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.

 

Event Horizon

Tags

1990's, Event Horizon, Horror, Jack Noseworthy, Jason Isaacs, Joely Richardson, Kathleen Quinlan, Laurence Fishburne, Paul W. S. Anderson, Richard T. Jones, Sam Neill, Science Fiction, Sean Pertwee

Film Title

Event Horizon

Director

Paul W. S. Anderson

Starring

• Laurence Fishburne as Captain Miller
• Sam Neill as Dr. William Weir
• Joely Richardson as Lieutenant Starck
• Kathleen Quinlan as Med Tech. Peters
• Jason Isaacs as D.J.
• Sean Pertwee as Pilot Smith
• Richard T. Jones as Cooper
• Jack Noseworthy as Justin

Although negatively received upon release, Event Horizon has seemingly grown into something of a cult film. Clearly influenced by Alien and Hellraiser, it may not be in the same league as them but it sure as hell will leave an impression due to bizarre visuals and sense of dread that it gives us.

The year is 2047 and a rescue ship is sent to look for the Event Horizon, another ship that disappeared seven years before but has recently appeared out of nowhere. The rescue ship is headed by the calm Captain Miller and also comprises of Lieutenant Starck, Med Tech. Peters, trauma doctor D.J, Pilot Smith, technician Cooper and engineer Justin. The crew is joined by Dr. Weir, who designed the Event Horizon and explains the properties of the missing vessel. The ship contains a strange gravitational property that enables it to create a black hole, thus making travel quicker to the desired destination. Along with the rest of the assembled crew, Weir’s job is to figure out where the ship has been for seven years. They eventually set foot on the ship yet discover that things that transpired where very grisly indeed. The former crew appears to have mutilated one another to death after being driven insane by an insidious force. Soon enough, Weir and the crew begin to experience strange events on the ship. Their deepest fears and regrets manifest as vivid hallucinations, the sphere at the core of the ship sends a pulse that rips apart almost everything and one by one, the crew are systematically driven to the brink of madness by the haunting force that the Event Horizon brought back from its unspecified journey. Who will make it out of the grisly chaos and malevolent grip of the eponymous ship?

Derivative and clichéd as it may be, Event Horizon is not as bad as some people make it out to be. Sure it’s far from perfect, but it gets the job done in a stylistic and violent manner that is hard to shake once you’ve seen it. Paul W. S. Anderson is very much a stylistic and visual director and his skills in this area are in clear abundance in Event Horizon. Production design is of a high quality, with whirling spheres of sharp serrated metal and spikes forming a visual highlight as well as the pulse of the ship that brings a dark force with it. Bizarre images abound that give the film a trippy and very disturbing quality. This is very apparent in the hallucination scenes that prey on the fears of the crew and bring with them chaos and destruction. If you have a strong stomach, I’m sure you can survive the grisly splatter content. But be warned if you don’t, as Event Horizon is the kind of film that will no doubt bring plenty of nightmares. While the pace may be lacking at times and too fast in other areas, Event Horizon definitely brings a nightmarish quality to the proceedings that is both highly disturbing and strikingly done. A dissonant score of electronics will know doubt cast an eerie aural spell on viewers.

The script may be the least impressive part of Event Horizon, but the talented cast manage to inject interest into their rather thinly written characters. Laurence Fishburne excellently plays Captain Miller as a figure of calm and strength that is tested against the evil forces of the ship. Sam Neill is great as the off kilter doctor who is the worst affected by the ship as it shows him visions of his dead wife with her eyes gouged out. This in turn sends Weir slipping into a gradually building psychosis that poses as much danger as the ship itself. Joely Richardson gives a certain assurance to her Lieutenant character, while Kathleen Quinlan displays wrenching vulnerability as the med tech. Jason Isaacs infuses D.J with a grave outlook on life and knowledge. The ever-reliable Sean Pertwee is wise ass and cynical as the pilot who just wants off this mission, his remarks are offset by the comic timing of Richard T. Jones portraying the technician. In the smallest role, Jack Noseworthy plays the youngest member of the team who is the first to encounter the sadistic intent of the ship.

A grisly and chilling sci-fi/ horror flick, Event Horizon is far from the greats but certainly memorable.

