This month’s What’s the Difference? is on Coraline.
This is another in the long line of books and movies I haven’t yet gotten to. The best I have on Coraline is that one of my writers’ group friends is a big fan of the book.
Okay, tenuous link.
Look, if you want me to read and watch everything, you’re going to have to invent more hours in the day.
In 2009, artisanal stop motion animation house Laika released their first feature film, Coraline. Based on Neil Gaman’s book of the same name, the film follows a young girl stumbling into a fantastic ‘other’ world to become a sneak-up scary kids movie classic. But how did the film adapt the realistic elements of the book into the visual whimsy of a creative juggernaut making its mark in Hollywood? It’s time to ask, What’s the Difference?
Written for the screen and directed by Henry Selick, of The Nightmare Before Christmas fame, both the book and the movie draw lines between Coraline’s worlds of fantasy and reality. The book is able to make it more distinct thanks while the movie is all stop motion whimsy, all the time. So what changes need to be made to the story to account for that Laika trademark look?
This month’s What’s the Difference? looks at The Queen’s Gambit.
On my Netflix profile there are a couple of types of recommendation categories that keep popping up. One is “Because you watched John Wick shoot 400 people in the head” and the other is “Movies based on books”. Both are obviously bound to have good recommendations in them.
Needless to say, I became aware of The Queen’s Gambit because of the fact it was based upon a book. That I’d never heard of the book is probably telling you a lot about how many chess thrillers I read.
The changes mentioned in the video above were intriguing. The one that stuck out to me was the mother being turned into a rich woman with a PhD. In the 1950s. This really feels like some lazy shorthand by the screenwriters.
Often in movies you’ll have super-smart characters described as having a number of PhDs. Because smart people obviously feel the need to have multiple PhDs rather than doing postdocs, climbing the corporate or academic hierarchy, and becoming world renowned. It used to be that these smart characters would have a large IQ, but that is falling out of favour. I’m hoping it is because authors realise that IQ has limited utility, but realistically it will be because it has become a cliche.
The idea that the mother had to be rich is something I’ve noted with a lot of films and TV shows of late. There appears to be a fetishisation of wealth happening in our media. Sure, Snowpiercer, Parasite, etc., have all been popular of late. But look at how many protagonists are billionaires (or millionaires). Think about the revision of characters like Spiderman from working class to being wealthy or having wealthy benefactors.
Maybe I’m just having selective memory. There is a noted phenomenon of movie and TV show productions displaying an utter failure to understand what things cost or what poverty looks like. Like having the Friends cast living in apartments that none of them could afford. Maybe I’m just hung-up on the Spiderman example – since a big part of his character was struggling financially whilst being a hero. Or maybe having poor characters makes product placement – like a lime green Alpha Romeo in Michael Bay’s 6 Underground – really hard.
Netflix made chess sexy again with its limited series The Queen’s Gambit. With Anya Taylor-Joy as orphan turned chess prodigy Beth Harmon, writer director Scott Frank created a cinematic portrayal of the mind of a chess genius through substance abuse, struggles with mental health and even the Cold War. But Walter Tevis wrote the novel in a simple, unadorned style that’s a far cry from the stylish and sexy version of the story that wound up in your Netflix queue. So with no restraint on spoilers, it’s time to ask, what’s the difference?
While Anya Taylor-Joy is a more glamorous version of Beth Harmon in the Golden Globe winning awards season darling, the story follows a lot of the same beats. Following her from orphan and prodigy to eventual chess master and world champion, Thomas Brodie-Sangster of Game of Thrones and Harry Melling from the Harry Potter franchise play more complicated versions of their book counterparts. But many of the changes, while seemingly small, have sneaky wide-ranging implications on the Beth’s journey from learning the game from the janitor at an orphanage, to developing an addiction to pills and ultimately her victory over a Russian Grand Master. It’s an interesting and sometimes frustrating collection of changes!
It’s been 4 years since the last post about Lord of the Rings. Let’s do this!
This is a slightly different take on the differences between the book and the film. Wisecrack have looked at the major themes rather than diving into all of the changes made in the adaptation.
When I last discussed the Lord of the Rings series (see here, here, and here), I heaped praise upon the adaptations. They were able to trim down the waffle and create possibly one of the best trilogies in film history.
