Alien: Resurrection Special Edition Blu-Ray Review

Rated R (Strong Sci-Fi Violence and Gore, Some Grotesque Images, and for Language)

Running Time: 1 Hours & 56 Minutes

Cast-

Sigourney Weaver-Ripley #8

Winona Ryder-Annalee Call

Ron Perlman-Johner

Michael Wincott-Frank Elgyn

Gary Dourdan-Christie

Kim Flowers-Sabra Hillard

Dominique Pinon-John Vriess

Brad Dourif-Dr. Jonathan Gediman

J.E. Freeman-Dr. Mason Wren

Dan Hedaya-General Martin Perez

Raymond Cruz-Vincent DiStephano

Leland Orser-Larry Purvis

Steven Gilborn (voice)-Father, Ship's Computer

Directed by Jean-Pierre Jeunet 

"Alien: Resurrection"--a wholly unnecessary sequel.

Note: Part of the "Alien Anthology" Blu-Ray box set.

Despite the finality of “Alien 3,” 20th Century Fox still saw some dollars left to be squeezed and made a fourth film, “Alien: Resurrection,” released in 1997 five years after the third installment. This one is the oddball out of the franchise and feels like a ‘what-if’ scenario or fan fiction. A strange eroticism permeated the film and it didn’t seem to take itself too seriously, often veering off into grotesque territory. “Alien: Resurrection” is certainly watchable but while Sigourney Weaver remains in fine form, everything else feels clichéd and tired, and the well of ideas seems to have run very dry indeed.

Two hundred years after her death on Fiorina 'Fury' 161, Ellen Ripley (Sigourney Weaver) is revived as a clone by scientists working for the United Systems Military on the spaceship USM Auriga. They successfully extract the Alien Queen embryo implanted before her death and the clone, dubbed Ripley #8, is kept alive for further study. The scientists plan to collect the Alien Queen’s eggs in an effort to tame her offspring. As a result of the cloning process, Ripley now has both human and Alien DNA, possessing enhanced strength and reflexes, acidic blood, and a telepathic link to the Aliens. A mercenary ship called the Betty, led by Frank Elgyn (Michael Wincott) docks with the Auriga carrying kidnapped humans in cryo-stasis, which the scientists use as hosts for the facehuggers. Among Elgyn’s crew is Annalee Call (Winona Ryder), who, upon learning about Ripley, attempts to kill her but the Alien Queen’s matured offspring quickly escape from captivity and begin killing or harvesting anyone they find. The ship’s computer executes its default emergency command by setting a course for Earth which would prove disastrous if the Aliens escape. Ripley teams up with the remaining surviving mercenaries to escape and destroy the Auriga before it reaches its destination.

“Alien: Resurrection” feels outlandish at times and ultimately devolves into clichéd science fiction tropes. It actually feels more at home as a comic book than an actual film. Ripley is brought back through cloning, which is hard to swallow after her trip to the furnace at the end of “Alien 3.” Although Weyland-Yutani no longer exists (they were brought out by Wal-Mart?!), the scientists working for the United Systems Military hasn’t learned a thing after two centuries and get their just comeuppances. The franchise’s formula has also grown stale but that hasn’t stopped Fox from making more movies. Written by Joss Whedon, the mercenaries bore a strong resemblance to the crew in his future television series “Firefly”. He later remarked that director Jean-Pierre Jeunet made the film ‘all wrong’ but it felt like a flimsy excuse to not take responsibility for writing a sub-par script. The most interesting aspect is the Ripley clone, which, besides appearance, bears little resemblance to her original in terms of personality. She’s still tough as nails but lacks a strong moral compass, walking with an air of sensual superiority and has a strange fondness for caressing people, such as when she and Call first meet. The real Ripley does break through but only for a moment when she meets her horribly mutated copies and breaks into tears. The tone is noticeably goofy with the characters frequently sprouting one-liners, especially Johner, played by Ron Perlman. Aspects of the film veered into grotesque territory, such as the birth of the Alien/Human hybrid, who meets a rather messy demise that might disgust some people. The film made up for its lacking story with a strong visual style and the action packs a visceral punch but the horror aspect is virtually gone at this point. With its brighter color palette, we get to see the Aliens in full view and the gore is sometimes too gratuitous. The underwater sequence is a highlight but very implausible considering all the characters hold their breath for way too long to actually survive. “Alien: Resurrection” has a feeling of been there, done that but it is still watchable if nothing else.