 

 

 

Alien Resurrection

Tags

1990's, Alien Resurrection, Brad Dourif, Dan Hedaya, Dominique Pinon, Gary Dourdan, Horror, J. E. Freeman, Jean-Pierre Jeunet, Kim Flowers, Leland Orser, Michael Wincott, Raymond Cruz, Ron Perlman, Science Fiction, Sigourney Weaver, Winona Ryder

Film Title

Alien Resurrection

Director

Jean-Pierre Jeunet

Starring

• Sigourney Weaver as Ellen Ripley
• Winona Ryder as Call
• Ron Perlman as Johner
• Dominique Pinon as Vriess
• Gary Dourdan as Christie
• J. E. Freeman as Wren
• Raymond Cruz as Distephano
• Brad Dourif as Dr Gediman
• Dan Hedaya as General Perez
• Michael Wincott as Elgyn
• Kim Flowers as Hillard
• Leland Orser as Purvis

Coming after the misunderstood and much maligned Alien 3, Alien Resurrection emerges as a mixed bag. We’ve got the horror and action for entertainment as well as some interesting and very stylish ideas, but also some wasted opportunities that could have been expanded on.

Two hundred years after Ripley sacrificed her life to kill the alien that was growing inside of her, scientists aboard the spaceship Auriga, have managed to create a clone of her, as well as the Alien. The corrupt and greedy scientists are part of an illegal experiment in raising the creature and developing many other like it. The operation is overseen by General Perez, corrupt scientist Wren and creepy Dr Gediman. Perez enlists the illicit services of a group of mercenaries in bringing human cargo aboard. The group of mercenaries consists of leader Elgyn, sarcastic Johner, enigmatic Call, paraplegic Vriess, weapon-bound Christie and Elgyn’s romantic interest Hillard. Once aboard, the cargo that they have provided will be used as the hosts for the Alien. Meanwhile, because of the cloning procedures, Ripley has developed super strength, acidic blood and a mental link to the Alien. Her personality has drastically changed and she is now a slinky, ambivalent and almost predatory shadow of her old self. The Alien itself has also evolved and is now more dangerous than ever. The mysterious Call discovers Ripley and it is revealed that she is part of a resistance movement that want to kill the cloned Ripley, in order to wipe out the Alien. Call is too late and soon enough the intellectually advanced beasts manage to escape and leave a trail of bodies in their wake. The newly cloned Ripley teams with the group, which also acquires the services of soldier Distephano and Purvis, one of the humans who was used as a host for the Alien spawn. There is also the presence of the Newborn, a loathsome hybrid of human and Alien that has been born from the Queen Alien to contend with. With time running out before the ship lands on Earth and carnage erupting from every possible place, Ripley and the group must fight to stay alive and make it out safe.

Alien Resurrection may aim for the claustrophobic impact of the spaceship setting of the original Alien, but there’s something hollow to it here that doesn’t match the iconic first film. Sure, the set design is great with slippery surfaces, dark tunnels and Alien nests to get through, but this style is not enough to sustain an impact. The ghost of the previous and more effective films hangs over Alien Resurrection and thus makes it a weaker sequel to such illustrious predecessors. There is also a wealth of interesting themes at play here, such as the dangers of cloning and hybridity, but they are not developed enough to be sufficiently interesting for the audience. Where Alien Resurrection succeeds is the action and horror, which are both in high supply. Standout sequences include the gang having to swim to another chamber while being chased by the rapidly advancing Aliens, Ripley’s descent into the nest and the gory scene of the Alien’s putting in motion their brutal escape from confinement. Jean-Pierre Jeunet is in the director’s chair and brings an unusual and eerie quality to this entry of the science fiction saga. Always keen visually, he brings verve to the corridors of botched clones, slimy pits and blood that score highly in my book. There can be an over reliance on special effects to be found in Alien Resurrection, but at least for the most part, Jeunet manages to keep it under wraps. The score provided makes uses of slithering percussion and punctuating brass, twinned with bristling cymbals and twinkling piano to symbolize the link between Ripley and the Alien, as well as the growing terror that the characters are plunged into.

Sigourney Weaver imbues this version of the Ripley character with slinky sex appeal, eerie cynicism and effective strength. Weaver really seems to relish showing us this newly modified Ripley, who may not have the humanity of her human counterpart but still has the unmistakable steel and wits to survive. Essaying the role for the fourth time, Sigourney Weaver is once again as riveting as ever. Winona Ryder brings a mix of pluck and vulnerability to the role of the enigmatic Call, who has own agenda for coming aboard the ship. Ron Perlman brings his familiar quality of being a super bad ass to the part of the dryly humorous Johner, while Dominique Pinon as the wheelchair-bound but heavily armed Vriess is clearly having a blast. Gary Dourdan brings intensity to the part of the skilled fighter Christie, whereas J. E. Freeman oozes oily menace as one of the corrupt scientists aboard the ship. Raymond Cruz is wasted as a renegade soldier who teams with the survivors, while Brad Dourif chews the scenery as the twisted Dr Gediman. Unfortunately Dan Hedaya, Michael Wincott, Kim Flowers and Leland Orser and chronically underused and given barely anything really memorable to do in the film.

