Escape from New York

Tags

1980's, Action, Adrienne Barbeau, Donald Pleasence, Ernest Borgnine, Escape from New York, Harry Dean Stanton, Isaac Hayes, John Carpenter, Kurt Russell, Lee Van Cleef, Science Fiction

The ever wonderful Gill invited me to take part in a blogathon to honour Kurt Russell and I simply couldn’t refuse.

Director

John Carpenter

Starring

• Kurt Russell as Snake Plissken
• Lee Van Cleef as Bob Hauk
• Ernest Borgnine as Cabbie
• Adrienne Barbeau as Maggie
• Harry Dean Stanton as Brain
• Isaac Hayes as The Duke
• Donald Pleasence as the President

John Carpenter’s science-fiction action film Escape from New York is rightfully held in high regard for its vision and plot. And with atmosphere, imagination and a bad ass lead character to boot, it’s hard to disagree.

The year is a then futuristic 1997. Manhattan Island has been turned into a maximum security prison where once you go in, you never come out. In the main area that was once the central hub, anarchy reigns supreme with violence and destruction. When the President’s plane is hijacked and he crash lands in Manhattan, he is taken hostage by the local crime boss The Duke and his goons. He was supposed to be attending a peace summit with the Soviet Union, but that goes completely out the window with the events that unfurl. Sneaky and manipulative Commissioner Bob Hauk then strong arms the most unlikely person ever to rescue the President from an almost certain death. That person is Snake Plissken, a cynical ex soldier, serving time for theft. Snake is understandably not at all on board with this plan. But after being told that if he rescues the President within 24 hours he could be pardoned, he accepts reluctantly. Though Hauk makes sure he will do it as he has micro explosives implanted in Snake’s neck that will detonate if he doesn’t complete the mission. Hauk knows that Snake would use the opportunity to escape but has him by a tight leash now. With time ticking away, Snake enters the city where he encounters violence from various factions and some assistance by a rag tag group of renegades. They consist of a joking cab driver, hard edged lady and know all.

John Carpenter keeps events imaginative and engaging, with his ingenuity on clear display. I’ve always admired what he brings to a movie and he has the story be one that is very taut and entertaining. Some will say that the film has dated parts, which it does in areas, but the anachronistic touches really add to the oddball personality of the film that it isn’t easy to see why it’s a cult movie. Carpenter plays up the outlandish aspects of the story and the desecration of humanity, mainly in the case of Snake and his no cares attitude towards everything. On the visual front, the practical effects have aged well, with the shots of New York through a futuristic lens being particularly inspired. We get a grimy dystopia to witness and one that has certainly influenced many a film since. Escape from New York is often billed in some quarters as an action movie(which in many cases it is), but for me it’s more about the moody atmosphere than anything else. The cyberpunk echoes and vision of a world in free fall really make sure that Escape from New York is a film to remember. John Carpenter himself provides the pulsing electronic score that compliments the futuristic setting and has just the right notes of darkness there too.

Kurt Russell completely owns the screen as the growling, scowling yet sardonically witty bad ass that is Snake. Russell provides the cynicism and swagger of a man who doesn’t believe in anything and is proud of it. He is ironically the last person you’d think of to rescue a president and that is what ultimately drives the plot. Seriously, Snake ranks as one of the most charismatic and bad ass anti heroes there is. Lee Van Cleef is on nasty form as the scheming and controlling Comissioner who uses Snake to his own advantage. Ernest Borgnine, Adrienne Barbeau and Harry Dean Stanton flesh out the crew that Snake falls in with excellently.With some serious style, Isaac Hayes rocks it portraying the crime boss who stands in the way of Snake succeeding. And there’s Donald Pleasence appearing as the President, who it is revealed is not as squeaky clean as he seemed.

Exciting, inventive and engrossing, Escape from New York is John Carpenter at his imaginative and full blooded best, aided by a fine performance from Kurt Russell as one of cinema’s best anti-heroes.

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Lucy

Tags

2010's, Action, Amr Waked, Choi Min-Sik, Luc Besson, Lucy, Morgan Freeman, Scarlett Johansson, Science Fiction

Film Title

Lucy

Director

Luc Besson

Starring

• Scarlett Johansson as Lucy
• Morgan Freeman as Professor Norman
• Choi Min-Sik as Mr. Jang
• Amr Waked as Pierre Del Rio

Lucy comes courtesy of director Luc Besson and emerges as a wholly ludicrous but enjoyable action/science fiction film. It’s big ideas and imaginings get a bit over the top and out of control, but some curious theories, bright visual palette and Scarlett Johansson as the eponymous character, more than engage with you, even when the overall film itself gets wildly uneven.

Lucy is an American woman, studying in Taipei. The film starts as her latest boyfriend and slime ball coerces her into delivering a mysterious case to a shady man named Mr. Jang. Lucy doesn’t want to do it, but her beau handcuffs her to the case leaving her with little choice. After this, Lucy is kidnapped by Jang’s associates, who it transpires are all in the Mob. Along with a few other men and through force, a bag of drugs is sewn into her system, and she must act as a drugs mule, otherwise those closest to her will be killed. During a torturous isolation, Lucy is severely beaten by the guards. One of these moments has big consequences, as the drugs that were implanted in her for trafficking burst and leak into her bloodstream. Quickly, Lucy grows incredibly powerful and escapes. From this moment on, her abilities advance alarmingly with her being able to not feel pain, manipulate objects and people and become almost impervious to harm. As she unlocks more of her brain power, the dangers arise as no one is sure just what will occur when she hits the highest level of brain activity. Professor Norman, a respected scientist who has studied topics relating to the powers of the cerebrum, becomes fascinated and curious of this young woman and just what she is capable of. On top of this, the mobsters are on her tail, which combines with her attempting to discover more about her accelerating powers. The main question is, just what will transpire and how dangerous will it be when Lucy reaches 100%?

