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Andrew Furlong (14 KP) rated Star Trek V - The Final Frontier (1989) in Movies
Sep 27, 2017
It has a few good character moments (2 more)
Jerry Goldsmith returns for another excellent score
It's never boring
Shatner takes the director's chair and his ego often gets the best of him. (2 more)
Storyline is confused and often overindulgent
Comedy often falls flat
It's... something
While I would say it's more interesting than it's reputation it's not a good movie. It very much feels like a vanity project by Shatner and the story suffers for it.
Andrew Furlong (14 KP) rated Star Trek: Insurrection (1998) in Movies
Sep 27, 2017
Good character moments (3 more)
Light and fun
The scene where Geordi sees with his real eyes for the first time
A beautiful score by Jerry Goldsmith
A bit too light. By the end it feels like nothing has really happened. (1 more)
The moral quandary was interesting, but could have been way better
A fun, but inconsequential outing.
Like Generations, I feel this doesn't deserve the sour reputation it has. It is very inconsequential but if you love these characters it can be a fun watch, though sadly it feels like it could have been more if the Studio hadn't limited Frakes' vision.
LeftSideCut (3778 KP) rated Poltergeist (1982) in Movies
Oct 13, 2022
Poltergeist is a stone cold classic in so many ways. It has that Spielberg blockbuster shine whilst simultaneously being a scary Tobe Hooper film. It has some absolutely incredible special effects that make way for some of the most memorable moments in horror history. It has a cast of extremely likable characters who you want to see come out on top. It has a wonderful Jerry Goldsmith score.
It's one of those movies that has stuck with me since childhood and still blows me away now. A timeless slice of cinema that will always rank amongst the best of the genre.
It's one of those movies that has stuck with me since childhood and still blows me away now. A timeless slice of cinema that will always rank amongst the best of the genre.
Bob Mann (459 KP) rated Star Trek: The Motion Picture (1979) in Movies
Sep 28, 2021
Given the longevity of this series, this has never struck me as an auspicious start. Yes, it has its positivesâŠ
The much repeated classic score by Jerry Goldsmith never fails to impress.
Thereâs a striking âDeltanâ heroine in the shapely form of Indian model Persis Khambatta (who sadly died very young).
And a twist in Alan Dean Fosterâs story is genuinely clever (for those who know their space history).
However, all of this is outweighed by a story that is treacle-like in its telling. Itâs a classic example of âlook at how clever we areâ, with special effects overriding everything else. A scene where Kirk travels to the Enterprise takes 5 minutes and 56 seconds (I looked up the Goldsmith track length): a scene involving nothing more than Scottyâs smug looks and Kirkâs awed reaction shots. Later in the movie, there are ENDLESS shots of the Enterprise travelling towards the centre of the cloud. Yawn! FOR F**CKâS SAKE GET ON WITH IT!!!
If this grand-standing was the quiet interlude between high-octane action sequences, then it might be partly forgiven. But even the action scenes are little less than soporific.
The much repeated classic score by Jerry Goldsmith never fails to impress.
Thereâs a striking âDeltanâ heroine in the shapely form of Indian model Persis Khambatta (who sadly died very young).
And a twist in Alan Dean Fosterâs story is genuinely clever (for those who know their space history).
However, all of this is outweighed by a story that is treacle-like in its telling. Itâs a classic example of âlook at how clever we areâ, with special effects overriding everything else. A scene where Kirk travels to the Enterprise takes 5 minutes and 56 seconds (I looked up the Goldsmith track length): a scene involving nothing more than Scottyâs smug looks and Kirkâs awed reaction shots. Later in the movie, there are ENDLESS shots of the Enterprise travelling towards the centre of the cloud. Yawn! FOR F**CKâS SAKE GET ON WITH IT!!!
If this grand-standing was the quiet interlude between high-octane action sequences, then it might be partly forgiven. But even the action scenes are little less than soporific.
RÉX Regent (349 KP) rated L.A. Confidential (1997) in Movies
Feb 19, 2019
A masterpiece, if not THE masterpiece of modern cinema.
