Sean Connery is a space faring Police Marshall.
Course he is.
It's the far future, and our Mr. Connery is stationed on a colony on IO, Jupiter's second largest moon. Newly arrived, Connery's Marshal O'Neill is warned that the population likes things run just the way they always have been, and they won't be happy if The Law come snooping. Being a law abiding sort, O'Neill ignores the warning and starts poking around, and soon uncovers a drug smuggling racket that will endanger his very life.
And a strange beast it is, too.
Visually, this is pretty imaginative, a nice mix of the super clean interiors of, say, Star Wars and the more grimy, industrial vision of the future we see in Blake's 7. The science fiction backdrop is a touch puzzling as, truthfully, this story could have been told at any point in time but then, would it have looked quite so lush. The effects, whilst massively dated, are sumptuous and ambitious, especially the external shots of the space station towards the end.
No stranger to science fiction (Timecop, 2010), director Hyams handles the setting well and delivers a low key, though reasonably effective sci-fi thriller.
3 out of 5
Showing posts with label sci-fi movie. Show all posts
Showing posts with label sci-fi movie. Show all posts
Wednesday, 16 March 2011
Wednesday, 23 February 2011
D.A.R.Y.L. (1985) Dir: Simon Wincer
Well now, here we have that rarest of creatures: a warm-hearted family movie that doesn’t make you want to stab out your own liver just to cease the abundant production of bile.
The plot: A young boy is discovered wandering with no memory as to his identity. He can remember basic things like speech and blinking and how to walk around without falling over, but details of his past life are none-existent. Taken into foster care it soon becomes apparent that Daryl is not like ordinary boys. He isn't rude, doesn't swear and, by the Christ's, he's really good at playing Pole Position and baseball.
One day, Daryl's real parents show up, ostensibly to take him home but, when they actually take him to The Pentagon, it soon transpires that D.A.R.Y.L. is not just different to other boys,....he's not even human!!! A military experiment in artificial intelligence now deemed awry, the military decide to do away with the project, but Daryl has other plans and, before you know it, he's stolen a Stealth Bomber and is cruising back home at Mach 2.25......
Whilst the potential for schmaltz is pretty damned high, the director does a decent job of keeping the vomit factor turned down low. The interplay between the lead character and his young friend is deftly handled, with genuine warmth, and there's a nice line in humour, too. Not the lighting your farts on fire, sticking your dick into an apple pie variety that passes for comedy these days but, you know, proper situational mirth.
Made in '85, and looking every day of its age, this is engaging sci-fi lite that has real charm and is certainly a movie for all the family. Heck, this wouldn't even offend Great Grandma Mosefus, and she's such a puritan she won't even look at a ripened pear for fear it may provoke lustful thoughts. S
o, throw away all your grisly horror, tear up your Stephen King books, put down that DVD copy of Jenna Haze Does the 49ers, and settle back for a pleasantly retro movie with a real nostalgic kick.
Liked it.
3 out of 5
The plot: A young boy is discovered wandering with no memory as to his identity. He can remember basic things like speech and blinking and how to walk around without falling over, but details of his past life are none-existent. Taken into foster care it soon becomes apparent that Daryl is not like ordinary boys. He isn't rude, doesn't swear and, by the Christ's, he's really good at playing Pole Position and baseball.
One day, Daryl's real parents show up, ostensibly to take him home but, when they actually take him to The Pentagon, it soon transpires that D.A.R.Y.L. is not just different to other boys,....he's not even human!!! A military experiment in artificial intelligence now deemed awry, the military decide to do away with the project, but Daryl has other plans and, before you know it, he's stolen a Stealth Bomber and is cruising back home at Mach 2.25......
Whilst the potential for schmaltz is pretty damned high, the director does a decent job of keeping the vomit factor turned down low. The interplay between the lead character and his young friend is deftly handled, with genuine warmth, and there's a nice line in humour, too. Not the lighting your farts on fire, sticking your dick into an apple pie variety that passes for comedy these days but, you know, proper situational mirth.