A film very much full of ideas but not as thrilling as it could have been, Alien Resurrection is despite its flaws quite entertaining and manages to just about get the job done.

 

 

Alien 3

Tags

1990's, Alien 3, Brian Glover, Charles Dance, Charles S. Dutton, Danny Webb, David Fincher, Holt McCallany, Horror, Lance Henriksen, Paul McGann, Pete Postlethwaite, Peter Guinness, Ralph Brown, Science Fiction, Sigourney Weaver

Film Title

Alien 3

Director

David Fincher

Starring

• Sigourney Weaver as Ellen Ripley
• Charles S. Dutton as Dillon
• Charles Dance as Clemens
• Brian Glover as Superintendent Andrews
• Ralph Brown as Aaron
• Paul McGann as Golic
• Danny Webb as Morse
• Lance Henriksen as Bishop
• Pete Postlethwaite as David
• Holt McCallany as Junior
• Peter Guinness as Gregor

Coming after the effective Alien and action-packed Aliens, Alien 3 didn’t really stand much of a chance. Add to that studio interference and a troubled production that later saw debut director David Fincher express his dislike of the film, Alien 3 wasn’t received warmly upon release. But with the emergence of The Assembly Cut that restores crucial parts to the story, Alien 3 does still have its effective moments. It may still be flawed, but The Assembly Cut is well worth seeing as an improvement upon the version that hit cinemas.

After surviving the events of Aliens, Ripley is in orbit while in hyper sleep with Hicks, Newt and what is left of the android Bishop. A fire on board the spaceship causes their escape pods to be released, resulting in them crash landing on Fury 161. The planet is a bleak place for male prisoners who have now taken on religion in the hopes of repenting for their sins. The Facility is run by Superintendent Andrews, who is helped by his lap dog Aaron. Unfortunately for Ripley, Hicks and Newt perish in the landing which devastates her. Her already grim outlook on things is not helped when she finds evidence that an Alien was in fact on board their ship. Stranded on this hostile planet, Ripley, her hair shorn as a precaution against lice, gains the trust of medical officer Clemens, who has a mysterious past. Andrews however is not too happy about Ripley’s presence among the dangerous prisoners. Matters later become shocking as brutal deaths involving inmates are committed. Ripley soon sees that her old nemesis is back and on another killing spree. At first alienated from the inmates, she later gets assistance from Dillon, the wise leader of the prisoners who believes her story. As bodies continue to mount, it’s only a matter of time before the Alien gets to Ripley. But a shocking revelation that links Ripley with the savage creature casts a different light on the subject and Ripley must decide her ultimate fate.

I think I’ll get the flaws of Alien 3 out of the way first. For starters, it gets a little confusing identifying certain characters because they all look very similar with shaved heads and bar code tattoos at the base of their necks. There is also the matter of the design this time around for the Alien. It is still terrifying to look at, but some dodgy CGI involved with it really detracts from some of the effective scenes of horror. Some of the film does feel disjointed and occasionally Alien 3 leaps from scene to scene without a thought. With those negatives out the way, here are the positives, of which many will be surprised that there are quite a lot in this film. David Fincher, although later disappointed with the film, actually makes a good stab at it. He creates a gloomy and hopeless atmosphere of dread among the prison, with roving camerawork capturing every dark corner and dimly lit corridor to Gothic perfection. He also directs some very creepy scenes of horror, including the Alien cornering an unarmed Ripley and the prisoners using themselves as bait in a terrifying chase. The killing of Hicks and Newt may have detracted many and I was very sad that they died, but I have to say it was a really ballsy idea. The deaths of the characters further contributes to the feeling of a grim future and outcome as the traumatized Ripley must contend with the loss of those closest while trying to remain alive. Out of all the Alien films, Alien 3 is the one that feels most like a requiem for the characters, most of all Ripley who has endured so much suffering at the hands of the Alien but has managed to fight back every time. Elliot Goldenthal contributes a gloomy score of Latin chanting and doom heavy synths to capture the religious beliefs of the inmates and the savagery that will soon befall many of them.