A film which understands exactly what it is, what itâs doing and what itâs about and plays out with pace to resolve what is certainly on of the most complex detective stories the multiplexâs have seen in a long while.
The story is built in solid layers, exposing its audience to every clue, with time to digest them, without falling back on the cack-handed clichĂ© of holding back that vital clue to end in order to maintain its twist. This movie had taken its plot, cut it up the pieces and shuffled them about as to confuse the eye, but in the end, itâs all there for the taking. Well acted, directed and supported by a perfectly balanced score by the late Jerry Goldsmith, along with first-rate editing, sound design and cinematography, this is a pleasure to watch, every time.
This is a true classic, that is bathed in the noir which in it is set, pretending at nothing, feeling not like a period piece nor modern, this is timeless in recreation of the 1950âČs. Even its gruesome elements donât feel overplayed, and Iâm still always surprised to this day when I think that it is an 18.
All in all, this is the benchmark of modern film making, ticking every box perfectly. A fantastic film, with a first-rate native to drive it. Every filmmaker should see this and learnâŠ
The story is built in solid layers, exposing its audience to every clue, with time to digest them, without falling back on the cack-handed clichĂ© of holding back that vital clue to end in order to maintain its twist. This movie had taken its plot, cut it up the pieces and shuffled them about as to confuse the eye, but in the end, itâs all there for the taking. Well acted, directed and supported by a perfectly balanced score by the late Jerry Goldsmith, along with first-rate editing, sound design and cinematography, this is a pleasure to watch, every time.
This is a true classic, that is bathed in the noir which in it is set, pretending at nothing, feeling not like a period piece nor modern, this is timeless in recreation of the 1950âČs. Even its gruesome elements donât feel overplayed, and Iâm still always surprised to this day when I think that it is an 18.
All in all, this is the benchmark of modern film making, ticking every box perfectly. A fantastic film, with a first-rate native to drive it. Every filmmaker should see this and learnâŠ
Andy K (10821 KP) rated Poltergeist (1982) in Movies
Oct 25, 2019
The TV People!
When the Freeling family moved into their suburban California home, little did they know what they were getting themselves into! Minor oddities began showing themselves like chairs stacking in the kitchen lights flashing or even being pulled across the kitchen floor. It felt like a "tickle". The situation quickly grows more severe as a tree outside the children's room plunges inside and tries to ingest son, Robbie. Simultaneously, a gateway of sorts opens in the children's room eventually pulling the entire contents into its closet vortex including youngest daughter, Carol Anne.
Parents Steve and Diane have little option but to accept "professional" help. The Ghostbusters were not available since that film was not released until 2 years later. Instead, they convince a doctor and paranormal scientists to enter there home to record some of these events and provide some answers if they can. Eventually, the Dr. summons a spiritual medium who says someone must enter the void and rescue Carol Anne from the evil which surrounds her. After apparent success, the house is considered "clean".
I wonder if it will stay that way?
Over the years lots of interesting facts about the film and production have emerged including the Poltergeist "curse" since a prominent cast member passed away after each film was completed. Tragically, oldest daughter, Dana, played by actress Dominique Dunne, was strangled by her boyfriend and pronounced brain dead a few days later.
Spielberg was hot off Raiders of the Lost Ark at the time so was busy with one production after another. Immediately following the wrap of filming of Poltergeist he filmed E. T. The Extra Terrestrial, but was still heavily involved in post production. It has been widely speculated Spielberg even directed some of Poltergieist due to having control issues or maybe not liking what credited director Tobe Hooper was doing.
Drew Barrymore auditioned for Carol Ann, but didn't get the role. Obviously, she was remembered and given her breakout role in E.T. when it was also released in 1982.
So much of the movie is still remembered including the menacing tree, the clown scene with Robbie and a rich, interesting screenplay Spielberg himself wrote. The line "They're Here" is listed on the AFI's 100 YEARS...100 MOVIE QUOTES list at #69. As with a lot of Spielberg's early work, the affect of slowing building tension and the starting out "normal" and moving toward higher tension gradually is a staple and works amazingly well here.
I will admit some of the optical effects used now look a bit dated by today's standards of film perfection; however, does not diminish the scares, creeps or overall feel of this horror classic one bit. The score by Jerry Goldsmith is haunting, foreboding and captures the magic of the Freeling household perfectly.