I hadn’t previously given a lot of thought to the changes in the themes between the book and the films. Now that it has been mentioned, the character arcs in the film should have been more obvious to me. I also find the idea that the movies were (accidentally??) made to be more secular is interesting. Perhaps that change is as much to do with when the book was written versus when the films were made.
Given the desire to reboot and remake every intellectual property in the cupboard these days, maybe the next LOTR movies will be given an Avengers style makeover. Lots of quippy dialogue, everyone has lots of money, several of the lead characters spend time with their shirts off and arms bulging, and somehow there will be product placement everywhere.
This month’s What’s the Difference covers a beloved movie in Howl’s Moving Castle.
I have to admit to not having gotten onboard of the Studio Ghibli lovefest bandwagon. At best, I can claim to have watched half of Spirited Away and some film analysis videos that sing the studio’s praises.
But, but, Fantasy! And anti-war! And environmentalism! And anti-consumerism! And anti-discrimination!
A bit of a change of pace for this What’s the Difference? with Wisecrack diving into the key difference between the Netflix version of Death Note and the Manga and Anime.
I was first exposed to Death Note via the Japanese live-action film adaptation. It was an intriguing and decent film (with some pretty dodgy CGI for Ryuk). That lead me to watch the Anime TV adaptation, which is excellent, if just a bit heavy handed. I have to admit to reading very little of the Manga because I kinda felt like the Anime had covered it really well.
When I saw they were releasing an American version of Death Note on Netflix, I was all over it. I didn’t expect the dense and loquacious Anime, but was thinking they’d remake the film adaptation with better CGI, no subtitles (because Americans don’t read), and star some former Disney child actors looking to do something gritty but lucrative to make sure the mouse didn’t throw their souls into the volcano under Disney Land. What we got was 90 minutes of garbage.
On the Wikipedia page for the American Death Note film, it is described as “loosely adapted from the Japanese Manga”. The word loosely is doing a lot of heavy lifting in that description.
The above video does a pretty good job of covering what the film does wrong. Not different, wrong. The film really does feel like someone saw that Death Note was successful, so they bought the rights, got a director to read the elevator pitch for the series (kid gets the power to kill people by writing in a demon’s book), and thought that was all they needed to do. Everything about it is a failure to understand what Death Note was about. The characters are shallow and lack any value to the story. The story lacks any substance. And they managed to turn one of the most compelling sequences from the Anime into a chase scene involving the wrong characters.* Because every American film needs a chase scene… In short, they made a bad film and an even worse adaptation.
The main thing to remember about Death Note is that they’ve already made a very good adaptation with the Anime.
* See this video that discusses the scene from the Anime I’m referring to.
How does Netflix’s Death Note adaptation hold up to the original?
The anime version of Death Note, which is a faithful adaptation of the original manga, is one of our all-time favorites. So how does it compare to the not-so-beloved 2017 Netflix version? Let’s find out in this “Book” (aka Anime) vs. Film: Death Note
This month’s What’s the Difference looks at Doom Patrol.
I have to admit, I’ve only heard about Doom Patrol. Reading the comic or watching the show has not been on my to-do list at all.
I’m sorry Alan ‘Wash’ Tudyk, I’ll try to keep up with your projects in future.
The video really does make the show look interesting. Bonkers, but interesting.
Update for Season 2:
Listen, there’ve been A LOT of superhero tv shows over the past few years and it’s taken a second for us to catch up. But few of them have tickled our fancy quite like Doom Patrol. The comic book adaptation that opts for fighting personal demons over fighting super villains borrows from comics storylines across the decades. So how did the shows creators pick the best storylines for from a long running DC b-team to make a truly unique series? It’s tie to ask What’s the Difference?
This month’s What’s the Difference from Cinefix looks at Rebecca.
I think it was quite interesting to have the director involved in the discussion of doing an adaptation. Many of the points he made about what you can and can’t do are a good take-away.
One of the key points made was around what is cinematic. In books you can make a point or convey an idea without having to bash the reader with it (unless you are Dan Brown, in which case you’ll bash them with it repeatedly just to make sure that the people who take 6 months to read a book don’t forget something important). Movies can’t do that to the same extent without leaving the viewer a little bit dissatisfied. Unless you are being very arty, in which case, imply away and trigger years of debates over whether Cobb was still dreaming.
Unfortunately, I think the thing missing from this video was the discussion of the success of various choices made in adaptation. It is all well and good to say that “we wanted to give her more agency” but was that done effectively? Does that remain faithful to the book, or is it a departure that was unwarranted?
