate through the Technologising of Mythology

And an excerpt from a book on Kant by Predrag Cicovacki, as follow-up on the concept of “Necessary Illusions”: Continue reading “Life Supporting Illusions”

PirateBay, the Movie 2013 (TPB AFK) – for free or donation fee

The Long Awaited look behind the scenes.

the pirate bay movie

download for free via PirateBay
325MB, info hash 0C0238D5EA27CB3E6C855730129903FCFD7F9499
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3,50GB, info hash 79816060EA56D56F2A2148CD45705511079F9BCA
6,85GB, info hash 411A7A164505636AB1A8276395B375A3A30BFF32

Support the movie with $10 or more

TPB-AFK – The Pirate Bay – Away From Keyboard

Have fun!


Miranda July’s Handy Tip

delicate weird

Miranda July: deleted scene from her 2nd full-feature movie, “The Future”, individually titled “Tips for the easily distracted”.

I love this director. Her quirky mind makes me feel alive in a world of … yes, distractions, seeing things I forgot can be seen.

Do find Me you and everyone we know (2005) and The Future(2011), if you in any way react positively to the above excerpt.

MONSTERS (2010, science fiction)

Sympatisk low-budget xenofobi-science fiction i lav-tempo, der fint illustrerer USAs forhold til resten af verden.

Historien kort:

En amerikansk fotograf befinder sig i Mexico, og bliver af sin redaktør beordret til at efterspore avisejerens datter, og siden eskortere hende sikkert ud af landet. Fotografen er mere end en smule modvillig: Hér er han tæt på de fremmede livsformer, der har slået sig ned i Mexicos træbevoksede kystegne efter at være undsluppet fra en nedstyrtet NASA-sonde; skulle han ikke hellere gå på jagt efter fotos af disse frygtindgydende MONSTRE, der holder en hel verdensdel i frygt…

Da det viser sig, at der alligevel ikke er nogen færge at følge chefens datter om bord på, er de tvungne til at finde vejen hjem gennem den inficerede zone, der udgør hele det nordlige Mexico op til den meget fysiske The Wall, grænsen til USA. “The largest man-made construct in Human history”, som det lyder fra en mexicaner. Og ikke konstrueret til at holde disse rum-fremmede ude.

“En film om liv, som det foregår”, sagde Bjørnen, min scifiven.

Jeg er helt enig. Så, har man nogen sinde set en monsterfilm, som i dén grad handler om behovet for bare at være, altså bare leve, må det være MONSTERS.

Eller Boris’ Karloffs Frankenstein.

… Okay… der er sikkert også andre, men næppe en science fiction… som er uhyrerne venligt stillede, selvom de er rædselsvækkende og dræber mennesker på deres vej og lægger æg over alt og er overvældende store og kan gemme sig i havet og og og…

Hvor andre film og højere budgetter stræber mod kontrolleret fiktionalitet i alle scener, består drivet i en lavbudgetsspillefilm ofte i at omskrive helt almindelige realitetsscener til fortællingens virkelighed. Hvilket lykkes i EKSTREM grad hér.

At MONSTERS er low-budget fremgår af skudvinklen i stort set alle udendørsscener, der tydeligvis ikke kan finde sted i panoramaer uden at få virkelighedsstøj med i billedet; og skruer man ned for lyden, vil mange scener virke som feriebilleder fra fremmede gader, men … Med tilført musik, dialog og kommentarspor måtte jeg overgive mig:

Denne fortælling er ikke et forsøg på at sandsynliggøre en historie. Med sin tilpasning til interesante og relevante realitetsinddragelser – faktisk smadrede skyskrabere f.eks. – er den i særdeles høj grad en betragterførsel ind i et andet menneskes hjerne og ind i historien, som den udspiller sig dér. På samme tid en skarpt differentierende kompromis-søgen og en blændende sikker opvisning i, hvor relativt få penge, man kan behøve til at skyde en film beregnet til biografvisning, hvis man er følelsesmæssigt tæt på materialet.

Med dét i hovedet, en lille sidetanke: Gad vide, hvordan film kommer til at se ud, når der ikke længere er råd til den store afstand ml. bosserne og kunstnerne? Hvordan kommer film til at se ud, når der ikke længere er råd til at hyre Speciel Effects som hovedrolleindehaver?

Bare en tanke. MONSTERS minder mig om, at fortællinger vil ud. Og at de kommer ud. Og at de altid vil være hjertligt velkomne, hvis de er så hengivne fortællingen og mediets udfordringer som hér.

imdb 6.5

Kenneth Krabat 6.12. 2010

Lykkelig uvidenhed, konspiration 2

Mennesker rotter sig sammen, når de bliver bange.

I forrige indlæg havde jeg akkurat modtaget en DVD, som min amerikanske veninde havde fundet i en telefonboks i New York, indeholdende 4 film om 9/11, katastrofen i New York, der dræbte 3500 mennesker og med dygtig hjælp fra den amerikanske regering og de amerikanske medier fik hele verden til at se terrorister overalt.

