Category Archives: Other World


Interstellar (2014) 3.7/5 (8)


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Rating: The Good – 71.5
Genre: Science Fiction, Adventure
Duration: 169 mins
Director: Christopher Nolan
Stars: Matthew McConaughey, Michael Caine, Matt Damon

An elegantly directed sci-fi adventure considerably undermined by yet another painfully flat Nolan screenplay, Interstellar charts the epic attempts of a small group of scientists and astronauts to locate a planet capable of supporting the human race as its Earthly sustenance quickly dries up. Mathew McConaughey heads the cast as the mission’s pilot desperate to get back to the children he left behind before they age beyond the point where he can help them while Ann Hathaway’s stiffish scientist and a couple of nicely conceived robots keep him company on board the spacecraft. Back on Earth, Michael Caine is the brains behind the mission, Jessica Chastain is the grown up version of McConaughey’s equally clever daughter, and Casey Affleck is his son who, like the majority of remaining humans, is attempting to farm what’s left of their desertification-headed planet.

Regaining his 2008 Dark Knight directorial form, writer-director Christopher Nolan composes a quite beautiful and thrilling action thriller that achieves a perfect balance between mood and energy with no small help from Hans Zimmer’s sublime score. Making the deftest use of Hoyte Van Hoytema’s stark and striking cinematography, he avoids overplaying the CGI card keeping the story front and centre. The story isn’t bad either and, predictable as its key moments are, it serves Nolan’s grand ambitions for a Kubrickian like space epic. More the pity then that the screenplay does not. Bloated with expositional dialogue and artificial sentiment, it bungles its way towards a gargantuan mishandling of a straightforward (“save the world before it’s too late”) premise with the kind of overblown piece of psycho-physical drivel that plagued Inception. Co-penned with his more adept writer-brother (Jonathan sat Inception out), this script at least shows more restraint than that 2010 monument to tedium but not nearly enough to engender its protagonists nor their dilemmas with the depth and cadences that the premise deserved. The well conceived drama emerging from the astronauts ageing more slowly than their loved ones back home is an exception to this and proves to be the movie’s one successful appeal to the audience’s emotions.

Ultimately, the problem with Interstellar is yet again one of Nolan reaching beyond his capabilities by attempting to match the work of masters who simply operated at a level higher than his own (that’s not an insult Chris, most filmmakers toil in the shadows of Kubrick and Tarkovsky!). The innumerable references to 2001: A Space Odyssey eventually feel less like a homage and more like an attempt to disguise that failure, proving far more imitative than emulative. That said, the couple of HAL-inspired robots (the Bill Irwin-voiced “TARS” in particular) work fantastically within the confines of this story, coming alive in a whirl of mechanised motion during the best of the action sequences and adding most of the humour outside of them. And, thankfully, it’s these such lighter more grounded touches that sees Interstellar passing muster as a sci-fi thriller even while failing as an attempt at something more profound.


Guardians of the Galaxy (2014) 2.5/5 (2)


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Rating: The Good – 73.4
Genre: Science Fiction, Fantasy
Duration: 121 mins
Director: James Gunn
Stars: Chris Pratt, Vin Diesel, Bradley Cooper, Benicio Del Toro

Yet another comic book blockbuster from the Marvel stable of sci-fi fantasy. Chris Pratt, Zoe Saldana, Dave Bautista, and the voices of Bradley Cooper and Vin Diesel are the eponymous heroes whose self-interests bring them together against a common foe who, like every other super villain these days, will settle for nothing else but the destruction of the galaxy. What saves this film from the black hole pull of a mind-numbingly familiar genre is the fresh sense of fun James Gunn brings to the script and its direction. The characters are drawn and played out with a care-free irreverence that drives the movie as a whole. There are no erroneously earnest pauses in tone to allow for some heavy handed emotional button pushing – well, none that aren’t cleverly rescued in time. Guardians of the Galaxy is a joke and everyone’s happy to play it that way. It all lays the groundwork for some genuinely side splitting humour, most of which, involves Cooper’s talking and brilliantly mental space rodent.