Sigourney Weaver plays a more sinister Ripley and she’s quite good, sexy even with her slick hair. The rest of the cast don’t make much of an impression. Winona Ryder, who is a fine actress, is miscast in this film as all her dialogue sounds forced and she never quite fits into this world. Ron Perlman seems to have the most fun in his role with his macho-man attitude that recalls Private Hudson from “Aliens.” Everyone else, however, is largely forgettable.

“Alien Resurrection” arrives on Blu-Ray as part of the “Alien Anthology” set and like “Alien 3,” the picture is a little soft at times but close-ups show fine detail and shadows are solid. Overall, it looks great if lacking the extra care of the first two films. For audio, this is the loudest “Alien” film with John Frizzel’s booming score and most of the cast shouting half their lines.

Instead of the summer, “Alien: Resurrection” was released during fall on November 26, 1997. With its pricey $75 million production budget ($11 million went into Weaver’s salary), the film flopped at the North American box office with $48 million, but made up for it internationally for a total gross of $161 million. Reception was lukewarm at best with 54% on Rotten Tomatoes. Although I enjoyed certain aspects of “Alien: Resurrection,” it was a mistake to make this film as it is a wholly unnecessary addition that adds little to the universe or Ripley’s character. To be honest, it isn't a terrible sequel, just a mediocre one.

Final Rating: 2.5 out of 5

"There's a monster in your chest. These guys hijacked your ship, and they sold your cryo-tube to this...human. And he put an Alien inside of you. It's a really nasty one. And in a few hours you're gonna die. Any questions?"

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Alien 3 Special 'Assembly Cut' Edition Blu-Ray Review

Rated R (Monster Violence, and for Language)

Running Time: 2 Hours & 25 Minutes

Cast-

Sigourney Weaver-Lieutenant Ellen Ripley

Charles S. Dutton-Leonard Dillon

Charles Dance-Jonathan Clemens

Brian Glover-Superintendent Harold Andrews

Ralph Brown-Francis Aaron

Paul McGann-Golic

Danny Webb-Robert Morse

Pete Postlethwaite-David

Christopher John Fields-Rains

Holt McCallany-Junior

Carl Chase-Frank

Leon Herbert-Boggs

Vincenzo Nicoli-Jude

Paul Brennen-Troy

Clive Mantle-William

Peter Guinness-Gregor

Deobia Oparei-Arthur

Philip Davis-Kevin

Niall Buggy-Eric

Lance Henriksen-Bishop/Michael Bishop

Danielle Edmond-Newt

Tom Woodruff Jr.-Runner Alien

Directed by David Fincher 

"Alien 3"--an underrated gem.

Note: Part of the "Alien Anthology" Blu-Ray box set.

Before he became the critically acclaimed filmmaker that we know today, David Fincher was a music video director but all that changed when he was brought onboard to helm his first big budget feature, the highly anticipated “Alien 3,” released in 1992, six years after James Cameron’s follow-up masterpiece. Unfortunately, many fans view this as the dark horse of the franchise and it received mixed reviews from critics, who called the story disjointed and an incoherent mess but few knew of the troubled production that plagued the film. To be honest, I always found “Alien 3” to be highly underrated and it was the film that introduced me to the franchise. I’ll admit the theatrical version had major flaws as it suffered from poor editing and a misleading marketing campaign but there was a good film buried in there and with the extended ‘Assembly Cut,’ this is as close to Fincher’s vision as we’re going to get. “Alien 3” jettisons the action style of the previous film and returns to the more slow-paced horror of the original. The dark, gothic style is unique and Sigourney Weaver is as excellent as ever but it can’t quite get the pacing right and the supporting characters aren’t very memorable. This is a good film but not a good sequel.

