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Darren (1599 KP) rated Aliens (1986) in Movies
Jun 20, 2019
Story: Aliens starts when Ripley (Weaver) is finally rescued from her hyper sleep, only to find out that she has been sleeping for centuries, questioned for her action on the spacecraft she learns that the same planet LV-426 has been colonised with no problems from any alien species. We get to see how the colony is building on the planet which includes us watching Newt (Henn) and her family being the ones to find the alien ship.
The company representative Burke (Reiser) looks to recruit Ripley into helping them once the company loses connect with the colony, this time armed with marines led by Lieutenant Gorman (Hope). The elite unit including Corporal Hicks (Biehn), Private Hudson (Paxton), Private Vasquez (Goldstein) and Private Drake (Rolston) to mention a few is armed to the teeth ready for any combat needed, but it is the android Bishop (Henriksen) that cause Ripley the worries especially after what happened last time she was on a mission with one.
Once at the colony the soldiers find the place abandoned at first until they find Newt only to learn the truth about what happened at the base. The unit find themselves under attack from multiply xenomorphs and only Ripley knows how to fight them off.
Aliens is the sequel to one of the greatest horror movies that actually takes the film in a different direction by adding action element. This doesn’t take away anything because if the sequel had just been on one ship with limited weapons it simply would have been a remake feeling, this story feels fresh because we already know the basics of what our heroes are up against we just needed to learn how they will deal with them this time. When it comes to the story it once again is simple soldiers versus aliens in a battle to survive which all works perfectly for this classic 30 years later.
Actor Review
Sigourney Weaver: Ripley is the lone survivor from the events of the first film, she has been in hyper sleep for years. She is charged for her actions as no evidence of any alien life form is discovered in the wreck, dealing with all the side effects we get to see how she is getting on with her life again. All this changes when the company that blamed her turned to her for help on the same planet that we first met a xenomorph. When things go wrong she takes charge of the situation while trying to protect a little girl. Sigourney was nominated for an Oscar for this performance and it would hard not to praise her brilliant performance.ripley
Carrie Henn: Newt is the little girl that was living on the colony before the attack, she is also the lone survivor once the soldiers turn up to deal with the situation. She has survived by hiding and offers the soldiers much needed advice on where to survive. Carrie is great in this role for such a young actress at the time.
Michael Biehn: Corporal Hicks has to take charge of the soldiers once his seniors become incapacitated. He will listen to Ripley and make the right decisions when it comes to fighting the xenomorphs. Michael is great in this role where he actually plays the sensible soldier.
Lance Henriksen: Bishop is the android on the mission, he is instantly disliked by Ripley but this time we only see good from the android who is willing to risk his own life to save the humans. Lance is great as this android keeping the emotionless expression throughout.
Support Cast: Aliens has a supporting cast that is mostly the soldiers who are generic in their own way along with the company man that also works for this film very well.
Director Review: James Cameron – James is a director that always makes classics and this could well be his best.
Action: Aliens is filled with combat driven action which comes off very nicely in the confined spaces.
Horror: Aliens is still filled with horror of isolation on the planet being hunted down by an alien enemy.
Sci-Fi: Aliens puts our characters in space and a new planet ticking off all of the sci-fi elements to make this an action sci-fi film.
Settings: Aliens creates a larger isolation idea with the characters being trapped on a base rather than a ship with no escape from the enemy.
Special Effects: Aliens has stunning effects that still stand the test of time.xena
Suggestion: Aliens is one I do feel everyone should have watched at least once in a lifetime. (Watch)
Best Part: First meeting the aliens.
Worst Part: Depends which cut you watch, the shorter cut takes away a lot of back story.
Action Scene Of The Film: Final fight.
Favourite Quote: Ripley ‘Get away from her you bitch’
Believability: No
Chances of Tears: No
Chances of Sequel: Yes
Post Credits Scene: No
Oscar Chances: Won Two Oscars for Best Sound Effects and Visual Effects.
Box Office: $85 Million
Budget: $ 18.5 Million
Runtime: 2 Hours 34 Minutes
Tagline: There are some places in the universe you don’t go alone.
Trivia: The knife trick scene was not in the original shooting script. According to Lance Henriksen, the adding of Hudson’s hand to the knife trick was discussed with almost everyone, except Bill Paxton.
Overall: Stunning sci-fi action horror that really comes off as the true classic
https://moviesreview101.com/2016/05/25/aliens-1986/
The company representative Burke (Reiser) looks to recruit Ripley into helping them once the company loses connect with the colony, this time armed with marines led by Lieutenant Gorman (Hope). The elite unit including Corporal Hicks (Biehn), Private Hudson (Paxton), Private Vasquez (Goldstein) and Private Drake (Rolston) to mention a few is armed to the teeth ready for any combat needed, but it is the android Bishop (Henriksen) that cause Ripley the worries especially after what happened last time she was on a mission with one.
Once at the colony the soldiers find the place abandoned at first until they find Newt only to learn the truth about what happened at the base. The unit find themselves under attack from multiply xenomorphs and only Ripley knows how to fight them off.
Aliens is the sequel to one of the greatest horror movies that actually takes the film in a different direction by adding action element. This doesn’t take away anything because if the sequel had just been on one ship with limited weapons it simply would have been a remake feeling, this story feels fresh because we already know the basics of what our heroes are up against we just needed to learn how they will deal with them this time. When it comes to the story it once again is simple soldiers versus aliens in a battle to survive which all works perfectly for this classic 30 years later.
Actor Review
Sigourney Weaver: Ripley is the lone survivor from the events of the first film, she has been in hyper sleep for years. She is charged for her actions as no evidence of any alien life form is discovered in the wreck, dealing with all the side effects we get to see how she is getting on with her life again. All this changes when the company that blamed her turned to her for help on the same planet that we first met a xenomorph. When things go wrong she takes charge of the situation while trying to protect a little girl. Sigourney was nominated for an Oscar for this performance and it would hard not to praise her brilliant performance.ripley
Carrie Henn: Newt is the little girl that was living on the colony before the attack, she is also the lone survivor once the soldiers turn up to deal with the situation. She has survived by hiding and offers the soldiers much needed advice on where to survive. Carrie is great in this role for such a young actress at the time.
Michael Biehn: Corporal Hicks has to take charge of the soldiers once his seniors become incapacitated. He will listen to Ripley and make the right decisions when it comes to fighting the xenomorphs. Michael is great in this role where he actually plays the sensible soldier.
Lance Henriksen: Bishop is the android on the mission, he is instantly disliked by Ripley but this time we only see good from the android who is willing to risk his own life to save the humans. Lance is great as this android keeping the emotionless expression throughout.
Support Cast: Aliens has a supporting cast that is mostly the soldiers who are generic in their own way along with the company man that also works for this film very well.
Director Review: James Cameron – James is a director that always makes classics and this could well be his best.
Action: Aliens is filled with combat driven action which comes off very nicely in the confined spaces.
Horror: Aliens is still filled with horror of isolation on the planet being hunted down by an alien enemy.
Sci-Fi: Aliens puts our characters in space and a new planet ticking off all of the sci-fi elements to make this an action sci-fi film.
Settings: Aliens creates a larger isolation idea with the characters being trapped on a base rather than a ship with no escape from the enemy.
Special Effects: Aliens has stunning effects that still stand the test of time.xena
Suggestion: Aliens is one I do feel everyone should have watched at least once in a lifetime. (Watch)
Best Part: First meeting the aliens.