Luc Besson has always been a stylish director, which he shows off again generously  here. Yet while his direction is far from his best as it leaves things a little too ambiguous, his penchant for strong female warriors remains in a great quantity. The presence of the what if possibilities of the human brain(taking cues from the myth referred to in the film that humans use just 10% of their brain functions) act as both a string to the film’s bow and something that drags it down. It’s hard to explain as it ends up a bit of a mixed exercise in storytelling and ideas it brings into play. Lucy excels the most when delivering action and thrills, of which many can be gleaned. Also when it poses some philosophical questions regarding existence and time, the film shines. A great example is a scene near the end that is visually arresting and compelling to watch, but I won’t spoil it in case anyone hasn’t seen it. The film as a whole is more than a bit messy, but that scene is ace. Yet for all the probing of matter that goes on, the science and events grow absurd and a little repetitive, mainly in the mid-section. Still, somehow I couldn’t divert my eyes from Lucy, which suggests that it at least made some impact on my viewing experience. The most arresting and attention grabbing element of Lucy was the general unpredictability arising from what Lucy’s powers and capacities would reach too, and how many were exhibited with science fiction flair. These moments were resplendent with verve and sparks of imagination, that rose above the jumbled science and lack of real logic. The visual side of Lucy is superbly designed and detailed, particularly the shots of Lucy’s body on the inside as power and acceleration take their place in her blood through rapidly speeding shocks of light that keep going and increasing. A pounding soundtrack hits just the right feelings of something mysterious and dangerous about to hit.

Scarlett Johansson is one of the best things in Lucy. As the title character, she has enough charisma and presence to make the part memorable. The luscious Johansson is most adept at displaying Lucy’s shift from waif like innocent to omnipotent being with a detached confidence; as Lucy’s emotions thaw and all that makes her human is replaced by knowledge and steel. Some will say that she is a blank slate, but her intense eyes and focused demeanor boost the character to something else that other actresses would not have been able to do. Morgan Freeman is given scant material in a pretty thankless role, but in a style typical of him, he makes what he has good and filled with the intelligence we have come to associate with the great man. Choi Min-Sik is effectively used as the nasty mob boss who tangles with Lucy, while Amr Waked suffers from a badly written part of a police captain caught up in everything, yet at least attempts to ring something true out of it.

It’s completely barmy and preposterous, which both helps and weakens the film, but there is enough action and points of interest to be found in Lucy. Plus, the allure of Scarlett Johansson in the title role bolsters it significantly. It’s messy and scattershot, but I found myself largely entertained throughout this outrageous venture.

Arrival

Tags

2010's, Amy Adams, Arrival, Denis Villeneuve, Drama, Forest Whitaker, Jeremy Renner, Science Fiction

Film Title

Arrival

Director

Denis Villeneuve

Starring

• Amy Adams as Dr. Louise Banks
• Jeremy Renner as Ian Donnelly
• Forest Whitaker as Colonel Weber

A sublime science fiction drama with thematic heft and a welcome lack of outrageousness, Arrival stands as an intelligent film that poses many interesting questions for the viewer and grips with airs of mystery and fine performances.

Arrival begins with twelve strange spacecrafts landing at various places around the globe. No one is sure of why these objects have come to Earth and many questions lie on people’s lips regarding intentions of those aboard, particularly as they issue a seemingly indecipherable message. Brilliant linguistics professor Dr. Louise Banks is called up by the American government to aid in discovery of what the beings in the crafts want. Brought along by Colonel Weber and physicist Ian Donnelly, she travels to Montana where one of the ships is levitating. Every eighteen hours, the doorway to these pods open and under the direction of Weber, the team of Louise, Ian and other scientists enters the unknown in hopes of coming across answers. It is here that Louise encounters the alien beings, known as heptapods. At first, the attempts to establish contact with them are futile, but Louise, who is already carrying emotional baggage from the death of her daughter, is not about to give up that easily. Through pain-staking methods and committed diligence to the massive job at hand, Louise slowly but surely begins to form something of a bond with the heptapods and gradually through her patient drive, begins to form an idea of what they could be saying. Yet time is not on her side as foreign powers grow anxious about events and chaos takes hold. Many countries consider taking aggressive action against something they don’t understand and it is up to Banks and Donnelly to crack the language and code before mankind heads towards almost certain destruction by its own hand.

