Tag Archives: Science Fiction

Michael Bay’s The Island

I remember the summer of 2005 so clearly: I had just gotten back from a month of summer camp, I had seasons tickets to PlayLand and the big movie event of the summer for me was Michael Bay’s The Island, which was released this week of that year and will always hold a special place in my heart as a formative, nostalgic and utterly ‘summer’ filmgoing experience of my childhood. Reworking a classic ‘clones on the run’ motif and injecting it with his trademark dose of spectacular visual effects and action filmmaking, Bay tells an exciting, thought provoking, rousing and propulsive science fiction saga of clones Lincoln Six Echo (Ewan McGregor) and Jordan Two Delta (Scarlett Johannsson) on the run from the only life they’ve ever known inside a giant utopian society where they are told their one purpose is to go to the fabled ‘Island,’ when in reality the truth is of course far more sinister and morally egregious. They are pursued by conflicted Black Ops mercenary Laurent (Djimon Hounsou, haunted, badass charisma on a terrific low burn) at the behest of pseudoscience guru Dr. Merrick (Sean Bean with quiet malevolence on full blast), an amoral bastard with a bad case of God Complex. Their journey takes them from this holographic underground hive out into the California desert and eventually to a stunning, stylized Los Angeles of the future where they learn the truth about themselves, the state of the world and make attempts to rescue the multitude of clones still stuck in the facility daw away. Bay has his troupe of actors and we see wonderful supporting work from a scrappy Steve Buscemi, Kim Coates, Ethan Phillips, Shawnee Smith, Chris Ellis, Max Baker, Glenn Morshower, Tom Everett and heartbreaking Michael Clarke Duncan as an ill fated clone. One of my favourite aspects is a thundering, soul stirring original score composed by Steve Jablonsky that crescendos in a finale suite reaching heights of emotional overflow and adrenal stimulation I didn’t think possible in the medium of film fused with music until then. I couldn’t care less what you think of Bay or his work, he’s one of the most influential and treasured filmmakers for me, for growing up watching films with my family and exploring what could be done in the realms of action/science fiction storytelling. The Island is an extraordinary piece, one of my most cherished ‘summer at the movies’ memories and one hell of a damn fine film.

-Nate Hill

“I was just on my way out!” Remembering Voyage of the Rock Aliens with Michael Berryman by Kent Hill

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For those who were there…we can all remember a time when cynicism was nowhere to be found regarding our cinematic adventuring. Even during the age which saw the birth of the event picture; there were still fertile grounds from which material, attempting to ride the coattails of popular genre could grow into something that was more an mere homage. Indeed, it may very well have been just another amalgam of concepts, already witnessed by inquisitive travelers on the beaten track; the low-budget, video store self-fillers that are now, in some cases lost to history. Still, these movies were crafted with charm, professionalism and good intentions. No one sets out to make a bad movie, and the giants of the industry, no matter their field of expertise, all played in the same sandbox at one time or another – a pit rich with invention, ripe with interpretation and deep with heart.

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So we come to the splendid curiosity which is: Voyage of the Rock Aliens – which is at once a musical, comedy, adventure, romance which doesn’t scrimp on the flavors you know and love when it blitzes together, forming a cocktail of joyous absurdity.

In brief: A group of music loving aliens are traveling through the galaxy, exploring and researching different forms of life and rock ‘n’ roll. After their on-board A.I. robot companion, 1359 (voiced by none other than Peter Cullin) chills out to a music video, featuring one of the film’s main theme songs featuring star Pia Zadora and a character named Rain, played by Jermaine Jackson, who take on a band of biker-nun looking cats, only to end with Zadora leaving Jackson in the dust as she takes off on the horse she rode in on. (This completely bizarre segue almost gives the entire plot of the film away, but, since you probably haven’t seen it…you’re safe.)

The aliens decide to focus their attention on the planet Earth. Soon after entering our world they meet Dee Dee (Zadora) and her boyfriend Frankie (Nightbreed’s Craig Sheffer) and his band, The Pack. These cats are gang-bangers from the eighties trapped stylistically in the fifties, and there is no shortage of that era’s nostalgia which seems to blend easily with the techno-pop styling of the Rock Aliens…?

Mysteriously it all turns out well. Frankie doesn’t want his band singing without him, so it is odd that we never get to see how devastating a musical talent Frankie actually is “with” the band. He does however manage to snag  himself a solo, show-stopping number which shows us how much Frankie identifies with big cats (specifically a panther) – but I won’t spoil that one.

