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Archive for the ‘Science Fiction and Space Shit’ Category

The Invisible Man

Monday, March 2nd, 2020

When we last saw Australian writer/actor/director Leigh Whannell two years ago, he had graduated from James Wan’s main writer (SAW I-III, DEAD SILENCE, INSIDIOUSes) to director of “a ferocious low budget cyberpunk action thriller” (source: outlawvern.com) called UPGRADE. I guess not very many people saw it, but Blumhouse still liked him enough to listen to his pitch for a remake of THE INVISIBLE MAN. And it was apparently a good one.

It had me not long after the simple, eerie title sequence – yes, you can still have a title sequence! – of waves crashing on rocks, splashing up and dripping off of invisible letters. The opening takes place high above those rocks in the mansion of super-rich-tech-genius Adrian Griffin (Oliver Jackson-Cohen, FASTER, The Haunting of Hill House), who is asleep. His girlfriend Cecilia (Elisabeth Moss, SUBURBAN COMMANDO) is trying to sneak out, something she has clearly planned for and is very scared about, with a go-bag in a hidden compartment, a plan for turning off the security system and a rendezvous point with her confused sister Emily (Harriet Dyer). (read the rest of this shit…)

Color Out of Space

Monday, February 24th, 2020

COLOR OF OUTER SPACE is last year’s comeback film for Richard Stanley, known for not directing THE ISLAND OF DR. MOREAU. Working on a lower budget with the cool production company SpectreVision (MANDY, A GIRL WALKS HOME ALONE AT NIGHT) he was able this time to successfully achieve his weird literary adaptation dreams without ever having to hide out in a rain forest disguised as a dog man.

This one’s based on H.P. Lovecraft’s “The Colour Out of Space,” originally published in a 1927 issue of Amazing Stories, and it opens with a young woman in a cape with a white horse performing an occult ritual. Nice trick – I assumed it was a prologue in the faraway past, but it’s the modern day, and she’s just a weirdo. She’s Lavinia Gardner (Madeleine Arthur, BIG EYES), daughter of Nathan (Nic Cage, known for not starring in SUPERMAN LIVES) and Theresa (Joely Richardson, MAGGIE), who have recently moved from “the big city” (as all normal humans call their home town) to an isolated farm in Arkham, Massachusetts. They’re kind of trying to live Off the Grid, so they get their water from a well, don’t have reliable wi-fi, and are raising alpacas, “the animal of the future” according to Dad. (read the rest of this shit…)

Underwater

Tuesday, January 21st, 2020

When the trailers for UNDERWATER surfaced (get it, surfaced) it seemed kinda out of nowhere. Never heard this was coming, and it looks like underwater ALIEN (AQUALIEN?), it has long-since-cancelled T.J. Miller in it, maybe it’s been sitting on the shelf forever, and that’s why it’s coming out in January? Then people started seeing it and saying it was crazy and fun, or actually good, so I made the effort to see it.

Well, don’t get your hopes up. It’s fine. I enjoyed it. But we didn’t get to see it with low expectations. I don’t know where the craziness reports come from – I can’t think of what would be surprising in it, unless you don’t know Kristen Stewart (CATCH THAT KID) is a good actress.

She’s the main attraction playing Norah, a mechanical engineer on an underwater station deep in the Mariana Trench. She happens to be awake and brushing her teeth the morning that her section of the station gets breached. As she runs from the flooding she tries to wake the others, but only a dude she barely knows named Rodrigo (Mamoudou Athie, Grandmaster Flash on The Get Down) makes it safely into the other chamber where she opens a panel and rewires it to close a door right before some others make it. (read the rest of this shit…)