Denis Villeneuve masterfully constructs this mysterious puzzle of a film that probes the mind and moves the heart with excellent degrees of adroitness. The fluidity of his vision and how he chooses to shoot scenes is in full view, particularly in the expansive tracking shots of the spacecrafts and the claustrophobic feeling of the heptapods residing place, which is situated behind a fog enshrouded glass chamber. What is very admirable and most interesting about Arrival at least in my eyes, is the slow burning effect it emits. Villeneuve is clearly not in a rush to tell this story, choosing to slowly reveal things and keep the mystery going for us to unearth. And there are a few well-timed surprises to be discovered in Arrival, which bring out the puzzle box aspects of a jigsaw slowly assembling to create a clear picture. It is also very refreshing that for a movie that contains aliens coming to Earth, this is far from a generic science fiction film with explosive action and ridiculous ideas. As much as the story has global implications as to what the aliens want, it is also the personal story of Louise and the journey she embarks on to understand them. Already having significant personal troubles and sadness in her life, Louise is a character who becomes our entry point to the story and who it is hard not to be emotionally invested with. The timely message of how communication is key to understanding and one shouldn’t rush into the unexpected blindly is heard loud and clear in Arrival. This helps in bringing out yet another layer of exceptional food for thought for the audience to chew over. A subdued lighting scheme causes the movie to have a very mysterious impact as it clearly balances darkness with the occasional flash of light, especially in the case of the heptapods. And talking of those creatures, the effects used to craft them are breathtaking at shaping these strange beings into things of majestic and unusual beauty. Arrival’s soundscape is marvellously constructed, from the sound of the aliens that is difficult to decipher to the melancholy and evocative score of the film, the aural parts of this movie are on a very amazing level.

Front and centre of Arrival and one of its strongest parts is the utterly beautiful and affecting performance from Amy Adams. The dedicated Louise is our entry point to the story and we are put on the same emotional level as her; everything is mainly seen from her point of view and with Adams subtly playing the role to perfection, we feel what she feels. We experience her awe at first seeing the creatures and their way of communication(which resembles symbols formed by an inky substance), we feel her pain of the memories of her deceased daughter and we worry for her as she becomes overworked and determined to uncover the key to everything. It’s a performance of all-encompassing natural emotion that is largely contained and composed, yet always there for us to glimpse. It is quite simply a stunning piece of work from Amy Adams, who is having an excellent year with her other turn in Nocturnal Animals getting notice. Expect a few award notices for her vulnerable and soulful portrayal here. Ably supporting her is Jeremy Renner, who is affable, charismatic and amusingly geeky as the physicist helping Louise with deciphering the message. He works nicely alongside Adams, with the two establishing a good working chemistry of intellect and friendship. The always watchable and sincere Forest Whitaker gives off the definite feeling of authority here as the Colonel in charge of Louise’s mission, although through his eyes you can tell that he is worried about the possibilities of what may happen if contact and motives aren’t established.

Handsomely directed with dexterity by Denis Villeneuve, resonant on both an emotional and intellectual level and acted with soul, Arrival is one science fiction film that gets you to think while at the same time absorbing you with its thought-provoking story and ideas. If you want to see a movie this year that has a brain and a deep heart, make that movie be Arrival as you will be bowled over by what it has to offer.

Humanoids from the Deep

Tags

1980's, Ann Turkel, Anthony Pena, Barbara Peeters, Doug McClure, Horror, Humanoids from the Deep, Science Fiction, Vic Morrow

Film Title

Humanoids from the Deep

Director

Barbara Peeters

Starring

• Doug McClure as Jim Hill
• Ann Turkel as Dr. Susan Drake
• Vic Morrow as Hank Slattery
• Anthony Pena as Johnny Eagle

A gloriously sleazy and shocking sci-fi/horror, Humanoids from the Deep is not what you’d call subtle or thought-provoking viewing. Yet that isn’t what it promises; it promises a nasty, low-budget ride of creatures, blood and boobs that it delivers a plenty. And you can really feel the stamp of executive producer Roger Corman on this flick.

In the fishing village of Noyo, strange events begin happening . Firstly, a boat carrying many fisherman explodes after capturing what appears to be a giant creature. Then all of the dogs in the town are found slain. It all appears to link to a local cannery company introducing a growth hormone to salmon that would help the produce. Jim Hill is a fisherman who occupies a middle ground in the town, as animosity has grown between two parties. On one side there is the Native American population, headed by the young Johnny Eagle, who are opposed to the cannery. On the other side, there is the horribly racist Hank Slattery, who blames the recent rash of horror on Johnny. Yet the creature from the beginning is far from the last and attacks become more prominent, though many don’t live to tell the tale. The assailants are large slimy creatures that emerge from the water.It transpires that the creatures are intent on mating with the women they come across, while eliminating men among the way. Jim decides to take on the threat that is posed to everyone, enlisting the help of the pretty Dr. Susan Drake, a visiting scientist and Johnny. Susan through research discovers that the experimental procedure that she headed is the direct influence on the horrific creatures.  The genetically modified salmon escaped after the experiment and were eaten by a larger fish, mutation began which spawned them into the ravenous and depraved humanoids of the title. Yet with the town about to celebrate the opening of the company with a carnival, horror looms as the creature’s head straight towards them, looking for more women to mate with and more men to slaughter. Now it is up to Jim to save the day as the carnival is about to turn bloody.

What may surprise some is that this exploitative and graphic film is directed by a woman, Barbara Peeters. Bough despite this surprise, she delivers the exciting goods of the film with a crisp pace and plenty of good touches. In an interesting footnote it should be stated that Peeters disagreed with Corman about bringing in more nudity and blood than she had featured. This ended up in Corman hiring an uncredited director to feature more scenes of this nature. I have to say that both directing views are actually pretty good, with Peeters bringing the suspense to the picture and the graphic blood and bare breasts showcasing the sleazy B-movie style that the film was clearly going for. It all fulfills the promise of the outrageous title that becomes an eventful monster movie of low-grade but thrillingly exciting proportions. I think with a movie like Humanoids from the Deep, it depends on your tolerance and squirming threshold. If you want an intelligent film, check those feelings at the door with this one as it is frequently brainless and never takes itself too seriously in the slightest. The creatures are strange to look, but like the rest of Humanoids from the Deep it has that underlying not at all serious quality that makes the, more goofy that outright frightening. An impressively orchestral score is provided by James Horner, that brings a level of class to a film that is the complete opposite.

