The hype surrounding Prometheus has long been that it is a prequel to the Alien franchise. Director/Producer Ridley Scott admitted that the movie would be set in the same universe as the Alien series, but Prometheus would have it's own themes and mythology.
At first, Prometheus seems to stay true to the idea that Alien and Prometheus truly are separate entities. The opening sequence is wholly terrestrial with stunningly beautiful scenery. It shows a UFO that is more in line with pop-sych sightings than anything from the original Alien trilogy, and it introduces the first alien creature - one that does not resemble the creepy xenomorph we were introduced to in 1979's Alien.
The first few minutes of film prescribes to the extraterrestrial seeding origin of life theory - drawing heavy inspiration from the ancient astronauts pseudoscience. Scientists Elizabeth (Rapace) and Charlie (Marshall-Green) discover evidence in an ancient Scottish cave that points to a species of aliens that came to our planet and visited every pre-civilized culture on Earth. They interpret this evidence as a road map and embark on a quest to meet their makers.
Enter the Weyland Corporation. These two scientists convince the insanely wealthy Peter Weyland (Pearce), founder and CEO of Weyland Corporation, to fund an expedition to a distant Earth-like planet to seek our creators, beings they call Engineers.
From the first moment you see the craft Prometheus floating through space, the look and feel of the movie begins to seem reminiscent of earlier films in the franchise. The exploration of the domed structures is similar to the reconnaissance in the underground Antarctic pyramid from Alien vs. Predator. The phallic symbolism is as apparent in Prometheus as it was in the first Alien movie. The Engineer ship is the same as the aliens ship. The snakes in the oily goo look like the chest bursters. There are face huggers and ugly baddies. And an android with ulterior motives.
In fact, motives play a huge role in Prometheus. Damon Lindelof and Jon Spaihts (screenwriters) and Ridley Scott gave each of the characters a reason to be on that voyage. Everyone serves a purpose even if that purpose is to be the first to die.
I don't want to spoil too much of the plot or ruin any of the surprises because there are a few decent plot twists that breathe new life into the Alien franchise that was missing in the utterly bizarre Alien Resurection and the hokey pair of AvP films. While Scott would have you believe this movie was intended to be a prequel in only the vaguest sense of the word, the final scene makes it abundantly clear; we are watching something that belongs in the Alien mythos.
Prometheus is a must see for SciFi fans and those that enjoy scary movies. Some of the biggest moments of terror were rehashed from earlier Alien movies so those moments that were intended to be the most frightening have lost a bit of its bite. But there are some genuine shocks and scenes that are still tense and horrifying.
While the movie has superb cinematic sequences and a captivating story, it won't find broad appeal beyond genre fans. It's not the kind of movie that my wife would enjoy and it is definitely not for the squeamish.
Showing posts with label Horror. Show all posts
Showing posts with label Horror. Show all posts
Saturday, June 09, 2012
Saturday, August 28, 2010
Piranha 3D
I always wondered if I could write a movie review with five words or less. Piranha 3D seems like a perfect opportunity to try.
Gratuitous. Predictable. Don't bother.
Huh... looks like less than five words.
Gratuitous. Predictable. Don't bother.
Huh... looks like less than five words.
Thursday, April 01, 2010
Zombieland
In the realm of monster/horror movies, the zombie sub-genre is an easy favorite of mine. There's a primal terror in the walking dead - whether as a result of viral infection or Cajun mysticism. We fear the loss of autonomy, we fear being hunted, we fear the unknown lurking around every corner, we fear the unrealistic possibility that a zombie apocalypse might happen in real life.
I love when movies instill that sense of dread. I'm amazed when the same movie that terrifies me also makes me laugh like a ticklish clown that's high on nitrous oxide.
Enter Zombieland.
Zombieland is not the fist movie to combine horror and comedy. It's not even the first to pair slapstick with the undead. Yet it does it so well. It deviates from the pure absurdity of 2004's Shaun of the Dead without devaluing it's predecessor. Zombieland is to Shaun of the Dead what National Lampoon is to Monty Python. Both films are excellent in their common purpose via differing brands of twisted comedic styles. As closing credits began to roll over Zombieland's amusement park, my father-in-law chuckled "that's the funniest zombie movie I've ever seen."
He's correct.
But it's not just a movie about Zombies. And it is more than a funny movie about zombies. It's also a movie about rules. Thanks to my over-developed sense of justice, this is where I think the movie succeeds.