I love the production design in the house especially the children's bedroom. There must have been some inside joke between Spielberg and George Lucas who had just collaborated on Raiders of the Lost Ark as their room is filled with Star Wars licensing of every type (so was mine as a kid) including action figures, bedding, movie posters and even clothing. I do draw the line at the Alien poster on the wall, through, as I don't think a 5 and 8 year old would have seen that film so young.
One other funny thing which us older folk take for granted is a network actually going off the air and showing just snow. This fact happened every day before the days of the 24 television cycle and would be completely foreign to the younger generation. Oh how things have changed.
I revisit this film often and is one of my Halloween traditions every few years. I should probably upgrade my 20 years old DVD copy for a fresh Blu Ray. Add it to the list! đ
Parents Steve and Diane have little option but to accept "professional" help. The Ghostbusters were not available since that film was not released until 2 years later. Instead, they convince a doctor and paranormal scientists to enter there home to record some of these events and provide some answers if they can. Eventually, the Dr. summons a spiritual medium who says someone must enter the void and rescue Carol Anne from the evil which surrounds her. After apparent success, the house is considered "clean".
I wonder if it will stay that way?
Over the years lots of interesting facts about the film and production have emerged including the Poltergeist "curse" since a prominent cast member passed away after each film was completed. Tragically, oldest daughter, Dana, played by actress Dominique Dunne, was strangled by her boyfriend and pronounced brain dead a few days later.
Spielberg was hot off Raiders of the Lost Ark at the time so was busy with one production after another. Immediately following the wrap of filming of Poltergeist he filmed E. T. The Extra Terrestrial, but was still heavily involved in post production. It has been widely speculated Spielberg even directed some of Poltergieist due to having control issues or maybe not liking what credited director Tobe Hooper was doing.
Drew Barrymore auditioned for Carol Ann, but didn't get the role. Obviously, she was remembered and given her breakout role in E.T. when it was also released in 1982.
So much of the movie is still remembered including the menacing tree, the clown scene with Robbie and a rich, interesting screenplay Spielberg himself wrote. The line "They're Here" is listed on the AFI's 100 YEARS...100 MOVIE QUOTES list at #69. As with a lot of Spielberg's early work, the affect of slowing building tension and the starting out "normal" and moving toward higher tension gradually is a staple and works amazingly well here.
I will admit some of the optical effects used now look a bit dated by today's standards of film perfection; however, does not diminish the scares, creeps or overall feel of this horror classic one bit. The score by Jerry Goldsmith is haunting, foreboding and captures the magic of the Freeling household perfectly.
I love the production design in the house especially the children's bedroom. There must have been some inside joke between Spielberg and George Lucas who had just collaborated on Raiders of the Lost Ark as their room is filled with Star Wars licensing of every type (so was mine as a kid) including action figures, bedding, movie posters and even clothing. I do draw the line at the Alien poster on the wall, through, as I don't think a 5 and 8 year old would have seen that film so young.
One other funny thing which us older folk take for granted is a network actually going off the air and showing just snow. This fact happened every day before the days of the 24 television cycle and would be completely foreign to the younger generation. Oh how things have changed.
I revisit this film often and is one of my Halloween traditions every few years. I should probably upgrade my 20 years old DVD copy for a fresh Blu Ray. Add it to the list! đ
Bob Mann (459 KP) rated The Magnificent Seven (2016) in Movies
Sep 29, 2021
A Hornery Exit.
As a big fan of the original â a staple of many Bank Holiday afternoons in my youth â I was prepared to be sniffy about this remake and came to the film on my high-horse (I left that tied to the rail outside the cinema by the way). But I was surprised to have my expectations reset.