Made in '85, and looking every day of its age, this is engaging sci-fi lite that has real charm and is certainly a movie for all the family. Heck, this wouldn't even offend Great Grandma Mosefus, and she's such a puritan she won't even look at a ripened pear for fear it may provoke lustful thoughts. S
o, throw away all your grisly horror, tear up your Stephen King books, put down that DVD copy of Jenna Haze Does the 49ers, and settle back for a pleasantly retro movie with a real nostalgic kick.
Liked it.
3 out of 5
Tuesday, 24 August 2010
Critters 4 (1992) Dir: Rupert Harvey
Rupert Harvey, erstwhile producer of The Blob, Elm Street 5 and, no surprises, the original Critters movie, here takes up directing duties, delivering a neat, though somewhat schizophrenic monster movie.
The plot: Charlie, have-a-go hero from the first three Critters flicks is on the verge of destroying the final two Crite eggs when a hologram of Bounty Hunter Ug materialises and advises him to leave well alone, else face prosecution for what would effectively be genocide; the knowing extermination of an entire race.
Instead, Ug sends Charlie a transporter, which he uses, but is inadvertently sucked in, leaving him stranded in statis for five decades. When he awakens aboard a salvage vessel, he tries to warn the crew, but the silly bastards won't listen and it is a matter of grim inevitability that they will be picked off one by one by the flesh hungry Critters.
Playing it admirably straight for the most part, this fourth outing for the mouth and fur beasties is entreatingly daft, with low production values and a shaky script, though elevated somewhat by the talent, Brad Dourif in particular; a firm favourite at Smell the Cult HQ.
Not quite a horror, not really playing up the sci-fi, with a notable lack of any genuine bloodshed or nastiness, I suspect this is one example of a budget getting in the way of a director's vision.
Entertaining enough, though.
4 out of 5
The plot: Charlie, have-a-go hero from the first three Critters flicks is on the verge of destroying the final two Crite eggs when a hologram of Bounty Hunter Ug materialises and advises him to leave well alone, else face prosecution for what would effectively be genocide; the knowing extermination of an entire race.
Instead, Ug sends Charlie a transporter, which he uses, but is inadvertently sucked in, leaving him stranded in statis for five decades. When he awakens aboard a salvage vessel, he tries to warn the crew, but the silly bastards won't listen and it is a matter of grim inevitability that they will be picked off one by one by the flesh hungry Critters.
Playing it admirably straight for the most part, this fourth outing for the mouth and fur beasties is entreatingly daft, with low production values and a shaky script, though elevated somewhat by the talent, Brad Dourif in particular; a firm favourite at Smell the Cult HQ.
Not quite a horror, not really playing up the sci-fi, with a notable lack of any genuine bloodshed or nastiness, I suspect this is one example of a budget getting in the way of a director's vision.
Entertaining enough, though.
4 out of 5
Wednesday, 4 August 2010
Star Trek: Generations (1994) Dir: David Carson
The first big screen outing for the Next Generation crew is something of a confused affair, not least because they have to share the limelight with some blowhard has-beens from the past for half the fucking run time.
The plot: In Kirk's latter days, just past retirement. he is on launch duties with a new incarnation of the Enterprise when a distress signal comes in.
The new captain, being a bit of a wet fish, looks to Kirk for guidance and it's not too long before Kirk is getting his hands dirty.
When a Nexus strikes the vessel, Kirk is lost, presumed dead.
In the future, in Next Generation time, one Doctor Soran (Malcolm McDowell) is the sole survivor of an apparent Romulan attack on a space station. When the crew attempt to help him, they discover he is not what he seems, having a direct link to the Enterprise aboard which Kirk seemingly perished, and he will stop at nothing to rejoin the Nexus.
Straddling two series was always going to be tricky, and it makes for a disjointed affair, with whole portions given over to one crew, then the next, then back to the first in a kind of temporal pass the parcel that is pretty jarring.
The old crew are well past their sell by date by now, and come across as a bit of an embarrassment, especially Doohan (Scotty) who was always an awkward, annoying presence, his insufferable attempts at a Scottish accent more painful with each passing year.
A most unworthy debut for perhaps the greatest crew to ever man the good ship Enterprise, though much better was to follow:
Next up, The Borg.