Sigourney Weaver is once again on powerful form as battle-scarred and hard-edged survivor Ripley, filling her with pain, strength and emotional depth. Ripley has become such a rounded character over the course of the last two films and much of this is down to the incomparable work of the talented Sigourney Weaver, who brings so much to the role and delivers an outstanding performance. Charles S. Dutton is supremely effective as the leader of the prisoners, who inspires them with his speeches but will stand for no one stepping out of line and disobeying orders. Charles Dance is used very well as the informative but slightly mysterious doctor who takes a liking to Ripley, while Brian Glover brings gruff and blustering actions to his role as the superintendent of the prison. Ralph Brown is suitably cast as the assistant to the superintendent, who seems to repeat everything he says and doesn’t know what to do when confronted with a mounting crisis. Paul McGann is frightening as the disturbed prisoner Golic, who develops a fascination with the Alien, while Danny Webb is droll and sarcastic as prisoner Morse. Lance Henriksen is unfortunately underused this time as the battered Bishop and this is a real shame. The same goes for Pete Postlethwaite, Holt McCallany and Peter Guinness who are given barely anything to do as other inmates of the facility.

Flawed it may be, but Alien 3, primarily the Assembly Cut, certainly has its merits in terms of atmosphere and main performance from Sigourney Weaver.

 

 

 

 

Aliens

Tags

1980's, Action, Al Matthews, Aliens, Bill Paxton, Carrie Henn, Horror, James Cameron, Jenette Goldstein, Lance Henriksen, Michael Biehn, Paul Reiser, Science Fiction, Sigourney Weaver, William Hope

Film Title

Aliens

Director

James Cameron

Starring

• Sigourney Weaver as Ellen Ripley
• Michael Biehn as Corporal Hicks
• Paul Reiser as Burke
• Carrie Henn as Newt
• Bill Paxton as Private Hudson
• Jenette Goldstein as Private Vasquez
• Lance Henriksen as Bishop
• William Hope as Lieutenant Gorman
• Al Matthews as Sergeant Apone

Coming seven years after the horror masterpiece that was Alien, Aliens is a different kind of beast. Whereas the first film was a slow-builder of tension and atmosphere, Aliens is a more action-packed and breakneck film. Saying that is a very effective sequel and its very interesting watching the change in direction and the impressive work once again from Sigourney Weaver. One note before the review begins, I will be reviewing the Director’s extended cut version of this film, not the theatrical edit.

After successfully battling the Alien and destroying her ship in the last movie, Ripley is found floating in her escape pod through space in hyper sleep. Although she originally thought her rescue ship would be picked up soon, 57 years have actually gone by. She is picked up by her employers Weyland-Yutani who ask her questions about why she blew up the ship and doubt her story about battling the Alien. Burke, the slimy financier of the corporation seems to believe her, but Ripley has a tough time getting her point across. Also she learns that her daughter back on Earth died while she was in hyper sleep which devastates Ripley. In another horrifying revelation, she learns that the planet that she landed on, named LV-426 has been colonized. Traumatized by her encounter with the Alien, Ripley is soon taken seriously when communications with the colony are mysteriously wiped out. Knowing that Ripley is the only person to face the creature, Burke persuades her to join a team of marines on a mission to the planet. The marines are led by the inexperienced Lieutenant Gorman and among those in the squad are the level-headed Corporal Hicks, joker Private Hudson and tough cookie Private Vasquez. Also joining the party is Burke and Bishop, an android who encounters hostility from Ripley after her experience with Ash in the last movie. Ripley predicts that the mission is doomed and sure enough upon landing on the planet she is proved right. She isn’t just facing one alien this time, there is a multitude of the vicious creatures to contend with. Along the way, Ripley rescues a traumatized young girl nicknamed Newt, who becomes something of a surrogate daughter for her. As terror increases and the body count rises, Ripley must protect herself and the other from the threat of the Alien, including the fearsome Queen that spawns the eggs for the creatures.

The change in direction of Aliens is an interesting thing as the action is brought into the forefront. James Cameron’s assured direction and skill at shooting explosive set pieces is on full display here. If Alien was the lone battle in a floating spaceship, Aliens is the war zone of conflict and bloodshed. While the action and the horror are amazing to behold and crafted with care, Aliens never scrimps on the story beneath it. Most primarily Ripley’s personal and emotional journey this time around, as her maternal instincts brought on by the presence of Newt give her the steely strength and fire she needs to take down the Alien. When she faces the Queen Alien, it isn’t just a battle of human vs animal, it’s a battle of mothers as well. James Horner provides the electrifying score of military drums, slithering strings and menacing brass. Visuals in Aliens are outstanding with the dark interiors of ships and buildings becoming menacing and soaked with blood as the group of aliens attack all who enter and created a cocoon like environment to store their hosts.