The cast is competent in roles that don’t require much in the way of development, though they are still fun to watch. Doug McClure is assured as the Every man hero who decides to take action when everyone else is afraid to do so. He’s the one who keeps the thrills ticking along with his no-nonsense attitude. Ann Turkel is the slightly cold but intelligent scientist, who becomes worried about the repercussions of the creatures on a large-scale. Vic Morrow makes for a nasty bully in the film and plays the part to the hilt. I like Anthony Pena as Johnny as he was a dab hand with a shotgun which comes in extremely handy as the attacks become more frequent and his morals are very much intact.

An almost gleefully nasty yet entertaining creature feature, Humanoids from the Deep is for those who don’t mind scuzzy viewing and movies that don’t require the use of the mind.

Species

Tags

1990's, Alfred Molina, Ben Kingsley, Forest Whitaker, Horror, Marg Helgenberger, Michael Madsen, Michelle Williams, Natasha Henstridge, Roger Donaldson, Science Fiction, Species, Thriller

Film Title

Species

Director

Roger Donaldson

Starring

• Natasha Henstridge as Sil
• Ben Kingsley as Xavier Fitch
• Michael Madsen as Press Lennox
• Alfred Molina as Dr. Stephen Arden
• Forest Whitaker as Dan Smithson
• Marg Helgenberger as Dr. Laura Baker
• Michelle Williams as Young Sil

Scientists tampering with what they really shouldn’t and the horrifying product of this are given a sexy edge in Species; a sci-fi/horror-thriller. If you are looking for logic, look elsewhere as this film is all about the entertainment factor and that is where it delivers the goods.

After sending a telescope into space many years prior to search for extraterrestrial life, a highly secret government science lab gains the knowledge and means of how to splice human and alien DNA. The project, headed up by Xavier Fitch, is put into effect and sets about using these newly gained information for a genetic engineering program. The program is a success with the production of Sil; who appears to look like a young girl, but whose genetic make up christen her as a hybrid who grows from a baby into a young girl in a matter of days. When it becomes known to Fitch that she exhibits potentially dangerous parts to her, he decides to shut down the operation. He has cyanide gas pumped into her chamber in order to kill her, but Sil has developed agility and super strength and escapes from her confines. Worried that this experiment will be exposed, Fitch assembles a team that will track her down. The team features assassin Press Lennox, British anthropologist Dr. Stephen Arden, molecular biologist Dr. Laura Baker and empath Dan Smithson. By the time the rag-tag team has been briefed and begin searching for her, she has already matured into a beautiful woman who enters Los Angeles. Quickly absorbing things from the world around her, Sil sets out on a mission to mate and reproduce. The hitch is that as she is a predator when she feels threatened she attacks, leaving a host of dead bodies in her wake as she seeks out the perfect mate. The team follow her, but find it difficult keeping up with the spawn as her growing mind and alien abilities provide no shortage of confusion. If Sil does successfully conceive and give birth, it would produce a whole new kind of species that the world would not be able to handle. The mission to stop this is now on as the team discover the motives of the creature.

Roger Donaldson takes what is basically a clichéd and slightly silly plot and has a ball with it. He creates a fun ride that is scary and sexy in that order. His glossy filming style and handling of pace is also in evidence throughout Species. I enjoyed how Donaldson opened the film with not giving us a lot of information as Sil escapes. Something about it really stuck with me as enigmatic and a little atmospheric, as I do enjoy a cold open in a film that leaves you wanting to know more.I have to praise the practical effects that made Sil look so good and especially when the beast side emerges. The CGI used is however a bit underwhelming, and they should have really stuck with the ace practical effects and artistry instead. The script of Species is one that doesn’t exactly inspire confidence and is probably the weakest are of the movie. It tries to be both entertaining and intellectual, but is lacking in the latter part. When you hear the characters discussing either the genetic make up or scientific parts of Sil, it just rings more than a little hollow as it never provides much of an insight to her or the other characters. I think it is best to enjoy Species as what it is, a sort of B-movie given the Hollywood treatment and fun that doesn’t require much in the way of straining the brain. And on the horror front, Species hits bulls eye with some pretty icky and gruesome deaths arising from Sil and her insatiable desire. Though with the other positive elements to be found in the picture, the weak script can be sort of forgiven as the film hurtles along with thrills and horror. The exceptional score from Christopher Young has an unusual but necessary vibe to it; switching quickly from eccentric sounds to quickening thrills in a matter of minutes.

Despite the shortcomings of the script, a highly capable set of actors give life and personality to their parts. In what was her debut role, former model Natasha Henstridge plays the pretty predator who is half human and half alien. While Henstridge is physically ideal for the part with a gorgeous face and shapely body(that is displayed prominently), she also demonstrates considerable acting skill as Sil uses her instincts that she acquires at an alarming rate. Her reactions to the world are interesting to watch, as she soaks up what makes humans tick and then through primal desire, takes deadly control. She doesn’t know why she is the way she is, but slowly her vicious, cunning and savage need takes hold and her seductive smile is just the start of mayhem. Ben Kingsley is pretty good as the scientist concerned about the implications of his creation and pretty selfish in his motivations too. I enjoyed the presence of Michael Madsen as the wise ass man of action, whose sarcastic attitude and skill with a gun make him pretty forceful in hunting down Sil. You can tell that Madsen is having a good time in this part. Alfred Molina was pretty solid as the snarky guy in the team, while the sensitive vibe of the reliably good Forest Whitaker strikes more emotion into his part than was probably scripted. Marg Helgenberger does very well as the only female in the group who is the most curious member to be sure. And look out for a young Michelle Williams playing Sil when she looks like a girl before her transformation. All of the actors present rise above the flaws in writing to keep you watching as the carnage unfolds.