Worst Part: Depends which cut you watch, the shorter cut takes away a lot of back story.
Action Scene Of The Film: Final fight.
Favourite Quote: Ripley ‘Get away from her you bitch’
Believability: No
Chances of Tears: No
Chances of Sequel: Yes
Post Credits Scene: No
Oscar Chances: Won Two Oscars for Best Sound Effects and Visual Effects.
Box Office: $85 Million
Budget: $ 18.5 Million
Runtime: 2 Hours 34 Minutes
Tagline: There are some places in the universe you don’t go alone.
Trivia: The knife trick scene was not in the original shooting script. According to Lance Henriksen, the adding of Hudson’s hand to the knife trick was discussed with almost everyone, except Bill Paxton.
Overall: Stunning sci-fi action horror that really comes off as the true classic
https://moviesreview101.com/2016/05/25/aliens-1986/
Darren (1599 KP) rated Alien (1979) in Movies
Jun 20, 2019
Story: It would be fair to say when this came out it was brilliant and stand alone on the type of film. Now the story has been copied, pinched from and used to the death. This paved the way for the truly trapped horror films because the space mission means it’s the ship of nothing. The twist that comes half way through offers a surprise and of cause the mood of the film changes drastically when the alien makes its first appearance. (10/10)
Actor Review: Sigourney Weaver – Ripley, just part of the crew really but steps up when the alien starts wreaking havoc. In a role that will be remembered as one of the best and most iconic in sci-fi history this performance will never be forgotten. Breakout Performance Award, Iconic Performance Award, Star Performance Award (10/10)
ripley
Actor Review: Tom Skerritt – Captain Dallas puts the team together to investigate the planet but has to step up when they don’t come back alone. Good performance showing leadership in time of panic. (9/10)
Actor Review: Ian Holm – Ash the science officer who is very distant as well as keeping a big secret from the rest of the crew. Good performance from Holm that opened a door for a twist in films that people actually have to think about. (9/10)
holm
Actor Review: John Hurt – Kane gets a creature stuck on his face before looking like making a full recovery only to make film history. This character has one of the most iconic sci-fi horror deaths in history. Unluckiest Character Award (9/10)
hurt
Director Review: Ridley Scott – Creates a world that no one saw coming and shows brilliant direction to create atmosphere throughout. (10/10)
Horror: There is no escape from a creature you have never met. (10/10)
Sci-Fi: Redefines the sci-fi genre to use true horror. (10/10)
Special Effects: Stunning special effects that even after 30 plus years still haven’t dated. (10/10)
Believability: We don’t know what is really in space until we go deeper enough. (5/10)
Chances of Tears: No (0/10)
Settings: When it comes to horror you need great location isolation is the best as we know the characters have nowhere to run, this offers that making the setting perfect. (10/10)
Suggestion: Most films can come and go and gain a few fans, this is not one of them it is one of the first films people will say when you say sci-fi. This makes it a must watch and when you do you will be reward but I expect most of you have already seen it so watch it again. (Watch)
Best Part: Alien first reveal.
Kill Of The Film: Kane
Trivia: The original title was Space Beast.
Oscar Chances: Won for Best Effects.
Chances of Sequel: Has three direct sequels and a couple of versus films.
Overall: Masterpiece classic must see
https://moviesreview101.com/2014/02/12/alien-1979/
Actor Review: Sigourney Weaver – Ripley, just part of the crew really but steps up when the alien starts wreaking havoc. In a role that will be remembered as one of the best and most iconic in sci-fi history this performance will never be forgotten. Breakout Performance Award, Iconic Performance Award, Star Performance Award (10/10)
ripley
Actor Review: Tom Skerritt – Captain Dallas puts the team together to investigate the planet but has to step up when they don’t come back alone. Good performance showing leadership in time of panic. (9/10)
Actor Review: Ian Holm – Ash the science officer who is very distant as well as keeping a big secret from the rest of the crew. Good performance from Holm that opened a door for a twist in films that people actually have to think about. (9/10)
holm
Actor Review: John Hurt – Kane gets a creature stuck on his face before looking like making a full recovery only to make film history. This character has one of the most iconic sci-fi horror deaths in history. Unluckiest Character Award (9/10)
hurt
Director Review: Ridley Scott – Creates a world that no one saw coming and shows brilliant direction to create atmosphere throughout. (10/10)
Horror: There is no escape from a creature you have never met. (10/10)
Sci-Fi: Redefines the sci-fi genre to use true horror. (10/10)
Special Effects: Stunning special effects that even after 30 plus years still haven’t dated. (10/10)
Believability: We don’t know what is really in space until we go deeper enough. (5/10)
Chances of Tears: No (0/10)
Settings: When it comes to horror you need great location isolation is the best as we know the characters have nowhere to run, this offers that making the setting perfect. (10/10)
Suggestion: Most films can come and go and gain a few fans, this is not one of them it is one of the first films people will say when you say sci-fi. This makes it a must watch and when you do you will be reward but I expect most of you have already seen it so watch it again. (Watch)
Best Part: Alien first reveal.
Kill Of The Film: Kane
Trivia: The original title was Space Beast.
Oscar Chances: Won for Best Effects.
Chances of Sequel: Has three direct sequels and a couple of versus films.
Overall: Masterpiece classic must see
https://moviesreview101.com/2014/02/12/alien-1979/
Movie Metropolis (309 KP) rated Avatar (2009) in Movies
Jun 10, 2019
James Cameron has had his work cut out trying to eclipse the success of his previous film Titanic, way back in 1997 and to this day it remains the highest grossing film of all time. It’s hard to believe that it’s been 12 years since his name was plastered on the big screen but he’s back with Avatar, a science fiction epic to rival Titanic’s crown.
Avatar has been marketed to death with 10-minute trailers littering cinemas across the globe and it hasn’t stopped there, James Cameron has been parading himself and the films stars around like toy soldiers to ensure it receives as much attention as he thinks it deserves, but is it actually any good?
Let’s start with the premise, an ex marine (Sam Worthington) who has been paralysed from the waist down in battle has been sent to an alien planet called Pandora to help mine for a very valuable metal and would you believe it, it’s name is ‘Unobtainium’, no jokes. Whilst there, he meets the Na’vi, an alien race that resemble giant smurfs. He becomes intrigued by their way of life, not to mention falling in love with one of them (Zoe Saldana). No, I’m not kidding and yes it does sound ridiculous.
The film starts pretty slowly, but then again at just under three hours long it has plenty of time to build momentum and after those first 10-minutes you get sucked into the whole environment of Pandora in the most dazzling 3D I have ever seen in the cinema. The special effects are complimented perfectly with the 3D experience and the alien environment is stunning, so stunning in fact that you have to see it, to believe it.
Considering the story is about blue smurf like aliens and is to say the least, a little thin on the ground; I was surprised to be sat there with all different kinds of emotion splattered across my face. One minute I would be wanting to shout out at the screen in sheer rage at what was going on, other times I would be sobbing my heart out in some of the most upsetting scenes I have seen in a modern Sci-fi. It just doesn’t happen, Sci-fi and tears just don’t go together; it’s like eating chocolate with fish. The transition between action, thriller, comedy and drama is exceptionally watertight and Avatar blends these genres all perfectly to form what is a complete package of a film.
Unfortunately, whilst the acting is sublime from most corners, with Zoe Saldana being the stand out performance as one of the female Na’vi, some of the human actors don’t really get enough screen time; annoying considering the films length. Sigourney Weaver is viciously underused and even though she plays her character with brilliance, she needed more screen time to fully develop the role.
