Zero Hour No Cd Patch

[Leontina Heidgerken]

ZeroHour! is a 1957 American drama film directed by Hall Bartlett from a screenplay by Bartlett, Arthur Hailey, and John Champion. It stars Dana Andrews, Linda Darnell, and Sterling Hayden and features Peggy King, Elroy "Crazy Legs" Hirsch, Geoffrey Toone, and Jerry Paris in supporting roles. It was released by Paramount Pictures.[3]

During the closing days of the Second World War, six members of the Royal Canadian Air Force fighter squadron led by pilot Ted Stryker are killed because of a command decision he made. Stryker blamed himself for that bad decision, falling into a deep sense of depression and anxiety which impede him to fly again. Years later, in civilian life in Winnipeg, Manitoba, a guilt-stricken Stryker goes through many jobs, and his marriage is in trouble.

Stryker finds a note at home: his wife Ellen has taken their young son Joey and is leaving him, flying to Vancouver. He rushes to Winnipeg Airport to board the same flight, Cross-Canada Air Lines Flight 714. He asks his wife for one last chance, but Ellen says that she can no longer love a man she does not respect.

Stewardess Janet Turner begins the meal service, offering meat or fish as the choices. When a number of passengers and the co-pilot begin feeling sick, a doctor aboard determines that the fish is the cause. The pilot also becomes seriously ill and cannot fly the airplane. Before he passes out, he turns on the autopilot.

The stewardess determines that Stryker is the only passenger with flying experience, but he has not flown in 10 years and has never piloted an aircraft of this size. Owing to dense fog, Flight 714 cannot land at Calgary or any other airport east of the Canadian Rockies, but must continue on to Vancouver.

Stryker's superior in the war, the tough-minded Captain Treleaven, is summoned to Vancouver Airport. Treleaven blames Stryker for the wartime deaths and has no faith in him. However, he has no choice but to work with him, getting him familiarized with the airplane and teaching him how to land. Ellen joins her husband in the cockpit to handle the radio.

As they approach Vancouver, it is shrouded in fog. Treleaven orders him to circle, for hours if necessary, in the hope that it will lift, but Stryker decides to try to land immediately because passengers will die if they do not get medical treatment soon. Stryker makes a rough landing, but none of the passengers are injured. He has conquered his demons and regained the respect of both Ellen and Captain Treleaven.

Zero Hour! was an adaptation of Hailey's original 1956 Canadian Broadcasting Corporation teleplay Flight into Danger, starring James Doohan as George Spencer, the original name for the Stryker character.[4] Hailey also co-wrote a novel with John Castle based on the same plot titled Flight Into Danger: Runway Zero-Eight (1958), although this is based more closely on the television version than on the film.

The New York Times reviewer Bosley Crowther called Zero Hour! an "exciting contemplation of a frightening adventure in the skies" based on a "good terse script ... Dana Andrews as the hero and Sterling Hayden as the captain are first-rate in these roles, keeping them hard and unrelenting."[7] Time magazine, however, called the script a "bloopy inflation of a 1956 television show" and said its "moral struggle comes off fairly well, but the general situation is as patently contrived as one of Walter Mitty's daydreams."[8]

Screenplay writer Hailey went on to write the popular 1968 novel Airport, which revisited the air disaster genre and led to a film franchise that was also spoofed by Airplane! and its own sequel.

And of course there's the matter of the last 60 seconds, where Trek reality becomes utter surrealism. I felt like I'd been transported to an alternate TV dimension where Star Trek meets The Twilight Zone meets The X-Files meets Quantum Leap, and goes through one of those spatial anomalies created by a Delphic Expanse sphere, emerging on the other side as a strange, twisted mass of ... something. The final 10 seconds reminded me of the inexplicable dimension-shattering ending of Tim Burton's version of Planet of the Apes. Jarring, and in that way weirdly compelling, but stranded without sense or meaning or plausibility.

Yes, Berman & Braga have turned the screw so far they've stripped the threads into a fine metallic dust. About all I can say is this: If the first words out of Scott Bakula's mouth when Archer wakes up next season aren't "Oh, boy!" then the writing staff should be taken out to the Paramount studio lot and summarily shot for squandering obvious opportunities.