Sigourney Weaver is once again on fine form as Ripley, showcasing strength, sadness and grit as she battles to protect herself and those around her. Aliens is the film in which Ripley really comes into her own as an iconic character, as we witness her take on the creatures with intelligence and resourcefulness. It is one outstanding performance by Sigourney Weaver that really adds to the impact of the film. Michael Biehn makes for a likable character in the form of Corporal Hicks, who knows how to handle an extreme situation like the one the group finds themselves in. Paul Reiser imbues Burke with a slimy and avaricious quality as he attempts to bring the creature back to the corrupt company in increasingly nefarious ways, with little regard for the people who die in the process. With her wide eyes and wispy voice, Carrie Henn is excellent as the traumatized Newt, who comes to see the determined Ripley as her mother figure. Bill Paxton brings a dash of humour to the role of Hudson, whose loud actions and panicked behaviour do nothing to quell the anxiety building around the group. Jenette Goldstein nails the tough chick part of Vasquez with feisty energy and aggression. Lance Henriksen makes an impression as the sophisticated and intelligent android Bishop, while William Hope as the inexperienced and fear-stricken Lieutenant Gorman and Al Matthews as the chain-smoking Sergeant  Apone have memorable parts.

Tense, action-packed and thrilling, Aliens is a refreshing sequel with cool direction and a powerful turn from Sigourney Weaver.

Alien

Tags

1970's, Alien, Harry Dean Stanton, Horror, Ian Holm, John Hurt, Ridley Scott, Science Fiction, Sigourney Weaver, Tom Skerritt, Veronica Cartwright, Yaphet Kotto

Film Title

Alien

Director

Ridley Scott

Starring

• Tom Skerritt as Captain Dallas
• Sigourney Weaver as Ellen Ripley
• Veronica Cartwright as Lambert
• Harry Dean Stanton as Brett
• Ian Holm as Ash
• Yaphett Kotto as Parker
• John Hurt as Kane

Alien is a classic hybrid of science fiction and horror that brought a lot to the table upon its release. The claustrophobic and horrifying influence of this chilling film can be felt on many a horror flick, but I don’t think anything has ever matched its shocking and frightening power. With the talented Ridley Scott at the helm and Sigourney Weaver entering cinematic history with her performance as Ripley, Alien still holds up as one of the most effective horror films I’ve ever seen.

Set in the future, the commercial spacecraft Nostromo is returning to Earth. The ship is controlled by a sophisticated system code-named Mother. The crew comprises of Captain Dallas, Warrant Officer Ripley, navigator Lambert, engineer Brett, Science Officer Ash, second engineer Parker and Executive Officer Kane. The crew of seven are in hyper sleep but Mother picks up what seems to be a distress signal coming from a nearby planet. Although many of the crew are doubtful of what to do, according to the laws of the company, they must answer the signal. Upon landing on the planet, the ship is temporarily broken and in need of repair. Dallas, Lambert and Kane set foot on the planet in an attempt to find the cause of the distress signal. What they find is a strange ship apparently abandoned, but filled with multitudes of egg like objects. Unfortunately for Kane, one of the eggs hatches and a strange creature attaches itself to his face. Fearing for him Dallas and Lambert bring him back to the ship where Ash lets them in. Ripley is infuriated by this as it could jeopardize their safety or bring harm to any of them. After a while the creature seems to vanish and Kane appears to be fine. But during breakfast after the ship has been fixed and is in orbit, the real horror of the situation arrives. Kane convulses violently before dying as the creature emerges from his chest and flees into the bowels of the ship. With the beast on the loose and safety in danger, the crew attempt to kill it. But as bodies hit the floor and the alien grows rapidly into a terrifying creature, it all comes down to Ripley to survive the carnage and kill the alien.

The first thing to praise about Alien is the direction. Ridley Scott balances the interesting characters and the encroaching carnage with certainty and skill. The pace of Alien is magnificent as suspense builds and builds before erupting into terror and horror. The visual design of the Nostromo is second to none as well as the Alien itself, a horrifying creature that bleeds acid, has a double jaw that can pierce skulls and the ability to blend into its surroundings. A tense atmosphere of ghoulish uncertainty gives Alien a slow-building but effective backbone that brings many fears to light in disturbing fashion. We have the fear of bodily intrusion as the Alien lives inside a host before hatching, the fear of the unknown thing stalking the members of the crew and we have the fear of entrapment as the layers of the spaceship become a prison for the crew as they do battle with the creature. Jerry Goldsmith’s ambient score is a terrific asset in Alien’s already impressive arsenal, bringing that humming menace and gradually building terror to the forefront as the alien turns the ship into its personal hunting ground.