Thankfully though, Cameron’s film limits the faults to those few and Avatar remains a magical ride, which whilst not being utterly original, reeks of box office championship and may just take over Titanic as the biggest film of all time.
Avatar is then, what everyone had ever wanted it to be, it combines unparalleled special effects in superb 3D with fabulous performances from the actors who really looked like they wanted to be in their roles. Trust the hype and you will witness history in the making.
https://moviemetropolis.net/2010/10/17/avatar-2009/
Avatar has been marketed to death with 10-minute trailers littering cinemas across the globe and it hasn’t stopped there, James Cameron has been parading himself and the films stars around like toy soldiers to ensure it receives as much attention as he thinks it deserves, but is it actually any good?
Let’s start with the premise, an ex marine (Sam Worthington) who has been paralysed from the waist down in battle has been sent to an alien planet called Pandora to help mine for a very valuable metal and would you believe it, it’s name is ‘Unobtainium’, no jokes. Whilst there, he meets the Na’vi, an alien race that resemble giant smurfs. He becomes intrigued by their way of life, not to mention falling in love with one of them (Zoe Saldana). No, I’m not kidding and yes it does sound ridiculous.
The film starts pretty slowly, but then again at just under three hours long it has plenty of time to build momentum and after those first 10-minutes you get sucked into the whole environment of Pandora in the most dazzling 3D I have ever seen in the cinema. The special effects are complimented perfectly with the 3D experience and the alien environment is stunning, so stunning in fact that you have to see it, to believe it.
Considering the story is about blue smurf like aliens and is to say the least, a little thin on the ground; I was surprised to be sat there with all different kinds of emotion splattered across my face. One minute I would be wanting to shout out at the screen in sheer rage at what was going on, other times I would be sobbing my heart out in some of the most upsetting scenes I have seen in a modern Sci-fi. It just doesn’t happen, Sci-fi and tears just don’t go together; it’s like eating chocolate with fish. The transition between action, thriller, comedy and drama is exceptionally watertight and Avatar blends these genres all perfectly to form what is a complete package of a film.
Unfortunately, whilst the acting is sublime from most corners, with Zoe Saldana being the stand out performance as one of the female Na’vi, some of the human actors don’t really get enough screen time; annoying considering the films length. Sigourney Weaver is viciously underused and even though she plays her character with brilliance, she needed more screen time to fully develop the role.
Thankfully though, Cameron’s film limits the faults to those few and Avatar remains a magical ride, which whilst not being utterly original, reeks of box office championship and may just take over Titanic as the biggest film of all time.
Avatar is then, what everyone had ever wanted it to be, it combines unparalleled special effects in superb 3D with fabulous performances from the actors who really looked like they wanted to be in their roles. Trust the hype and you will witness history in the making.
https://moviemetropolis.net/2010/10/17/avatar-2009/
Bob Mann (459 KP) rated The Beatles: Eight Days A Week - The Touring Years (2016) in Movies
Sep 29, 2021
A film worth getting into your life.
Reviewing documentaries is always a bit tricky, since it is often difficult to separate the quality of the film making from your emotional attachment to the subject material. In my case, my early life was saturated with Beatlemania. Although I was only 2 year’s old in 1963 at the start of it all, I had three older siblings who ramped up the excitement so much that it permeated my young mind. I still remember being vehemently “Sssshhed” since I was making too much noise during the live and ground-breaking “All you need is Love” telecast!
Ron Howard’s film focuses on “the touring years” which as depicted were truly manic, spanning from 1963 to 1966 before then skipping forward to 1969 for their final rooftop concert. This was in a time when airline travel was not the more comfortable and smoke-free environment it is today, so these worldwide trips much have been seriously grueling, even without the adoration that reached dangerous proportions when they reached their destinations.
Howard has clearly had his research team scour the world for archive clips since – whilst sensitively skipping some of the more ‘commonly seen’ materials, like the “jewelry shaking” clip – the film shows concert action I certainly had never seen before.
The film is also nicely interlaced with celebrity cameos recalling their linkage to the Fab Four’s performances (often moving, like Whoopi Goldberg’s) and the group’s “legacy” effect on modern-day art (in Richard Curtis’s case rather less convincing). One of the most striking of these is that of Sigourney Weaver recounting her attendance as a pre-teen at the Beatle’s Rose Bowl performance in LA. There, in the newsreel footage of adoring fans, is the unmistakable face of the ‘before she was famous’ actress: at least I hope it really was her (as the clip’s timing implied) and not a lookalike, since that would be really disappointing!
Also featuring – although not enough for my liking – are Paul McCartney and Ringo Starr, recounting their feelings about the events and what happened behind the closed doors of hotel rooms or – most notably – a meat truck.
What shines through is the honesty and intelligence of Lennon and McCartney, typified by the idiotic questioning of journalists, some of who had done so little homework they didn’t even know there wasn’t a Beatle called Eric! Some of the group’s off the cuff responses were priceless: “What is the secret of your success?” asks one journo. “We don’t know” quips John. “If we knew we’d form another group and be managers.”
While the film has enormous energy in its first two thirds, it rather runs out of momentum in its final reel…. a bit like the Beatles did in fact. It also has elements of gimmickry like the smoke rising from photo cigarettes which gets a tad tiresome after the tenth occurrence.
But this is a very watchable and enjoyable rock down memory lane for 50-somethings and for any fans old and young of the Fab Four’s music. Highly Recommended. Note that the documentary itself is about 90 minutes in length, with another 30 minutes of live concert music tagged onto the end post-titles (which for travel reasons I was unfortunately unable to stay for so can’t comment on).
Ron Howard’s film focuses on “the touring years” which as depicted were truly manic, spanning from 1963 to 1966 before then skipping forward to 1969 for their final rooftop concert. This was in a time when airline travel was not the more comfortable and smoke-free environment it is today, so these worldwide trips much have been seriously grueling, even without the adoration that reached dangerous proportions when they reached their destinations.
Howard has clearly had his research team scour the world for archive clips since – whilst sensitively skipping some of the more ‘commonly seen’ materials, like the “jewelry shaking” clip – the film shows concert action I certainly had never seen before.
The film is also nicely interlaced with celebrity cameos recalling their linkage to the Fab Four’s performances (often moving, like Whoopi Goldberg’s) and the group’s “legacy” effect on modern-day art (in Richard Curtis’s case rather less convincing). One of the most striking of these is that of Sigourney Weaver recounting her attendance as a pre-teen at the Beatle’s Rose Bowl performance in LA. There, in the newsreel footage of adoring fans, is the unmistakable face of the ‘before she was famous’ actress: at least I hope it really was her (as the clip’s timing implied) and not a lookalike, since that would be really disappointing!
Also featuring – although not enough for my liking – are Paul McCartney and Ringo Starr, recounting their feelings about the events and what happened behind the closed doors of hotel rooms or – most notably – a meat truck.
What shines through is the honesty and intelligence of Lennon and McCartney, typified by the idiotic questioning of journalists, some of who had done so little homework they didn’t even know there wasn’t a Beatle called Eric! Some of the group’s off the cuff responses were priceless: “What is the secret of your success?” asks one journo. “We don’t know” quips John. “If we knew we’d form another group and be managers.”
While the film has enormous energy in its first two thirds, it rather runs out of momentum in its final reel…. a bit like the Beatles did in fact. It also has elements of gimmickry like the smoke rising from photo cigarettes which gets a tad tiresome after the tenth occurrence.