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It is a wild old tale, with all the talent and experience you could want both in front and behind the camera. For a film buried so deep in the 80’s VHS jungle, VOTRA had some impressive people working on it, for instance Director James Fargo had directed everyone from Chuck Norris (Forced Vengeance) to Clint Eastwood (Every which way but Loose); Gilbert Taylor was the director of photography on Star Wars and the film’s editor Malcolm Campbell worked with John Landis at the height of his powers. Yes everyone from Oscar winners (Ruth Gordon)  to horror film icons. That’s right, horror icons. The film stars the man who knows that the hills have eyes, Michael Berryman, as an escaping inmate from the Speelburgh State Hospital for the Criminally Insane. Simply known as Chainsaw, Berryman is an amazing screen presence with comedy, terror and a beautiful moment of tenderness at his command.

OKAY! So, if I haven’t tantalized your taste buds sufficiently to want to go and check this baby out, we have Chainsaw himself, Michael Berryman, who kindly offered me a fistful of remembrances of a movie I believe should be a cinematic audience sing-along spectacular of Rocky Horror proportions.

Some will look upon Rock Aliens as everything that was wrong with the eighties. But, instead of counting cinema sins why not, I challenge you, to embrace the warmth by the vintage hearth in which burns this vibrant flame, the quintessence of what our innocent youth saw as an excellent adventure…well before the music of Wyld Stallyns aligned the planets in universal harmony.

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KH: First allow me to thank you sir. It is gracious indeed for such an iconic performer of your calibre to grant us your time.

MB: A pleasure…

KH: So, you were once an inmate at the SPEELBERGH STATE HOSPITAL FOR THE CRIMINALLY INSANE?

MB: Yes, I was a patient at Speelbergh State Hospital for the Criminally Insane.  I had been a wood-cutter and chainsaw expert for many years before this film. Nobody knew this until I spoke up when I am to saw around one of the aliens. There was a 4×8 sheet of sheetrock between me and the other actor. He was to stand still while a real chainsaw cut around him.  I was asked to perform this feet. I refused. I told my director that if the actor moved, he could be fatally harmed. I asked that we use a green screen. The actor was ok with a chainsaw cutting around him through plasterboard. No way was I going to do this. So, they had a grip/prop manager do the sawing. Now I watched as he assembled a 4 cubic inch chainsaw and as he prepared to start the engine, I told him: ‘Do not pull the lanyard. If you do, the chain will jump from the bar, wrap around your wrist and sever your hand…you have put the chain on backwards!’ He then asked me to fix this mess. I secured the chain and wished him good luck as I walked over to the camera to witness an amazingly dangerous stunt. It was successful and we moved on.

KH: If you can recall, what did you think of Edward Gold’s script when you first read it?

MB: Edward Gold wrote a script that was, in my observation, a straight forward comedy/musical. I read it and found the references to E.T. and such to be ‘tongue-in-cheek’ humor. This film was designed to entertain, help you laugh, and the entire family could enjoy a great experience.

KH: You were just on your way out. I have had the privilege of having a former co-star of yours as a guest, Vernon Wells. When I spoke to Vernon, we talked about how (for a time) he hated the fact that he was type-cast. When Voyage of the Rock Aliens came along and you were tapped for the role of Chainsaw, were you content to play the part knowing you were perhaps cast as Vernon had been to be merely an incarnation of former characters?

MB: I was unaware of Vernon’s type casting…however, since I was in ‘Cuckoo’s Nest’, it seemed to fit that I play Chainsaw. I found it to be fun.

KH: You pass beneath the window of Academy Award winner Ruth Gordon after a Schwarzenegger Commando-style shopping spree for guns and grenades and such with Wallace Merck’s Breather, did you get to meet or chill out with Ms. Gordon or any other members of the eclectic cast?

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MB: I found Ruth Gordon to be an honest and total professional actor. She had the moxy that she was known for. It was sweet to watch her as our sheriff.

KH: Tell us about your battle with the Lake Creature?

MB: The battle with the Lake creature was simple, as I had to cut his tip off and then bubbles emerged…sweet and child-like.

KH: In the midst of the music and mayhem, you have a rather poignant and touching scene with Alison La Placa’s Diane in which she helps you fix your beloved chainsaw. It is capped with a moment of smouldering intensity on your behalf when you say, “For me,” allowing her to be the one to fire up the chainsaw following her service?

