Let’s get this out of the way first: many things went wrong with ALIEN 3 (or ALIEN3 if you prefer). After Ridley Scott’s sci-fi-horror masterpiece in ’79 and James Cameron’s ass-kicking miracle sequel in ’86, producer/writers Walter Hill and David Giler struggled to develop a worthy followup. After numerous reworkings with a series of writers and a late-in-the-game switch of directors from New Zealand’s Vincent Ward (THE NAVIGATOR: A MEDIEVAL ODYSSEY) to MTV’s David Fincher (Madonna’s “Vogue” video, the “Would you give a cigarette to an unborn child?” American Cancer Society PSA), they finally got the ball rolling. With an unfinished script. The 27-year-old first time feature director fought for (and lost) creative control, eventually quitting during post-production, at which point the studio recut the movie without his input. Never great when that happens.
Based on what we learned from THE PLAYER, studio interference should mean they gave it an unearned happy ending that changed the whole spirit of the thing. Like when they reshot the ending of FATAL ATTRACTION, or later when they tried to make Fincher get rid of the head in the box in SEVEN. This is a different situation. What came out of that battle was a mean, dark, anti-crowdpleaser that disappointed, outraged or depressed many fans. Artistically I never thought it was the outright disaster it was initially received as – in fact, I always liked it – but I could never pretend it matched its predecessors.
30 years later – after it’s been in my life so long I can’t remember anything else – it requires no effort to drop all the baggage and admire ALIEN 3 as a singular-ish vision or, at the very least, an act of sheer audacity. Another ’92 blockbuster sequel I’ll be reviewing caused a commotion for allegedly being “too dark,” but I think this baby is still the undisputed bleakness champion of big studio sequels to mainstream hits. To illustrate how unusual the approach is, let’s imagine if the summer’s earlier part 3, LETHAL WEAPON 3, had made some of the same decisions. What if rather than bring back the whole gang, including Leo, they only brought back Riggs? Murtaugh and Leo are said to have died in between 2 and 3. We see brief glimpses of Murtaugh’s mutilated corpse. Riggs goes to the morgue to see Leo’s body, then demands to watch the autopsy. He spends the movie working with murderers and rapists, almost all of whom die, and then the triumphant ending is that he commits suicide. How about that? Do you think that would go over well?
Oh, WATERWORLD, how I’ve been meaning to rewatch you. Maybe I should’ve done it before FURY ROAD, though.
Let’s get the “flop” shit out of the way first. This is still most famous as a big expensive movie that pretty much just broke even. I don’t care. That’s none of my business. I’m old fashioned.
I always thought it was treated unfairly at the time. It was in the news for going over budget and the popularity pendulum was swinging back on Kevin Costner after a bunch of Oscars and hit movies. It became everybody’s target and they were excited for how terrible it was supposedly gonna be. (This article from The Independent at the time examines the reasons for the backlash against Costner.)
Here, let me check if it was nominated for Razzies. Yep, Dennis Hopper won worst supporting actor and it was nominated for worst picture, actor and director. (SHOWGIRLS was the big winner that year.) So that speaks well of the movie if those assholes were against it.
We’ve been looking at the other movies of that summer, so we can see in context that it’s somewhere in the upper range of quality for what was in theaters at the time. It’s for sure less embarrassing than BATMAN FOREVER or MIGHTY MORPHIN POWER RANGERS: THE MOVIE, more impressive than CONGO, arguably better than JOHNNY MNEMONIC or JUDGE DREDD. It didn’t deserve all the hate that it got.
WARLOCK is a fun, simple movie about a warlock (Julian Sands) who, as he’s about to be inquisitioned to death in 1691, does a magic spell that transports him to 20th century Los Angeles. A storm accurately referred to as “The Devil’s Wind” literally blows him through the window into the home of Kassandra (Lori Singer) and her roommate. Naturally they figure he’s a drunk and let him spend the night. Talk about a racial double standard! If it was a black guy who flew through their window they’d be going for guns. And that wouldn’t have helped here but it would’ve been the right idea at least. Next thing you know the warlock is cutting out the roommate’s tongue and devouring his life essence.