But this is a very watchable and enjoyable rock down memory lane for 50-somethings and for any fans old and young of the Fab Four’s music. Highly Recommended. Note that the documentary itself is about 90 minutes in length, with another 30 minutes of live concert music tagged onto the end post-titles (which for travel reasons I was unfortunately unable to stay for so can’t comment on).
Movie Metropolis (309 KP) rated Alien: Covenant (2017) in Movies
Jun 11, 2019
Bigger isn't always better
Ridley Scott’s Alien prequel Prometheus wasn’t as warmly received as the veteran director had hoped for upon its release in 2012. In pitching the film for the coveted 12A market, Scott lost the majority of what made his 1979 masterpiece, rated 18, such an epic adventure.
So, five years on, Scott returns with a follow-up that aims to answer those irritating questions that Prometheus left us with. But is Alien: Covenant a return to form for the series? Or yet another damp squib?
Bound for a remote planet on the far side of the galaxy, crew members (Katherine Waterston, Billy Crudup, Danny McBride) of the colony ship Covenant discover a distress signal from what they believe to be an uncharted paradise. While there, they meet David (Michael Fassbender), the synthetic survivor of the doomed Prometheus expedition. However, this new mysterious world soon turns dangerous when a hostile alien life-form forces the crew into a deadly fight for survival.
In Covenant, Scott has tried to take the series back to its horror roots. This is a gory and at times difficult film to stomach, but it just isn’t scary. Despite gaining a 15 certification from the BBFC, Covenant feels like Prometheus on steroids – it’s certainly bigger and in many ways better than its predecessor, but it fails to move this ailing franchise in any new direction.
Naturally, character development takes a backseat here, as it does with many films in the genre, but Scott cleverly casts his characters as loving couples, which raises the emotion once the inevitable bloodshed starts to occur.
That cast is most definitely Covenant’s strongest suit. Prometheus had a distinctly unlikeable roster of characters that didn’t gel together. Here, the way they interact is believable and each of the couplings has a degree of chemistry that helps give their deaths some emotional heft.
Katherine Waterston channels Sigourney Weaver to some extent and makes a good leading lady and Danny McBride’s Tennessee is an excellent presence in an against-type performance from the comedian. However, Michael Fassbender’s portrayal of androids Walter and David is exceptional.
To look at, this is by far the best film in the series. Scott has crafted a detailed, haunting world that emits a damp, grey colour palate. The action is expertly shot, but this is to be expected from a director with decades in the industry. Even the Covenant ship itself feels more grounded in reality when compared to the technology of the Prometheus.
Unfortunately, once the remaining crew arrive ‘safely’ back onboard the Mother ship, things start to unravel rapidly. The film takes far too long to land on the uncharted planet meaning that the final act is rushed and this is a real shame considering the middle 45 minutes feature some of the best sequences in the entire series.
It is nice to see our favourite movie extra-terrestrial’s back in the confines of a spaceship, and the CGI used to bring them to life means they move with a fluidity like never before, but there just isn’t enough of it. It needs more Xenomorph.
Elsewhere, Jed Kurzel’s beautiful score lifts the film in its first half, becoming deeply unnerving and claustrophobic in its second. The change in tone is obvious and helps signify the optimism of the crew as they land, compared with the terror as those that remain leave the planet.
Overall, Alien: Covenant improves on Prometheus in the sense that it feels like a true Alien film, rather than a half-baked idea to cash in on the franchise. Unfortunately, a poor final act, a lack of new direction and yet another frustratingly open story means we still may not get the answers we so desperately want until the inevitable sequel arrives in a few years time.
https://moviemetropolis.net/2017/05/12/bigger-isnt-always-better-alien-covenant-review/
So, five years on, Scott returns with a follow-up that aims to answer those irritating questions that Prometheus left us with. But is Alien: Covenant a return to form for the series? Or yet another damp squib?
Bound for a remote planet on the far side of the galaxy, crew members (Katherine Waterston, Billy Crudup, Danny McBride) of the colony ship Covenant discover a distress signal from what they believe to be an uncharted paradise. While there, they meet David (Michael Fassbender), the synthetic survivor of the doomed Prometheus expedition. However, this new mysterious world soon turns dangerous when a hostile alien life-form forces the crew into a deadly fight for survival.
In Covenant, Scott has tried to take the series back to its horror roots. This is a gory and at times difficult film to stomach, but it just isn’t scary. Despite gaining a 15 certification from the BBFC, Covenant feels like Prometheus on steroids – it’s certainly bigger and in many ways better than its predecessor, but it fails to move this ailing franchise in any new direction.
Naturally, character development takes a backseat here, as it does with many films in the genre, but Scott cleverly casts his characters as loving couples, which raises the emotion once the inevitable bloodshed starts to occur.
That cast is most definitely Covenant’s strongest suit. Prometheus had a distinctly unlikeable roster of characters that didn’t gel together. Here, the way they interact is believable and each of the couplings has a degree of chemistry that helps give their deaths some emotional heft.
Katherine Waterston channels Sigourney Weaver to some extent and makes a good leading lady and Danny McBride’s Tennessee is an excellent presence in an against-type performance from the comedian. However, Michael Fassbender’s portrayal of androids Walter and David is exceptional.
To look at, this is by far the best film in the series. Scott has crafted a detailed, haunting world that emits a damp, grey colour palate. The action is expertly shot, but this is to be expected from a director with decades in the industry. Even the Covenant ship itself feels more grounded in reality when compared to the technology of the Prometheus.
Unfortunately, once the remaining crew arrive ‘safely’ back onboard the Mother ship, things start to unravel rapidly. The film takes far too long to land on the uncharted planet meaning that the final act is rushed and this is a real shame considering the middle 45 minutes feature some of the best sequences in the entire series.
It is nice to see our favourite movie extra-terrestrial’s back in the confines of a spaceship, and the CGI used to bring them to life means they move with a fluidity like never before, but there just isn’t enough of it. It needs more Xenomorph.
Elsewhere, Jed Kurzel’s beautiful score lifts the film in its first half, becoming deeply unnerving and claustrophobic in its second. The change in tone is obvious and helps signify the optimism of the crew as they land, compared with the terror as those that remain leave the planet.
Overall, Alien: Covenant improves on Prometheus in the sense that it feels like a true Alien film, rather than a half-baked idea to cash in on the franchise. Unfortunately, a poor final act, a lack of new direction and yet another frustratingly open story means we still may not get the answers we so desperately want until the inevitable sequel arrives in a few years time.
https://moviemetropolis.net/2017/05/12/bigger-isnt-always-better-alien-covenant-review/
Movie Metropolis (309 KP) rated Finding Dory (2016) in Movies
Jun 11, 2019
Is it a return to form for Pixar/
For years, Pixar was an unstoppable force. The studio combined stunning animation with thought-provoking stories that adults and children could enjoy. From Toy Story to Wall.E, everyone, at some point will have watched a Pixar film.
Then a few things caused the bubble to burst. Firstly, other companies upped their game, big time, with Dreamworks in particular being hot on the heels of their rival. Secondly, Pixar’s own partner, Disney started churning out great animated films with Zootropolis and Wreck-it Ralph worth a mention.
Finally, Pixar lost its way. Cars and its dreadful sequel, followed by an underwhelming prequel to Monsters Inc and the marketing disaster that was The Good Dinosaur all culminated in a studio damaged by its own high standards. Now, in 2016, we have a sequel to arguably Pixar’s best film, Finding Nemo, but does Finding Dory build on its predecessor or sink faster than a stone?