The effective cast brings a refreshingly adult sensibility to the film and it’s really refreshing to see grown ups instead of screaming teenagers running around. Tom Skerritt brings weariness to Captain Dallas, as he realizes that bringing Kane back onto the ship was a bad idea. The real revelation of Alien is Sigourney Weaver as the tough Ripley. Weaver brings inner vulnerability, grave authority and determined strength to the character as she gets in touch with the warrior inside in order to eliminate the threat posed to her. Ripley would go on to become an iconic character in the science fiction genre and rightfully so because of Weaver’s talent and power in the part. Veronica Cartwright is suitably wide-eyed and scared out of her wits as Lambert, while Harry Dean Stanton is sarcastic as Brett, a blue-collar worker complaining about company procedure. Ian Holm brings a quiet sort of uneasiness to Ash, who is concealing many secrets beneath his humane demeanor. Yaphett Kotto is great as Parker, Brett’s sparring partner and fellow mechanic, while John Hurt brings something devastating to the part of the tragic Kane and enters cinematic history as a result.

Haunting and horrifying, Alien is one of the best science fiction/ horror films out there and its impact can not be underestimated.

 

Gravity

Tags

2010's, Alfonso Cuarón, George Clooney, Gravity, Sandra Bullock, Science Fiction, Thriller

Film Title

Gravity

Director

Alfonso Cuarón

Starring

• Sandra Bullock as Dr Ryan Stone
• George Clooney as Matt Kowalski

Visually arresting, thrilling and often quite moving, Gravity is one hell of a film to sit through. Under the creative direction of Alfonso Cuarón and a powerful turn by Sandra Bullock, Gravity is an exhilarating thrill ride with an emotional heart about a dramatic race for survival against all odds.

Dr Ryan Stone is a rookie medical engineer on her first spacewalk, partnered with the more experienced astronaut Matt Kowalski, on what is to be his final space mission. They are attempting to fix a problem with the Hubble Telescope. Kowalski is a humorous old veteran of space travel with a multitude of funny stories to tell as they set about fixing Hubble, whereas Ryan is a nervous relative newcomer with a painful incident in her past( the death of her young daughter) that leaves her with emotional scars and uncertainty.Just as they manage to fix the Telescope, they are warned of a planned strike on a defunct Russian satellite, which has caused a cloud of debris to head their way in a chain reaction. Soon enough, the debris arrives with devastating impact and Stone and Kowalski are left tumbling through space and fighting for their lives in a void of darkness. With communications down and oxygen supplies running dangerously low, it is up to Stone and Kowalski to find a way to survive and make it back to Earth. Prepare for a spectacular but intimate movie that throws you into the terrifying reality of being cut off from all communications but also shows the determination we must use if we wish to live on.

The first thing to compliment Gravity on is its visuals which are nothing short of beautiful. The film opens with an uninterrupted shot that circles Stone and Kowalski as they fix the Telescope and reveal the shining Earth below. From this opening shot, you are just in awe of the beauty of it all. When disaster strikes, the use of point of view shots and tracking shots as Stone spins precariously into danger make for tension-filled viewing as we are put in her terrified shoes and made to endure her pain. The claustrophobia of these scenes is palpable and Cuarón perfectly plays them as terrifying by taking us on this dizzying ride of uncertainty as to whether these characters will survive this disaster. Throughout Gravity, Alfonso Cuarón gives masterfully sublime direction, perfectly complimenting the visual scope but also the intimate and emotionally stirring moments that abound underneath the spectacle. He deservedly won the Oscar for Best Director for his stunning work here that gives us a spectacular view of space but a terrifying yet beautiful evocation of the human spirit out of its comfort zone and trying everything to enable it to live on. While Gravity is very much a sci-fi thriller of the highest order, there is at the centre of it a very human drama about the need for survival and letting go of painful memories. Nowhere is this more apparent than in the scene of Stone finding solace in the air lock of another ship and curling up in a balletic fashion into the fetal position in a symbolic rebirth. The evocative score backs up the themes of terror and determination with subtle instinct and ever-growing power, before building to a crescendo of beautiful and heartfelt exhilaration as Stone begins to discover her inner strength.