The other thing that was missing was a discussion with the author about the adaptation and their thoughts. Why didn’t they dig up Daphne du Maurier and and reanimate her corpse for a quick interview? Are people even trying these days?
Last night I dreamt director Ben Wheatley joined us for an episode of What’s the Difference! Netflix’s update to the Daphne du Maurier classic Rebecca is here and the filmmaker behind the latest adaptation walked through some of the finer points of the process. How does a 1930’s romantic thriller murdery mystery that’s been in print for 80 years find it’s way to a modern streaming platform with Armie Hammer and Lily James? It’s time ask Ben Wheatley, what’s the difference?
This installment of What’s the Difference? covers one of the classics of 80s filmmaking. CineFix gives a big middle finger to the man with They Live.
Does anyone else remember video rental stores? No? Just me?
Okay, so imagine there’s a Netflix but instead of a library of movies of questionable quality and some series that will be cancelled after two seasons on your TV, there is a store you visit to borrow these shows and movies.* You can only borrow a few at a time for no longer than a week. And these borrowings are handed to you on a thing called a VHS tape cassette. This is deemed superior to watching broadcast TV, which consists of two channels, one of which is Elvis movie re-runs and sport, the other is designed to appeal to people whose hip isn’t up to making it out on Sunday mornings anymore.
Anyway, VHS rental tapes used to have a lot of junk before the start of the movie. This included anti-piracy warnings, a helpful reminder that this was a VHS tape, warnings about not pirating this tape, and trailers for other available titles. Fast-forwarding didn’t work that well, due in part to the slowness of fast-forwarding at the time, and the ingenuity of some dirtbag at the VHS factory who made sure all anti-piracy warnings took into account fast-forwarding in their design. Honestly, it was just easier to set the tape playing, go and fetch snacks, and come back when you stopped hearing super-serious voice-overs.
It was on one of those rented VHS tapes that I first saw an incredibly cheesy late 80s early 90s voice-over trailer for They Live. To say I desperately wanted to see it was an understatement
Of course, back in those days, we had to walk 50 cubits through freezing deserts up hill wearing a bag filled with bricks to get to the physical not-Netflix store. And while they called themselves a video rental business, there was no guarantee they had any of the films that were advertised on their videos. They Live was certainly one of the films not at our store. It wasn’t until almost a decade later that I saw a censored for TV version of the film.
The reason I tell this tragic story of childhood disappointment is to highlight how long I had to wait to actually see They Live. And despite that anticipation, the movie still met/exceeded my expectations. It is a classic of B-movies and one that has only gained more appreciation with time rather than less. As discussed in the Cinefix video, the themes about unrestrained capitalism are even more relevant today with a reality TV star for US president, billionaires splattered all over our media, and growing inequality.
The original short story and comic (linked below) are used as the premise of the movie. But as discussed in the video, you can do things in a short story that you can’t in a movie. That means we have to show more of the world, establish characters, kick-ass and chew bubblegum. If anything, I was disappointed with the short story after seeing the movie.
If there is any year to read Eight O’Clock in the Morning and watch They Live, it is 2020.
This month It’s Lit! looks at the source material that helps people burst into song.
It’s gotta be said: I’m not a fan of musicals.
Maybe it was the “Andrew Llyod Webber’s Greatest Hits” tape that infected our car stereo during long trips as a child. Maybe it is that for every good song in a musical there is three to twenty average to terrible songs. Maybe it’s that my idea of a musical begins and ends with Elvis movies (We’re Gonna Win This Race).
It appears clear that my appreciation of musicals is somewhat shaped by poor childhood experiences. These scars are real!!
Regardless, it is still interesting to see how the adaptations of books are very important in the creation of musicals. The writing process is obviously very complicated to take a book and not only capture the story in a visual form, but also write songs that don’t make you take a power drill to your ears.
Perhaps transforming books into musicals is the peak of book adaptations.
Some say that theater is dead, and that’s probably because most playhouses the world over are closed at the moment owing to a worldwide pandemic. and yet the musical lives on… on Disney plus — as the nation has been rapt with a filmed version of the Broadway smash hit, Hamilton.