Told from the point of view of a hapless loser/video game geek (Jesse Eisenberg), the nerd survives by compiling an ever-growing list of rules. Simple rules: cardio, wear seatbelts, and beware of bathrooms. These rules are not just demonstrated, but repeated and highlighted through on-screen lettering that is as much scenery as they are props.
Beyond that, Woody Harrelson plays his maniacal self and shows us why his best perfomances happen when his character is slightly unhinged. The movie pulls some hefty punches. From the the opening sequence with a soon-to-be Kibbles & Bits fat kid running accross a football field to the prankings of the con-artist sisters (Abigail Breslin and Emma Stone). From the Dualing Banjo bait/takedown to the quest for a Twinkie. From Bill Murray's genius (albiet predictable) cameo to the climatic roller coaster ride and zombie-clown. Zombieliand is a movie that knows it's identity and flaunts it with admirable bravado.
Granted it comes with the price of prerequsit zombie gore, 30 some odd f-bombs, and the coarse teasing of modern comedy. It's a laugh 'til your bowels hurt kind of movie, a must for fans horror but not recomended for the squeamish.
I love when movies instill that sense of dread. I'm amazed when the same movie that terrifies me also makes me laugh like a ticklish clown that's high on nitrous oxide.
Enter Zombieland.
Zombieland is not the fist movie to combine horror and comedy. It's not even the first to pair slapstick with the undead. Yet it does it so well. It deviates from the pure absurdity of 2004's Shaun of the Dead without devaluing it's predecessor. Zombieland is to Shaun of the Dead what National Lampoon is to Monty Python. Both films are excellent in their common purpose via differing brands of twisted comedic styles. As closing credits began to roll over Zombieland's amusement park, my father-in-law chuckled "that's the funniest zombie movie I've ever seen."
He's correct.
But it's not just a movie about Zombies. And it is more than a funny movie about zombies. It's also a movie about rules. Thanks to my over-developed sense of justice, this is where I think the movie succeeds.
Told from the point of view of a hapless loser/video game geek (Jesse Eisenberg), the nerd survives by compiling an ever-growing list of rules. Simple rules: cardio, wear seatbelts, and beware of bathrooms. These rules are not just demonstrated, but repeated and highlighted through on-screen lettering that is as much scenery as they are props.
Beyond that, Woody Harrelson plays his maniacal self and shows us why his best perfomances happen when his character is slightly unhinged. The movie pulls some hefty punches. From the the opening sequence with a soon-to-be Kibbles & Bits fat kid running accross a football field to the prankings of the con-artist sisters (Abigail Breslin and Emma Stone). From the Dualing Banjo bait/takedown to the quest for a Twinkie. From Bill Murray's genius (albiet predictable) cameo to the climatic roller coaster ride and zombie-clown. Zombieliand is a movie that knows it's identity and flaunts it with admirable bravado.
Granted it comes with the price of prerequsit zombie gore, 30 some odd f-bombs, and the coarse teasing of modern comedy. It's a laugh 'til your bowels hurt kind of movie, a must for fans horror but not recomended for the squeamish.
Monday, January 11, 2010
Carriers
What if?
That is the question superior survival movies ask. Not the “what’s going to happen,” “how did it happen,” or “how are they going to fix it.” Those are awful questions.
Enter Carriers. The world has been ravaged by a highly contagious and horrific disease. Most of the population is dead or dying. What if it was you? What would you do? How would you survive? Carriers only asks questions – it proposes no answers. Instead of answers, it gives you something to ponder.
Two brothers (Chris Pine and Lou Taylor Pucci) are driving cross country to return to the beach house they vacationed at as kids. Along for the ride are Pine’s girlfriend (Piper Perabo) and an upper class stranger (Emily VanCamp). They have rules to follow to prevent getting sick: avoid the infected, sanitize everything, etc. They also carry a healthy supply of bleach, duct tape, and bottled water.
Their strategy is flawed as the meet a father who is willing to do anything to save his daughter (Christopher Meloni), a sick doctor who has given up on finding a cure, a team of professionals with a surefire way to thwart infection, and a pair of armed old ladies.
The cause of the disease is never explained (nor is the cause needed), the fate of humanity and the surviving characters is never resolved, and there is no gratifying conclusion, just a somber journey through despair, isolation, and loneliness.