Possibly on the basis that Trump has been given the Mexicanâs a good bashing lately, the villain of the piece in this film is updated from Mexican bandit Calvera to Sacremento based land-snatcher and all round bad-egg Bartholomew Bogue (an expressionless Peter Sarsgaard). After ripping through some of the inhabitants of Rose Creek in a brutal pre-title sequence, widowed sharp-shooter Emma Cullen (Haley Bennett, âThe Equalizerâ) heads into the West on a recruiting mission for hired guns. She first recruits the bounty hunter Chisholm (sing âChisum, John ChisumâŠâ⊠no, sorry different Western) played by Denzel Washington. Washington matches Yul Brynnerâs famous black outfit, and unlike Brynner is obviously able to finish off the ensemble naturally!
They recruit another six (whoâd have thought it?) including wise-guy gambler Faraday (Chris âGuardians of the Galaxyâ Pratt); famed confederate sniper Goodnight Robicheaux (Ethan Hawke); his nifty knife throwing Asian sidekick (but good for the Far East box office) Billy Rocks (Bjung-hun Lee, from Terminator: Genisys); and religious bear-of-a-man Indian-hunter Jack Horne (Vincent DâOnofrio, âJurassic Worldâ). After trying to whip the incompetent townsfolk into shape, and setting some Home-Alone style surprises, the stage is set for a showdown as Bogue whips up an army to re-take âhisâ town.
I like classic Westerns, with John Fordâs Rio Bravo being a particular favourite. In my view the problem with many modern Westerns is that they try too hard to shock (Tarentinoâs recent âHateful 8â was a case in point: a promising start ruined by gratuitous over-the-top violence). âThe Magnificent Sevenâ doesnât make that mistake, and while the squib-master and blood-bag boy are heavily employed throughout, nothing is too excessive: in fact, my view â and I donât often tend in this direction â is that the censors rather over-egged the UK 12A rating on this one and could have gone with a 12. Director Antoine Fuqua has produced a film that is highly respectful of its heritage: perhaps to the point where many scenes might be deemed to be clichĂ©d. But I personally warmed to that.
Denzel Washington was born to be in a Western like this and the emerging Chris Pratt does his star potential no harm by turning in a stellar performance adding both levity â with some whip-sharp lines â and screen presence in the role made famous by Steve McQueen. (Although no one comes close to the screen presence of McQueenâŠ. Look up âreal manâ in the dictionary and his picture is there!) Also effective is Ethan Hawke in the nearest thing to the Robert Vaughan character in this film.
Where the adapted script by Richard Wenk and Nik Pizzolatto falters somewhat is in the motivations of the characters, which come across as superficial and unconvincing. (Perhaps âsellingâ was a whole lot easier in the Old West?) It is even unclear at the end of the film whether the survivors (and I hate to be the bearer of bad news, but the seven donât all make it!) actually take their payment, or even a âshare of the goldâ that the town is sitting on. It makes for an unsatisfactory closure. The degree of racial harmony present in the film is also difficult to buy into, and the script could have made something more of this.
The film soundtrack marks the swan-song of the late James Horner, so tragically killed in a plane crash last year at the age of just 61. As the natural successor to the great John Williams and the late Jerry Goldsmith, Hornerâs loss was a terrible one. The film is dedicated to him. Although the soundtrack was completed by Simon Franglen, there are flourishes of classic Horner, most notably in the first Rose Creek showdown scene. There is also a treat to the ears over the closing credits which is very welcome.
Although the film draws natural comparison with its 5* classic predecessor, this is a good film in its own right â a genuinely pleasant surprise. Perhaps its done well enough that we might get to now see a remake of âThe Return of the Sevenâ. I hope so⊠âthe Western is dead⊠long live the Westernâ!
Possibly on the basis that Trump has been given the Mexicanâs a good bashing lately, the villain of the piece in this film is updated from Mexican bandit Calvera to Sacremento based land-snatcher and all round bad-egg Bartholomew Bogue (an expressionless Peter Sarsgaard). After ripping through some of the inhabitants of Rose Creek in a brutal pre-title sequence, widowed sharp-shooter Emma Cullen (Haley Bennett, âThe Equalizerâ) heads into the West on a recruiting mission for hired guns. She first recruits the bounty hunter Chisholm (sing âChisum, John ChisumâŠâ⊠no, sorry different Western) played by Denzel Washington. Washington matches Yul Brynnerâs famous black outfit, and unlike Brynner is obviously able to finish off the ensemble naturally!