Dory (Ellen DeGeneres) is a wide-eyed, blue tang fish who suffers from memory loss. The one thing she can remember is she somehow became separated from her parents as a child. With help from Nemo and Marlin, Dory embarks on an epic adventure to find them. Her journey brings her to the Marine Life Institute, a rehabilitation centre for diverse ocean species and from there; she tries to reunite with her long-lost relatives.
Finding Dory opens with a neatly packaged throwback to its predecessor, providing an easy way of getting the audience up to speed with what came before it – after all, it’s been 13 years since the release of the first film. From then on, it’s full steam ahead with a story that lacks the subtlety of Finding Nemo, but is engaging nonetheless.
The animation is you guessed it, exceptional. Nemo was one of the best films to showcase Pixar’s talents and its sequel continues that trend. The vibrancy of the colour palette is breath-taking and each shimmering wave makes you feel part of the watery depths. The blacks feel endless and the diversity of marine life just adds to the sparkle.
For adults, there are some cracking references to other films. Would you believe me if I told you Pixar managed to shoehorn an Alien homage in there? Well, they did, and it works beautifully. Couple that with a surprise turn from Sigourney Weaver as a park announcer and it’s a recipe for laughs all around.
Ellen DeGeneres takes centre stage this time around and rightly so. Dory is a loveable character, especially in her wide-eyed youth, and a very well-written one, despite her constant forgetfulness. Elsewhere, Idris Elba provides some laughs as a lazy sea lion and Ed O’Neill steals the show as a grumpy octopus.
Unfortunately, the final act of the film delves into unnecessarily and uncharacteristically silly territory. The joy of Pixar’s other works is that, despite their often out-of-this-world themes, they still feel grounded in reality. Dory’s finale is so ridiculous that it spoils the effect of the plot.
Nevertheless, you’ll be reaching for your tissues more than once as director and scriptwriter Andrew Stanton combines that heart-warming story with some lovely dialogue that will resonate with all generations.
Overall, Finding Dory isn’t the outright success it could’ve been, but it doesn’t continue the slip in Pixar’s quality either. The animation is truly wonderful and some of the references to more adult films are worked in very cleverly – but that final act; it’s just awful.
https://moviemetropolis.net/2016/08/01/is-it-a-return-to-form-for-pixar-finding-dory-review/
Then a few things caused the bubble to burst. Firstly, other companies upped their game, big time, with Dreamworks in particular being hot on the heels of their rival. Secondly, Pixar’s own partner, Disney started churning out great animated films with Zootropolis and Wreck-it Ralph worth a mention.
Finally, Pixar lost its way. Cars and its dreadful sequel, followed by an underwhelming prequel to Monsters Inc and the marketing disaster that was The Good Dinosaur all culminated in a studio damaged by its own high standards. Now, in 2016, we have a sequel to arguably Pixar’s best film, Finding Nemo, but does Finding Dory build on its predecessor or sink faster than a stone?
Dory (Ellen DeGeneres) is a wide-eyed, blue tang fish who suffers from memory loss. The one thing she can remember is she somehow became separated from her parents as a child. With help from Nemo and Marlin, Dory embarks on an epic adventure to find them. Her journey brings her to the Marine Life Institute, a rehabilitation centre for diverse ocean species and from there; she tries to reunite with her long-lost relatives.
Finding Dory opens with a neatly packaged throwback to its predecessor, providing an easy way of getting the audience up to speed with what came before it – after all, it’s been 13 years since the release of the first film. From then on, it’s full steam ahead with a story that lacks the subtlety of Finding Nemo, but is engaging nonetheless.
The animation is you guessed it, exceptional. Nemo was one of the best films to showcase Pixar’s talents and its sequel continues that trend. The vibrancy of the colour palette is breath-taking and each shimmering wave makes you feel part of the watery depths. The blacks feel endless and the diversity of marine life just adds to the sparkle.
For adults, there are some cracking references to other films. Would you believe me if I told you Pixar managed to shoehorn an Alien homage in there? Well, they did, and it works beautifully. Couple that with a surprise turn from Sigourney Weaver as a park announcer and it’s a recipe for laughs all around.
Ellen DeGeneres takes centre stage this time around and rightly so. Dory is a loveable character, especially in her wide-eyed youth, and a very well-written one, despite her constant forgetfulness. Elsewhere, Idris Elba provides some laughs as a lazy sea lion and Ed O’Neill steals the show as a grumpy octopus.
Unfortunately, the final act of the film delves into unnecessarily and uncharacteristically silly territory. The joy of Pixar’s other works is that, despite their often out-of-this-world themes, they still feel grounded in reality. Dory’s finale is so ridiculous that it spoils the effect of the plot.
Nevertheless, you’ll be reaching for your tissues more than once as director and scriptwriter Andrew Stanton combines that heart-warming story with some lovely dialogue that will resonate with all generations.
Overall, Finding Dory isn’t the outright success it could’ve been, but it doesn’t continue the slip in Pixar’s quality either. The animation is truly wonderful and some of the references to more adult films are worked in very cleverly – but that final act; it’s just awful.
https://moviemetropolis.net/2016/08/01/is-it-a-return-to-form-for-pixar-finding-dory-review/
Gareth von Kallenbach (965 KP) rated Chappie (2015) in Movies
Jun 19, 2019
In the world of 2016 South Africa, the police have taken a firm stand against the out of control crime problem facing the community by deploying a new line of robotic police officers. The robots known as “Scouts” are the creation of Deon Wilson (Dev Patel), who works for a defense contractor and dreams of taking artificial intelligence to the next level.
His boss Michelle (Sigourney Weaver), is not interested in anything other than the bottom line and discourages any creation or research that do not have military and financial ramification to them.
Deon must also content with an ex-soldier and rival designer named Vincent (Hugh Jackman), who is jealous of the success of the Scouts and wants to instead see his heavy weapons unit be given the chance to shine.
When he has a breakthrough, Deon opts to defy his boss and installs a new and revolutionary A.I. program into a Scout that was scheduled to be demolished after taking extensive damage in the field.
Things do not go as planned when Deon and his creation are captured by a gang who are desperate to raise money in order to pay back a debt to a rival gangster.
The new unit is like a child and Deon explains that he has to be treated like a child and given the chance to learn. The fact that his damage prevents him from being able to be recharged means the Scout now named “Chappie” only a few days of life adds urgency to the situation.
The gang starts to teach Chappie (Sharito Copley), when he needs to know to help them pull of their crimes but also become attached to him as he innocent ways and outlook start to grow on the gruff criminals.
With the clock ticking, events take a turn when Vincent takes matters into his own hands and before long several parties are pitted against one another with their very survival on the line.
Writer./Director Neil Blomkamp has crafted a “Thinking Man’s” science fiction film that evokes many solid debates about the definition of life, death, a soul, and other less tangible themes. The film has some action at the beginning and end and the CGI effects are very solid.
The biggest issue I had with the film was that the great premise lost momentum in the final act and in many ways takes some huge leaps of faith. We are supposed to believe that this is a top defense company yet people are able to come and go, especially at crunch time during the film. I had no idea you can just drive through a fence into a loading dock without every encountering any security or resistance. The area is like a revolving door as characters come and go without raising an eyebrow.
The cast is solid but some may have an issue with the accents in the film which Blomkamp recognizes by adding in subtitles at various moments in the film.
