Tag: Science Fiction

Paul W.S. Anderson’s AVP: Alien Vs. Predator

by natewatchescoolmovies, posted in Film Review

Here’s the thing: much of what is needed was in place to make an epic, badass Alien/Predator crossover flick. They had a solid premise, a director with a sure footing and visible background in horror, an able cast with a genre/franchise titan as a callback to earlier entries, and all the special effects they could want at their disposal. So how did AVP: Alien Vs. Predator end up being an oven roasted, inexcusable slice of shit? Well, script and execution I suppose, the whole thing just has a murky, suspiciously rushed feel to it and no trace of memorable pedigree at all. However, to me their first mistake and cardinal sin was to rate the thing PG-13. These are two intense, extremely graphic and gruesomely violent horror franchises, and as such any amalgamation should, of anything, step up the carnage, so whoever had final say as far as that goes should have a face-hugger attached to every orifice of their body. So what does work? Well, Lance Henriksen for one, but he has a history of being the best thing about many films he’s been in and it’s hard for him not to shine through any amount of muck. He plays the dying CEO of infamous Weyland Yutani corporation and gives all the grit and gravity he can amongst a flurry of inconsequential CGI. Recruiting a team of scientists and mercenaries, he plans to descend into an Antarctic pyramid where centuries ago, the mythic Yautjas and the primal Xenomorphs had a Royal Rumble. Star Sanaa Lathan is actually great as the ‘final girl’ of sorts in this slasher game, other team members include Ewan Bremmer, Raoul Bova and Tommy Flanagan, but most are lost in the confusion, poorly written or forgotten entirely. The battle scenes are haphazard and sloppy, the dialogue barely there and the colour scheme is this kind of shitty, subdued blue-hue nonsense with no personality it’s own, like an icy deodorant commercial that just happens to have monsters in it. Many people blame director Anderson, but who really knows. People forget that he’s responsible for the first Resident Evil film which is solid, gutsy horror and has the type of energy meant to be found here, as well as Event Horizon, one of the scariest, well wrought sci-fi/horror flicks of the century, so he was a reasonable candidate to helm this. In any case, it’s a big ol’ mess, a titanic wasted opportunity and a dark stain on both respective legacies. There’s a sequel which I haven’t seen, but it’s probably just as wretched.

-Nate Hill

Robert Rodriguez’s Predators

by natewatchescoolmovies, posted in Film Review

I like to call it Robert Rodriguez’s Predators despite the fact that he only has a producer’s credit, but his influence is all over it, plus the presence of Danny Trejo. This is one solid flick though, and definitely holds up against the first two films. The premise could even be said is more innovative than before, because as with any sequel or update, the story must evolve and break new ground, a feat they’ve outdone themselves with here. The Predators have taken it upon themselves to kidnap the roughest, toughest individuals of the human race and set them loose on a giant planet designed to be a game preserve, and have their fun. Adrien Brody does tense vulnerability to a T as a special ops badass, joined by an Israeli soldier (Alice Braga), a Russian spetznaz operative (Oleg Taktarov), an ex cartel enforcer (Danny Trejo), a psychotic maximum security inmate (Walton Goggins), an African rebel (Mahershala Ali), a disgraced Yakuza (Louis Ozawa Changchien) and… Topher Grace, whose involvement gradually becomes clearer. They’re forced to band together against a squadron of specialized hunters who pursue them, complete with the vicious wildlife native to this planet. It’s incredibly cinematic, brutally entertaining stuff, and the actors give it their all, including Laurence Fishburne as a crazy dude who’s been alone on this world a few too many years. Standout scenes include the chilling moment these poor folks reach the crest of a hill, spot two giant suns in the alien sky and realize they’re not in Kansas anymore, as well as a knockout showdown between the Yakuza and a giant predator that eerily mirrors Sonny Landham’s Billy making a final stand in the original film. Atmospheric, well casted, acted and shot, a solid action horror funhouse that lives up to the Predator legacy.