Star Wars Episode IX: The Rise of Skywalker

Monday, December 23rd, 2019

STAR WARS: THE RISE OF SKYWALKER is the kind of thing that happens when a singular voice creates a revolutionary trilogy that changes movies forever and becomes a cultural phenomenon beloved by generations and then years later makes a trilogy of prequels to said movies that are also a cultural phenomenon and also change movies forever in a different way but are disdained by many and after a while he gets so sick of fuckin hearing about it that he sells off his entire life’s work for nearly five billion dollars and gives most of it to charity while a giant entertainment conglomerate treats his creation as an all-consuming brand centered around a third trilogy that ends the saga but is made by three different directors with no plan for where the fuck it’s going and the first guy does a good workmanlike job, then the second knocks it out of the park with a soulful and distinct followup that severely pisses off a small faction of people we only know about because of the internet and then the third guy gets fired so the first guy has to come back and figure out how the fuck to conclude a story he designed for some other poor sucker to have to deal with and also find an ending to the larger cultural phenomenon he’s been mimicking and for some reason he feels the need to alienate the people who like the movies by pandering to the people who didn’t.

So, you know, if you haven’t seen it yet, you surely can picture that type of movie, but also you shouldn’t read this review because it’s ALL SPOILERS and also you won’t know what the fuck I’m talking about. (read the rest of this shit…)

In the Shadow of the Moon

Tuesday, November 26th, 2019

IN THE SHADOW OF THE MOON is the latest from director Jim Mickle, whose work I really dig – my favorites are the Joe Lansdale crime story COLD IN JULY and the horror remake WE ARE WHAT WE ARE, but also check out MULBERRY ST., STAKE LAND and Hap & Leonard. This is a little different for him – it seems much more expensive than all his other movies, it has some science fiction involved, and it’s credited to other writers (Gregory Weidman & Geoffrey Tock of the tv shows Limitless and Zoo). It’s a Netflix production that played Fantastic Fest in September, then went straight to streaming.

It opens five years from now in the aftermath of what looks like a massive terrorist attack. We just get a glimpse of the damage before it skips back to 1988 (the year DIE HARD came out) and intercuts between a few different Philadelphians – a bus driver, a fry cook, a concert pianist – all of whom get sudden nosebleeds, then bleed from the ears and eyes, then fall dead.

(read the rest of this shit…)

Ad Astra

Thursday, November 14th, 2019

I’d heard that AD ASTRA might be one of those movies like THE AMERICAN or SOLARIS that is a little slow or arty or whatever but since it’s a big release with a big movie star from OCEAN’S ELEVEN a bunch of people who aren’t comfortable with that type of movie see it and either get real disappointed or fall asleep about ten minutes in. That might’ve been a myth, because it got a B- Cinemascore, which is the same as HUSTLERS. But I guess hearing that got me primed because it was alot more exciting than I expected!

This is the first movie I’ve seen by James Gray (LITTLE ODESSA, THE YARDS, WE OWN THE NIGHT, TWO LOVERS, THE IMMIGRANT, THE LOST CITY OF Z), but I know he has a reputation for quiet and thoughtful dramas. And honestly I didn’t expect as much sci-fi as we get – it’s a little further into the near future than I thought. From the trailer it looked more like a straight astronaut drama. And I got nothing against astronauts, there are many fine astronauts, but I think I was born without that gene many guys have that makes them involuntarily swell up with patriotism any time they think about a person or object that has been to the moon. Or maybe I just didn’t see THE RIGHT STUFF at an impressionable age. (read the rest of this shit…)

Gemini Man

Wednesday, November 13th, 2019

GEMINI MAN is your traditional “the greatest assassin anybody ever saw decides to retire and then god damn it I thought they loved me but they’re sending a guy to kill me what the fuck” type scenario. The gimmick is that the guy they send after him is a younger version of himself created through the miracle of cloning. He figures this out a good third or more into the movie, but we know from frame one because of the studio’s decision to advertise the film.

Will Smith (“Nightmare On My Street”) plays both extreme retiree Henry Brogan and the facial expressions of the very advanced digital animation character playing his clone. Junior, as he’s called, gets dispatched after Henry’s Old Buddy From the Marines Jack (Douglas Hodge, THE DESCENT PART 2) and Russian operative Yuri (Ilia Volok, AIR FORCE ONE) tell him that that last guy they had him kill, the terrorist, was actually an innocent scientist being eliminated as part of a cover-up. When Henry hears this information he looks up to the clouds just as the lite on a satellite blinks, but it’s only to tell us someone heard this. He doesn’t seem to figure it out himself.