Suddenly a dude wearing furs (Richard E. Grant) is in the house too. Kassandra screams, tries to get away, he punches her, she punches back. He’s talking nonsense, wants to know if the warlock bled in the house. She cuts open her vacuum bag to give him the glass shards for the window, then tries to get away. (read the rest of this shit…)
GI JANE is way classier than its male counterparts RISE OF COBRA,RETALIATION and THE MOVIE, but I was pleasantly surprised by how much of a straight-ahead action movie it is, complete with triumphant music by Trevor Jones (CLIFFHANGER), themes of fight brotherhood and many a badass training montage. It’s built around the idea of Demi Moore having to achieve a level of physical toughness never officially reached by a woman before, which is a little far-fetched, I know. But the actress acquits herself admirably, obviously trained intensely and shows off in many sweaty pull-up and one-armed pushup scenes like an ’80s Dolph, Stallone or Van Damme movie might have. I think maybe Ridley Scott was on a mission to one-up what James Cameron did with Linda Hamilton in T2. To get him back for ALIENS.
It’s also an issue movie, inspired by the debate of whether or not to allow women in combat in the U.S. military. Moore plays Jordan O’Neill, a lieutenant in military intelligence who knows her shit far beyond expectations. If she were a man she probly would’ve moved to some sort of special ops team where she could take advantage of her expertise, but women aren’t allowed there.
Until now. When a female senator (Anne Bancroft) cleverly throws her weight around at a confirmation hearing and gets the military to agree to a number of women-in-combat test cases, O’Neill is chosen as a good poster girl – skilled, but not too butch. So she gets to try out for the Navy SEALs. This was before they were known for killing Osama bin Laden, this is when they were known as Jesse Ventura’s buddies. But they were among the toughest of the tough. They bring in the very best special ops soldiers and even most of those guys drop out before Hell Week is over. So it’s a hell of a challenge for her. It’s a grueling test of strength and endurance that only a small percentage of men can hope to survive, not believed possible for a woman. And that’s not even figuring in the likelihood that nobody there wants a woman to be able to do it. (read the rest of this shit…)
TERMINAL VELOCITY is a pretty funny action mystery full of smartass dialogue and clever action gimmicks. I think it’s an attempt to make up a pulp adventurer type character without the usual treasure hunting or old timey setting. But with the brown leather jacket, the slick hair and the bi-plane.
Charlie Sheen plays Ditch Brody, the womanizing wildman shit-stirrer of the Arizona parachutist community. He’s locally notorious for a string of outrageous skydiving mishaps (or skyhaps), most recently parachuting into a young girl’s birthday party wearing the fake muscles and ass from his standard (probly disappointing) bachelorette party routine. Then one day a beautiful woman (Nastassja Kinski) comes in wanting a lesson from him. She acts like a giggly first-timer but is clearly up to something. He’s too horny to pick up on it, and even touches her ass on the way into the plane. Not professional. (read the rest of this shit…)
The first time we see Riddick in his new movie RIDDICK he’s buried under rocks, okie noodling a dumbass flying space lizard that mistakes him for a corpse. He’s been left for dead on the planet “not Furya” by the Necromongers from CHRONICLES OF RIDDICK, just like the planet earth tried to leave the Riddick series for dead after they found out it was the type of movies that had bad guys called the Necromongers. But as he’s demonstrated before, Riddick and his series are survivors. (Don’t get him started about it though, he’ll narrate your ear off.)
Ever since CHRONICLES in 2004 some of us have wanted to see that sequel set up at the end, where (NINE YEAR OLD SPOILER) Riddick has accidentally become the king of the aforementioned death-worshipping, statue-shaped-spaceship-flying warrior race. This is not exactly that sequel. We just find out through some awkward narration and a brief Karl Urban cameo that they got rid of Riddick by pretending they’d bring him to his birth planet and then bringing him to a different planet and breaking off a cliff that he’s standing on. Ha ha! Riddick fell for a Wile E. Coyote.
The last third of this movie is a pretty fun, mildy anti-climactic rehash of PITCH BLACK – Riddick and mercenaries declare an unwieldy truce and earn each others’ begrudging respect while fighting CGI alien monsters on a dark rainy dirt planet. But the first 2/3 is easily the best of the series so far. (read the rest of this shit…)
Steve Zahn and Milla Jovovich are on a honeymoon hike in Hawaii. Another couple has been killed, possibly by a newlywed couple like them, and all the other tourists are getting paranoid about it, but they decide to continue with the hike anyway. This is one o’ them suspense thrillers, and it did a good job of keeping me in suspensed thrills.