3 out of 5
The plot: In Kirk's latter days, just past retirement. he is on launch duties with a new incarnation of the Enterprise when a distress signal comes in.
The new captain, being a bit of a wet fish, looks to Kirk for guidance and it's not too long before Kirk is getting his hands dirty.
When a Nexus strikes the vessel, Kirk is lost, presumed dead.
In the future, in Next Generation time, one Doctor Soran (Malcolm McDowell) is the sole survivor of an apparent Romulan attack on a space station. When the crew attempt to help him, they discover he is not what he seems, having a direct link to the Enterprise aboard which Kirk seemingly perished, and he will stop at nothing to rejoin the Nexus.
Straddling two series was always going to be tricky, and it makes for a disjointed affair, with whole portions given over to one crew, then the next, then back to the first in a kind of temporal pass the parcel that is pretty jarring.
The old crew are well past their sell by date by now, and come across as a bit of an embarrassment, especially Doohan (Scotty) who was always an awkward, annoying presence, his insufferable attempts at a Scottish accent more painful with each passing year.
A most unworthy debut for perhaps the greatest crew to ever man the good ship Enterprise, though much better was to follow:
Next up, The Borg.
3 out of 5
Saturday, 24 July 2010
Repo Men (2010) Dir: Miguel Sapochnik
Sick and twisted sci-fi thriller, just like Grandma used to make.
Jude Law plays Remy, a Repo Man, employed by The Union to repossess their property. Thing is, the property in question just happens to be human internal organs, the reclamation order submitted due to failure of the owner to keep up their monthly payments.
On a recovery mission, Remy has an accident as a piece of equipment malfunctions and, when he wakes up in hospital, he discovers he has himself been fitted with a Union heart.
He's not amused and, vowing not to pay, waits for The Union to come for their property.
Law is effective enough in the lead role and, whilst Forrest Whittaker is certainly a fine actor and plays the part of Remy's partner perfectly adequately, there's something about him I just don't get along with. I think it has to do with the fact he plays so many worthy roles in worthy movies about worthy subjects.
Makes my fucking skin crawl.
Whilst many of the reviews I've read make a point of stressing the gore levels in the movie, I found myself a little underwhelmed by the splatter factor, expecting it to be much more blood thirsty than it was. True, there are plenty of parabolic blood splash moments with throat slittings, stabbings, eye gouges and, of course, vividly depicted organ removal, but it wasn't the blood-drenched nightmare I was hoping for.
I dunno, maybe my threshold for viscera is higher than most.
Visually this is rather interesting, too. Whilst the city exteriors owe the usual debt to Blade Runner, the interiors are squalid and grimy, not all polished white gleam as we expect from sci-fi, giving the movie quite an organic feel at times.
Only one negative aspect to report, that being the woeful choice of music throughout. Listen up, unless you are Tarantino or Scorcese, in the name of all that is deformed don't try to use REAL songs as incidental music, pay some schlub to write a proper score. Here, the choice of songs is so painful it became off-putting at times, which is a shame as all other elements worked well.
Whilst hardly likely to win movie of the year - or movie of the fortnight, for that matter - this was nevertheless an entertaining way to spend nigh on two hours.
Check it out.
Jude Law plays Remy, a Repo Man, employed by The Union to repossess their property. Thing is, the property in question just happens to be human internal organs, the reclamation order submitted due to failure of the owner to keep up their monthly payments.
On a recovery mission, Remy has an accident as a piece of equipment malfunctions and, when he wakes up in hospital, he discovers he has himself been fitted with a Union heart.
He's not amused and, vowing not to pay, waits for The Union to come for their property.
Law is effective enough in the lead role and, whilst Forrest Whittaker is certainly a fine actor and plays the part of Remy's partner perfectly adequately, there's something about him I just don't get along with. I think it has to do with the fact he plays so many worthy roles in worthy movies about worthy subjects.
Makes my fucking skin crawl.
Whilst many of the reviews I've read make a point of stressing the gore levels in the movie, I found myself a little underwhelmed by the splatter factor, expecting it to be much more blood thirsty than it was. True, there are plenty of parabolic blood splash moments with throat slittings, stabbings, eye gouges and, of course, vividly depicted organ removal, but it wasn't the blood-drenched nightmare I was hoping for.