-Nate Hill

Leigh Whannell’s Upgrade

by natewatchescoolmovies, posted in Film Review

Leigh Whannell’s Upgrade is slick, bloody, wired Sci Fi action pulp and I loved every second of it, mounted on a high concept premise that’s just this side of outrageous and filled with both enough body shredding extreme violence and atmospheric mood to fuel an entire TV show. A quirky, intelligent mix of horror and futurism, Whannell puts the same brains responsible for the first Saw film into the story of Grey (Logan Marshall Green) a mechanic who is given a nifty new implant following the murder of his wife (Melanie Vallejo) that also leaves him a quadriplegic. Dubbed the Stem and cooked up by a weirdo tech mogul (Harrison Gilbertson), it latches onto his nervous system and makes him a super fast, highly capable killing machine and he sets out to find his attackers and… well.. kill them all in just about as violent ways as anyone could think up. There is actual thought, care and innovation put into this world and it’s construction though, until the very exploitive genre material feels lifted up by pure creation and we get something that thinks, feels and ponders just as much as it stabs and bleeds. An organic mix of Blade Runner style setting is welcome, as both the city they live in and the esoteric score by Jed Palmer are very LA 2049 with a hint of steampunk. Green is a great actor who has slowly been building steam in fits and starts, he had a smaller role in Prometheus and headlined the very underrated Cinemax original Quarry recently, but her he shows he can do leading man work in bigger projects, he’s tough, engaging and sympathetic. This is an extreme vision of a futuristic world that although seems alien to us, is not so different in many ways, and that makes it both scary and compelling. One of the best this year so far.

-Nate Hill

Joseph Rusnak’s The Thirteenth Floor

by natewatchescoolmovies, posted in Film Review

Are you into science fiction infused with film noir? Do you enjoy films like Blade Runner, The Matrix, Inception, Dark City and Source Code? Well, Joseph Rusnak’s The Thirteenth Floor isn’t quite as good as those, but it’s still a welcome addition into stylized 90’s high concept tech retro futurism, given the darkly lit flair of a noir mood-scape. Somewhere in the naughty 90’s, the head scientist (Armin Mueller Stahl) at a research firm has discovered that his advanced software project works a bit too well, and that he’s created a living, breathing virtual reality zone of 1937 Los Angeles where there are consequences to actions and the simulations living there have a rebellious nature. After his untimely murder by an unseen hand, his protege and fellow researcher (Craig Bierko, who does alright but always seems a bit miscast and aloof here) is drawn into a trippy web of intrigue, forced to make the journey into the simulation and search for clues in a hazy, sepia toned LA of the 30’s. Vincent D’Onofrio does double duties as another scientist and a dodgy bartender inside the simulation. Complete with the bumbling, Stetson sporting detective (Dennis Haysbert) and the mysterious, angelic femme fatale (Gretchen Mol), this strives hard to be noir and genuinely does invoke the right feeling, from the feverish, atmospheric lighting of 90’s LA to the production design of the 30’s. Sometimes the muddled elements of romance seem a bit misplaced and awkward, as do a few story elements here and there, but when it works it really works, weaving a thoughtful, twisty narrative that arrives at a reasonably mind blowing conclusion, asking questions about the nature of reality, blurring the lines between soul and software in the best ways. This has been eclipsed by other similar films from that decade, and fair enough as they are admittedly more competent, but I still feel like this is a forgotten gem of sorts and really deserves some love from fans of the several genres it’s composed of. Fun stuff.

-Nate Hill

ALL COP: A Fan’s Journey by Kent Hill

by Kent Hill, posted in Interviews

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How important are fans to the longevity of a movie? The truth is – extremely important. Fans are the reason films have survived long past their initial release life. Coming from the age of VHS, we were the generation of watchers that gave cult status to films that would have faded if not for the popularity of this new medium. Films that died even before their brief, bottled-rocket moment in theaters fell to the ground cold and lifeless under the weight of audience disinterest.

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A devoted fan is worth their weight in gold. They will stick with a film, a franchise, even through the worst of times. RoboCop is an undeniable classic. But, and it is just this man’s opinion, the continuing saga has suffered from the same strength that made the first film the glorious specimen it remains. Two wasn’t bad. Three, was stretching. I dug the animated series, even the live-action TV show. Then there was the recent reboot. I think the less said is the easiest mended and stand with many on this thinking – that the idea of remaking classic films is a colossal mistake. There was really nothing in this tepid attempt to re-invoke the wonders of past glory that are worthy of even the title.

Like Eva Rojano I saw RoboCop on video back in the day and was equally as awed by it. The fascinating thing though about Eva’s fandom is the empowering nature, the passion and exuberance she draws from the picture, and how it has helped shape her life and permeate her dreams and ambitions.