So the CGI can be dated, the script a bit scatter shot and the whole exercise more than a little sleazy, but Species still dazzles in a tongue-in-cheek way and with a glossy and sexy surface to it, among the gory horror and thrills.

The X-Files: Fight the Future

Tags

1990's, Armin Mueller-Stahl, Blythe Danner, David Duchovny, Gillian Anderson, John Neville, Martin Landau, Mitch Pileggi, Rob Bowman, Science Fiction, The X-Files: Fight the Future, Thriller, William B. Davis

Film Title

The X-Files: Fight the Future

Director

Rob Bowman

Starring

• David Duchovny as Fox Mulder
• Gillian Anderson as Dana Scully
• Martin Landau as Dr. Alvin Kurtzweil
• William B. Davis as Cigarette Smoking Man
• John Neville as Well-Manicured Man
• Mitch Pileggi as Walter Skinner
• Armin Mueller-Stahl as Strughold
• Blythe Danner as Jana Cassidy

A cinematic outing for the hit television show, The X-Files: Fight the Future is a very successful transfer to the big screen filled with action, unusual moments and credible atmosphere, with a larger scope and budget than television can provide It proves that not all television transfers to the cinema screen are unsuccessful.

Mulder and Scully have both been reassigned since the closure of The X-Files at the end of Season 5. They are now working on a case involving a bomb threat to a federal building in Dallas. Although they manage to locate the explosive, it still goes off due to a mysterious insider. The duo is then used as scapegoats for the explosion, as it is revealed that at least five people perished. With the agency breathing down their necks and the possibility of the two being separated from working together, Mulder and Scully are in a real quandary of what to do. Meanwhile, a mysterious doctor named Kurtzweil, who claims to have known Mulder’s father gives him information that the dead bodies that were found in the explosion where in fact dead before the event. The bodies, as Mulder and Scully discover belong to a young boy and a number of firemen who encountered the Black Oil deep in Texas, which completely takes over the body and will eventually become known. Kurtzweil explains that The Syndicate covered up these deaths by staging the explosion that would make Mulder and Scully accountable. Although they aren’t supposed to be investigating, Mulder drags Scully onto this mission and what they uncover is massive. As the conspiracy builds, all the evidence begins to fall into place as the colonization plan of the nefarious Syndicate, containing the Cigarette Smoking Man, that has been unfolding becomes subtly known and more dangerously deadly than both Mulder and Scully imagined it ever would. It is something that could in essence bring about a new Armageddon. With the duo getting ever closer, the clock is ticking to discover the full extent of the conspiracy as they travel from the heat of Texas to the snowy depths of Antarctica.

There was always going to be a worry that a show as successful as The X-Files wouldn’t make the transition to the silver screen. But Rob Bowman, who has directed a number of episodes on the show, makes Fight the Future a tense, action-packed spectacle that alleviates any worries about whether the show could do it. The answer is a resounding yes as Bowman’s direction rewards the fans with some answers but makes it still a thrilling movie that non-fans can appreciate. Given a larger scope and canvas, the results are astounding and blend what is so successful about the show and gives them a healthy dose of action with the cinematic treatment. Visually, Fight the Future is a sheer winner, with production design and cinematography capturing the sense of danger, mystique and grandeur that the film requires. From an attack of infected killer bees swarming to Mulder and Scully being chased through a crop field and a cool climax within the confines of an icy Antarctica lab, Fight the Future delivers all this in spades. Now I would say that a bit of prior knowledge may be useful when watching the film as the plot is complex and convoluted. But it isn’t to an extent where people who haven’t seen the show can’t enjoy it, it can easily be seen as a well-constructed conspiracy thriller. Thanks to creator Chris Carter’s script that is filled with trademark banter between the agents, unusual events, grotesque horror and a deep sense of tangible danger, Fight the Future never loses you for a second. Composer Mark Snow contributes an eerie score, complete with the signature theme tune played in various parts in different ways that compliments the strange atmosphere of the film and gives it immense tension to burn.

As the two main characters that everyone has come to love as a team, David Duchovny and Gillian Anderson are brilliant as ever. David Duchovny strikes the right balance between Mulder’s wonderment and his charm, that isn’t afraid to go far beyond what he thinks he can do. Gillian Anderson fares just as well as Scully, the cool-headed but conflicted partner who tries to be rational but can’t always explain what she encounters. The chemistry is still very palpable and probably more so on the big screen as it adds yet more depth and care to the bond that they share with each other, that is under threat but as strong as ever. They are truly one of the best teams on television and now movies. Martin Landau is excellently cast as the paranoid informant Kurtzweil who puts Mulder and Scully on the tail of the conspiracy with his twitchy knowledge and mysterious appearance. Reprising his role from the show and onto the big screen is the creepy and villainous presence of William B. Davis as Cigarette Smoking Man. Just like on the show, he is a shady character who you will just love to hate. Also returning is John Neville as the now weary Well-Manicured Man, who has had a crisis of conscience at his part in the scheme and attempts to put a stop to it and make amends via Mulder. Mitch Pileggi is back as Skinner, who is trying his best to keep his agents confident in what is a dire situation for all involved. In small but memorable roles as both a questioning government official and a sinister member of The Syndicate, Blythe Danner and Armin Mueller-Stahl are well-suited to the parts.

