“I’m the best one,” a coolly sinister replicant (Sylvia Hoeks) declares amidst haunting imagery of walking backwards into dark, surging water in Blade Runner 2049‘s chilling climax.
If one is to believe the declaration of a doctor (Carla Juri) who specializes in fabricating human memories for implantation into replicants earlier in the film… that there’s a little bit of the artist in each one…then one might draw the conclusion that replicant mentioned above is speaking for none other than director Denis Villeneuve. He’s operating on a well-known (and much copied) property in this “30 years later” update of Ridley Scott’s classic neo-noir sci-fi…but he’s very much put his own stamp on it. There’s also a bit of “killing your darlings” in his daring showmanship, symbolically murdering his forefather Scott along with his oft-compared contemporaries David Fincher and Christopher Nolan. Yes, Denis…you are the best one.
But there’s more subtext (and context) than just “the mark of the artist” in Blade Runner 2049…there’s also philosophical pondering on artificial intelligence, slavery, and what it means to be human. Meanwhile, on the surface, the film tick-tock’s through the motions of your traditional noir detective story. Continue reading →
I mean c’mon now, is this gonna happen every dang time, Ridley Scott?
(And for those worried about spoilers, here, the following simplified synopsis could apply to any number of films in the franchise or ripoffs thereof, so it’s not really giving anything away.)
A spaceship gets a distress call. They unwisely follow it to an uncharted planet and trace it to a spooky crashed ship. Some folks get mauled to death / infected / etc… by some weaponized parasitic aliens. A few brave souls escape back to their ship in orbit. Ooops, something got on board. Bang! Some lady blows it out an air hatch. Dun dun dun…but she better not rest so easily…
I felt like Kristen Wiig’s Aunt Linda the Film Critic character from SNL for most of Alien: Covenant’s two hours…exasperated and rolling my eyes. Continue reading →
I’ve come to the conclusion that Cormac McCarthy is incapable or writing interesting women, but he thinks he knows a lot about them. The men in his screenplay for Ridley Scott’s slick, pulpy and sweaty “massive drug deal gone awry” flick The Counselor spend most of the film’s runtime spouting off quasi-philosophical macho riffs on life and greed and chicks, man…chicks, they’re like crazy. The men toggle between misogyny and bafflement. The character played by Javier Bardem (who, god bless him, tells the story to Michael Fassbender’s protagonist with comically black glee) knows his chick is crazy because of the way she made love to his Ferrari. No, I’m not kidding…the woman literally humps the car.
That woman, the inexplicably named Malkina, is inexplicably played by Cameron Diaz, who looks great and gives it her all, but just isn’t up to par for this type of role. She’s borderline camp, and a better actress (an Angelina Jolie perhaps?) would’ve either gone whole-hog with the camp or truly smoldered. – POTENTIAL SPOILERS AHEAD – Continue reading →
The trajectory of the Alien series has followed an eerily parallel path to my own life.
Behold, both Alien and I were born into this world in 1979 with great fanfare…and we scared the bejesus out of all.
We then went through a zany action-packed early childhood, with me waging wars with my GI Joe figures on my parents’ living room floor and James Cameron waging war on-screen with Aliens in 1986.
Then there were the awkward and painful teenage years that both I and the Alien series would rather forget. Cough cough Alien Cubed. Egads! Alien: Resurrection.
Then there was the turn of the century where we both kinda sold-out and lost ourselves. Ugh…Alien vs. Predator! What were we thinking?
But now past the age of 30 we both have grown introspective and retrospective, once again returning to the great mysteries of life and the age-old questions of where did we come from and why does our creator hate us? And thus, Ridley Scott comes full circle in his career and has bequeathed to us this ponderous and wickedly entertaining Prometheus. Continue reading →
Inspired by the fan-boy raving over at Condemned Movies and in anticipation of the June release of Ridley Scott’s prequel/not-a-prequel hybrid Prometheus, I decided to take a stroll down memory lane and revisit Scott’s iconic Alien and Cameron’s raucous Aliens.
What kind of damned robot are you?
I have such fond childhood memories of Scott’s Alien. Even though I first watched it at a very young age (I think it must have been around the time of Aliens‘ release so I would’ve been about seven), it’s not memories of the film scaring me that I remember most, but memories instead of my parents telling stories of how it scared them when it came to theaters in 1979, also the year of my arrival into the world. There was pent-up giddy kid-wild anticipation in the Schleicher household as our parents regaled tales of the shock and horror and the downright badass spookiness of Alien – a film that took old-school monster-movie horror and melded it with a new wave of gritty futurism. It was both a throw-back film and pop-avant-garde. And I remember feeling truly special when my parents finally let us watch it. The initial shock of the chest-bursting scene lasts with me to this day as well as fractured fairy-tale memories of a an android that bled milk, an acid-filled face-hugging bug, a pretty girl in her underwear, and a kitty that must be rescued! Continue reading →
Let’s get the elephant in the room out of the way first. Russell Crowe is in his mid-forties and playing the “younger” Robin Hood — you know, as is the trend these days to show us how the men became the legends. He’s utterly mis-cast in the role. Being such a chameleon of an actor in his younger days has taken its toll on Mr. Crowe, and he hasn’t aged well. He’s reached that point in his career where he now only plays Russell Crowe — you know, that bullish, overweight, talented dude full of piss and vinegar on and off the screen. Thankfully, his old pal Ridley Scott still loves him, and you have to give the director some props for not giving a damn about the age thing (hell, Sir Ridley is in his seventies himself) and casting ol’ Russell in the title role of his revamp of Robin Hood. He then had the good sense to cast (shouldn’t she be Dame by now?) Cate Blanchett as a feisty Lady Marion, and for fans of old school Hollywood epics, it’s a real treat to see two accomplished Oscar winners create palpable chemistry and act against each other within the comfortable context of well-worn characters.
Ridley Scott has traversed many genres, but he — more than any director out there — knows his way around historical epics. Let’s not forget it was his first marriage to Russell Crowe in Gladiator that brought the two their biggest hit — and deservedly so. His Robin Hood (though I already can imagine a bloated director’s cut coming to Blu-Ray) is surprisingly quick-footed. Continue reading →