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Eva with Nancy Allen

Eva was so taken with the power of the character, and the story arc of Anne Lewis, portrayed by the wonderful Nancy Allen, that she eventually started corresponding with her idol, and finally, was able to meet her in person and further solidify the friendship.

The joyful nature of being utterly and completely taken by the subject and the morals amplified by popular and classic movies, is that it allows the fan to live vicariously through the characters they identify with and thus, giving one’s imagination fertile soil in which to plant the seeds for a harvest of success in whichever field of expertise one chooses  to explore in life.

Eva has taken the inspiration she receives from the likes of the empowered character of Anne Lewis and has turned all of her creativity and dedication to spreading and bringing together the talents and appreciation of RoboCop fandom world-wide. And, in the wake of the recent news of yet another cinematic entry into the RoboCop franchise, as well as, the fact that the talented Miss Allen has not, unlike the other member of her integral duo aka Peter Weller, been approached to be a part of this re-invigoration of such a beloved series; Eva has taken to the fandom at large and has created a petition to motivate the powers that be with the hopes of bringing back her treasured Officer Lewis.

Eva’s is a fascinating and passion-filled tale that I trust will inspire and delight. Please do, all you Robo-Fans, jump on the bandwagon and sign the petition (https://www.change.org/p/mgm-studios-inc-we-want-nancy-allen-to-play-a-role-in-robocop-returns) to get Nancy, along with Peter, back into the Robo-verse where together they belong. And also to, please follow the links below and experience the wonderful work Eva is doing – all to honor the movie she loves most dearly.

https://enhanced-reality.wixsite.com/robocoplewis

https://www.facebook.com/RoboCopLewis/

MORE ROBO-COLLABORATORS

Ed Neumeier

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She’s a little bit DANGEROUS! : The DANGER DIVA Interviews with Kent Hill

by Kent Hill, posted in Interviews

It was the night before I was given the opportunity to experience Danger Diva that I just happened to be watching Rock & Rule. Little did I know, nor did I expect, certain similarities to interlink in my consciousness as directly following  Clive A. Smith’s cult animated classic, I would be treated to a viewing of Shredder Orpheus’ all but vanished auteurs’ latest picture.

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I still have a copy of Robert McGinley’s 90’s skateboarding, rock ‘n’ roll, ancient mythological homage on VHS. Along with films like Slava Tsukeman’s Liquid Sky and James Fargo’s Voyage of the Rock Aliens, it remains an alternative delight. And, now, Robert  makes an alley-like but most welcome return to the director’s chair.

He brings with him what star Tim Gouran perfectly summed up as a bad-ass, rock ‘n’ roll, sci-fi movie in the form of DANGER DIVA. Set against the backdrop of a very William Gibson stylized future where the elite seek to further manipulate and control the masses. All the powers that be need is a symbol – a voice.

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Diva is a film rich and enthralling in spite of its low budget constraints. McGinley once more brings his unique storytelling, his passion for mythology, his love of classic science fiction, his rock ‘n’ roll sensibilities all to play in this dynamic and thought-provoking movie which, as I think good films should, lingers with you long after the credits roll.

As to my comparisons to Rock & Rule – well fellow fans of that film, I think, will automatically understand where I’m coming from. Of course if you’ve not seen it, then you should – but not before you’ve had a listen to the lads, as it was a privilege to chat with both director and star as it is to bring to your attention this incredible picture which I urge you to seek out and experience for yourself.

VISIT: https://dangerdiva.com/

ROCK ON!

ROBERT McGINLEY

{Courtesy of: https://www.robertmcginleyfilms.com/films-about/}

Robert R McGinley is the writer-director of the feature films JIMMY ZIP and SHREDDER ORPHEUS. JIMMY ZIP, starring Brendan Fletcher, Chris Mulkey, Adrienne Frantz and Robert Gossett won the Best Dramatic Feature award at the Hollywood Film Festival and SHREDDER ORPHEUS is a Seattle cult classic featuring the late great poet, Jesse Bernstein. Both films underscore Robert McGinley’s ongoing interest in rites of passage stories that highlight “the hero’s journey.” Projects in development include the action drama BLOOD RUNS THICKER and the music driven cyber-punk thriller, DANGER DIVA.