After escaping the infested colony of LV-426, Ellen Ripley (Sigourney Weaver) and the remaining survivors return to Earth on the Sulaco while in hyper-sleep. Unfortunately, a fire breaks out which causes the ship’s computer to automatically jettison an escape pod containing the survivors. Unbeknownst to them, a facehugger has also stowed onboard and attaches itself to one of the survivors. The escape pod crash-lands on Fiorina 'Fury' 161, a foundry and penal colony whose prisoners consist of all males with double-Y chromosomes and committed heinous crimes which include rape and child molestation. Ripley is brought to the infirmary by the facility’s doctor, Jonathan Clemens (Charles Dance) and upon awakening, learns that both Newt and Corporal Hicks has died in the crash. They are both cremated while the de facto religious leader of the prisoners, Leonard Dillon (Charles S. Dutton) gives an impassioned sermon. Meanwhile, another facehugger has seemingly attached itself to an ox and its chest bursts open to reveal an Alien. While Ripley waits to be rescued by Weyland-Yutani, Superintendent Harold Andrews (Brian Glover) orders that she is to be escorted at all times and kept out of sight so as to not agitate the prisoners, many of whom have not had any female contact for a long time. When a few prisoners begin to turn up dead, Ripley discovers that another Alien is now running amok and makes the most shocking discovery—she is carrying the embryo of an Alien Queen.

You can’t review “Alien 3” without taking a look at its troubled production and it’s a classic example of how studio interference ruins a potentially good film. The original intent was to create two more sequels and series producers David Giler and Walter Hill settled on the idea of making a two-part film with Ripley having a cameo in the first and returning for the second. The early scripts by William Gibson and Eric Red focused on this idea but 20th Century Fox president Joe Roth disliked it, remarking that Ripley was the centerpiece of the franchise and offered Weaver a $5 million salary to return plus a share of the box office receipts. David Twothy and Vincent Ward also contributed scripts and eventually, Giler and Hill were forced to meld certain aspects of both treatments for the final film as they were short on time. At this point Fincher was hired and forced to shoot without an actual finished script. He had an agonizing experience as the studio constantly interfered and issued changes. Fox basically screwed him into making a less-than stellar film. When it was actually finished, Fincher quit and disowned “Alien 3” before editing began and Fox pretty much mucked it up and released a mess of a film. There were glimmers of brilliance but it wasn’t until the 2003 DVD box-set that we viewed a close approximation of Fincher’s original vision with the Assembly Cut, which differed in several areas and was thirty minutes longer. He declined to record his audio commentary and revealed that the only way to show HIS vision was to basically remake the film.

As it stands, the Assembly Cut is surprisingly coherent and featured many stylistic choices that would become a trademark for Fincher’s future films, particularly “Se7en” and “Fight Club.” Many decried its ‘depressing’ tone but I find it hauntingly beautiful as the prison facility is often shot with a lurid color palette that creates a sense of unease in the viewer. There’s a strong religious subtext to the film. Dillon and the other prisoners have committed terrible crimes and have embraced an apocalyptic, millenarian version of Christianity. They hope to be forgiven for their sins and ascend into Heaven upon death. Virtually abandoned by the company, faith of a better afterlife is all they can hope for. Ripley herself also becomes a sort of Christ-like figure, facing one more trial against the Alien and finally sacrificing herself by falling into the furnace, arms stretched in the shape of a cross. I wished they kept the theatrical ending, which I feel was stronger. However, the extended cut still suffers from some problems, namely that it’s pacing can feel lethargic at times and this can be attributed to its weak characters, with the exception of Dillon. None of them come off as either memorable or likable and I agree—they all look the same with their shaved heads. There are also some lapses in logic, chief among them being how an Alien egg managed to make it onboard the Sulaco and the fact that a penal colony lacks any kind of conventional weapons. Why the prisoners don’t overrun the meager custodial staff is beyond me. “Alien 3” is a flawed gem but I feel it’s still a worthy conclusion to Ripley’ journey.