A well-constructed cinematic venture for Mulder and Scully, The X-Files: Fight the Future is an excellent film that keeps the winning essence of the show and gives it plentiful doses of cinematic magic and spectacle.

Perfect Sense

Tags

2010's, David Mackenzie, Drama, Eva Green, Ewan McGregor, Perfect Sense, Science Fiction

Film Title

Perfect Sense

Director

David Mackenzie

Starring

• Ewan McGregor as Michael
• Eva Green as Susan

A haunting science fiction drama about two people who come together just as an epidemic begins, Perfect Sense is brooding, compelling and evocative.

In Glasgow, the happy-go-lucky Michael is a chef working in a restaurant. Living in the flat nearby is Susan, an epidemiologist who has been called in to determine the cause of a most unusual case. In the space of 24 hours and occurring around the world, many people have lost their sense of smell after experiencing outbursts of uncontrolled emotion. The case begins to baffle Susan and her fellow workers as it continues to spread. Meanwhile, Michael and Susan meet and there is an obvious attraction between the two, who begin seeing each other romantically. But the epidemic begins to get worse as another sense is robbed from people, continuing on and on without warning or knowledge. Susan and Michael’s relationship is threatened as the epidemic begins to rapidly take over and society falls into chaos around them. As the epidemic reaches a fever pitch, there is still no explanation of the cause and how it is spreading so quickly and insidiously. The question is, can anyone survive this epidemic before every sense is gone? And can Susan and Michael’s fledgling relationship continue as events get darker?

From what I’ve read when Perfect Sense was released back in 2011, it was met with somewhat ambivalent reviews. I really can’t see why this is because the movie is fascinating on so many levels. While it has elements you can attribute to the science fiction genre, there is something achingly human about it. David Mackenzie successfully delves into the themes of what happens when something we rely so much on is gone and the way something that can’t be explained can impact on society. There are no real easy answers in Perfect Sense, nor should there be as Mackenzie crafts a melancholy examination of human endurance when a situation looks dire and the sense of loss that comes along as each sense is robbed from the population. The biggest question of all is ‘If the epidemic is related to emotions, how are we as humans meant to survive?’ There is a haunted quality to Perfect Sense that is perfectly embodied by the grey cinematography. Right from the beginning, there is a feeling of unease and darkness as the muted colours and scenery are rendered into a dour picture of uncertainty and sadness. And refreshingly though there is a romantic connection between the main characters, it doesn’t feel tacked on or needless. It actually lends the movie that something else that sets it apart from other science fiction movies. The morose narration reflects on the way that we take for granted what we have and is highly evocative in scenes shown around the world as the senses are taken from the unsuspecting. A trickling music score gives quiet voice to the encroaching panic that the epidemic spawns and the implications it has for Susan and Michael.

Heading the film is the excellent work of Ewan McGregor and Eva Green. Both are at their best playing these characters who are ordinary people caught in this time of horror that we can relate to. The characters are flawed just like everyone is and the performances really let both of them show off their skills. Embodying extreme emotions with subtlety and grace, McGregor and Green are nothing short of fantastic at investing Perfect Sense with a humanity and pathos that compliments the haunting tone of the film.

A foreboding film with a definite human heart, Perfect Sense is unusual but highly intriguing viewing as it explores so many avenues of possibilities, but refuses to pander to the audience that in turn leaves a feeling of mystery.

Ex Machina

Tags

2010's, Alex Garland, Alicia Vikander, Domhnall Gleeson, Ex Machina, Oscar Isaac, Science Fiction, Thriller

Film Title

Ex Machina

Director

Alex Garland

Starring

• Domhnall Gleeson as Caleb Smith
• Oscar Isaac as Nathan
• Alicia Vikander as Ava

An intriguing science fiction thriller marking the directorial debut of Alex Garland, Ex Machina is unusual, disturbing and full of interesting themes that will haunt you for days. Boasting a strong cast and a big impact, it is one of the best science fiction movies of recent years.

Computer programmer Caleb Smith works at a computer software company. We first meet him when he wins a competition to visit the reclusive CEO of his company billionaire Nathan in his beautiful but very isolated home for one week. Excited and very curious about the prospect of it all, Caleb meets Nathan, who turns out to be a very unusual guy indeed. By turns very intelligent and then selfish, egotistical and prone to heavy drinking, Nathan is unnerving to a certain degree to Caleb, who at first shrugs it off because he’s so interested in why he’s been selected. The real purpose of Caleb’s visit is later revealed to him. Nathan has created a beautiful female AI that is called Ava. Caleb is to take part in a Turing test to distinguish whether or not Ava could pass as a human. These tests consist of questioning from Caleb to Ava, which Nathan observes via high-tech cameras. At first Caleb is completely bowled over by the creation of Ava and struck beyond belief. But events soon take a dark turn, when during one if their sessions, Ava manages to cause the power to fail for a few minutes. During one of these system shut downs,  Ava tells Caleb that he shouldn’t trust anything Nathan tells him. This in turn leads to uneasy tension between the three of them as a sense of paranoia sets in and we are left consider who is really pulling the strings and ask many questions. Is the gifted but disturbed creator Nathan behind everything and what are his intentions, both for Caleb and for Ava? Is the impressionable Caleb so entranced by Ava that he can’t see something dark is brewing? And most importantly, how like a human is Ava and what is she really capable of doing?