Prior to his immersion in film-making, McGinley was the founding artistic director for the internationally acclaimed Seattle theater, On the Boards; a producer and presenter of contemporary dance, theater and music from around the world. In addition to his work as a filmmaker and theater producer, McGinley writes and performs poetry embellished by music and various incendiary arts.

TIM GOURAN

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Tim Gouran is known for his outstanding performances in numerous plays, including Of Mice and Men and ACT’s immense Ramayana production – not to mention his great works in filmography: Love my Guts, Gory Gory Hallelujah, Worst Laid Plans, Better than Love, Two Pictures and of course, Danger Diva

 

Denis Villeneuve’s Arrival

by natewatchescoolmovies, posted in Film Review

Every few years, if we’re lucky, we get a science fiction movie as good as Denis Villeneuve’s Arrival, a cosmic miracle of a film. Built around the ages old trope of aliens invading earth, and even throwing shout outs to sci fi flicks of yore (Robert Zemeckis’s Contact, Roland Emmerich’s Independence Day to name a few), it ultimately is completely it’s own thing and there has never been anything quite like it ever before in the genre, or in Big Hollywood. Villeneuve, whether working in crime, thriller or mind-fuck territory, has always proudly broke the mold and blasted new crevices into seemingly charted out tonal territory. It’s only fitting that a SciFi outing from him is something remarkable, and he terraforms the genre to incredible thematic plateaus here. Amy Adams is reliably terrific as a linguistics guru brought in by the government to try and communicate with a mysterious race of extraterrestrials, shadowy beings who have illegally parked their mammoth, monolithic ships systematically all over the globe. What do they want? Why are they her? Tensions rise when the military (Forest Whitaker gives the obligatory general role his trademark brand of implosive compassion) and the CIA (Michael Stuhlburg does paranoia to a turn) butt heads over what to do, while a snarky mathematician (Jeremy Renner, excellent) has his own ideas. Adams develops an inspired way of both understanding these beings via their unique brand of written language and imparting to them our English words, or at least a variation. The scenes inside their ship are so haunting and atmospheric we get the sense this is real footage we’re sneaking a peek at, and the government may bust in and raid our TV room any moment. The beings themselves are a visually intriguing bunch, like dreamy space elephant/whale/spiders who evoke a strange, genuinely alien aura. But time is running out, and if Adams can’t make both their language and intentions clear, the big guns of fear and ignorance threaten to come out and play. The film has an important, uplifting message that communication should always supersede violence, a hard truth but a necessary one. My favourite aspect of this film is its elliptical final act, and anyone who has already seen it knows what I’m talking about. Much of the film, although artistic, is straightforward, but Villeneuve really plumbs the fathoms of human consciousness and pulls forth ideas that not only are rarely explored this maturely onscreen, are also very difficult to understand in linear, analytical fashion. It’s this drive to push his audience, to dole out just as much brain and soul candy as eye candy into our cinematic trick or treat bags that’s the reason he’s such an important, landmark filmmaker, and it’s a joy to see such films take centre stage at the multiplex. With key supporting work from the great Tzi Ma and a ghostly original score by the late maestro Johan Johansson that eerily inhabits the film like an alien force all its own, every individual and element involved combine to give this film something special and rare: a genuine sense of wonder.

-Nate Hill

“This, it was given me to know…”: Remembering KRULL with Ron Silverman by Kent Hill

by Kent Hill, posted in Interviews

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They say the mark of a good writer is their ability to distill the essence of their story into one or two sentences. Now, it is very easy to distill the plot of Krull into a summary or a logline of that length. However, it is entirely another matter for me to briefly encapsulate for you, dear PTS listener, how much I love this movie.

All I can say is, from the moment I saw it, I loved it.

Why?

Well Krull, for me, is the embodiment of the perfect movie. It harkens back to those great adventure novels I had read prior. Tales that primarily involve a hero on a quest to: rescue the princess, defeat the bad guy and save the day. A tried and true formula if ever there was one.

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That’s broad-stroking it sure – but at the heart of it – that is Krull.

At the same time you have a movie that is part science fiction, part fantasy/adventure, part traditional hero’s journey. Combined with the elements of impressive scope, danger, excitement, laughs, thrills, spills, chills – I could gush for days, if given the opportunity.

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It is also a film with remarkable talents on display, both in front and behind the camera. A cast made up of phenomenal veteran performers and vibrant newcomers – which in some cases would go on to have individually storied careers and achieve great heights of fame. Yes Liam Neeson, I’m talking about you.