MB: Alison was a delight to work with during that scene…we had a sweet time with it. Chainsaw moved on and he leaves his ‘Excalibur’ behind! The passage through the portal expressed a positive exchange with her character and mine. We both made the decision to have her fire up the saw and discover a new beginning for us both. She was joy to work with.

KH: Do you think Diane and Chainsaw lived happily ever after, there relationship evolved after the two of you went for that walk?

MB: Of course, Chainsaw and Diane lived happily…forever!!       

KH: If you have any fond remembrances of tales from production, what would they be?

MB: One day we were at Stone Mountain. Pia’s husband arrived in a Bentley and had her try on 2 different mink stoles…some people mumbled about this but I saw her and him to be in an honest exchange…it was no one’s business but their’s. I found Pia to be a true professional and hard worker. She had no attitude or ego to complicate the day’s work. I was pleased to watch her performance. The shoot was a delight in every way.

KH: Thank you Mr. Berryman. From this fan of yours and the gloriously, toe-tapping, insane splendour that is Voyage of the Rock Aliens…I thank you again.

MB: Kent…Great memories! …Stay safe.

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The Cinema of Solimon by Kent Hill

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There is a filmmaker working in Hollywood right now, who is out to show the big boys that you don’t need hundreds of millions of dollars to make the movies you want to make.Shahin Sean Solimon is the man behind the movement. Together with his talented group of like-minded artists, he is forging new waves to achieve epic results without the big budget price tag.

“If I inspire some thirteen year old kid somewhere to pursue his or her dreams as I have, no matter what the nay-sayers say, I’ve done my job.”

And getting the job done is exactly what Shahin has been doing.  Beginning with his first feature Djinn, Based on ancient middle eastern fairy tales written thousands of years ago, and passed down from generation to generation, Shahin crafted luscious, fantastical realms along with a pure and moving tale love and destiny.

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With his second film he took it to the next level, conjuring the days of high adventure and summoning cinema which brings to mind the heady days of Ray Harryhausen with: Sinbad: The Fifth Voyage. When the Sultan’s first born is taken by an evil sorcerer, Sinbad is tasked with traveling to a desert of magic and creatures to save her. Add into this the talents of Patrick Stewart (X-Men, Star Trek: The Next Generation), who offered his distinct vocal styling as the films narrator.

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Now, for the next big thing. In his third feature Nebulous Dark, Shahin is tackling the sci-fi and post-apocalyptic genres with one mighty stroke. It is yet another epic waiting in the wings from Solimon, who used the production, not just to make an awesome movie, but to continue to hone and harsness the ever-growing cache of cinematic artistry he has at his disposal.

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There seems to be no end to his creativity or his ability to realize his visions. I thoroughly enjoyed chatting with this talented filmmaker who is, without a doubt, taking the bull by the horns and making the movies he wants to make.

“My inspiration as an artist is not about money, or fame…but about trying to project imagination, show a different perspective of life, and simply entertain.”

And entertaining us is what he has done and will, I believe, continue to do.

for more on the Cinema of Solimon, follow this link:

https://shahin-sean-solimon.com/

Composer’s Corner: Nate’s Top Ten Original Scores by James Horner

James Horner was a totemic titan of Hollywood musical composition, one of the absolute greats. If you needed unparalleled orchestral grandeur, primally elemental accents to landscape and nature, rousing battle cry pieces of flowing, melodic passages he was your guy and crafted some of the most prolific, memorable scores in cinema. He left us far too soon in a tragic 2015 plane crash but his work lives on eternal, and these are my top ten personal favourite original scores from this wonderful artist!

10. Walter Hill’s 48 Hrs

He goes gritty, smoky and jazzy for this classic buddy cop flick, keeping the excitement somehow both light and dangerous in his work. Favourite track: the exuberant main titles with faint, pleasant steel drums that suit the breezy San Francisco vibe.

9. Mel Gibson’s Braveheart

Beautiful bagpipes pull at the heartstrings and sweeping strings roll over the Scottish highlands in this classic historical epic. Favourite track: Can’t beat that main title.

8. James Cameron’s Aliens

His composition is eerie, badass and mirrors the darkly lit corridors of creepy space stations here, getting appropriately intense once the creatures make themselves known. Favourite track: ‘Bishop’s Countdown’, a master class in impossibly suspenseful tension and epic, cathartic release.