The acting is a bit of a mixed bag but Sigourney Weaver is as flawless as ever, her character weary after all that she has gone through and there’s a sense of relief, peace even, during the ending. At one point she thinks aloud about her relationship to the Aliens: ‘You've been in my life so long, I can't remember anything else.’ Most of the prison characters are paper-thin but Charles S. Dutton impressed me as Dillon and there’s a harsh yet sincere conviction whenever he speaks. Clemens, played by Charles Dance, is the prison’s medical officer and develops a romance with her, though beyond a one-night stand, not much is done with it story-wise and eventually it’s dropped half-way. The other characters don’t make much of an impression and while I recognize Pete Postlethwaite among them, it’s hard to differentiate everyone with their shaved heads. Lance Henriksen also shows up for an extended cameo.

Part of the “Alien Anthology” Blu-Ray set, “Alien 3” doesn’t seem to have received the same amount of attention as its more well-regarded predecessors and the video quality is noticeably soft at times, particularly during scenes when there’s heavy smoke. It’s certainly leaps and bounds above the DVD version and shadows are strong, adding to its gloomy atmosphere. Audio is more subdued and while it lacks pizzazz, the dialogue is clear with a quiet, foreboding score from Elliot Goldenthal.

“Alien 3” was released over Memorial Weekend on May 22, 1992 and reception is mixed, with 40% on Rotten Tomatoes. Critics weren’t enamored with its grim tone and found the story a total mess, and those who gave it a positive review also found it inferior to what came before. The Assembly Cut alleviates many of the plot issues but it’s not perfect and will never be given the trouble Fincher had to deal with. The production budget was high with $50 million, much of it wasted on unused sets and it barely covered at the domestic box office with $55 million, though it made up for it overseas for a total of $160 million. For his directorial debut, Fincher did the best he could with what he was given and “Alien 3” is not as bad as most people say it is. An underrated film and a fitting conclusion for Ellen Ripley, but Fox couldn’t leave well enough alone and made “Alien Resurrection,” though that’s a story for another day.

Final Rating: 4 out of 5

"You've been in my life so long, I can't remember anything else."

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Aliens Special Edition Blu-Ray Review

Rated R (Monster Violence, and for Language)

Running Time: 2 Hours & 34 Minutes

Cast-

Sigourney Weaver-Ellen Ripley

Michael Biehn-Corporal Dwayne Hicks

Carrie Henn-Rebecca 'Newt' Jorden

Paul Reiser-Carter Burke

Lance Henriksen-Bishop

Bill Paxton-Private William Hudson

William Hope-Lieutenant William Gorman

Al Matthews-Sergeant Al Apone

Jenette Goldstein-Private Jenette Vasquez

Mark Rolston-Private Mark Drake

Ricco Ross-Private Ricco Frost

Colette Hiller-Corporal Collette Ferro

Cynthia Dale Scott-Corporal Cynthia Dietrich

Daniel Kash-Private Daniel Spunkmeyer

Tip Tipping-Private Tim Crowe

Trevor Steedman-Private Trevor Wierzbowski

Directed by James Cameron 

"Get away from her, you BITCH!"

Mote: Part of the "Alien Anthology" Blu-Ray box set.