Sandra Bullock turns in what is to me her best performance to date as Ryan Stone. She carefully imbues her with a fragile vulnerability as she has to contend with fighting for her life whilst also grieving for the daughter she lost back home. It is a physical and emotional performance that gives a human heart to Stone as we watch her use these painful experiences to her advantage and give her the determination to survive whatever is being thrown at her. On screen for the entire duration and for many stretches alone in a desperate fight for survival, Bullock has rarely been better than here and I hope she chooses more roles in the future that show of her excellent range of emotions. George Clooney is in a sense playing himself and adds a light touch to the beginning of the film when he tells his many stories before all hell breaks loose. Clooney though is overshadowed by the excellence of Sandra Bullock’s one-woman show.

Exhilarating, moving and spectacular, Gravity is a film that once seen is never forgotten for its powerful and stirring impact, stunning direction by Alfonso Cuarón and moving performance from Sandra Bullock.

 

Never Let Me Go

Tags

2010's, Andrew Garfield, Carey Mulligan, Charlotte Rampling, Drama, Keira Knightley, Mark Romanek, Never Let Me Go, Sally Hawkins, Science Fiction

Film Title

Never Let Me Go

Director

Mark Romanek

Starring

• Carey Mulligan as Kathy H
• Andrew Garfield as Tommy D
• Keira Knightley as Ruth C
• Sally Hawkins as Miss Lucy
• Charlotte Rampling as Miss Emily
• Isobel Meikle-Small as Young Kathy
• Ella Purnell as Young Ruth
• Charlie Rowe as Young Tommy

Adapted from the acclaimed novel by Kazuo Ishiguro, Never Let Me Go is a haunting evocation on the subject of mortality. Capturing the mournful undercurrents of the story and featuring three impressive central performances, Mark Romanek directs this poignant story of the human soul.

To the outside world, Hailsham looks like any other boarding school. Yet it is far from it. In the opening frames of the movie, the audience sees things that seem somewhat different to the expectations of an English boarding school. The students scan their wrists on sensors around the school and take unnamed tablets every morning. For Kathy, Tommy and Ruth, this is the way they have been brought up, yet there is the lingering feeling that something isn’t quite right about the schools ethos. Narrated by Kathy, we witness the three central characters growing up in this peculiar environment in which they are forbidden to pass the boundary separating the school from the outside world. This isolating existence adds to the enigmas surrounding the trio. When they learn their destiny from their new teacher Miss Lucy, which I won’t divulge for fear of spoiling it, it changes everything about them. Years later, the characters are grown up and have left Hailsham for somewhere else. Yet there is still the searching for answers regarding their fate that plagues quiet Kathy, awkward Tommy and jealous Ruth. Kathy is in love with Tommy but as she doesn’t want to upset the balance of friendship stays quiet as he courts Ruth. The jealousy and tenuous link at many times almost breaks as they navigate their way through realisation, grief and love. For the trio, a normal life is not an option and various questions are posed throughout Never Let Me Go surrounding the human soul and the nature of existence. Poignant, poetic and profound, Never Let Me Go asks many questions of us an audience and all we can do is witness the sadness, emotions and strange beauty of the film that will haunt almost anyone who sees it.

Alex Garland’s screenplay sensitively depicts the realisation of events and the effect it has on the close friendship shared between these characters with no knowledge of the outside world. By parts science fiction and drama with a romance at the heart, Never Let Me Go manages to balance these with stunning and powerful results. Mark Romanek’s subtle direction frames the story in melancholy and evocative colours which allows the story to reveal certain surprising points with a quiet unpredictability and intelligence. Rachel Portman contributes a stunning score of love, anguish and closeness that really lends the film a massive emotional impact as these characters decipher their shocking destiny and are faced with difficult decisions.

What really gives Never Let Me Go an emotional heart is the three central performances of Carey Mulligan, Andrew Garfield and Keira Knightley. Carey Mulligan is the most effective in her portrayal of Kathy, who narrates the story. Some may say the role seems passive, when actually it is filled with quiet, determined emotion and a certain weariness that Mulligan excellent embodies with deep pathos and skill. It is a role filled with passion, intelligence and power that Carey Mulligan delivers with deep emotional weight. Andrew Garfield contributes a wide-eyed naive quality to Tommy as he journeys through a discovery for the truth whilst dealing with his feelings for both Kathy and Ruth. Garfield is very subtle but hugely impressive in this role, and when he releases his emotion later on in the film it is such a harrowing moment. Rounding out the troika is Keira Knightley’s performance as Ruth, whose jealousy burns as she sees how Kathy clearly adores her boyfriend. But Knightley intelligently doesn’t make Ruth a one-dimensional character, she shows us the caring side that want to hold on to her friends and the aggressive side that surfaces when provoked.  All of the actors portraying the characters as children are exceptional as they have an uncanny resemblance to their older characters and possess deep emotions for people so young. Sally Hawkins has a brief but highly emotional role as the teacher who informs the students of their destiny and Charlotte Rampling is suitably imperious and enigmatic as the headmistress of Hailsham.

