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(More customer reviews)Most people would be slightly weary of the idea of a new and re-invigorated version of the spectacle Science Fiction Drama series Battlestar Galactica (1978-1980) being up to the year in which the series became 'Galactica 1980', which lead to its thoroughly trashed downfall, was a bit of a surprise that a network had decided to re-fashion the show with a more updated and far more interesting story. Many fans would, should insist that this is a re-imagining not an intrinsic remake of a cheesy lovable, and to use a pun for a modern show, "That 70's Show". Many of the sci-fi fan-boys, and girls, were in need of a successful sci-fi drama series that had the ability to keep fresh interest and action with drama to top.
The show comes from that concept of a 2003 mini-series, a somewhat thorough and enjoyable close to 3 hr pilot. The principal point, machines are made by man, evolved, rebelled, and a war began.
Sci-fi rubbed off on this show, and it pays to respect it with homage's. With elements from novelist Philip K. Dick from his earlier works of "Do Androids Dream of Electric Sheep" now known as the film adaptation "Blade Runner" along with the dark twisted parallel of the humanoid Cylons, and that mirrored `skinjob' reference. It also manages to match the dark allegory of P. K Dick' "Valis" a unique exploration of plethora's and universal metaphysics.
The virtuous and glamoured imagery bears the likeness of Kubrick' "2001: A Space Odyssey" with cross-cut scenes of Baseships in the sunlight of a nearby star, with a score to match. The score itself is very cinematic, in that it mixes and mingles with the imagery of the show to great exertion; continuously trying new techniques and new ways to give the eye candy. The score feels very dark, operatic and at the same time very tautly tense; it again has mirrored Vangelis' score in "Blade Runner" with the deep drum sound to hard hitting acoustics.
Battlestar Galactica is the best character drama that has the real dexterity of raw emotion; the acting shapes plot and vice versa. The characters are flawed and they should be, the situation creates the drama and evidently shapes the characters actions. It perhaps is the only show to bludgeon the scene with taut and well crafted dialogue and sharpest whit, measured writing that current shows like LOST and Heroes could benefit from. The dialogued scenes are spot on quality, the actors all themselves have unique range; perhaps currently the best acting troupe on TV. They have unique ability to play different parts of their personas during the course of a single episode, and still bring a sense of morality, logic and whit to the role; very much unlike a "space opera".
The acting troupe has characters including Edward James Almos' brilliant depiction of Commander/Admiral Adama; easily being a favourite. His slightly depressed attitude yet experience make him capable, if not slightly down heartened. His display as a commander of the pride of the fleet does show why he is the best person to have control of a superior vessel. He is quick to think, act and knowing what the cost is with the troubles of his confounded life. Two other characters change form and gender, the two now female, where the Galactica predecessor had two male characters, (when fans should not complain) Katee Sackhoff as Kara 'Starbuck' Thrace, is born into the role of a hard-headed female Viper pilot. As well as the other female candidate played by Grace Park nicknamed 'Boomer'.
One thing this show does well is giving the most unexpected outcome possible, real credit to the writers that show they have a lot of grenades to go certain ways and that their bold spontaneity will either be accepted or judge by audiences. The writers of this show are very clever, in that you might think they plan out the show years in advance a la "Babylon 5" or "Lost" however you could not be more wrong. The show is written by boldly engaging the big issues currently on TV. You wonder how does a rag-tag fleet survive in the most logical and pragmatic way, scripted to show you that the real evidence of this is present in stories inspired by recent history and current events.
Truth is that many aspects of futuristic life may well be reflected on the current stand stead of today's socio-political and ethical conflict, that's if we decide to create robots that want to kill us. The themes themselves also reflect the big issues: drama, love, personal betrayal, post-9/11 parables, death, rape, murder, greed, religious extremism, depravity and also the antonyms when the situation lightens up (there is humour). In addition, unremittingly keeps putting forth the notion of what is exactly human. It's about genocide, war and the abyss after the precipice.
The special effects are not the only thing that shows high production value, it would put some of the current Trek franchise to shame. Everything is luscious, from the pure spot-on script and unexpected plots to the character actions and the big explosions going on outside.
The imagery splits from sporadic to perpetual, the effects are full of ardour CGI and digital FX, 'in the mind of the pilot/documentary' shot sequences. The new breed of improved and scary Terminator influenced Cylon centurions and human-looking Cylon infiltrators who's brutal degradation towards mankind reflects the worst parts of humanity. Is it pure hate, spite, jealousy or maybe because they have found a god to kill for; sound familiar? Moreover, what you have been waiting for, yes it does have graphic scenes of a sexual nature, but it's not for everyone.
Verdict:
The World is over. The Fight has just begun. 10/10.
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Battlestar Galactica's Edward James Olmos wasn't kidding when he said "the series is even better than the miniseries." As developed by sci-fi TV veteran Ronald D. Moore, the "reimagined" BG is exactly what it claims to be: a drama for grown-ups in a science-fiction setting. The mature intelligence of the series is its greatest asset, from the tenuous respect between Galactica's militarily principled commander Adama (Olmos) and politically astute President Roslin (Mary McDonnell) to the barely suppressed passion between ace Viper pilot "Apollo" (a.k.a. Adama's son Lee, played by Jamie Bamber) and the brashly insubordinate Starbuck (Katee Sackhoff), whose multifaceted character is just one of many first-season highlights. Picking up where the miniseries ended (it's included here, sparing the need for separate purchase), season 1 opens with the riveting, Hugo Award-winning episode "33," in which Galactica and the "ragtag fleet" of colonial survivors begin their quest for the legendary 13th colony planet Earth, while being pursued with clockwork regularity by the Cylons, who've now occupied the colonial planet of Caprica. The fleet's hard-fought survival forms (1) the primary side of the series' three-part structure, shared with (2) the apparent psychosis of Dr. Gaius Baltar (James Callis) whose every thought and move are monitored by various incarnations of Number Six (Tricia Helfer), the seemingly omniscient Cylon ultravixen who follows a master plan somehow connected to (3) the Caprican survival ordeal of crash-landed pilots "Helo" (Tahmoh Penikett) and "Boomer" (Grace Park), whose simultaneous presence on Galactica is further evidence that 12 multicopied models of Cylons, in human form, are gathering their forces.
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