In the end “Chappie” is a good premise that never fully meets the potential it aspires to but still has enough good moments to underscore that Blomkamp is one of the most gifted talents in Science Fiction as he is able to infuse what would otherwise be a soulless character with enough heart and compassion that the audience will have empathy for him. With that in mind, Blomkamp should do a great job with the upcoming new Alien film as he has crafted a solid and enjoyable film that entertains while making you think about the deeper issues of existence without doing it in a heavy-handed manner.
http://sknr.net/2015/03/06/chappie/
His boss Michelle (Sigourney Weaver), is not interested in anything other than the bottom line and discourages any creation or research that do not have military and financial ramification to them.
Deon must also content with an ex-soldier and rival designer named Vincent (Hugh Jackman), who is jealous of the success of the Scouts and wants to instead see his heavy weapons unit be given the chance to shine.
When he has a breakthrough, Deon opts to defy his boss and installs a new and revolutionary A.I. program into a Scout that was scheduled to be demolished after taking extensive damage in the field.
Things do not go as planned when Deon and his creation are captured by a gang who are desperate to raise money in order to pay back a debt to a rival gangster.
The new unit is like a child and Deon explains that he has to be treated like a child and given the chance to learn. The fact that his damage prevents him from being able to be recharged means the Scout now named “Chappie” only a few days of life adds urgency to the situation.
The gang starts to teach Chappie (Sharito Copley), when he needs to know to help them pull of their crimes but also become attached to him as he innocent ways and outlook start to grow on the gruff criminals.
With the clock ticking, events take a turn when Vincent takes matters into his own hands and before long several parties are pitted against one another with their very survival on the line.
Writer./Director Neil Blomkamp has crafted a “Thinking Man’s” science fiction film that evokes many solid debates about the definition of life, death, a soul, and other less tangible themes. The film has some action at the beginning and end and the CGI effects are very solid.
The biggest issue I had with the film was that the great premise lost momentum in the final act and in many ways takes some huge leaps of faith. We are supposed to believe that this is a top defense company yet people are able to come and go, especially at crunch time during the film. I had no idea you can just drive through a fence into a loading dock without every encountering any security or resistance. The area is like a revolving door as characters come and go without raising an eyebrow.
The cast is solid but some may have an issue with the accents in the film which Blomkamp recognizes by adding in subtitles at various moments in the film.
In the end “Chappie” is a good premise that never fully meets the potential it aspires to but still has enough good moments to underscore that Blomkamp is one of the most gifted talents in Science Fiction as he is able to infuse what would otherwise be a soulless character with enough heart and compassion that the audience will have empathy for him. With that in mind, Blomkamp should do a great job with the upcoming new Alien film as he has crafted a solid and enjoyable film that entertains while making you think about the deeper issues of existence without doing it in a heavy-handed manner.
http://sknr.net/2015/03/06/chappie/
Gareth von Kallenbach (965 KP) rated Avatar (2009) in Movies
Aug 8, 2019
With a budget reported to be around $400 million dollars and a four year production cycle, “Avatar” by James Cameron is poised to usher in a new age in digital fx and 3d.
The film is set in 2154 and involves a disabled vet named Jake (Sam Worthington), who is sent to the distant moon of Pandora following the death of his brother.
It is learned that Pandora possesses a highly valuable resource that sells on the resource ravaged earth for $200 million a kilo and, which naturally sets off a frenzy of mining on the moon.
With the cultivation of the resource at a premium a facility has been established to ensure a constant mining operation and protect those on the base from the hostile wildlife that is everywhere.
While the wildlife on Pandora is a big issue, it pales in comparison to the issues poised by the native Na’vi who are a blue-skinned race who live in the forests of the moon and are in harmony with the nature of the planet which have caused them to hamper the mining efforts of the humans.
Anxious to keep the mining operations going, and limit the use of brute force to avoid any p.r. issues, a program known as “Avatar” is put into motion which allows select individuals to pilot a surrogate made from Na’vi and human D.N.A. in an effort to get the Na’vi to move and end their opposition to the mining.
It is hoped that the pilots will in time find a way to force the cooperation of the Na’vi after spending time amongst them.
Jake is thrilled with the program as once his remote link is established, he is free to run and jump again and in time finds himself absorbed by the Na’vi who wish to show him their ways as a test of his worthiness after he is separated from his fellow humans.
At this point Jake leads a double life as his surrogate learns what it is to be Na’vi and when the surrogate is asleep, Jake unhooks himself from his control bed, and is back on the base with his fellow humans. Jake is approached by Colonel Quaritch (Stephen Lang), who tasks the Marine to obtain tactical data on the Na’vi should his forces be called into action to force their cooperation. Jake is promised a costly procedure in return which would allow him to regain the use of his legs and live a life outside of his wheelchair.
As time passes, Jake grows closer to his Na’vi mentor Neytire (Zoe Saldana), who aside from being the daughter of the chief is a skilled hunter for her people. At this point Jake begins to question the motives and methods of his people and sees the exploitation and possible massacre of the Na’vi as something he can no longer accept. Jake puts a plan in motion to protect his human and Na’vi friends and what follows is an epic confrontation that is awash in visual splendor and action as James Cameron once again pushes the boundaries of technology.
Some may cite the story as resembling “Dances with Wolves’; and other films that deal with the exploitation of the native races, but the true magic of the film is that it is not limited to the lavish visuals but is instead powered by the compelling characters.
The 3d fx shine as Cameron has created another world with a thriving ecosystem that is as much a character in the film as the flesh and blood and digital creations that power the story.
The film has good supporting work from Sigourney Weaver, and Michelle Rodriquez as well as the fine ensemble cast. The amazing blend of story, digital splendor, and characters all combine to make “Avatar” a truly amazing visual film with a strong message of love, hope, and unity. James Cameron has once again proved that he is one of the true masters of cinema and has crafted a magical experience that enchants and informs.
The film is set in 2154 and involves a disabled vet named Jake (Sam Worthington), who is sent to the distant moon of Pandora following the death of his brother.
It is learned that Pandora possesses a highly valuable resource that sells on the resource ravaged earth for $200 million a kilo and, which naturally sets off a frenzy of mining on the moon.
With the cultivation of the resource at a premium a facility has been established to ensure a constant mining operation and protect those on the base from the hostile wildlife that is everywhere.
While the wildlife on Pandora is a big issue, it pales in comparison to the issues poised by the native Na’vi who are a blue-skinned race who live in the forests of the moon and are in harmony with the nature of the planet which have caused them to hamper the mining efforts of the humans.
Anxious to keep the mining operations going, and limit the use of brute force to avoid any p.r. issues, a program known as “Avatar” is put into motion which allows select individuals to pilot a surrogate made from Na’vi and human D.N.A. in an effort to get the Na’vi to move and end their opposition to the mining.
It is hoped that the pilots will in time find a way to force the cooperation of the Na’vi after spending time amongst them.
Jake is thrilled with the program as once his remote link is established, he is free to run and jump again and in time finds himself absorbed by the Na’vi who wish to show him their ways as a test of his worthiness after he is separated from his fellow humans.
At this point Jake leads a double life as his surrogate learns what it is to be Na’vi and when the surrogate is asleep, Jake unhooks himself from his control bed, and is back on the base with his fellow humans. Jake is approached by Colonel Quaritch (Stephen Lang), who tasks the Marine to obtain tactical data on the Na’vi should his forces be called into action to force their cooperation. Jake is promised a costly procedure in return which would allow him to regain the use of his legs and live a life outside of his wheelchair.