This had us come to the realization that a lot of the bread and butter of musical theater is built off of books! And so, like every television program that starts looking for new ideas, it has finally come to this: The It’s Lit! Musical episode
Hosted by Lindsay Ellis and Princess Weekes, It’s Lit! is a show about our favorite books, genres and why we love to read. It’s Lit has been made possible in part by the National Endowment for the Humanities: Exploring the human endeavor.
In this month’s What’s the Difference, CineFix look at Total Recall* and Phillip K Dick’s We Can Remember It For You Wholesale.
Can you believe it has been 30 years since the release of Total Recall? At least nobody invented Johnny Cabs in that time.
Many years ago I wrote a post discussing my thoughts about the differences between the first Total Recall movie, the remake with Kate Beckinsale (and some guy called Co-lin Faarill), and the book/short story. In it, I talked about how quickly the movies diverge from the book, essentially before the end of the first act (around the inciting incident). And then I went on to spend several thousand words complaining about the lack of massive biceps and extra boobs in the remake.
For me, this comparison of book to movie and remake shows just how far you can diverge from the source material whilst still retaining a lot of similarities. It also shows the strength of the original premise from Phillip K Dick, because even the remake of Total Recall didn’t completely suck, despite having Len Wiseman involved.**
I’m sure by the time the fortieth anniversary for the original movie rolls around, Hollywood will have released at least two remakes, a TV show, a Mars Lander tie-in short movie with a digitally recreated young Arnie, and a triple breast augmentation procedure.
* The first one, not the bland remake with the genocide of robots.
** The remake mainly suffers from being just that bit soulless. It doesn’t feel like anyone involved cared that much about the film, just that it was a good solid paycheque. As a result, they churned out a good solid action movie that is largely forgettable. Another one in the long line of perfectly adequate movies that make you feel like you’ve been robbed of the opportunity for something better. Not bad enough to justify your hate, but not good enough that you’ll forgive its flaws.
I apologise for the lack of updates lately. I have several book reviews I haven’t gotten to, a couple of posts I’ve contemplated and then given up on, and a few of my regular posts (like this Book vs Movie series) that I haven’t published. This is partly sheer laziness and partly due to having taken on a freelance writing job for a magazine due out later this month. I’ll attempt to get back to weekly posts soon.
This month’s What’s the Difference? from Cinefix looks at The Kingsmen and it’s comic origins in Mark Millar’s comic.
While I can remember reading Mark Millar’s Secret Service, I can’t remember having enjoyed it. I’m not actually sure if I read the whole first run. I do remember thinking that it was an interesting if average take on the suave spy genre.
Needless to say, I was somewhat surprised when The Kingsmen arrived in cinemas. Secret Service didn’t exactly strike me as worth adapting. Bond had been reinvigorated, Vin Diesel’s XXX had come and gone*, and Austin Powers had mined a couple of jokes to death over three movies. Did we need this movie?
And it was a surprisingly good movie. Not to mention, it also manages to be an adaptation that, I think, improves upon the source material. I think the “Kingsmen” aspect, as mentioned in the video, was certainly part of what elevated the movie above the source material.
I think if there is anything to learn from Secret Service being adapted, it is that a good adaptation will fully realise the potential of the source material. That doesn’t require faithfulness, but rather an understanding of the themes and ideas.
* And then came back again. Why, I’m not entirely sure.
This month’s What’s the Difference? looks at the comic book Locke and Key and its new Netflix series adaptation.
Okay, so not a movie as such. Get off my back!
I’ve had Locke and Key sitting in my digital TBR pile for ages. When they released the first omnibus, I got a copy and then proceeded to not read it. This was a problem with earlier digital formats of comics, as they had a habit of not working with the reader programs (I’ve discussed this before with Matt Hawkins’ comic series).
So it was only recently that I got motivated to read the first volume. And it was fine.
There is a lot going on with the story, with the world-building, and establishing the characters. It moves pretty quickly as well. And the art-work is on point to support the story (there’s a bit where an antagonist sees one of the supernatural characters in a photo that could only be in a visual medium). But I kinda wanted to read it as a novel rather than as a comic.
Development of a TV series has been in the works since the end of the second run (around late 2009). Fox had a pilot (2010), Hulu had a pilot (2017), and now Netflix has thrown money at something for Stranger Things fans. I mean, how could they not when it is written by Stephen King’s son?
I’m yet to see the series*, but I have an inkling that Locke and Key will work terrifically as a TV series. There is plenty of material to work with, there is depth (part of why I wanted a novel version, to spell it out), and the supernatural elements will be fun to see brought to life.