Though Pratt is a wonderfully unassuming lead with lots of self-deprecating charisma and Bradley is in rich vocal form, most of the credit must still go to Gunn. Making a funny movie doesn’t just require you to write funny but to direct funny and armed with his anthology of vintage pop tracks and a very wry sense of editing, he rocket propels the humour in his script. Okay, so a few of the jokes are taken a step too far but most are delivered with polish. And when we’re not laughing, the simply astounding visual effects ensure that we have something impressive to look at too and, while it never escapes the CGI look, the movie remains an immaculate piece of visual artistry. On this canvas, Gunn (particularly early on) crafts some dazzling action sequences and the ceaselessly fantastic gadgetry and conveyor belt of amazing aliens adds handsomely to their enjoyment.

Where the movie inevitably falls flat however, is in the wearingly repetitive plot that seems no different to that which the likes of Thor, The Avengers, or any number of the endless comic book adaptations (that we’ve been utterly plagued with these last five years) have offered up. Plots that seem to serve no other purpose than to provide a platform for endless battles and flashy explosions. For all the good this movie does with its character construction and comedic dialogue and for all the ingenuity of Gunn’s action, the brain eventually just switches off during these protracted sequences because the premise is too flimsy to support them. It’s part of Hollywood’s magic formula so it won’t soon change but anyone who doesn’t have the hormonal constitution of a 14 year old boy, is liable to find this movie’s visual narrative veering towards 3rd act tedium. Thankfully, Guardians of the Galaxy wraps up at just under two hours and while still perhaps 15-20  minutes too long, it’s a damn sight shorter than most other modern comic adaptations. Alongside its richer character and dialogue base, that saving grace, gives Gunn’s movie a significant edge on  the generic horde of superhero vehicles.

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Enemy Mine (1985) 3.14/5 (1)


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Rating: The Ugly – 67.5
Genre: Science Fiction
Duration: 108 mins
Director: Wolfgang Peterson
Stars: Dennis Quaid, Louis Gossett Jr., Brion James

“Hell in the Pacific” retold in sci-fi mode with Dennis Quaid and Louis Gossett Jr. starring as two enemies stranded on the same planet. Quaid is the human fighter pilot and Gossett is the alien “Drac” who, after an initial period of hostility, begin to work together and ultimately form a bond of friendship. Enemy Mine is one of those enjoyable movies which many of us grew up on and were happy to do so. It came from an era in science fiction writing when good old fashioned story telling was at the heart of the genre and, as a result, the movie works despite some minor issues. The two leads seemed to be having great fun working together and it pays off well given the nature of the story. Quaid was always charismatic and solid in these types of roles while an unrecognisable Gossett (thanks to some excellent make-up) gives a considered and nuanced performance.

This was a troubled production and director Wolfgang Peterson only came on board after much of the movie was shot and, depending on which story you listen to, the exteriors were shot in either Iceland (where much of the initial production was based) or Germany (where Peterson based himself). However, anyone remotely familiar with the raft of sci-fi movies shot in Iceland (Prometheus being the most recent example) will recognise the unique sci-fi friendly Icelandic landscape in many of the scenes, which combined with the top notch matte painting to bring the alien planet to life quite majestically. On the negative side, the sets are less impressive and come across as something form a Star Trek episode. Throw in some childishly conceived alien creatures and parts of the movie definitely become a little kitschy. The ending is terribly rushed and the abrupt change in pace affects the tone of the movie and destabilises much of the acting (in particular Quaid’s) significantly. There’s some gory action thrown in at the end but it’s somewhat unsatisfying given the quality of the opening 90 minutes. Ultimately, however, the movie still works thanks chiefly to the chemistry between the leads and the easy often light-hearted script.

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Screamers (1995) 2.86/5 (1)


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Rating: The Good – 74.1
Genre: Science Fiction
Duration: 108 mins
Director: Christian Duguay
Stars: Peter Weller, Roy Dupuis, Jennifer Rubin

Decent “alien-planet” science fiction is so difficult to come by that any Dan O’Bannon adaptation of a Philip K. Dick short story which also stars Peter Weller should be given a chance. Thankfully, the result isn’t that bad although with a slightly bigger budget (or with any budget at all!) it could’ve been a lot better. Weller plays the commander of a military station on a distant planet upon which a war is being fought between Earth’s two rival powers. After being abandoned by the authorities back on Earth he decides to call a truce with the opposing force. However, in order to do so, he must cross a nuclear wasteland inhabited by lethal robotic weapons called Screamers, which were not only created by his own side but have evolved beyond their original design and are now targeting all humans.