They recruit another six (whoâd have thought it?) including wise-guy gambler Faraday (Chris âGuardians of the Galaxyâ Pratt); famed confederate sniper Goodnight Robicheaux (Ethan Hawke); his nifty knife throwing Asian sidekick (but good for the Far East box office) Billy Rocks (Bjung-hun Lee, from Terminator: Genisys); and religious bear-of-a-man Indian-hunter Jack Horne (Vincent DâOnofrio, âJurassic Worldâ). After trying to whip the incompetent townsfolk into shape, and setting some Home-Alone style surprises, the stage is set for a showdown as Bogue whips up an army to re-take âhisâ town.
I like classic Westerns, with John Fordâs Rio Bravo being a particular favourite. In my view the problem with many modern Westerns is that they try too hard to shock (Tarentinoâs recent âHateful 8â was a case in point: a promising start ruined by gratuitous over-the-top violence). âThe Magnificent Sevenâ doesnât make that mistake, and while the squib-master and blood-bag boy are heavily employed throughout, nothing is too excessive: in fact, my view â and I donât often tend in this direction â is that the censors rather over-egged the UK 12A rating on this one and could have gone with a 12. Director Antoine Fuqua has produced a film that is highly respectful of its heritage: perhaps to the point where many scenes might be deemed to be clichĂ©d. But I personally warmed to that.
Denzel Washington was born to be in a Western like this and the emerging Chris Pratt does his star potential no harm by turning in a stellar performance adding both levity â with some whip-sharp lines â and screen presence in the role made famous by Steve McQueen. (Although no one comes close to the screen presence of McQueenâŠ. Look up âreal manâ in the dictionary and his picture is there!) Also effective is Ethan Hawke in the nearest thing to the Robert Vaughan character in this film.
Where the adapted script by Richard Wenk and Nik Pizzolatto falters somewhat is in the motivations of the characters, which come across as superficial and unconvincing. (Perhaps âsellingâ was a whole lot easier in the Old West?) It is even unclear at the end of the film whether the survivors (and I hate to be the bearer of bad news, but the seven donât all make it!) actually take their payment, or even a âshare of the goldâ that the town is sitting on. It makes for an unsatisfactory closure. The degree of racial harmony present in the film is also difficult to buy into, and the script could have made something more of this.
The film soundtrack marks the swan-song of the late James Horner, so tragically killed in a plane crash last year at the age of just 61. As the natural successor to the great John Williams and the late Jerry Goldsmith, Hornerâs loss was a terrible one. The film is dedicated to him. Although the soundtrack was completed by Simon Franglen, there are flourishes of classic Horner, most notably in the first Rose Creek showdown scene. There is also a treat to the ears over the closing credits which is very welcome.
Although the film draws natural comparison with its 5* classic predecessor, this is a good film in its own right â a genuinely pleasant surprise. Perhaps its done well enough that we might get to now see a remake of âThe Return of the Sevenâ. I hope so⊠âthe Western is dead⊠long live the Westernâ!
Bob Mann (459 KP) rated Alien: Covenant (2017) in Movies
Sep 29, 2021
Horrific Beasts and How to Avoid Them.
I seem to be in a bit of a minority in quite liking Ridley Scottâs last Alien outing â 2012âs âPrometheusâ: a heady, if at times ponderous, theory to the origins of man. The first hour of that film is really good. But for me, what made the original 1979 film so enthralling was the life cycle of the âtraditionalâ Xenomorph aliens through egg to evil hatchling to vicious killing machine. This somewhat got lost with âPrometheusâ with a range of alien-like-things ranging from wiggly black goo to something more familiar⊠and frankly I was confused. Some â repeat, some â of the explanation for that diversity of forms in âPrometheusâ is made clearer in the sequel âAlien: Covenantâ.