‘Get away from her, you BITCH!’ If Ridley Scott’s 1979 masterpiece “Alien” focused on a slow-burn atmosphere seeped in suspense and dread, James Cameron’s highly anticipated sequel, “Aliens,” released seven years later in 1986, exploded into all-out action. Cameron was a fan of the original and expressed interest in making a sequel while doing pre-production work on another film that would also become influential, “Terminator.” Unfortunately, 20th Century Fox felt that “Alien” had not generated enough profit to warrant a sequel and it was only after the breakout success of “Terminator” that Cameron was given approval to direct. “Aliens” retained some of the claustrophobic aspects of the original but differed greatly in style and tone, as it was a frenetic action adventure, cementing Sigourney Weaver’s status as an action heroine. However, its greatest feat was that it was one of those rare sequels whose reputation exceeded that of the original film.

Ellen Ripley (Sigourney Weaver), last survivor of the commercial towing spaceship Nostromo, is found and rescued by a salvage crew after drifting in space for fifty-seven years while in hyper-sleep. Back on Earth, her corporate employers, Weyland-Yutani, question her about the destruction of the ship and the loss of their payload, expressing skepticism about the creature she describes as there is no physical evidence. Ripley’s space flight license is revoked pending psychiatric evaluation and learns that the planet where her crew encountered the Alien, now called LV-426, is home to a terraforming colony. Later, a corporate representative named Carter Burke (Paul Reiser) informs her that they’ve lost contact with the colony and want her to come as a consultant with a contingent of Colonial Marines to investigate. She initially refuses but decides to face her fears after her harrowing experience and agrees to come along for the mission. While onboard the warship Sulaco, she is introduced to the android Bishop (Lance Henriksen) and a motley crew of marines led by the inexperienced Lieutenant William Gorman (William Hope). The group arrives on the colony to find it abandoned and in a state of disarray with the only survivor being a traumatized young girl named Rebecca, who goes by the nickname ‘Newt’ (Carrie Henn). The rest of the colonists are discovered to be held near the nuclear-powered atmosphere processing station but the rescue goes horribly wrong, as it is home to a massive Alien nest and their ranks are decimated, leaving Corporal Hicks (Michael Biehn) in command. With every escape cut-off and the processing station about to go critical in a matter of hours, it is up to Ripley to lead the survivors to safety.

“Aliens” is a different beast when compared to the original film. Some of the horror elements are retained, particularly a disturbing dream sequence and when the marines roam the empty corridors of the colony, recalling the claustrophobia on the Nostromo. Once they enter the nest and are attacked by the Aliens, the rest becomes a relentless assault that gets the adrenaline pumping. Cameron executes each action sequence to perfection and by immersing us right in the heat of battle, we can feel the desperation that creeps into all the characters. He likened the Marines’ disastrous first encounter to the Vietnam War, where the enemy used the environment to its advantage to effectively nullify our superior firepower and advanced technology. We still never get a good look at the Aliens themselves, except for close-ups of their slime-covered mouths and it builds on the fear of the unknown as the marines can’t see what they’re shooting, but are assaulted from below, above, and all sides. The ultimate payoff comes when we are finally introduced to the Alien Queen and Ripley’s battle with her is the mother of all battles. The final thirty minutes has Ripley become the ultimate badass as she tapes a flamethrower and a pulse fire together and carrying a sling full of grenades in an effort to save Newt. That’s another thing that makes this an excellent sequel because it just doesn’t deliver on action, it also has heart. At the center of this is the relationship between Ripley and Newt, and the growing mother-daughter bond that they share. In fact, one of the film’s most touching moments is when Ripley disposes of the Alien Queen and Newt runs into her arms, crying ‘Mommy!’

Cameron also builds and expands on certain aspects that were only hinted at in the original film. The director’s cut of “Alien” had a scene where Ripley discovers Dallas cocooned and impregnated; in “Aliens” we learn that these creatures function like an insect hive but they don’t operate on pure instinct because they learn and adapt, bypassing the sentry guns set up by the survivors and attacking by coming out of the ground and bursting from the roof. The corporation is now given a named, Weyland-Yutani, and shows a rather bleak future where profit is more important than human life. When Ripley is interrogated, the group of executives sitting there shows no concern about the loss of the crew and focuses on how they lost their expensive space freighter and its payload. Carter Burke is the ultimate corporate tool and I was cheering when an Alien showed him real ‘penetration.’ Most sequels nowadays try to repeat the success of the first film by offering more of the same but Cameron does a complete stylistic 180 for “Aliens” that builds on Scott’s minimalist approach and thereby creating one of the greatest science fiction action films of all time.