With minimal production design and visual effects, this movie was always going to rely on the strength of its story and direction and on the actors playing it out. O’Bannon’s screenplay (based on Dick’s “Second Variety”) is clever and efficient. The scenario is intriguing though it could’ve done with some greater exposition regarding the motives of the two superpowers. The plot is reasonably original and excellently constructed. The Screamers are genuinely scary in conception which is realised well thanks chiefly to the way they sound but also to an array of clever tricks employed by director Christian Duguay.

Weller brings his usual commanding presence to the party and gives his character just the right balance between toughness and weariness. The support players range from very good to decent and given that there’s only a handful of characters in the whole movie, they do more than their fair share in giving it a distinct personality. The action is nothing special but nor is it pedestrian and it all builds to a nice climax. Overall, Screamers will go down as an opportunity wasted because with a bit more interest from the money men, this could’ve been a classic. However, as it stands it’s a fairly gripping sci-fi movie with a unique feel and vibe of it own and driven by a great premise and a fine central performance. For a science fiction movie that’s all very important.

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Alien 3 (1992) 3.07/5 (2)


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Rating: The Good – 75.5
Genre: Science Fiction
Duration: 114 mins
Director: David Fincher
Stars: Sigourney Weaver, Charles Dance, Lance Henriksen

Picking up where Aliens left off, the concluding part of the original trilogy, sees Ripley crash landing on a maximum security prison planet among murderers and rapists and yet another alien that has stowed away in her shuttle. An initially unsettling presence to the entirely male population “who have found God at the ass end of space”, she inevitably helps to organise the weaponless rabble against the alien.

Though never courting the same level of adoration as Scott’s Alien or Cameron’s Aliens, David Fincher’s film has a lot to recommend. There’s a coherent and focused story set within a context that gives the film a modest philosophical angle. Furthermore, stylistically speaking, it has a very strong sense of itself and no little amount of directorial class. The bridge between Aliens and this film is deftly constructed as credits are interrupted with snippets of the Sulaco’s ill fated return journey and of its face-hugging intruder. That style is stretched out more subtly throughout the remainder of the film reasserting itself fully only twice more. Once when Fincher and co. parallel the burial of Hicks and Newt with the birth of the mature alien (the “chest burster”) and again in the final scene. It’s this style that allows Fincher to crash the two ostensibly duelling themes of Alien 3 together, that of spiritualism and nihilism, while ultimately turning the entire film into a tome for a type of nihilistic spiritualism. It’s a clever conceit and one that is really quite effectively drawn out despite the director’s exit from the project before completion of post production.

Fincher’s withdrawal and his subsequent disowning of the movie was only one of several issues to arise during the production and the conveyor belt of script writers and treatments which ran through the project can be most clearly felt in how peripheral the actual alien becomes to the whole thing. There’s certainly an attempt to have the alien and Ripley define each other but the former pops up in such an understated manner that it inevitably drifts into the background. This leads us to the real problem with Alien 3, namely, that it never quite feels like it belongs to the same universe of the first two instalments. In addition to the alien playing second fiddle to Ripley, the production design, though rich and impressive, is exceptionally dreary and after a while, as the pessimism of the story bleeds through, it all begins to wear heavily. Moreover, whereas the first two films were strongly technological in their visual conception, the story here demands a technologically spare approach. All this makes Alien 3 the least visually interesting of the original trilogy and rather out on its own.

Of course, it could be argued that this distinction gives it a powerfully dark edge over the original films and the sinister manner in which “the company” is depicted in the final twenty minutes does support that. Nonetheless, there is one department where Alien 3 undeniably falls far short of its predecessors. The aforementioned disharmony in the last stages of post production ensured that the creature effects are inconsistent and often excruciatingly bad. Moreover, Alien 3 is a far less exciting movie as the action is restricted to the final act and with the restrictions in the story, it plays out in a comparatively flat manner when placed alongside Aliens and even Alien. That said, in the same way that Alien and Aliens were separable by genre (sci-fi horror vs action sci-fi respectively), Alien 3 can be simply understood to be maintaining that tradition by setting its stall out as a sci-fi drama. It certainly allows for greater exploration of the dramatic subplots and we see a new dimension to the well established character of Ripley as she and Charles Dance’s medical officer develop a brief but intriguing romantic partnership.