Crafted with poignancy and full of deep, far-reaching themes, Never Let Me Go is a haunting film that will live long in the memory.

The Hunger Games: Catching Fire

Tags

2010's, Action, Amanda Plummer, Donald Sutherland, Elizabeth Banks, Francis Lawrence, Jeffrey Wright, Jena Malone, Jennifer Lawrence, Josh Hutcherson, Lenny Kravitz, Liam Hemsworth, Philip Seymour Hoffman, Sam Claflin, Science Fiction, Stanley Tucci, The Hunger Games: Catching Fire, Woody Harrelson

Film Title

The Hunger Games: Catching Fire

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
• Sam Claflin as Finnick Odair
• Jena Malone as Johanna Mason
• Donald Sutherland as President Snow
• Philip Seymour Hoffman as Plutarch Heavensbee
• Jeffrey Wright as Beetee
• Amanda Plummer as Wiress
• Lenny Kravitz as Cinna
• Stanley Tucci as Caesar Flickerman

The Hunger Games: Catching Fire is the second film of The Hunger Games series. Following on from the groundwork set by the predecessor, it emerges as a smart, darker and more thought-provoking film. Featuring an excellent cast, a relatable heroine in the form of Katniss Everdeen as played by Jennifer Lawrence and some amazing visuals, Catching Fire is an sci-fi/action movie with brains that still delivers the goods.

After surviving the 74th Hunger Games by threatening to kill themselves, Katniss and Peeta return to District 12. They are paraded around as victors, but Katniss is having trouble adjusting to life again. Although seen as a beacon of hope by many, she is plagued by horrific nightmares of what she had to do in order to survive. The corrupt President Snow senses rebellion is brewing as a result of Katniss’ defiance. He blackmails Katniss into saying that the reason she survived was her ‘love’ for Peeta, when in actual fact she did it to enable their safety. He threatens to kill those most dear to Katniss if she doesn’t comply with his actions, including her good friend Gale, who has feelings for her. Although he wants Katniss dead, he employs the help of the enigmatic Plutarch, a man working on the Games. Plutarch suggests using a special version of The Hunger Games in order to relinquish rebellion. In this version of the games past victors can be chosen and sure enough Katniss and Peeta are both selected for the brutal games. As the games begin, Katniss must ally herself with some of the other skilled competitors in order to emerge alive from the carnage that will follow.

Taking over the reins from Gary Ross, Francis Lawrence crafts a darker, smoother movie than the first. Whereas Ross favoured use of kinetic shaky cam, Francis Lawrence utilises more fluid shots to create a sense of journey and the uphill battle to stay alive. The special effects employed in Catching Fire are marvellous in execution, especially the various obstacles that are thrown the way of Katniss. These include tidal waves, birds that mimic the screams of a loved one and some seriously vicious and brutal baboons. The score provided accentuates the struggles, pain and horror that befalls those competing. One flaw could be the length of the film as it does drag in places, but overall the running time is appropriate.

What gives Catching Fire its thought-provoking edge is the cast of it. Jennifer Lawrence once again is phenomenal as the heroine Katniss Everdeen. Lawrence lets us glimpse the emotional scars she suffered that she hides behind her strong, armour like demeanor. As a result, Katniss emerges a multi-dimensional character, alternately strong and capable but also caring and vulnerable. It is Lawrence’s performance that gives the film its heart. Josh Hutcherson rises to the challenge by being given more to do as Peeta than in the last movie. Liam Hemsworth follows suit with a more expanded role. Woody Harrelson and Elizabeth Banks are both on fine form as the returning mentors to Katniss and Peeta. Newcomer Sam Claflin is charming as the capable contestant Finnick and Jena Malone is a stubborn, sullen but moving presence as Johanna. Donald Sutherland is gleefully nasty as the corrupt President Snow, while Philip Seymour Hoffman works well with his enigmatic role . The ever-reliable Jeffrey Wright provides the brains as the techno wizard and Amanda Plummer is delightfully kooky as his wife. Lenny Kravitz is touching as the sympathetic stylist to Katniss and Stanley Tucci is a hoot throughout.

Combining thrilling action, interesting parallels with the subtext of media manipulation and well-drawn characters, Catching Fire proves itself as a successful sequel  and great movie in its own right, spearheaded by the evocative and strong performance of Jennifer Lawrence.