Sigourney Weaver is the only returning cast member and while she played a secondary role in the original, here we see her face her fears and kicking all kinds of Alien ass. Due to the more action-oriented tone, she nicknamed her character ‘Rambolina.’ Weaver feels more comfortable this time around and achieves an effective balance between Ripley’s maternal instincts with Newt and her motivation to prove that she’s as capable as any man. She was nominated for Best Actress at the Academy Awards, which is a rarity considering that the action and science fiction genres are always ignored. The rest of the cast includes Michael Biehn as the level-headed Corporal Hicks and Bill Paxton as Private Hudson, who provides some small comic relief with his macho-man talk but when things get rough, he starts whining. Carrie Henn’s only film role has been Newt and while her screaming gets a little grating, she has some cute scenes. Lance Henriksen plays fan-favorite Bishop and Paul Reiser is slimeball Carter Burke, who does an amazing job of making us dislike him.

“Aliens” arrives on Blu-Ray as part of the “Alien Anthology” package and includes both the theatrical and longer special edition. Cameron initially has us all worried when he said he de-noised it and removed all the film grain and while some scenes take on a waxy appearance, it’s extremely rare and hard to notice. The video is perfect and can serve as demo material while the audio is a joy to listen from the distinctive pinging on the motion trackers to pulse rifles going off, blasting Aliens to screeching body parts. James Horner’s score blares with urgency during the action sequences.

Released on July 18, 1986, “Aliens” holds the rare distinction of being more critically acclaimed than its predecessor, with a whopping 100% on Rotten Tomatoes. The film didn’t disappoint at the box office either with $131 million against an $18 million production budget and in addition, received plenty of accolades at the Academy Awards. The original “Alien” was a very small film but Cameron’s sequel is when the franchise really started to come into its own and earned a legion of devoted fans. Nowadays, you don’t make this distinction with sequels but I can say with utmost confidence that “Aliens” is a science fiction/action masterpiece!

Final Rating: 5 out of 5

"Get away from her, you BITCH!"

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Alien Director's Cut Blu-Ray Review

Rated R (Sci-Fi Violence/Gore and Language)

Running Time: 1 Hour & 57 Minutes

Cast-

Tom Skerritt-Captain Dallas

Sigourney Weaver-Warrant Officer Ellen Ripley

Veronica Cartwright-Navigator Lambert

Harry Dean Stanton-Engineering Technician Brett

John Hurt-Executive Officer Kane

Ian Holm-Science Officer Ash

Yaphet Kotto-Chief Engineer Parker

Helen Horton (voice)-Mother, Ship's Computer

Bolaji Badejo-The Alien

Directed by Ridley Scott 

Still terrifying three decades later.

Note: Part of the "Alien Anthology" Blu-Ray box set.

‘This is Ripley, last survivor of the Nostromo, signing off.’ Even after thirty-one years, Ridley Scott’s science fiction/horror masterpiece “Alien” has not even come close to being surpassed by any other film, with the exception of James Cameron’s action-packed sequel, “Aliens.” The film arrived at a time when interest in science fiction were at an all-time high with movie audiences thanks to George Lucas’ equally amazing “Star Wars” in 1977 but “Alien” was as far removed as you would imagine a science fiction film to be. With its methodical pacing and an atmosphere built on suspense and dread, “Alien” bore more of a resemblance to the original “Halloween” than “Star Wars.”  With one film, Scott created one of the most memorable and terrifying menaces we hope to never encounter in space.