âCovenantâ (named again after the spaceship at its heart) is a follow-on sequel to âPrometheusâ, so it is worth re-watching it if you can before a cinema trip. At the end of that film we saw Elizabeth Shaw (Noomi Rapace, âThe Girl with the Dragon Tattooâ) and a reconstructed android David (Michael Fassbender, âSteve Jobsâ) flying off in an alien craft still loaded with its cargo of nasty alien black goo. Shaw had a mission to seek out The Engineerâs home world â named âParadiseâ â to find out why after creating man they were intent on going back to finish them off with a WMD. A neat prologue has been released which documents this⊠here:
We pick up the action 10 years later in a totally improbable 2104. (Give us a break writing team! [Story by Jack Paglen and Michael Green; screenplay by John Logan and Dante Harper]. We know they wonât have got through planning permission on the third Heathrow runway by then, let alone invented interplanetary travelâŠ! 2504, maybe!)
Daniels (Katherine Waterston, âFantastic Beasts And Where To Find Themâ) has just suffered a sudden bereavement (an uncredited James Franco â â blink and youâll miss him). She has also been rudely awakened from hypersleep due to a sudden system mishap: no, not to find Chris Pratt there like âPassengersâ, but by the shipâs android Walter (also Michael Fassbender) whoâs also revived the rest of the crew. While effecting repairs they receive a garbled John Denver track mysteriously beamed to them from an earth-like planet not too far away. As this might be a suitable homestead, and as spending weeks more in hypersleep is unattractive, Captain Oram (Billy Crudup, âSpotlightâ) votes to check it out, against Danielsâ strong objections. Needless to say, this proves to be a BIG MISTAKE as the new film neatly links hands with the first film.
Kick-ass⊠Katherine Waterston being careful not to slip in the shower.
Thereâs a limit to what more I can say about the film without delivering spoilers (so I have added a few more comments in the spoiler section BELOW the trailer). Itâs a far more action-oriented film than âPrometheusâ and has enough jump scares and gore to please most Alien fans. (In fact, itâs a surprise to me that it got a UK â15â certificate rather than an â18â: how much more violence do you need to show in the film?) A shower scene towards the end of the film is particularly effective and will likely put an end to relaxing shower sex for many people for good!
It also looks visually stunning (cinematography is by Dariusz Wolski (âThe Martianâ, âPirates of the Caribbeanâ) with location shooting in Milford Sound in New Zealand. The special effects are also a cut-above the normal CGI with a devastated Pompeii-like city, a picture of blacks and greys, being particularly effective.
In the acting stakes it is really all down to Waterston and Fassbinder. I wasnât a great fan of Waterston in âFantastic Beastsâ â a bit insipid I thought â but here she adopts Ripleyâs kick-ass mantle with ease but blends it beautifully with doe-eyed vulnerability. Some of her scenes reminded me strongly of Demi Moore in âGhostâ. Fassbinder is fascinating to watch with his dual roles of Walter and David, both slightly different versions of the same being. And the special effects around the Fassbinder-on-Fassbinder action, tending somewhat towards the homoerotic in places, are well done.
Unfortunately the rest of the crew get little in the way of background development, which limits the impact of the inevitable demises. They are also about as clinically stupid as the spaceship crew in âLifeâ in some of their actions; I guess you could put some of this down to the effects of panic, but in other cases you might see it as a simple cleansing of the gene pool in Darwinian fashion.
Also making uncredited guest appearances are Guy Pearce as Weyland (in a flashback scene) and Noomi Rapace.
Music is âbyâ Jed Kurzel, but to be honest he does little than wrap around re-versions of the original Jerry Goldsmith classics: not that this is a bad thing, since those themes are iconic and a joy to hear again on the big screen.
My expectations for this movie were sky-high, as it was hinted as a return to form for the franchise. And in many ways it was, with a âman, Gods and androidsâ theme adding depth to the traditional anatomical-bursting gore. But to be honest, some of the storytelling was highly predictable, and I left slightly disappointed with the overall effort. If my expectations were an 11/10, my reality was more like a 7/10. Itâs still a good film, and I look forward to watching it again. But perhaps this is a franchise that has really run its course now for Mr Scott and he should look to his next âMartianâ-type movie for a more novel foundation to build his next movie âlog cabin on the lakeâ on.