7. Ron Howard’s Willow

Swashbuckling high fantasy is the musical tone in this beloved, refreshingly dark and slightly underrated children’s adventure film. Favourite track: ‘Escape from the Tavern’, a playful, jaunty piece that accompanies Val Kilmer in drag and Warwick Davis as they sled down a snowy mountain on a shield at full throttle.

6. Edward Zwick’s Legends Of The Fall

Another historical epic sees James compose some of his most achingly beautiful and richly melodramatic music yet, compositions that sweep over the rugged Montana terrain that is home to an early 1900’s family and many struggles they encounter. Favourite track: the main theme, utilizing brass and pan flutes to evoke a strong emotional connection to the material, setting and characters.

5. Joe Johnston’s Jumanji

Those drums man, they still haunt me. This is a playful, sweet natured score that dips into appropriately scary and primal places. Favourite track: ‘A New World’, a lovely piece that has a sympathy for the protagonist’s tough arc and a great sense of small town character.

4. James Cameron’s Titanic

This is just so iconic, and probably the most recognized collaboration between Horner and Cameron who maintained a strong working relationship over several films. Deeply romantic, wistful and reverent, this score has it all and is pretty much time capsule worthy. Favourite track: tough pick but ‘Rose instrumental’ just always gets me in the feels.

3. James Cameron’s Avatar

Here he ducks a typical SciFi sounding score for something far more down to earth and elemental, with tons of affecting vocals and a breathtaking auditory scope. Favourite track: ‘Jake’s First Flight’ … just try listening to that without getting goosebumps and little spikes of actual adrenaline. Pure magic.

2. Wolfgang Petersen’s Troy

He absolutely nails the Greek tragedy aesthetic in this very underrated, beautiful and heartbreaking epic. Using vocals and battle drum percussion theres a real sense of approaching threat as war literally looms on the horizon and a sense of deep romantic regret from both factions. Favourite track: ‘3200 Years Ago’ sets the mood like no other.

1. Ron Howard’s The Missing

This may look like a weird first choice but it’s an underrated, gorgeous horror western and James’s music is stark, eerie, gruesome and suits the haunting mood just perfectly. Favourite track: ‘New Mexico, 1885’ ushers in the spooky atmosphere nicely.

Gaming with Nate: Area 51 for PlayStation 2

It’s always best when the character you play as in a game is voiced by someone super cool with genre ties to the subject matter, whatever it may be. In Area 51 you descend into a top secret military base in response to a nasty viral contamination as Ethan Cole, a covert badass played by David Duchovny who cements the SciFi X Files vibe nicely, although the game is obviously more in shooter territory rather than investigative federal intrigue. Cole must navigate a dangerous subterranean environment as the contamination spreads and mutates the soldiers around him. No soldier game would be complete without dissension in the ranks and another sketchy team moves in headed up by hotshot Major Bridges (Powers Boothe), as well as a pesky doctor (Ian Abercrombie, who was Alfred Pennyworth in the old school Birds Of Prey cable show) who gets in the way. I’ve always thought that Marilyn Manson looks kind of like an extraterrestrial and apparently so do the makers of this game because they cast him as an alien defector named Edgar who has been held captive by the government and is none too pleased about it. I have only hazy memories of this game as I was perpetually stoned when I played it and I can’t remember if I ever made it to the end. I do recall the voice acting, Manson is cool and spacey, Boothe is his classic tough guy persona but it’s just a real treat having Duchovny play the lead, he’s got such a casual affability to his line delivery that feels both comforting and nicely nostalgic for The X Files. Cool game.

-Nate Hill

The Return of Director Richard Stanley: A Conversation on Color & Cage with Kent Hill

Right off the bat, I really wanted to give you a cool video interview. But, sadly, the bandwidth was being powered by a couple of mice on tiny treadmills. Everything looked fine. Skype said it was recording, the image was good.

Skip ahead to the next day. I saved the file, I opened it, I’m watching it and . . . damn! Not only did the picture freeze but the sound stopped recording. Luckily for both of us, I had my trusty digital recorder silently working at the same time.

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So fear not. Here is the complete video of my chat with Sir Richard (with the picture freezing part the way through and the sound shifting to my back-up recorder). The last time we talked, and Color was the topic, he threw me a little whistle. The whistle said the film was a go . . . but they were waiting. Who were they waiting for dear listener? Not for the second coming, Guffman or Godot. They were waiting on Cage. NICOLAS CAGE!