Dance is outstanding but this movie more so than any of the other movies in the franchise (four at this point not counting the recent Prometheus) is all about Sigourney Weaver. She hand picked writer David Giler and insisted Walter Hill be brought back on board to properly tease out Ripley’s potential and though the script was ultimately worked on by a troop of other writers, much of their contributions to her story were maintained. Weaver responded with a wonderful turn and one that is strong enough to shoulder the entire film. Ironic as it may appear, given she’s the only female cast member, that strength combined with some overarching themes of motherhood give the film a very feminine vibe. Fans of traditional horror won’t be too disappointed though because this, after all, is a David Fincher film and consequently there’s plenty of squirming scenes.

Overall, Alien 3 is a laudable effort to bring yet another layer to the franchise and indeed overcome the production issues which beset it from early on. It’ll always divide opinion among fans of that franchise and it’s the most independent in style but that just adds to its intrigue.

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Predators (2010) 3.57/5 (2)


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Rating: The Good – 68.9
Genre: Science Fiction, Action
Duration: 107 mins
Director: Nimrod Antal
Stars: Adrien Brody, Laurence Fishburne, Alice Braga

Despite what some of the fans have said, Predators is a hugely enjoyable sequel to the 1987 McTiernan film and easily stands along side Predator 2 in both class and execution. Like Danny Glover was in that latter film, Adrien Brody is a revelation as an action hero. The movie opens as his character and a number of other elite killers from around Earth are being parachuted unconscious into a jungle on a small moon as prey for three Predators. Nimrod Antal’s film looks great and the many luscious jungle locations provide the backdrop to some seriously impressive action set-pieces. The script is smart with some nice humour here and there. There are, however, a few too many references to the original Predator and Alien films (characters spouting familiar lines) to the extent that at times it’s as though the script is serving those references as opposed to the other way round. However, other than that weakness, the film hits all the right notes. Brody’s brilliant tough guy performance is well supported by a series of strong actors with Alice Braga in particular standing out. As in the first two films, the special effects are used sparingly but to good effect and the decision to introduce a new even more vicious race of Predator proved inspired (despite some of the more precious fan’s opinions to the contrary) as it reinvigorated the scariness of the 20+ year old screen monster.

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Dune (1984) 4/5 (5)


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Rating: The Good – 77.1
Genre: Science Fiction
Duration: 137 mins
Director: David Lynch
Stars: Kyle MacLachlan, Virginia Madsen, Francesca Annis

David Lynch’s much maligned adaptation of Frank Herbert’s seminal novel has been criticised by lovers of the book (which, let’s face it, were always going to be difficult to please), those desperately hung up on Alejandro Jodorowsky’s doomed adaptation (which, let’s face it, was mouth-watering in its potential), and those who seem to have a mind about as open as the vault door at Fort Knox. However, no matter what your bias or leaning, there’s no denying that Lynch brought a level of abstraction to this version that was startling and in its own way defining. The epic story is one of political intrigue 8,000 years in the future between powerful houses fighting over a planet which holds the key to the most valuable natural resource in the known universe. Kyle MacLachlan plays the prince of one of these houses who must realise his destiny on this strange planet and he is surrounded by a host of quirky characters played by equally quirky performers. This film is probably unlike anything you will have ever seen and the sheer breadth of its unfamiliarity will leave you disorientated and at times deeply uncomfortable. And of course, for a film set so far in the future that’s exactly the point! The one major criticism that is not levelled often enough against sci-fi films is their failure to give the viewer the impression that what they’re looking at is alien. Dune is a raging triumph of alienation and disorientation. Once you acclimatise to it, however, the film becomes a rather fascinating experience and while cheesy in places (often due to MacLachlan’s bright eyed naivety being dialed a tad high) for the most part it plays out as extremely sophisticated science fiction. Not for the feint willed, but if you’re a student of sci-fi in particular and film in general, Lynch’s Dune is a must see.