Nu har jeg sét Zeitgeist, der også var på DVD’en; en dokumentar, der  forekommer noget nær den fuldstændige italesættelse af al natlig frygt.

“Zeitgeist” (del 2 og 3) er en velproduceret, dynamisk og tilsyneladende veldokumenteret afklædning af de økonomiske sammenhænge mellem statsmagt, banker og krigsførsel, årsagen til overvågning af befolkningerne, undergravende statsterrorisme i eget og andre lande og et vedholdende ønske om at skabe en verdensregering – styret af de samme mennesker, som holder den amerikanske regering i vedvarende gæld og arbejder mod, at det samme skal ske med resten af verdens lande.


Zeitgeist: (June 2007) – One of the most-viewed google/YouTube videos. Created as a nonprofit expression to inspire people to start looking at the world from a more critical perspective and to understand that very often things are not what the population at large think they are.

view online:

Zeitgeist (Parts 2 and 3 only.) Part 1 of this video concerns itself with religious matters and some find it offensive. For this reason, we offer the video with or without part 1. Please specify your preference when placing your order. Parts 2 and 3 seem equally as powerful with or without Part 1.

Kald mig naiv, uoplyst, uvidende – men jeg er overbevist. Af 75 minutters stærkt komprimerede, logiske koblinger. Der er simpelthen for mange mennesker indvolveret – for mange almindelige mennesker interviewet og for mange dokumenterbare udsagn – til at grundlaget kan være falsk, men som mockumentarister har lært mig: man kan altid twiste fakta. Jeg er nødt til også at læse om filmen – for at se, hvad modstanderne siger.

Jeg er nødt til at finde ud af, hvor jeg står – fordi… konfronteret med det meget, MEGET store billede, som Zeitgeist tegner af verden og HELE den vestlige (kontrollérbare) verdens mennesker, der holdes i geled med frygt, underholdning og regulære trusler, følte jeg pludselig, at mit eget input have nul værdi. At min digtning, min blog, mine meninger og intuitioner, mine følelser for andre mennesker og for verdens og menneskeslægtens fremtid, mine evner til at forholde mig og til at se det større billede for mig selv… at alt var for lidt.

Da jeg begyndte at skrive på det her i formiddags, skrev jeg først et laaaangt indlæg om mennesker som sociale individer.* Det cutted jeg så væsentligt ned, da jeg kunne se, at jeg faktisk ikke anede, OM der er virkelighed bag noget af dét, som fremlægges som konspirationsteorier – og SÅ kan det være lige meget, hvad det er, der driver mennesker til at blive ved med at søge retfærdighed og sandhed og oplysthed!

(* Ikke dermed sagt, at konspirationer ikke findes. For det gør de – helt sikkert. Spørgsmålet er blot, i tilfældet 9/11, hvor mange mennesker der skulle til at planlægge aktionen som den er beskrevet af konspirationsteoretikerne – og hvordan alle disse mennesker kan undgå at sige ét ord om det? Sådan fungerer verden ikke. Mennesker taler med hinanden. De taler over sig i søvne. De føler trang til at lette deres hjerte. Mennesker er sociale væsener, og jo længere nede ad magtstigen, de befinder sig, desto mere opfatter de sig som en del af menneskeheden, snarere end af dens magtelite. Det er hér, vi taler sammen, om hvad der er rigtigt og forkert på et følelsesmæssigt niveau. Og hér vi afslører vore handlinger for hinanden.

Ja, mennesker rotter sig sammen, når de bliver bange. I samfund, og i grupper. Og det er ikke altid, at magtens elite arbejder for folkets bedste. Eller at dém, der siger de elsker os, sætter os over sig selv… )

Kenneth Krabat, 27.9. 2010

How to make subtitles

A simple & select crash course in subtitling, also called subbing: You bring your rhythm, your knowledge of language of origin and destination language (most important), a whole swad of idioms and sayings, and patience. With routine and the right equipment 90 minutes/900 double lines of subbing can be done in two days or less. Fan subbing with only computer software takes somewhat longer. Have fun.


This is a simple & select crash course in subtitling, also called subbing: You bring your rhythm, your curiosity, your knowledge of language of origin and destination language (most important), a whole swad of idioms and sayings, and patience.

There are many different formats for subs on DVD, TV and movie screen. And while movie subs are typically centered, TV formats often differ by being alligned on the left side:

But all advice here is to be taken with a grain of salt, as all rules can be broken when absolutely necessary. But be a master first, then break the rules.

With routine, the right soft- and hardware 90 minutes/900 double lines of subbing can be done in two days or less. Fan subbing only with shareware can take somewhat longer.

Have fun.