As writer and director, Alex Garland creates a sense of eeriness to the movie that is slowly revealed in often disturbing and surprising ways. He has a sure hand in both capacities and taps into an array of themes, which include what it means to be human and the accountability of man playing God. To say Ex Machina is a thought-provoking film is an understatement, as it delves into unusual angles and pulls the rug from under us in provocative fashion. With the troika of characters, we are never sure who to relate to as the seesaw of sympathy swings between them all as the dark story evolves and other motives are hinted at. A keen visual design highlights the technological aspects of the story seen in Nathan’s high-tech dwelling, the mirrors of the room in which Caleb conducts the tests and the appearance of bewitching Ava. It must be said that the appearance of Ava is indeed a sight to behold. Her face, hands and feet look human but the rest of her body, constructed with a sophisticated mesh like structure allows us to glimpse the robot inside. It’s the design of Ava that really blurs the line between human and machine. Sonically, Ex Machina is highly effective to with the whirring sound of Ava’s movements suggesting the inner working of her robotic(or is it more closer to human?) mind and a humming ambient score that adds considerable tension to the film by letting us know straight away that something is not quite right.

The three main players in the story are all very good and ideally cast for this movie. Domhnall Gleeson plays the part of Caleb with a winning curiosity and naivety that is later tested as darkness encroaches upon his participation in the test. Oscar Isaac is equally effective as the eccentric Nathan, who is above all a capricious character. Isaac handsomely reveals these unpredictable changes within Nathan with alarming intensity. We never know which side of Nathan we are going to get next and most of that is down to the committed work of Oscar Isaac. Plus, the guy has some serious dance moves that he showcases in a completely unexpected but entirely memorable scene. The standout performer for me in Ex Machina from the central trio is Alicia Vikander in her portrayal of the android Ava. The performance has a certain unnatural poise to it, from the tilt of her head, unusual tone of her voice and her smooth, graceful movements, it’s hard to take your eyes off her work. Yet her performance goes deeper than just the physical side; Vikander successfully cloaks Ava in ambiguity with a mix of guile, sensuality and intelligence that really makes us consider what her true nature is. Is Ava more sophisticated than Nathan ever imagined? And has she somehow taken on a complete life of her own? Thanks to the marvellous performance from Alicia Vikander, we are never truly sure and that’s where the effectiveness lies.

A masterfully thought out film, that benefits from smart writing, effective direction and excellent work from the cast, Ex Machina is a film that is bound to make a mark on the viewer with its ideas and execution.

The Hunger Games: Mockingjay Part 1

Tags

2010's, Action, Donald Sutherland, Elizabeth Banks, Francis Lawrence, Jeffrey Wright, Jennifer Lawrence, Josh Hutcherson, Julianne Moore, Liam Hemsworth, Natalie Dormer, Philip Seymour Hoffman, Sam Claflin, Science Fiction, The Hunger Games: Mockingjay Part 1, Woody Harrelson

Film Title

The Hunger Games: Mockingjay Part 1

Director

Francis Lawrence

Starring

• Jennifer Lawrence as Katniss Everdeen
• Josh Hutcherson as Peeta Mellark
• Liam Hemsworth as Gale Hawthorne
• Woody Harrelson as Haymitch Abernathy
• Elizabeth Banks as Effie Trinket
• Julianne Moore as President Alma Coin
• Philip Seymour Hoffman as Plutarch Heavensbee
• Donald Sutherland as President Snow
• Jeffrey Wright as Beetee
• Sam Claflin as Finnick Odair
• Natalie Dormer as Cressida

The third film of the franchise, Mockingjay Part 1 emerges as a more subdued sister than its previous installments. At times it does feel a bit slow and devoid of action, but at the same time it’s interesting to watch this gathering calm before the storm as it explores political upheaval and the growing sense of rebellion.

Katniss has been saved after destroying the Games in the last movie. Scared and wracked with nightmares, she is taken underground to District 13. After her act of defiance, her district was destroyed and acts of protest against the corrupt Capitol have been ever-present. The enigmatic Alma Coin and political propaganda expert Plutarch Heavensbee sees Katniss as the poster girl for a full-scale attack on President Snow and his barbaric forces. The wounded Katniss is very reluctant at first to strike back as she worries about what happened to Peeta. But after seeing the destruction of her district and the sheer cruelty of Snow which includes having a brainwashed Peeta as the spokesman to talk down rebellion, that inner fire inside of her begins to burn and she becomes the face of resistance in this time of political strife and corruption. Yet with Snow using his choke hold of tyranny against the districts, it is going to be dangerous for all involved. But the newly resurfacing of Katniss is returning and she will spearhead this campaign to bring down the corrupt powers that be, aided by good friend Gale and bands of rebels wanting to be free from oppression.