* This must be a first. I’ve read the book first and not had a chance to see the adaptation. Probably because we cancelled Netflix…
This month, CineFix are discussing the excellent Snowpiercer and its comic book origins in What’s the Difference?
If you haven’t watched Snowpiercer then I recommend you do.
I kinda meant right now.
For everyone else, I think Snowpiercer did a number of interesting things. The first one was showing us Chris Evans looked good with a beard… I mean, that Evans could do more than Captain America. The second one was to usher in a mainstream filmic conversation around class and society that has been lacking in the public space despite a growing divide between the rich and the rest of us. The Occupy movement and the Global Financial Crisis fallout hadn’t been entirely ignored, but this did raise and further attention. The third was that a revolution is the only way forward out of a decaying system that Korean cinema is where a lot of interesting storytelling and action is to be found.
Once again I find myself with another book I have yet to read despite my enjoyment of the movie adaptation. If only there were more reading hours in the day.
Bong Joon Ho’s Parasite is taking the world over, but in 2013 the Korean filmmaker ended the world with his dystopian action masterpiece, Snowpiercer. Set on a train carrying the last of humanity around a planet in the midst of a self-made ice age, Chris Evans leads a revolution against the trains elite class. While the film shares plenty with the 1982 graphic novel Le Transperceneige on which it’s based, Bong Joon Ho aims his satire in a different direction. So tuck into a protein bar and find your place on the train because it’s time to ask What’s the Difference?
If you like Christmas movies, then CineFix have a book and movie for you in this month’s What’s the Difference?
At the risk of offending Kubrick fans, I must confess that I do not care for his movies.
Now, before you launch into a flurry of keyboard mashing, I’m not saying that Kubrick is a bad filmmaker. It is clear that he was an amazing visual storyteller. But as I’ve mentioned before, I’ve always found Kubrick films to be somewhat bland.
That said, I can appreciate what he is trying to do with his films… Usually, this appreciation comes after some wonks with a film degree walk me through it (see video below). But that doesn’t really increase my enjoyment of his films.
As to the book, I’ve not read this one. It doesn’t sound like the sort of novel I would normally read, but would probably offer a more clear understanding of the themes of the story.
When it was released, the movie was regarded as a saccharine dud. Post-war audiences and critics just weren’t interested. As a result, when the movie studio was due to renew the copyright in 1974, they kinda forgot. TV networks pounced on the free content like a coal billionaire with a SLAPP suit. They loved having a free Xmas movie that they could screen during the non-ratings period holidays. And audiences who had nothing better to do gained an appreciation for a movie that wasn’t a thinly veiled advert or yet another retelling of the life of Jesus on a shoestring budget.
It’s interesting that all it takes to make something a beloved classic is to give it the chance to find its audience. Time and again we see this happen. So much art has fallen through the cracks, not because it wasn’t good, but because it was never given a chance to be read, watched, or appreciated by the people who would enjoy it.
Maybe we need more art entering the public domain far sooner than current copyright laws allow.
If you love Frank Capra’s holiday season classic, It’s A Wonderful Life, then you’re in luck! It’s probably going to be on TV 24/7 for the next month or so. In the meantime, check out how Jimmy Stewart’s “careful what you wish for” cautionary tale was born out of a meager 40 page book entitled The Greatest Gift. Turns out, fleshing out a crazy short story into over two hours of Christmas time magic on screen took quite a lot.
A cinematic classic versus its literary classic in this month’s What’s the Difference from CineFix.
The Wizard of Oz movie is definitely a film that I think is deserving of being called okay. With the list of highly memorable song and the amazing use of colour, you can see why this film is so perfectly adequate entertainment for a rainy Sunday.
Return to Oz came out when I was young. Unlike its predecessor, it was more faithful to the books and kept their much darker and nastier tone. This, of course, meant that reviewers and other opinion havers* thought it was terrible and not suitable for children… Despite being more faithful to the kids’ books it was based upon.
I never really got into the Oz books as a kid. They were no Magic Faraway Tree, so they lost my interest almost immediately. I feel as though I should revisit them now as a sleep-deprived parent to give them a more fair assessment. Or maybe I’ll just see what land has arrived at the top of the tree this month.