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Total Recall (1990) 3.67/5 (3)


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Rating: The Good – 75.9
Genre: Science Fiction
Duration: 113 mins
Director: Paul Verhoeven
Stars: Arnold Schwarzenegger, Sharon Stone, Michael Ironside

Paul Verhoeven’s worthy adaptation of Philip K. Dick’s futuristic short story was a landmark in special effects on its release but like all great sci-fi, it’s the intelligent story and cracking characters that make it so good. Arnold Schwarzenegger headlines as Douglas Quaid, a man who recurrently dreams of life on Mars only to discover that he’s been there before and has had his memories of it and that previous life erased. When that discovery makes him a target for nasty men with guns and attitude, Doug hightails it to Mars to unravel the mystery. Along with his role of Dutch in Predator, Quaid was the role that showed Arnie was more than just brawn on screen. There’s much humour in his performance and not only is it in sync with the general vibe of the film, it’s well timed and infused with more than a touch of personality – something that couldn’t always have been said about his comedy attempts. Sharon Stone, Ronny Cox, and best of all Michael Ironside play the particularly dastardly bad guys and between them and Schwarzenegger the classic one-liners come thick and fast. Verhoeven’s mark is all over Total Recall which is no bad thing as his colourful and mischievous style nicely complements the pulp background from which the story hails.

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Contact (1997) 2.79/5 (2)


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Rating: The Bad – 54.5
Genre: Drama, Science Fiction
Duration: 150 mins
Director: Robert Zemeckis
Stars: Jodie Foster, Matthew McConaughey, Tom Skerritt

Robert Zemeckis’ big budget adaptation of Carl Sagan’s story stars Jodie Foster as the prodigious astronomer whose obsession with discovering evidence of extra terrestrial life pays off when she receives a deep space signal. Things get even more astonishing when she discovers that the signal contains a cyphered message with instructions on building an interstellar craft that promises to unite the two communicating civilisations. As the world scrambles to catch up with the implications of this message, she and a team of meddlesome government officials led by a nasty Tom Skerritt prepare to build and launch the machine.

As you’d expect from a Robert Zemeckis science fiction epic, Contact is punctuated by some fantastic visual effects and thrilling drama. In particular, he comes into his own during the central contact sequence serving up a feast of pin point editing, sound mixing and dialogue, a feat which reminds us all of exactly what his strengths are. Alas, Contact is flush with his other trademarks too such as the impulse to inflate the basic idea with lofty aspirations. The result is a reckless twisting and deformation of the plot until all sense is wrung out of it.

The major problems with Contact are in the writing. Unforgivable contrivances or outright plot holes litter the script to justify speeding our heroine through a maze of painfully earnest emotional crucibles. But worse still is the Fisher-Price philosophy that runs through them in order to paint the story with the illusion of profundity. Mathew McConaughey is shoehorned into the proceedings as a nondescript religious leader and with him some frustratingly superficial religious considerations. These would have amounted to nothing more than gestures if they didn’t arise so persistently throughout the film and then culminate in an ostensibly mind blowing (but in reality mind numbing) coalescence with the story’s more scientific themes. Clearly there was an underdeveloped desire to draw bigger ideas into the central story of alien contact but not nearly enough intelligence or delicacy to give them shape. Ultimately, the story bounces awkwardly along in much the same manner of Alan Silvestri’s big boring score. Constantly trying to build towards big emotions but delivering nothing but hot air.

Jodie Foster has been given an awful lot of slack over the years and while she’s more than competent with a tight script to work with, she flounders within this sloppy nonsense signing off with a denouement (wherein she explains the wonders of the universe to a bunch of school kids) that comes off a little manic and uncomfortably ludicrous. Skerritt does the best with what he’s given but his character couldn’t be have been made more poisonous if he wore horns and a tail. McConaughey suffers similarly under the weight of his character’s smarmy silliness.

Contact was a bold undertaking and was much anticipated due to the calibre of talent behind and in front of the camera. Unfortunately, rather than playing to its strengths, it flounders in those ambitions and becomes another example of Hollywood missing the mark.

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Ghosts of Mars (2001) 2.81/5 (3)


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Rating: The Good – 74.3
Genre: Science Fiction
Duration: 98 mins
Director: John Carpenter
Stars: Natasha Henstridge, Ice Cube, Pam Grier