When the news of this broke I was like an alcoholic left unsupervised, tending the bar. It was an actor/director combination born on some faraway star. The culmination of two wildly original and esoteric forces of nature, one can scarcely perceive of such a collaboration ever, becoming a reality. Yet here it is, Color out of Space, H.P. Lovecraft’s favorite among his tales (so I have heard). Brought to the screen in an acid-trip-phantasmagoria of a ride into a world of pure nightmarish elegance and sublime terror. Helming this master-work is the man who the trailer even heralds with a title card: “The Return of Director Richard Stanley.” His glorious Malick-like return to the fray pairs Stanley with the apotheosis of a true, renaissance man, Nicolas Cage, in a role that seems almost tailored, not to the wild man or the meme, but to the Academy Award Winner, Nicolas Cage. A performer of greater depth and color, that some will forever deny him the credit of possessing.

With the current crisis and the film’s limited release in some regions, I will not spoil it for those who have not seen it. But, what I will say is the same thing, that has been echoed by my learned colleagues and film-loving friends around the world that have seen it, and that is go see it! It is already available in many territories on Blu-ray and DVD. And, don’t forget it’s streaming away as well. (click on poster below)

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So now, I, Kent Hill am proud to welcome back once again, a man of many colors (and Cage) . . . “The Return of Director Richard Stanley.”

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Gaming with Nate: Run Like Hell for PlayStation 2

Today’s video game is RLH: Run Like Hell, a spectacular SciFi horror survival story whose main influence is most noticeably the Alien franchise, right down to the involvement of some of the same actors. So basically there’s a station somewhere way out there in deep space, where a bunch of individuals both human and alien must survive against a terrifying extraterrestrial menace who basically decimate anything they come across and are constantly mutating, learning from the trial and error ways of their prey and always, always hunting up and down those classic dimly lit, eerie space station corridors. You play as seasoned badass marine Nick Connor (the great Lance Henriksen, Bishop from Aliens), who thinks he’s seen it all until he’s up against this marauding race of monsters. He forms a shaky alliance with alien mercenary Dag’Rek (Clancy Brown, always awesome) and there’s other work from Michael Ironside as a hard bitten commander, Star Trek’s Kate Mulgrew and Brad Dourif as a kooky little Doctor which is basically the same role he had in Alien Resurrection. This is a very cinematic game not just for the inclusion of genre seasoned actors or oh so subtle film references but because the cutscenes evoke a true feeling of cosmic isolation and dread, and the gameplay demands a lot of both your reflexes and adrenal glands. There’s countless close quarters battles, chases, near misses and quick escapes that take full advantage of very narrow hallways littered with dangerous obstacles for these creatures to use against you and hunt you down if you’re literally a second too late hitting those buttons. There’s gorgeous galactic visuals in the numerous sweeping cutscenes, detailed creature design, gruesome gore and a real sense of style too. It feels like the Alien films but swaps out the green and black palette for a grey/purple mashup of hard, cold surfaces splattered with blood and organic swirling nebulas of starry colour outside the space station windows to marvel at in between blasting monsters and running like hell for your fucking life. Terrific game.