From the beginning on it keeps dropping hints about what might be up. A sinister past for Zahn? Maybe it’s straight up and this scary couple here are killers? Or this nice couple? Or the other couple? You’ll have alot of theories throughout and as long as you consider the correct one at some point you can claim you figured it out and defeated the movie. The writer/director is David Twohy, famed chronicler of Riddick. It’s another solid B-movie notch on his belt – nothing transcendent, but effective and fun, with some clever touches. (read the rest of this shit…)
I don’t know if you ever saw PITCH BLACK. It was a low budget ALIENS type movie about a bunch of space-people who get stranded on a planet where nasty monsters come out and eat everybody at night. And then if I remember right there is an eclipse, so it’s gonna be a long fuckin night. So they’re pretty much fucked except luckily they have this dude Riddick on board. He is a prisoner actually, a scary mass killer type, but he has surgically altered glowing eyes so he can see in the dark. So with him being good at killing and seeing in the dark, he is a good guy to let loose in this situation. So the murderer becomes some sort of a part time hero when faced with alien monsters, he saves some lives and possibly leaves his old self behind.
Personally I thought the movie wasn’t so hot. It starts out good but the aliens just aren’t all that convincing or scary and I lost interest after a while. But this Riddick character, played by the then unknown Vin Diesel, was a cool idea and memorably played by Mr. Diesel. The great Keith David is in there too playing a preacher named Imam, but I guess not as memorably, since I forgot he was in it until I saw him in this sequel. (read the rest of this shit…)
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Recent commentary and jibber-jabber
MaggieMayPie on Trigger Warning: “I watched this the weekend that REBEL RIDGE came out. I went into Netflix to watch that and I saw…” Nov 20, 20:46
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“We tolerate everybody. Even the intolerable.”
30 years later – after it’s been in my life so long I can’t remember anything else – it requires no effort to drop all the baggage and admire ALIEN 3 as a singular-ish vision or, at the very least, an act of sheer audacity. Another ’92 blockbuster sequel I’ll be reviewing caused a commotion for allegedly being “too dark,” but I think this baby is still the undisputed bleakness champion of big studio sequels to mainstream hits. To illustrate how unusual the approach is, let’s imagine if the summer’s earlier part 3, LETHAL WEAPON 3, had made some of the same decisions. What if rather than bring back the whole gang, including Leo, they only brought back Riggs? Murtaugh and Leo are said to have died in between 2 and 3. We see brief glimpses of Murtaugh’s mutilated corpse. Riggs goes to the morgue to see Leo’s body, then demands to watch the autopsy. He spends the movie working with murderers and rapists, almost all of whom die, and then the triumphant ending is that he commits suicide. How about that? Do you think that would go over well?
WARLOCK is a fun, simple movie about a warlock (Julian Sands) who, as he’s about to be inquisitioned to death in 1691, does a magic spell that transports him to 20th century Los Angeles. A storm accurately referred to as “The Devil’s Wind” literally blows him through the window into the home of Kassandra (Lori Singer) and her roommate. Naturally they figure he’s a drunk and let him spend the night. Talk about a racial double standard! If it was a black guy who flew through their window they’d be going for guns. And that wouldn’t have helped here but it would’ve been the right idea at least. Next thing you know the warlock is cutting out the roommate’s tongue and devouring his life essence.
GI JANE is way classier than its male counterparts 
TERMINAL VELOCITY is a pretty funny action mystery full of smartass dialogue and clever action gimmicks. I think it’s an attempt to make up a pulp adventurer type character without the usual treasure hunting or old timey setting. But with the brown leather jacket, the slick hair and the bi-plane.
The first time we see Riddick in his new movie RIDDICK he’s buried under rocks, okie noodling a dumbass flying space lizard that mistakes him for a corpse. He’s been left for dead on the planet “not Furya” by the Necromongers from 
Steve Zahn and Milla Jovovich are on a honeymoon hike in Hawaii. Another couple has been killed, possibly by a newlywed couple like them, and all the other tourists are getting paranoid about it, but they decide to continue with the hike anyway. This is one o’ them suspense thrillers, and it did a good job of keeping me in suspensed thrills.
I don’t know if you ever saw PITCH BLACK. It was a low budget ALIENS type movie about a bunch of space-people who get stranded on a planet where nasty monsters come out and eat everybody at night. And then if I remember right there is an eclipse, so it’s gonna be a long fuckin night. So they’re pretty much fucked except luckily they have this dude Riddick on board. He is a prisoner actually, a scary mass killer type, but he has surgically altered glowing eyes so he can see in the dark. So with him being good at killing and seeing in the dark, he is a good guy to let loose in this situation. So the murderer becomes some sort of a part time hero when faced with alien monsters, he saves some lives and possibly leaves his old self behind.