Subtitling is easy  😉 European advice:

  • 37 characters pr. line incl. ” -” (for TV)
  • Max two lines of subs
  • A third line, eg. for an essential sign on-screen before characters begin to talk, can be on simultaneously with subs, but then longer total exposure OR no spots between sign text and the addition of subs = first sign text on-screen, then sign-text + subs, and no spot in-between.
  • Exposure time: 12 characters/second = 5-6 seconds on-screen for dbl. lines, 2-3 for single lines
  • Minimum 2-second lines, avoid 1-second lines
  • Only single-words for 1-second lines
  • Spots (the distance between subs) can be 4, 6, 8 or more frames in dialogue, but THE SAME to keep a rhythm
  • With irregular dialogue KEEP spots, which are longer than 0,5 -0,75 seconds rather than connect them to the following (follow the beat of the editing/dialogue if possible – it keeps attention on the film rather than on the subs)
  • No subs overlapping scene changes
  • If subs overlap scene changes, leave long enough to give impression of necessity, and clear screen ASAP
  • If subs “blink” at cuts, they need to come off earlier OR later, but preferably earlier
  • If cuts “blink”, subs need to come off closer to the cut OR earlier
  • Spotting evenly takes pro-software; manual spotting up against clips = find a frame “distance” to the cut that fits your own eyes, when your eyes are still fresh, ’cause after a while they seem to blink all the time, because you focus too much
  • Dialogue can begin with “- “, but is culturally based (and TV mostly)
  • Refer to your own culture’s habits, if any, but sub-position is often at left margin on TV and centered at the movies
  • Put “.” or “…” after 2nd speaker in dialogue, if  2nd speaker copntinues – and NO “-” ! Begin following 2nd speaker sub with capital letter.
  • Max. 2 sentences with full stop, semi colon, exclamation mark or question mark” in any line in two-line dialogues (more makes for longer exposure time and harder reading). Not “Wow! No!? Really? Alright!”
  • Keep recognizable words in speech in similar position to text (“En VOLVO er den bedste bil” should not be written as “The best car is a VOLVO”
  • Keep suspense if possible: don’t print clarifying text on screen together with questioning text, unless you cannot help it, because question/clarification dialogue continues right up to scene change.
  • Go for essence; examples 1. Skip 2nd person question, if question is answered in fast dialogoue, 2. skip 2nd person confirmation, if speaker continues un-interrupted, 3. keep focus on the essence of every scene, which will aid the viewer later on in the film, and dump all else, which there is no time for – otherwise… keep it.
  • You can turn questions into statements and vice versa, if it doesn’t break or brake rhythm or the story’s inner truth.
  • Be very certain, when you translate the un-translatable cultural reference to a similar cultural reference in the destination language. You will be proud, when you get it right.
  • Translate measurements to the destination norm, eg. cm to inches, unless there is no meaning inherent in the mentioning.
  • Look at the movie – sometimes standard phrases would seem to need a change of polarity, in order to convey the meaning in the destination language. Example of what not to do: “Are you alright?” Person nods: (“Yes.”) cannot be translated into the cultural equivalent of “Were you hurt?” Person nods: (“Yes.”)
  • Italics are used for voices far off screen, radio, person calling from a bridge etc. or during a song. In double lines interspace only in on-going dialogue, if it does’t fuck up readability or rhythm.
  • Subtitle lines covering up action: Move subs if necessary to elsewhere on screen, but try not to; it stifles readability and halts continuity. Employ only if action takes place for an extended time, eg. more than one to two full double lines, or choose if possible to break subs into one-lines during action.
  • Subs for signs and the like are placed under the sign.
  • Abbreviations – all normal kinds can be used.
  • Tribal speak, tech lingo and other narrow idioms are translated IF cultural emphasis equals need of understanding – but it needs longer exposure time.
  • Curses and swear words: Translate/transculturate only what is needed to describe a person and remember images of body language often un-necessitate words.
  • Look up the spelling of names and idiomatic terms, even if you believe you know how to spell them!!!
  • I Don’t Understand What Is Being Said!” Don’t despair, if you feel obliged to make “rubber subs”: Rubber subs are guesswork subtitles needed on-screen to not break/brake rhythm or story, but after 2 hours back and forth you still cannot understand, what is being said. Only two days later you might suddenly be able to, AND your moron friend may understand what is being said it right away! So, Do NOT Despair! Make “rubber” – you won’t go to hell for it!

Essential: Trust your sense of rhythm, your ears and your understanding of essence in the story that you are conveying. You are the maker here.

Subbing is NOT a transcription of the spoken script.
Subs are readable essence, meant to AID non-speakers.
Subs confer movie’s rhythm.
Subbing is an art form – as much dealing with essence as any other art form.
Subbers are LOYAL advocates of the cinematic artwork with a right to their own art and viewer beneficial style.

Good subbing is where nobody notices your work.

Examples of fansubbing – lines are translated literally or the English DVD subs are translated without regard for line lenght:

All Time Travel movies, 1896-2015

Time Travel is decent dream material that doesn’t steal or preach…
Because, why would you steal or preach, if you could travel in time?!

As a temporary measure, the list has moved to

All Time Travel Movies from 1896 and on

Please update your links

(The reason is a fault in WP’s structure with very long blog-entries)