As time passes, Jake grows closer to his Na’vi mentor Neytire (Zoe Saldana), who aside from being the daughter of the chief is a skilled hunter for her people. At this point Jake begins to question the motives and methods of his people and sees the exploitation and possible massacre of the Na’vi as something he can no longer accept. Jake puts a plan in motion to protect his human and Na’vi friends and what follows is an epic confrontation that is awash in visual splendor and action as James Cameron once again pushes the boundaries of technology.
Some may cite the story as resembling “Dances with Wolves’; and other films that deal with the exploitation of the native races, but the true magic of the film is that it is not limited to the lavish visuals but is instead powered by the compelling characters.
The 3d fx shine as Cameron has created another world with a thriving ecosystem that is as much a character in the film as the flesh and blood and digital creations that power the story.
The film has good supporting work from Sigourney Weaver, and Michelle Rodriquez as well as the fine ensemble cast. The amazing blend of story, digital splendor, and characters all combine to make “Avatar” a truly amazing visual film with a strong message of love, hope, and unity. James Cameron has once again proved that he is one of the true masters of cinema and has crafted a magical experience that enchants and informs.
BankofMarquis (1832 KP) rated Alien (1979) in Movies
Feb 22, 2020
This classic holds up very, very well more than 40 years later
I convinced my cynical 19 year old to watch an "ancient" film (her phrase) - so I was careful with my choice. I know she likes horror, so thought I would try to see if she could be scared the old fashioned way and pulled the 1979 Sci-Fi/Horror classic ALIEN off the shelves to show her.
It scared the crap outta her.
Directed by Ridley Scott (more on him later) Alien tells the tale of a working-class deep space vehicle, returning home with a full cargo when they intercept a distress call at a distant, non-descript planet, they go to investigate and...
As told by Ridley Scott, based on a script and story by Dan O'Bannon, Alien is a masterwork in suspense and mood. Scott takes his time telling this story, setting up the feel and atmosphere, showing a gritty, working-man's vessel (and not a sleek silver and chrome shiny ship) where the people inside the craft are not heroes, but working class stiff's just trying to make a buck.
What surprised me this time around seeing this film is how deliberate (some would say slow) that the pacing of this film is - but, darn it all, if it doesn't work. The tension slowly builds so when violence/action happens it explodes and seems all the bigger due to the fact that it is coming out of silence.
The cast - a group of relative unknowns at the time - is stellar. In the DVD commentary, Director Scott said he spent quite a bit of time casting this film to ensure he had the right mix - and his work shows on screen. The 7 actors in this film work well together - and each one of them brings a real character to the screen that is interesting to watch.
Tom Skerrit (the film version of M*A*S*H) as laconic, laid back Captain Dallas and Yaphet Kotto (the villain in the James Bond flick LIVE AND LET DIE) as gruff, looking-for-a-buck mechanic Parker were the most well known of the 7 at the time of the release of the film - and they do bring some star power to the proceedings, but are met, evenly, by others like former child star Veronica Cartwright (Alfred Hitchcock's THE BIRDS), veteran character Actor Harry Dean Stanton ( THE ROSE) and John Hurt (THE ELEPHANT MAN). All 3 bring interesting characters - and faces - to the proceedings.
But...for me 2 the standouts in this cast is IAN HOLM (TIME BANDITS) as Science Officer Ash - a character with some "quirks" (to put it mildly) and, of course Sigourney Weaver (GHOSTBUSTERS) in her star making role as 3rd officer Ripley. I don't want to spoil anything in this film, but Weaver's Ripley is the type of strong female character - fighting the typical, chauvinistic male hierarchy - that was heretofore unknown/rarely seen in film and is the prototype of these types of characters to this day. Weaver's performance and the writing and direction of this character is that strong/groundbreaking that it continues to influence writing and filmmaking all these years later.
The 8th character in this film is the look and feel of the ship - the Nostromo - and the look and feel of the titular Alien character as brought to life in an Oscar winning effort in Visual Effects for the team of H.R. Giger, Carlo Rambaldi, Brian Johnson, Nick Allder and Dennis Ayling (based on drawings by Giger). This is truly remarkable, bravura and groundbreaking design and filmmaking - one that holds up very well more than 40 years later - made all the more astounding when you realize that these are all practical effects (CGI had not be invented yet) and the filmmakers had to rely on puppetry, editing, performance and what you don't see (but your mind thinks you do) to fill in the gaps.
It all works tremendously well - if you haven't seen this in awhile, do yourself a favor and watch it again. If you have never seen it, well...you are in for a treat.
Letter Grade: A+
10 Stars (out of 10) and you can take that to the Bank(ofMarquis)
It scared the crap outta her.
Directed by Ridley Scott (more on him later) Alien tells the tale of a working-class deep space vehicle, returning home with a full cargo when they intercept a distress call at a distant, non-descript planet, they go to investigate and...
As told by Ridley Scott, based on a script and story by Dan O'Bannon, Alien is a masterwork in suspense and mood. Scott takes his time telling this story, setting up the feel and atmosphere, showing a gritty, working-man's vessel (and not a sleek silver and chrome shiny ship) where the people inside the craft are not heroes, but working class stiff's just trying to make a buck.
What surprised me this time around seeing this film is how deliberate (some would say slow) that the pacing of this film is - but, darn it all, if it doesn't work. The tension slowly builds so when violence/action happens it explodes and seems all the bigger due to the fact that it is coming out of silence.
The cast - a group of relative unknowns at the time - is stellar. In the DVD commentary, Director Scott said he spent quite a bit of time casting this film to ensure he had the right mix - and his work shows on screen. The 7 actors in this film work well together - and each one of them brings a real character to the screen that is interesting to watch.
Tom Skerrit (the film version of M*A*S*H) as laconic, laid back Captain Dallas and Yaphet Kotto (the villain in the James Bond flick LIVE AND LET DIE) as gruff, looking-for-a-buck mechanic Parker were the most well known of the 7 at the time of the release of the film - and they do bring some star power to the proceedings, but are met, evenly, by others like former child star Veronica Cartwright (Alfred Hitchcock's THE BIRDS), veteran character Actor Harry Dean Stanton ( THE ROSE) and John Hurt (THE ELEPHANT MAN). All 3 bring interesting characters - and faces - to the proceedings.
But...for me 2 the standouts in this cast is IAN HOLM (TIME BANDITS) as Science Officer Ash - a character with some "quirks" (to put it mildly) and, of course Sigourney Weaver (GHOSTBUSTERS) in her star making role as 3rd officer Ripley. I don't want to spoil anything in this film, but Weaver's Ripley is the type of strong female character - fighting the typical, chauvinistic male hierarchy - that was heretofore unknown/rarely seen in film and is the prototype of these types of characters to this day. Weaver's performance and the writing and direction of this character is that strong/groundbreaking that it continues to influence writing and filmmaking all these years later.
The 8th character in this film is the look and feel of the ship - the Nostromo - and the look and feel of the titular Alien character as brought to life in an Oscar winning effort in Visual Effects for the team of H.R. Giger, Carlo Rambaldi, Brian Johnson, Nick Allder and Dennis Ayling (based on drawings by Giger). This is truly remarkable, bravura and groundbreaking design and filmmaking - one that holds up very well more than 40 years later - made all the more astounding when you realize that these are all practical effects (CGI had not be invented yet) and the filmmakers had to rely on puppetry, editing, performance and what you don't see (but your mind thinks you do) to fill in the gaps.
It all works tremendously well - if you haven't seen this in awhile, do yourself a favor and watch it again. If you have never seen it, well...you are in for a treat.