In the opening scene, the Xindi reptilians are seen celebrating their imminent victory by eating live mice. Yes, live mice. I laughed. (How can't you?) They even hold the mice up to each other first, as if toasting with wine glasses. If there was any doubt that Dolum and his cohorts weren't Pure Evil, then this scene ... well, I don't know what this scene says. If they'd been eating newborn kittens after having drowned them, that would be iron-clad confirmation of Pure Evil. I don't know where eating live mice lies on the Evil Scale.

From here (okay, maybe a little later), it's up to Archer & Co. to get aboard the Xindi weapon and destroy it from the inside, while Trip and T'Pol work on the tech solution du jour to destroy Sphere 41 and bring down the sphere network. There's a ton of other stuff going on here, but not much actual story to tell. In my review of "Countdown" I drew a distinction between "plot" and "story." I will elaborate here by saying that a story is about people and ideas and characterization, whereas plot is about technological manipulation, battle scenes, phaser shootouts, fistfights, and moving objects from A to B in a given time X, preferably before something explodes.

If anything, the episode is proof that momentum and pacing and nonstop crisis mode can only get you so far. While there's no denying that this ongoing action/suspense/cliffhanger structure has played very much in Enterprise's favor this season (particularly the last third of the season), it becomes clear in "Zero Hour" that the exhaustion factor has taken its toll. I will be ready for something new next season.

"Zero Hour" is the final leg of this season's obvious mission to have its cake and eat it too. The Enterprise writers, in devising the Xindi arc, have managed to play the Quest For Peaceful Trekkian Solution right alongside the Quest For Big Action Movie. They brought the peaceful Trek scenario to its climax in "The Council" by having the Enterprise become allies with Degra and negotiate a peace with part of the Xindi council. They bring the action scenario to its climax here, in what is essentially a B action movie where I had pretty much predicted from the first frame (if not five episodes ago) that we would be seeing the Xindi weapon blow up just outside Earth's orbit. There is something to be said for formula conventions.

This is the kind of show that starts with a general concept and then adds everything plus the kitchen sink. For example, the sphere builders board the Enterprise and walk through walls and sabotage systems in their attempt to thwart Trip's technobabble solution to destroy Sphere 41. This is in addition to the fact that they have created a toxic anomaly field around the sphere, which the Enterprise must enter despite Phlox's assurances that exposure will kill the crew in a matter of minutes. (Even the ticking clocks have their own ticking clocks.) Everyone's skin begins to crack, making the Enterprise crew look like they might be reptilians.

And now here comes Shran and the Andorians to create a diversion for the reptilians so Archer's team can get aboard the weapon. Shran, it can be said, comes literally out of nowhere, which definitely makes him a function of plot as opposed to story. (Shran says Archer owes him one; so, apparently, do the writers.)

The most human aspect in the episode is Hoshi, who has to translate the Xindi weapon blueprints under awful pain and pressure. It's not enough that she's not even close to recovered from her torturous encounter with brain parasites; she's also wracked with guilt over having been forced to decipher the firing code for the reptilians. In the midst of all the chaos is Linda Park's performance as a person who is exhausted, sick, and suffering, and yet still performs with relative grace under pressure.

As for the solution of actually stopping the weapon, it comes down to the most obvious of action clichs. Part of me expected little else; after all, how many ways are there to blow up something so big with such a small armed boarding party? Still, I had to chuckle at the fact that humankind's fate comes down to Sato telling Archer which neon light tubes to invert under a control panel. You'd think that someday someone would be able to design a doomsday machine that couldn't be overloaded simply by short-circuiting the controls. The Xindi are apparently not those someones.

Archer says he will initiate the final sequence himself, and orders the rest of the boarding party to evacuate. "This isn't open for debate," Archer says, for perhaps the 90th time this season. Inevitably, Archer is jumped by an angry Dolum after activating the final sequence, leading to the obligatory B-movie fistfight, etc., replete with Archer getting beat up, thrown around, and hanging from a ledge, etc. Dolum's a big guy, so Archer defeats him by slapping a grenade on his back and them blowing him up, which is pretty amusing. Archer then runs toward the camera in slow-motion as explosions go off behind him, also in slow-motion. Then the weapon, nearing Earth's orbit, explodes.

That brings us to the show's Ultimate WTF Ending. Maybe some would argue that Berman & Braga are to be commended for not giving us a traditional ending. I'm not so sure. "Zero Hour" is an episode that seems to demand resolution and payoff. While we get some of that, we also get the "shocker" of the year, a completely unrelated twist that I found more goofy than shocking.

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