He does catch on that the new manager at the docks where he keeps his boat is really a D.I.A. agent sent to keep tabs on him. He asks Dani (Mary Elizabeth Lucy McClane Winstead, BOBBY) on a date, maybe just to get her to admit she’s spying on him and convince her he’s not a threat. But when some dudes try to kill both of them they end up on the run together. They head to Colombia to meet up with his Old Agency Friend turned small plane pilot Baron (Benedict Wong, LARGO WINCH). (read the rest of this shit…)

Terminator: Dark Fate

Monday, November 4th, 2019

I love THE TERMINATOR, but I love TERMINATOR 2: JUDGMENT DAY. To me it’s one of the all time greats of sequels, summer event movies, action movies, movies in general. It came into the world at the right time to knock me on my ass, and has only grown with me. We’d never seen a movie like it; the technology had not existed for a character to do the things that the liquid metal T-1000 did, and no woman, not even Ripley in James Cameron’s own ALIENS, had returned to the screen as thoroughly transformed into an indelible badass as Sarah Connor.

At the time it seemed like the biggest, loudest, most over-the-top and technologically advanced action spectacle we’d ever seen. Now there’s a certain quaintness and groundedness to it. The then-show-stopping computer effects are only for a little bit of morphing – now we notice the huge amount of real stunts involving a semi-truck, motorcycles, a helicopter and various pyrotechnics that would never be so real in a modern movie. And the story is built on characters and emotions in a way that’s much more resonant to me than most subsequent movies of this type. (read the rest of this shit…)

Ghost Warrior

Thursday, September 12th, 2019

GHOST WARRIOR is sort of a sci-fi action drama that was made in 1984, but shelved and thawed two years later. It’s about a samurai named Yoshimitsu (Hiroshi Fujioka, Kamen Rider, IN THE LINE OF DUTY III) who’s just minding his own business – okay, I guess he’s fighting some dudes and forced to jump falls off a cliff – when suddenly he wakes up 400 years later in a lab. Somebody found him frozen in a cave and he ended up at the California Institute of Cryosurgical Research.

By the time the man in charge, Dr. Alan Richards (John Calvin, Tales of the Gold Monkey, CRITTERS 3), recruits “Oriental history” expert/narrator of the film Chris Welles (Janet Julian, HUMONGOUS, FEAR CITY, KING OF NEW YORK) to consult, she’s already read rumors about “The Frozen Shogun” in the newspaper, but just thinks it’s an archaeological discovery. It’s immediately clear that Dr. Richards is an asshole because when she walks into the lobby to report to the job he’s standing right next to her and doesn’t bother to welcome her, introduce himself or even look at her. Then he pulls a John Hammond and brings her for a tour without warning her there’s gonna be a live samurai involved. (read the rest of this shit…)

Yor, the Hunter from the Future

Monday, September 2nd, 2019

No – you’re the hunter from the future.

It’s fair to say that YOR, THE HUNTER (spoiler) FROM THE FUTURE is a cheesy movie. And though its 89 minutes are whittled down from an Italian mini-series of four 50-minute episodes, I don’t need to see the other 111 minutes. But 89 of it is just right. I dug it.

Like CONQUEST for Lucio Fulci, YOR is director Antonio Margheriti (SEVEN DEATHS IN THE CAT’S EYE, CODE NAME: WILD GEESE, CANNIBAL APOCALYPSE) trying to ride the wave of savage shirtless musclemen left in the wake of CONAN THE BARBARIAN. But this story combines the ax-wielding stone age warriors with futuristic sci-fi elements. In that aspect – and in Reb Brown’s blond wig and furry shorts and boots – YOR reminds me of He-Man and the Masters of the Universe, which started the year before. (read the rest of this shit…)