I dunno, maybe my threshold for viscera is higher than most.
Visually this is rather interesting, too. Whilst the city exteriors owe the usual debt to Blade Runner, the interiors are squalid and grimy, not all polished white gleam as we expect from sci-fi, giving the movie quite an organic feel at times.
Only one negative aspect to report, that being the woeful choice of music throughout. Listen up, unless you are Tarantino or Scorcese, in the name of all that is deformed don't try to use REAL songs as incidental music, pay some schlub to write a proper score. Here, the choice of songs is so painful it became off-putting at times, which is a shame as all other elements worked well.
Whilst hardly likely to win movie of the year - or movie of the fortnight, for that matter - this was nevertheless an entertaining way to spend nigh on two hours.
Check it out.
The Abyss (1989) Dir. James Cameron
You know how it is:
You're a successful movie director and have recently completed one of the most accomplished sequels in movie history (Aliens) and, in the back of your mind, an idea is forming about another sequel, one with Arnhult, Asta La Vista and GnR warbling over motorcycle sequences. Trouble is, Linda Hamilton isn't available for a few years and Arnhult has prior commitments up to his nutsac.
What to do?
Well, why not direct an underwater sci-fi spectacular, making use of one of the most expensive and elaborate sets ever designed to whet your appetite for future projects?
Eh?
Eh?
Why not just go and direct The Abyss?
Well?
Beautifully shot, much admiration must be expelled in the general direction of Cinematographer Mikael Salomon for the visuals which truly captivate, right from the off.
The plot: An American nuclear sub' has been lost and it is up to an expedition led by a young looking Ed Harris and the weirdly sexy Mary Elizabeth Mastrantonio to seek, locate and extract anything useful, be that people or equipment. A bunch of Navy SEALS are sent along to assist, though they seem to have an agenda all their own whilst, most worryingly, it seems they may not be alone in the depths as something altogether alien stirs.
Whilst this is essentially a monster movie, it is a monster movie with a difference. Here, the gribbly-ibblies aren't befanged and hungry for human flesh, instead they are more cerebral, content simply to float around and look beautiful in a vague attempt to make contact, seeming more curious than threatening.
At times heart-stoppingly evocative, the film does occasionally delve into mawkish territory, particularly the soap opera-light relationship shared by Harris and Mastrantonio, which is the single reason this did not gain top marks.
An excellent, ideas driven sci-fi movie that will, if you have any semblance of humanity in your cold, empty heart leave you simply breathless.
You're a successful movie director and have recently completed one of the most accomplished sequels in movie history (Aliens) and, in the back of your mind, an idea is forming about another sequel, one with Arnhult, Asta La Vista and GnR warbling over motorcycle sequences. Trouble is, Linda Hamilton isn't available for a few years and Arnhult has prior commitments up to his nutsac.
What to do?
Well, why not direct an underwater sci-fi spectacular, making use of one of the most expensive and elaborate sets ever designed to whet your appetite for future projects?
Eh?
Eh?
Why not just go and direct The Abyss?
Well?
Beautifully shot, much admiration must be expelled in the general direction of Cinematographer Mikael Salomon for the visuals which truly captivate, right from the off.
The plot: An American nuclear sub' has been lost and it is up to an expedition led by a young looking Ed Harris and the weirdly sexy Mary Elizabeth Mastrantonio to seek, locate and extract anything useful, be that people or equipment. A bunch of Navy SEALS are sent along to assist, though they seem to have an agenda all their own whilst, most worryingly, it seems they may not be alone in the depths as something altogether alien stirs.
Whilst this is essentially a monster movie, it is a monster movie with a difference. Here, the gribbly-ibblies aren't befanged and hungry for human flesh, instead they are more cerebral, content simply to float around and look beautiful in a vague attempt to make contact, seeming more curious than threatening.
At times heart-stoppingly evocative, the film does occasionally delve into mawkish territory, particularly the soap opera-light relationship shared by Harris and Mastrantonio, which is the single reason this did not gain top marks.
An excellent, ideas driven sci-fi movie that will, if you have any semblance of humanity in your cold, empty heart leave you simply breathless.
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