âCovenantâ (named again after the spaceship at its heart) is a follow-on sequel to âPrometheusâ, so it is worth re-watching it if you can before a cinema trip. At the end of that film we saw Elizabeth Shaw (Noomi Rapace, âThe Girl with the Dragon Tattooâ) and a reconstructed android David (Michael Fassbender, âSteve Jobsâ) flying off in an alien craft still loaded with its cargo of nasty alien black goo. Shaw had a mission to seek out The Engineerâs home world â named âParadiseâ â to find out why after creating man they were intent on going back to finish them off with a WMD. A neat prologue has been released which documents this⊠here:
We pick up the action 10 years later in a totally improbable 2104. (Give us a break writing team! [Story by Jack Paglen and Michael Green; screenplay by John Logan and Dante Harper]. We know they wonât have got through planning permission on the third Heathrow runway by then, let alone invented interplanetary travelâŠ! 2504, maybe!)
Daniels (Katherine Waterston, âFantastic Beasts And Where To Find Themâ) has just suffered a sudden bereavement (an uncredited James Franco â â blink and youâll miss him). She has also been rudely awakened from hypersleep due to a sudden system mishap: no, not to find Chris Pratt there like âPassengersâ, but by the shipâs android Walter (also Michael Fassbender) whoâs also revived the rest of the crew. While effecting repairs they receive a garbled John Denver track mysteriously beamed to them from an earth-like planet not too far away. As this might be a suitable homestead, and as spending weeks more in hypersleep is unattractive, Captain Oram (Billy Crudup, âSpotlightâ) votes to check it out, against Danielsâ strong objections. Needless to say, this proves to be a BIG MISTAKE as the new film neatly links hands with the first film.
Kick-ass⊠Katherine Waterston being careful not to slip in the shower.
Thereâs a limit to what more I can say about the film without delivering spoilers (so I have added a few more comments in the spoiler section BELOW the trailer). Itâs a far more action-oriented film than âPrometheusâ and has enough jump scares and gore to please most Alien fans. (In fact, itâs a surprise to me that it got a UK â15â certificate rather than an â18â: how much more violence do you need to show in the film?) A shower scene towards the end of the film is particularly effective and will likely put an end to relaxing shower sex for many people for good!
It also looks visually stunning (cinematography is by Dariusz Wolski (âThe Martianâ, âPirates of the Caribbeanâ) with location shooting in Milford Sound in New Zealand. The special effects are also a cut-above the normal CGI with a devastated Pompeii-like city, a picture of blacks and greys, being particularly effective.
In the acting stakes it is really all down to Waterston and Fassbinder. I wasnât a great fan of Waterston in âFantastic Beastsâ â a bit insipid I thought â but here she adopts Ripleyâs kick-ass mantle with ease but blends it beautifully with doe-eyed vulnerability. Some of her scenes reminded me strongly of Demi Moore in âGhostâ. Fassbinder is fascinating to watch with his dual roles of Walter and David, both slightly different versions of the same being. And the special effects around the Fassbinder-on-Fassbinder action, tending somewhat towards the homoerotic in places, are well done.
Unfortunately the rest of the crew get little in the way of background development, which limits the impact of the inevitable demises. They are also about as clinically stupid as the spaceship crew in âLifeâ in some of their actions; I guess you could put some of this down to the effects of panic, but in other cases you might see it as a simple cleansing of the gene pool in Darwinian fashion.
Also making uncredited guest appearances are Guy Pearce as Weyland (in a flashback scene) and Noomi Rapace.
Music is âbyâ Jed Kurzel, but to be honest he does little than wrap around re-versions of the original Jerry Goldsmith classics: not that this is a bad thing, since those themes are iconic and a joy to hear again on the big screen.
My expectations for this movie were sky-high, as it was hinted as a return to form for the franchise. And in many ways it was, with a âman, Gods and androidsâ theme adding depth to the traditional anatomical-bursting gore. But to be honest, some of the storytelling was highly predictable, and I left slightly disappointed with the overall effort. If my expectations were an 11/10, my reality was more like a 7/10. Itâs still a good film, and I look forward to watching it again. But perhaps this is a franchise that has really run its course now for Mr Scott and he should look to his next âMartianâ-type movie for a more novel foundation to build his next movie âlog cabin on the lakeâ on.