We’re not in Kansas anymore, and neither was the film adaptation of The Wizard of Oz. The 1939 classic turns 80 this year, so it’s time to look back at Dorothy and Toto’s journey from the pages of L. Frank Baum’s book, to the glorious technicolor screens of the movie. So gather your courage, you Cowardly Lions, open up those Tin Man hearts and pick your Scarecrow brains because it’s time to ask, What’s the Difference?!
This month’s What’s the Difference? from Cinefix is all about giant killer robots learning to love.
Twenty years on and who’d have thought that two of Vin Diesel’s most memorable and acclaimed roles would have been voicing laconic characters.
This was an interesting instalment of What’s the Difference as I wasn’t aware that The Iron Giant was based upon a book. Apparently, The Iron Man was a story Ted Hughes developed to help his children deal with the death of their mother, Sylvia Plath. And obviously, grieving kids back in the 60s needed to also deal with impending nuclear war. I wonder if there will be any people left to look back in wonder at our generation’s stories and themes?
Obviously, the movie is pretty flawless*. It oozes charm and classic animated movie appeal. The existential concept of you are who you choose to be is a fantastic narrative element. Or as the director, Brad Bird, put it in his pitch, “What if a gun had a soul, and didn’t want to be a gun?”
I think another part of the appeal of this film was that it only became successful after failing at the box office and being mismanaged in all of its marketing. There were no toy and fast-food tie-ins. No big ad campaigns. This is a movie that found success because it was a good movie. As such, it managed to retain its charm because it didn’t need to support a toy-line and limited edition drink containers at Burger-Donalds.
So when Warner Bros inevitably remakes The Iron Giant, I look forward to the mountains of crass action figures that will be available, with flashing lasers and launchable rockets.*
* He says having not watched it in the best part of two decades.
In this month’s What’s the Difference? the CineFix team delve into the crazy world of The Mask.
The Mask turns 25 this month AND the comics are coming back! So it’s time to look back at Jim Carrey’s half cartoon turn as the big green head. Based on a shockingly violent graphic novel, how did The Mask go from a splatterfest to slapstick? It’s time to ask What’s the Difference!?
When I was a young lad, The Mask was one of the most quotable movies that weren’t R-Rated Pulp Fiction. It was Jim Carey at his zaniest, a digitally enhanced Ace Ventura. It was funny… for teens and some adults.
I’m not sure if the movie has dated poorly, or if it became too popular and thus annoying – the ever problematic oversaturation phenomenon – or if we’ve had enough of the zany Jim Carey, or if I’m just an old man shouting at clouds now. But there was a time when this movie was cool and funny. It was Looney Tunes for teenagers who grew up watching reruns of Bugs and Daffy.
The comic… I remember trying really hard to read it. But after having watched the movie first, the differences were too much. The dark and violent humour of the comic was asking too much of a younger me who was expecting zany Bugs Bunny style slapstick.
This video did leave me with the question: what if they’d asked Sam Raimi to direct The Mask with Bruce Campbell in the lead? You could have the horror styled darkness and all the humour, just like Army of Darkness. Not too late!
This month’s What’s the Difference? from CineFix looks at a not-so-classic movie starring the indomitable John WickNeo Keanu Reeves.
Woah, the 90s were, like, 25 years ago. So long ago that the movie is set 2 years from now.
And that is also how long it has been since I’ve read the short story and watched the movie. I barely remember the story – but it was the reason I’d had Neuromancer on my TBR list for decades – and only recall a handful of scenes from the movie (e.g. Dr Allcome).
Does that mean a nostalgia trip is in order? Around the time of Johnny Mnemonic, there were several cyber-themed movies that would be interesting to watch now in The Future™. Seeing Keanu or Sandra Bullock talk tech could be a lot of fun or as cringy as those 60s and 70s movies with futuristic reel-to-reel computers.
One of the advantages of books is that descriptions spur imagination whereas visuals (movies) tell you what you should be imagining. As a result, they don’t tend to date as badly as the visual medium*. So it is probably time to dust off some more Gibson.
Johnny Mnemonic, Keanu Reeves’ second best character named John, may not be the high water mark of his career, but it’s a significant piece of sci-fi nonetheless. Cyberpunk pioneer William Gibson’s original short story about a data trafficker with a time bomb in his headset the stage for decades worth of movie tropes you know and love. So how does a Sci-Fi classic turn into a great piece of mid-90’s guilty pleasure cinema? It’s time to ask What’s the Difference?
* Except for all of those pesky social changes that tend to date fiction badly.