-Nate Hill

Francis Lawrence’s I Am Legend

There’s nothing quite like the sight of Will Smith armed with a high powered rifle, dog at his side, left completely and utterly alone in a deserted metropolis to scavenge, wander and roar down an empty main drag in abandoned super cars. This is an applicable film right now because that’s kind of how I’ve felt being downtown at work these days, minus the dog and super cars. Smith is Robert Neville, the last man alive on Manhattan Island, or so he thinks. By day he wanders around, searches for food and keeps himself occupied, by night he barricades himself inside a modest fortress while the rest of NYC comes crawling out, now turned into savage marauding zombies by a mysterious virus. Robert tried his best to contact anyone who might be out there by radio and tirelessly works in his lab searching for a cure. This is a strange rhythm that continues for the first half of the film or so until the inevitable progression of a Hollywood narrative interrupts it. I kind of have a love hate relationship with this film, in the sense that I love it for some aspects but not so much others. The first portion of the film is one of the most effective uses of immersive atmosphere and drawing the viewer in I’ve ever seen. Seeing this in iMax back in the day I really felt like I was there with Robert, felt that isolation, despair, restlessness end even blessed solitude at certain moments. It’s a sensational way to open your story, but then as soon as other human characters are added later on, the vacuum like aura is yanked away and it becomes kind of… I dunno, routine. You’ve gotta be a pretty special post apocalyptic film to trick your audience into not only believing the premise but imagining themselves in it, and at the outset they more than succeed. It’s just later on the illusion foibles and loses us a bit. That and the dodgy CGI used on the zombies who are scary no doubt but still a bit rough in the FX department, but hey this was 2007 and Weta was busy working on King Kong so what can you do. I nitpick here and that shouldn’t suggest I don’t love this film, because I do. I just believe a piece that leaps out of the gate so effectively, so convincingly should keep up that lightning in a bottle magic for the whole duration, but that’s just me. It does have one of the single most heartbreaking scenes cinema has to offer, acted flawlessly enough by Smith to leave any badass viewer bawling. Anyone reading this who’s seen the film will know. Oh, and there’s also a weird Batman Vs. Superman poster in Times Square, I’m not sure what the deal is with that but it seems odd for 2007 considering that film wasn’t even made until 2015, no? Maybe there’s some cool time travel trivia to the making of this one.

-Nate Hill

Ivan Reitman’s Evolution

What if there was an alien organism out there whose evolutionary process unfolded at about a thousand times faster rate then ours? What if it crash landed on earth and began said process amidst our carefully balanced infrastructure and caused a modicum of pandemonium? Couple that juicy premise with the gooey Ghostbusters sensibility of Ivan Reitman and the X Files vibe that David Duchovny carries and you’ve got Evolution, one hell of a fun film. This raucous SciFi comedy didn’t make much of a critical splash and sort off faded into obscurity but it’s tough for me to see why as I had a fucking blast with it, starting with the oddly balanced comedic quartet of Duchovny and Orlando Jones (in a role that sounds like it was written for Will Smith, how cool would that have been) as college scientists, Julianne Moore as a CDC guru and Seann William ‘Stifler’ Scott as a hapless wannabe fireman. This alien species grows at a scary rate and contains the kind of arbitrarily morphing biodiversity you might find in a Super Mario game. While they kind of seem benign and don’t really have an aggressive or conquering mentality beyond their base evolutionary nature, it still seems like they need to be eradicated on the simple ‘us vs. them’ clause. An asshole military general (Ted Levine) and the blustery, stressed out governor (Dan Akroyd dressed to the nines and stealing the show) have their own ideas but they’re in over their overqualified heads and it’s up to our four heroes to figure something out. This is an escapist comedy that doesn’t take its premise too seriously but rather wants to showcase some lovingly crafted 80’s era practical effects and a few scrappy early 2000’s CGI ones too. It’s got a playful Men In Black mentality that I felt right at home in, and knows how to have a great time. My favourite scene is when four scared housewives open the pantry to find a slug/dog/platypus/seal looking thing and one of them responds dead seriously with: “When did you get a dog??” It’s that kind of lunacy that spurs this into a truly inspired piece. That and all the ooey gooey aliens running around being chased by a shotgun wielding Agent Mulder & Co. Good times.

-Nate Hill

Pandemics in Film: Nate’s Top Ten Virus Movies

It’s crazy times we’re living in because of this Coronavirus, and I hope everyone out there is staying safe, taking necessary precautions and keeping a level head about the pandemic. I also hope you all are finding time amidst the chaos to take care of yourselves, have a beer, cuddle your pets, chill with loved ones and do things that make you happy. I myself am continuing the blogging train to stay sane and this week it’s time to take a look at my top ten favourite films about viruses, yay! Not to be deliberately morbid but it does seem appropriate given our situation and there are some really excellent films out there that deal with outbreaks, from procedural dramas to schlocky horror to fascinating science fiction. Enjoy my picks!

10. Robert Kurtzman’s The Rage

I had to include at least one low budget gore fest on this list because it’s an incredibly formative arena in the genre for me. Legendary FX guru Kurtzman makes hilariously scrappy work in telling of a batshit insane evil Russian scientist (the great Andrew Divoff having a blast) who releases a horrific rage virus into human tests subjects. When they get loose and vultures feed on them the vultures go ape shit and become nasty mutants that go after everyone and it’s all a deliriously violent bit of B horror mayhem. Can’t go wrong with mutant vulture puppets done with knowingly crude effects and a whole lot of choppy editing commotion.