Graciously the melancholic temperament of the film is broken by bits of absurdity (Pine’s character driving a golf cart across abandoned fairways and sand traps with reckless abandon, and the hyper quarreling between the two brothers). Yet despite the humorous interruptions, you still can’t escape the morally challenging queries.
Would you kill to survive? Lie? Steal?
Would you drink yourself into oblivion?
Would you give up hope? Or would you persevere against insurmountable odds?
Would you be willing to abandon someone you love if you knew there was nothing you could do to save them? Would you force someone you love to make that decision?
What would you feel? Bitterness? Despondency?
Would you break the rules – even if you were the one who created the policy?
Again, the movie does not answer any of these questions. The actions and motives of the characters are never justified or rationalized. You will not walk away from watching this movie with a peaceful easy feeling. While a viral pandemic is the backbone of the plot, the real story is about making tough judgments in the face of ghastly circumstances.
My take: The characters are oversimplified archetypes – the jerk (Pine), the bullied genius ( Pucci), the rebellious girl (Perabo), the spoiled rich girl (VanCamp), and the noble father (Meloni). Despite the stereotypes, the acting is superb. The story is depressing, tainted with disturbing imagery, yet it is engaging and thought provoking.
Bekah’s take: What a depressing movie. It did spark some debate. Would I leave her on the side of the road if I found out she was sick and incurable? She swears she’d volunteer to stay behind and give us a better chance at survival. She wouldn’t recommend the movie.
Final word: A hat tip from me but a frown of scorn from Bekah. My recommendation – if you’re going to watch it be prepared, the movie will give you no reason to celebrate humanity and you might want to consume an entire gallon of ice cream (or some other comfort food) afterwords.
That is the question superior survival movies ask. Not the “what’s going to happen,” “how did it happen,” or “how are they going to fix it.” Those are awful questions.
Enter Carriers. The world has been ravaged by a highly contagious and horrific disease. Most of the population is dead or dying. What if it was you? What would you do? How would you survive? Carriers only asks questions – it proposes no answers. Instead of answers, it gives you something to ponder.
Two brothers (Chris Pine and Lou Taylor Pucci) are driving cross country to return to the beach house they vacationed at as kids. Along for the ride are Pine’s girlfriend (Piper Perabo) and an upper class stranger (Emily VanCamp). They have rules to follow to prevent getting sick: avoid the infected, sanitize everything, etc. They also carry a healthy supply of bleach, duct tape, and bottled water.
Their strategy is flawed as the meet a father who is willing to do anything to save his daughter (Christopher Meloni), a sick doctor who has given up on finding a cure, a team of professionals with a surefire way to thwart infection, and a pair of armed old ladies.
The cause of the disease is never explained (nor is the cause needed), the fate of humanity and the surviving characters is never resolved, and there is no gratifying conclusion, just a somber journey through despair, isolation, and loneliness.
Graciously the melancholic temperament of the film is broken by bits of absurdity (Pine’s character driving a golf cart across abandoned fairways and sand traps with reckless abandon, and the hyper quarreling between the two brothers). Yet despite the humorous interruptions, you still can’t escape the morally challenging queries.
Would you kill to survive? Lie? Steal?
Would you drink yourself into oblivion?
Would you give up hope? Or would you persevere against insurmountable odds?
Would you be willing to abandon someone you love if you knew there was nothing you could do to save them? Would you force someone you love to make that decision?
What would you feel? Bitterness? Despondency?
Would you break the rules – even if you were the one who created the policy?
Again, the movie does not answer any of these questions. The actions and motives of the characters are never justified or rationalized. You will not walk away from watching this movie with a peaceful easy feeling. While a viral pandemic is the backbone of the plot, the real story is about making tough judgments in the face of ghastly circumstances.
My take: The characters are oversimplified archetypes – the jerk (Pine), the bullied genius ( Pucci), the rebellious girl (Perabo), the spoiled rich girl (VanCamp), and the noble father (Meloni). Despite the stereotypes, the acting is superb. The story is depressing, tainted with disturbing imagery, yet it is engaging and thought provoking.
Bekah’s take: What a depressing movie. It did spark some debate. Would I leave her on the side of the road if I found out she was sick and incurable? She swears she’d volunteer to stay behind and give us a better chance at survival. She wouldn’t recommend the movie.
Final word: A hat tip from me but a frown of scorn from Bekah. My recommendation – if you’re going to watch it be prepared, the movie will give you no reason to celebrate humanity and you might want to consume an entire gallon of ice cream (or some other comfort food) afterwords.
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