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The production team mirrors the cast. A mixture of seasoned craftsmen with future icons – none more so than a young man named James Horner, eventual Academy Award winner, who composed, for my money, one of the greatest scores in cinema history.

And so to my guest…

I have long wished to speak to someone, anyone , who worked on my favorite picture of all time, so, as I often do, I reached out and after a long stretch I was surprised to have a reply from producer Ron Silverman. What joy! Naturally, I had thousands of questions, but, being gracious and appreciative for the time my guests grant me, I narrowed the list down to the essentials – this being both efficient timewise and satisfying enough for my curiosity. And trust me, though our time was brief – there were many revelations and delights to be had.

Many people have looked at me funny when I tell them Krull is my favorite picture. I guess they assume it would, more likely than not, be one of the big ones like JAWS, STAR WARS or SUPERMAN. All of these are vital and I do have a resounding love for them true, but, when you find a picture you can watch over and over – a film which delights as much on the thousandth viewing as it did the very first – well Krull is that for me. I hope you’ll enjoy listening to some insights from this – my favorite movie.

 

Creepy Creatures and Haunted Houses: An Interview with William Malone by Kent Hill

by Kent Hill, posted in Interviews

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I first became aware of the work of William Malone when I saw his movie CREATURE. For most, all they see is just some cheap imitation of Scott’s ALIEN – but there is much on offer if you give the flick more than a sideways glance. There exists the same thrilling, eerisome mood generated that marks all of his movies and which culminated in his remake of HOUSE ON HAUNTED HILL.

Growing up in Lansing, Michigan and going to the same high school as NBA legend Magic Johnson, it would be music and not sport that would eventually see the young Malone make his way west to Los Angeles. But the music soon died and William found himself looking for work. He took a job at Don Post Studios doing make-up and costume duties before attending film school at UCLA.

His first film would soon follow, the cult classic SCARED TO DEATH. This was the beginning of a storied career of other great features like FEARDOTCOM and PARASOMNIA as well as work on the small screen in series like TALES FROM THE CRYPT, MASTERS OF HORROR and FREDDY’S NIGHTMARES.

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It was great talking with William about everything from directing Klaus Kinski, his non-existent role of TV’s THE INCREDIBLE HULK, having one of his scripts become a sequel to UNIVERSAL SOLDIER and the (I find it intriguing) story behind the making of the troubled SUPERNOVA, of which Francis Coppola mentioned to him that they should have stuck with Malone’s original script Dead Star.

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Aside from being the world’s foremost collector of FORBIDDEN PLANET props and paraphernalia, William Malone is a fascinating movie-maker and a delight to chat with. I trust you’ll feel the same . . .

. . . ladies and gentlemen . . . William Malone.

 

James Ward Byrkit’s Coherence

by natewatchescoolmovies, posted in Film Review

Like your SciFi smart, slick, realistic and extremely trippy? Don’t miss James Ward Byrkit’s Coherence, a voyage into the twilight zone that will push the limits of your lateral thinking until you feel your brain lashing out at the paradoxical borders of it’s realm of thought, an effect brought on by only the most challenging films out there. Like many stories it begins at a lively dinner party somewhere in the Hollywood hills, as a group of old friends talk, laugh, gossip and reconnect. There’s a comet passing by over the night skies of LA though, a phenomenon that has, shall we say, a unique and very disturbing effect on those below. I really don’t want to say anything about what happens to these people, but it’s weird and warped in that kind of metaphysical way that keeps your rooted to the screen and has your spine shivering with each new development. Adding to the immersive atmosphere is the fact that most of this seems to have been improvised with the actors around the general core of the story, so we have a very naturalistic, humorous vibe among the group that doesn’t feel scripted or staged at all, and more or less plays out in real time, while there’s initially still linear time anyways (oops). The cool thing is that this film could be made for like, five hundred bucks, shot on an iPhone over a spare weekend with your friends. It’s that barebones and simple in the technical department and there are zero special effects save for one brief shot of the comet (hello stock footage), but the implications and function of the story are infinitely complicated, and that’s where the wealth of the film lives. If you find yourself sitting around one night wishing for a flick that really will blow your mind, give this little gem a go, while it’s still on Netflix.

-Nate Hill