9. Breck Eisner’s The Crazies

This one is interesting because the deadly virus isn’t your typical flesh eating zombie kind but rather infects the population of a small county with mental instability and eventual madness. There’s something so unnerving about the afflicted’s behaviour here and the incredibly suspenseful efforts of one sheriff (Timothy Olyphant) to keep the insanity under control.

8. Neil Marshall’s Doomsday

It’s unfair to call this film simply a virus themed horror flick, as there’s just so much going on. It’s part Escape From New York, part Tomb Raider, part Mad Max like several films collided into each other at top speed and yes, there’s a nasty killer virus here too that wiped out most of Britain’s population. Malcolm McDowell’s scientist turned medieval despot puts it best when he observes: “A virus doesn’t choose a time or place. It doesn’t hate or even care. It just happens.” Astute analysis of such an event.

7. Eli Roth’s Cabin Fever

The gross-out factor is to the extreme and the dark humour dial turned up to the max in this ooey gooey tale about a group of vacationing friends who encounter a horrendous flesh eating virus at their rural getaway. Man there are some wince-out-loud moments here, just watch what it does to a girl shaving her legs, as well as the shocked reaction of one dude who goes to finger bang his girl and comes up with a handful of… well, her I guess. Also that running joke regarding the redneck convenience store owner and the rifle above his counter? Fucking top tier comedy gold right there. Avoid the remake, Roth’s original vision is the real deal.

6. Danny Boyle’s 28 Days Later and Juan Carlos Fresnadillo’s 28 Weeks Later

I’m trying not to make this list too zombie-centric because it somehow feels like cheating but one slot gets designated and it has to be these two superb films. There’s a ferocity, an overwhelming intensity to those infected by this virus that makes both films feel thrillingly alive, dangerously immediate and gives them a cutthroat edge. Oh and I guess I cheated already anyways by putting two films in one spot but I’m one of the rare people who finds Weeks just as amazing as Days so they get to share the pedestal. Robert Carlyle going full Jack Torrence on bath salts man, can’t beat that aesthetic.

5. The Farrelly Brothers’ Osmosis Jones

This is such an underrated flick and if I ever do a top ten list on films that combine live action with animation it’ll make that cut too. Bill Murray is a slobbish zookeeper who contracts a wicked nasty virus played by… Laurence Fishburne lol. Half the film takes place inside his body where a rogue cop white blood cell (Chris Rock) races to stop the fiendish strain before it gets to all the major organs and it’s game over. The animation is slick, uniquely styled and the film just hums along with cool ideas, colourful imagery and terrific voiceover work.

4. Paul W.S. Anderson’s Resident Evil

This film has quite the virus, it doesn’t just stop short of turning people into zombies but mutates than into all kinds of giant horrific monsters for Milla Jovovich’s Alice to fight. I think these films are great, particularly this super stylish, sexy first entry that’s got enough blood, psychotic Dobermans, gunfire and security system gadgetry to bring the house down.

3. Wolfgang Petersen’s Outbreak

While this one does take the big budget Hollywood approach to the virus motif, it’s still a smart, scary and incredibly suspenseful piece, and holy damn the virus here is one monster. “It’s the scariest son of a bitch I’ve ever seen” says Dustin Hoffman’s virologist guru, and he’s not fucking kidding. It has a kill timetable of 24 hours, which are almost insurmountable odds but these people try their best and provide one hell of an engaging film.

2. Steven Soderbergh’s Contagion

This one, while still a Hollywood release, takes the clinical and detached route. Despite being heavily casted with big time A list talent the real star of the show here is the virus itself and it’s ruthless journey from Hong Kong to the states and beyond. Soderbergh employs crisp, precise editing and a sonic jolt of a score from Cliff Martinez to keep this thing moving along at the same scary pace as the pandemic it chronicles.

1. Terry Gilliam’s Twelve Monkeys

This one made the top spot on my time travel movie list too and does the same here, it’s just an all timer for me. We don’t even really see the virus here that wiped out most of humanity or it’s effects, most of the film takes place either just before or long after it’s released. But we get a sense of it, in the desolate snowy streets Bruce Willis walks through in a Mr. Freeze looking quarantine suit, filled with spectral roaming animals turned loose from a zoo. We feel the maniacal nature of the insane doomsday prophet (David Morse) who released it too.

-Nate Hill