Letter Grade: A+
10 Stars (out of 10) and you can take that to the Bank(ofMarquis)
Bob Mann (459 KP) rated Mamma Mia: Here We Go Again! (2018) in Movies
Sep 29, 2021
I had a dream. A sob. A sing.
You remember in “Aliens” when Ripley (Sigourney Weaver) fought through hell and high water against that “bitch” to protect the youngster Newt (Carrie Henn)? And then how betrayed you felt in that emotional investment at the start of “Alien 3”?
Which brings us spoiler-free to the start of “Mamma Mia! Here We Go Again”, typically shortened by everyone to “Mamma Mia 2”, the sequel to the enormously successful cheese-fest (and Bros-fest) that was the first film, now – unbelievably – 10 years old.
Sophie (Amanda Seyfried) is trying to open the Bella Donna hotel on that magical Greek island separated from her husband Sky (Dominic Cooper) who is learning the tips of the hotel trade in New York. As preparations for the opening party progress we flash back to the back-story of Donna (as a post-graduate played by Lily James) as she meets Harry (Hugh Skinner, “The Windsors”, “W1A”), Bill (Josh Dylan, “Allied”) and Sam (Jeremy Irvine, “War Horse”) en route to Greece.
If you remember the first film and thought Donna (Meryl Streep) was a bit of a… erm… ‘loose woman’, then this plot point could have been amplified by seeing the “dot, dot, dot” acts in the flesh, as it were. Fortunately, in steps Lily James as the young Donna who is so mesmerisingly gorgeous and vivacious that you can forgive her just about anything. “Beguiling” was the description my better half came up with, and I couldn’t describe her better. Supporting her effectively are Alexa Davies (as the young version of Julie Walters‘ character) and Jessica Keenan Wynn (as the young version of Christine Baranski‘s character). The trio’s exuberant performance of “When I Kissed the Teacher” sets the tone well for the grin-fest to follow. (By the way, if you are a Mary Poppins fan then a bit of trivia is that Wynn is the great-granddaughter of Ed Wynn, the character who “Loved to Laugh” on the ceiling!).
In these days of drought, Trump vs the world, Brexit and universal bruhaha, this is a much-needed joyful film, and far better I would say than the original. A good story, well executed and stuffed with excellent tunes. True, apart from a number of key repeats, we are more in the territory – in CD terms – of “More Abba Gold” than “Abba Gold”, but Bjorn and Benny’s B-sides are still better than many other’s A-sides. What’s really nice is that the songs are well chosen to mesh better into the story and the lead singing of Seyfried and James is uniformly excellent. Pierce Brosnan gets to sing (no, no, come back!) but it is cleverly low-key and genuinely touching. And as for Celia Imrie, you’re a legend and we forgive you!
It’s also far better at finding both humour and pathos than the original, with the splendid Hugh Skinner exhibiting perfect comic timing and comedian Omid Djalili being very funny (stay to the end of the end-credits for a very funny monkey). National treasure Julie Walters also adds excellent comic content, particularly in a number of dance scenes.
And as for the pathos, if the duet at the finale doesn’t move you to tears you are either made of rock or are immune to being shamelessly manipulated! It’s a well-scripted convergence of grief and joy (I feel Richard Curtis‘s hand in the story here) around one of Abba’s most beautifully tear-jerking songs. I will admit to you – don’t tell anyone else – that I was left in a complete mess… another reason to sit through the end titles!
At the elderly end of the cast list Andy Garcia is magnificent as the South American hotel manager Mr Cienfuegos (you’ll NEVER guess what his first name is!) and Cher (“Moonstruck”) literally rocks up trying hard to steal the show as Sophie’s Vegas superstar grandmother.
Directed and scripted by “Best Exotic Marigold Hotel” director Ol Parker (the lucky guy who is married to Thandie Newton!) it drips with cheese again, but who cares when it is so stylishly done. Should you see this? The test is simple: if you hated “Mamma Mia” then you will hate this one; if you loved “Mamma Mia” you will simply adore this one.
Which brings us spoiler-free to the start of “Mamma Mia! Here We Go Again”, typically shortened by everyone to “Mamma Mia 2”, the sequel to the enormously successful cheese-fest (and Bros-fest) that was the first film, now – unbelievably – 10 years old.
Sophie (Amanda Seyfried) is trying to open the Bella Donna hotel on that magical Greek island separated from her husband Sky (Dominic Cooper) who is learning the tips of the hotel trade in New York. As preparations for the opening party progress we flash back to the back-story of Donna (as a post-graduate played by Lily James) as she meets Harry (Hugh Skinner, “The Windsors”, “W1A”), Bill (Josh Dylan, “Allied”) and Sam (Jeremy Irvine, “War Horse”) en route to Greece.
If you remember the first film and thought Donna (Meryl Streep) was a bit of a… erm… ‘loose woman’, then this plot point could have been amplified by seeing the “dot, dot, dot” acts in the flesh, as it were. Fortunately, in steps Lily James as the young Donna who is so mesmerisingly gorgeous and vivacious that you can forgive her just about anything. “Beguiling” was the description my better half came up with, and I couldn’t describe her better. Supporting her effectively are Alexa Davies (as the young version of Julie Walters‘ character) and Jessica Keenan Wynn (as the young version of Christine Baranski‘s character). The trio’s exuberant performance of “When I Kissed the Teacher” sets the tone well for the grin-fest to follow. (By the way, if you are a Mary Poppins fan then a bit of trivia is that Wynn is the great-granddaughter of Ed Wynn, the character who “Loved to Laugh” on the ceiling!).
In these days of drought, Trump vs the world, Brexit and universal bruhaha, this is a much-needed joyful film, and far better I would say than the original. A good story, well executed and stuffed with excellent tunes. True, apart from a number of key repeats, we are more in the territory – in CD terms – of “More Abba Gold” than “Abba Gold”, but Bjorn and Benny’s B-sides are still better than many other’s A-sides. What’s really nice is that the songs are well chosen to mesh better into the story and the lead singing of Seyfried and James is uniformly excellent. Pierce Brosnan gets to sing (no, no, come back!) but it is cleverly low-key and genuinely touching. And as for Celia Imrie, you’re a legend and we forgive you!
It’s also far better at finding both humour and pathos than the original, with the splendid Hugh Skinner exhibiting perfect comic timing and comedian Omid Djalili being very funny (stay to the end of the end-credits for a very funny monkey). National treasure Julie Walters also adds excellent comic content, particularly in a number of dance scenes.
And as for the pathos, if the duet at the finale doesn’t move you to tears you are either made of rock or are immune to being shamelessly manipulated! It’s a well-scripted convergence of grief and joy (I feel Richard Curtis‘s hand in the story here) around one of Abba’s most beautifully tear-jerking songs. I will admit to you – don’t tell anyone else – that I was left in a complete mess… another reason to sit through the end titles!
At the elderly end of the cast list Andy Garcia is magnificent as the South American hotel manager Mr Cienfuegos (you’ll NEVER guess what his first name is!) and Cher (“Moonstruck”) literally rocks up trying hard to steal the show as Sophie’s Vegas superstar grandmother.
Directed and scripted by “Best Exotic Marigold Hotel” director Ol Parker (the lucky guy who is married to Thandie Newton!) it drips with cheese again, but who cares when it is so stylishly done. Should you see this? The test is simple: if you hated “Mamma Mia” then you will hate this one; if you loved “Mamma Mia” you will simply adore this one.