This John Carpenter sci-fi/horror/western about a police officer (Natasha Henstridge) and a dangerous prisoner (Ice Cube) trying to escape a terraformed Martian town as it becomes overrun by spirit-like aliens is a tongue-in-cheek heavy metal opera. Just like said music, everything about this movie screams mock-rebellion. Women run the show, aliens are ghosts, their language is a ferocious scream, the good guys are criminals and like that music, if you’re not a fan of Carpenter you just won’t get it. Thus, Ghosts of Mars has the semblance of rebellion but it’s not really that dangerous and Carpenter has a ball with it. The more technical aspects to the film such as the visual effects, make-up, and fight choreography are tinted with this light hearted sarcasm. Once you accept all this, however, you can really start to enjoy it. The patient start uses a series of dissolve-cuts to tell the back story as quickly as possible without feeling rushed but as the action moves through the gears, Carpenter’s utterly superb heavy metal soundtrack kicks in and sweeps you forward until the end. As with many of Carpenter’s films, the Rio Bravo theme is present and there’s plenty of innovative and over the top violence on show to keep most horror fans happy. There’s a great supporting cast on hand too (e.g., Pam Grier, Jason Statham, Joanna Cassidy) to deliver some outstanding and cheesy lines alike. And on top of all that, we have that wonderfully thunderous opening inspired in part by the opening to Bad Day at Black Rock (confirmed to this author by the director himself). Don’t approach this on the basis of what some of the critics have said and certainly don’t approach this as you would a typical science fiction/horror movie. This is John Carpenter – a director who has spent his career subverting conventions in the most entertaining ways possible (even if what he’s subverting is subversion!). That’s why he’s so damned important to the medium.

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Aliens (1986) 3.86/5 (2)


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Rating: The Good – 85.8
Genre: Action, Sci-Fi
Duration: 137 mins
Director: James Cameron
Stars: Sigourney Weaver, Michael Biehn, Bill PaxtonLance Henriksen

The last survivor of the Nostromo, Ripley (Sigourney Weaver), is found drifting in space after 57 years of hypersleep. Her account of what happened naturally makes the powers that be curious so they quickly order the colonists of the now populated planet to check out the co-ordinates where Ripley reported to have located the crashed spacecraft. When things inevitably go bad, Ripley is sent to the planet with a team of hi-tech marines to exterminate the alien threat.

In taking on the unenviable task of creating a sequel to Ridely Scott’s original sci-fi classic, James Cameron pulls a masterstroke by bringing the premise firmly into the action genre. The result is a qualitatively different film to the original, allowing for a whole raft of new ideas to be explored. As is typical with all Cameron’s films, Aliens looks amazing. The set-design, the special effects, and the creature effects (Stan Winston – who else?) are extremely impressive and are as good as anything you’ll see today. The chemistry between the various actors is splendid as are the performances themselves. Cameron regulars Michael Biehn, Bill Paxton, Jenette Goldstein, and Lance Henriksen are all present and in top form. So is Weaver who, in this film, confirmed Ripley as the most interesting and authentic of all screen heroines. The dialogue is tight and tech-savvy and the tension is built perfectly through Cameron’s expert direction.

Of course, the stand-out strength of this film is the action and Cameron again uses the science-fiction context to raise the stakes and create imaginative new ways to capture the audience’s fascination. He also takes his time building up to said action which makes it all the more rewarding when it finally gets going. It’s a testament to Cameron and co. that when all is said and done, Aliens will remain not just one of the best sci-fi films of all time, but also one of the best horror and action films of all time.

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Pandorum (2009) 4/5 (2)


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Rating: The Good – 76.6
Genre: Science Fiction
Duration: 108 mins
Director: Christian Alvart
Stars: Dennis Quaid, Ben Foster, Cam Gigandet

One of those rare non-Hollywood science fiction vehicles that defied low-key expectations and caught everyone by surprise with some top-notch production values and nail-biting action. Pandorum is a terrific ship-based sci-fi about a handful of crew members who wake up out of stasis to find terrifying human like creatures stalking the massive ship and preying on the other 60,000 humans who are still in stasis. The opening half an hour slowly lures you in and when it has a hold of you, it hits you with some genuinely scary sci-fi horror. Ben Foster doesn’t waste his opportunity to take on a more straightforward heroic role than usual and brings a quiet intensity to the part. Dennis Quaid is his usual safe pair of hands as his senior officer and Antje Traue is more than decent in an above average female action role. The action sequences are shot in an appropriately frenetic style by Christian Alvart and come at just the right points in the movie. Though Pandorum is a uniformly excellent piece of film making, it’s the creatures that make it so memorable. This is largely due to some insightful concept and design, but also Alvart’s use of sound and the hugely innovative way in which he captures their movement (especially in the earlier scenes). Suffice to say, if you like proper deep space scariness, this is the film for you.

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