As I previously mentioned, Mockingjay Part 1 is the slow build up kind of movie. For times in the film, it works very well in capturing the machinations of political rebellion and the waiting to strike. I did however find parts of it a bit dull and craved a bit more action than what was shown. Yet this doesn’t make it any less effective as a movie, it’s just slightly different from the last two entries. Francis Lawrence crafts this engaging story with a certain topicality in the politics and propaganda used featuring Katniss as the face of resistance. Even though this film is set in the future, many of the issues it deals with are very present in our current climate which adds a further dimension to this series. Mockingjay may be the slow burner, but it has a personal and more intimate feeling to it. It may be risky to have a sci-fi/action movie that only has sporadic moments of action, but I liked the way in which Mockingjay showcases how wars can be waged with the power of words and imagery rather than just violence. An effectively bleak visual style gives voice to the darkness and terror felt by the people under the rule of President Snow. An evocative and building score helps give tension and personal feeling to Katniss as she regains her steel and prepares to fight for the people. The scene of Katniss singing ‘The Hanging Tree’ and it acting as inspiration and a call to arms is an excellent example of this as the melody flows through with urgency.

Jennifer Lawrence rivets the attention from beginning to end as the emotionally tormented heroine Katniss. Embodying rage, pain and steel, she is a strong-willed character who can make a difference in a world of barbarity. With deep clarity, selflessness and toughness, Lawrence is a marvel to watch as the resilient and purposeful warrior due to her mature performance and sheer amount of talent. Josh Hutcherson, although seen quite sporadically this time, is strangely different as the Peeta who has been tortured and brainwashed. Liam Hemsworth contributes the mix of caring emotion and earnestness, while Woody Harrelson continues to be a hoot as mentor Haymitch. I liked seeing Elizabeth Banks as the now dressed down Effie, once the glory of the Capitol and now an ally with freedom. Julianne Moore encompasses the cold, detached persona of President Coin, while the late Philip Seymour Hoffman brings a considerable presence to his part as the propagandist. Hoffman is still missed now and this movie is a reminder of his talent and skill even in a small role. Donald Sutherland is still as menacing and commanding as ever as the despicable President Snow, who is not tolerating rebellion against his tyranny. Jeffrey Wright, Sam Claflin and Natalie Dormer in supporting roles at least make an impact, despite somewhat limited screen time.

Mockingjay Part 1 emerges as a thought-provoker rather than an action blockbuster which may disappoint some, but is still very effective in the way it is gearing up for the next part.

 

The Forgotten

Tags

2000's, Alfre Woodard, Anthony Edwards, Dominic West, Gary Sinise, Joseph Ruben, Julianne Moore, Linus Roache, Psychological Thriller, Science Fiction, The Forgotten

Film Title

The Forgotten

Director

Joseph Ruben

Starring

• Julianne Moore as Telly Paretta
• Dominic West as Ash Correll
• Gary Sinise as Dr. Jack Munce
• Alfre Woodard as Detective Anne Pope
• Linus Roache as Mr. Shineer
• Anthony Edwards as Jim Paretta

A potentially intriguing premise descends into confusion and disjointed genre melding in The Forgotten, which despite the talent included comes out as a weak and unmemorable movie. Only for a strong turn from Julianne Moore and a suitably eerie score, The Forgotten remains partly watchable.

Telly Paretta is trying to survive the grief of losing her young son Sam in a plane crash fourteen months earlier. No matter how hard she tries, she is haunted by the pain of loss and sadness at losing her beloved son. Her husband Jim thinks it is time that she moves on, but Telly thinks otherwise and continues to cling to the memories of her little boy who was tragically taken from her all those months ago. Then one day Telly wakes up and the strangest thing has happened. The photographs of her and her son are gone. All the tapes of him are blank. And everyone who Telly comes into contact with, even her husband, tells her that they have never heard of her son and that she is delusional. Her psychiatrist Dr Munce explains that Telly has fabricated these memories of ever having a son. Everything that she has experienced up to this point has been a dream or fantasy, according to everyone surrounding her. Bewildered and shocked, Telly knows that she had a son and wants to prove that she is not slipping into madness, despite everyone around her questioning that her boy ever existed. Telly soon finds something of an ally in Ash Correll, who she says had a daughter who died in the same crash. At first, the miserable alcoholic dismisses her claims and won’t listen, but he comes to see that she is right about the whole thing. Now with Telly and Ash searching for the truth, they find mysterious government agents on their tail. And that’s not all, a strange and unexplained force seems to be after them as well. What will be unearthed in Telly’s quest for answers?

Director Joseph Ruben knows how to direct a thriller, but none of that skill is evident here as he tries to straddle the stands of psychological thriller and sci-fi into one. The whole tone of the film suffers and is hellishly disjointed, coming off as a directionless thriller and an X Files reject . This is a shame because the opening sets up what could have been an interesting story, that is wasted and falls short in almost every category there is. The whole basis of a mother searching for her son could have provided a lot of deep emotion here, yet The Forgotten squanders most of the impact. The Forgotten aims to be unpredictable and unexpected, but the script is weak and as the story plods on, it becomes to ludicrous to take seriously. The visuals of moody blue and grey are actually quite well done, but can’t make up for the shortcomings of the film. An ominous and melancholy score, with an underlying electronic edge, adds some much-needed suspense and eeriness to the proceedings.

The saving grace of The Forgotten is the ever-reliable and excellent Julianne Moore. Rising above the multitude of flaws in the story, she invests Telly with emotional clarity and tenacity in her attempts to prove she is right and hopefully discover the truth. Moore is the reason to watch this film as she shines in the part and brings emotive depth and conviction to a hollow film. Unfortunately, none of the other parts are interesting or particularly well-written. Dominic West, Gary Sinise, Alfre Woodard, Linus Roache and Anthony Edwards all have great talent, but the material they are given to work with is abysmal so none of them can make any impact in such sketchy roles.

So except for some striking visuals, melancholy score and Julianne Moore’s performance, The Forgotten should be exactly what the title says.