Set during an unspecified time period in the future, the commercial towing spaceship Nostromo is returning to Earth carrying a payload of twenty million tons of mineral ore and its crew of seven. The ship’s computer receives a transmission of unknown origin and wakes the crew from hyper-sleep. Despite some opposition from Chief Engineer Parker (Yaphet Kotto), Captain Dallas (Tom Skerritt) says they have to investigate as they are under orders from their corporate employers or else they won’t get paid. Tracking the signal to a nearby planetoid, Dallas, Executive Officer Kane (John Hurt) and Navigator Lambert (Veronica Cartwright) set out and discover a derelict spacecraft with a fossilized alien life-form and a cargo of inconspicuous eggs. Kane disturbs one of the eggs and a creature attaches itself to his face. Dallas and Lambert carry the unconscious Kane back to the ship but Warrant Officer Ellen Ripley (Sigourney Weaver) refuses to break quarantine protocol. Science Officer Ash (Ian Holm), however, overrides her and opens the hatch. At the infirmary, Ash reveals that removing the creature might kill Kane and eventually, it falls off on its own, apparently dead. As everything returns to normal, the crew has one last meal before going back to hyper-sleep but Kane suddenly gags and begins choking. A blood stain forms on his chest and it bloodily breaks apart, revealing another creature that screeches and scampers off into the ship’s air ducts. The rest of the crew, lacking any conventional weapons, arm themselves using electric prods and makeshift flamethrowers with a motion tracker to try and capture the creature. The Alien, now fully-grown, begins to methodically kill off the crew one-by-one. In the vast coldness of space, no one can hear you scream.

“Alien” offers a very simple story and the minimalist approach works to the film’s advantage, extending to its title. It does not waste time on unnecessary exposition; all you need to know is that there’s a killer alien on the loose and its killing people. Horror films such as the aforementioned “Halloween” offered a similar premise but “Alien” marked the first time where the setting took place in space, away from the familiar surroundings of Earth, where you were truly isolated with no hope of help. No time is spent on building the characters and when we first meet them as they emerge from hyper-sleep, there’s a genuine feeling of familiarity with the crew as they eat and engage in lively conversation. They may live in the future, but these people work just like you and me; for them, this is just another paycheck. The Nostromo bears little resemblance to any familiar spaceship design, with its irregular shape and jagged edges. The interior, although technologically advanced, feels worn and claustrophobic with its dark corridors and lack of lighting. This helps build the atmosphere once the Alien runs amok, where every dark crevice could spell death for the crew. We are only afforded fleeting glances of the creature, allowing our imaginations to fill in the blanks. Created by Swiss surrealist artist H.R. Giger and based on his 1976 painting Necronom IV, the Alien displayed deviant sexual overtones. For it to reproduce, the egg hatches a ‘facehugger’ that impregnates the host orally and was dubbed by writer Ronald Shusett as a form of ‘alien interspecies rape.’ After some time, the facehugger falls off and dies until, in a twisted, violent variant of childbirth, the larval stage of the Alien, called a ‘chestburster,’ broke free by breaking apart its hosts’ chest cavity, effectively killing him/her. The fully mature Alien had a slender, almost feminine form but its head took on a Phallic shape with no eyes and its mouth revealed a set of Pharyngeal jaws attached to a proboscis in place of a tongue, which can be extended to violently ‘penetrate’ its victims. However, it acts differently toward the female crew members, taking pleasure in toying with them instead. When it kills, Scott does not dwell on the gore and we are only shown glimpses of a grisly aftermath. After the release of the film, the Alien grew to become one of the world’s most recognizable movie monsters and was named the 14th most memorable villain by the American Film Institute.

The cast includes a number of respected actors, including John Hurt and Ian Holm. Although none of it appears in the final film, Scott had written back-stories for all the characters to facilitate a sense of camaraderie while shooting. Among them was then-unknown Sigourney Weaver and “Alien” rocketed her and Scott to superstardom. The idea of having the hero as a female in an action/adventure film was unheard of at the time. Many believed that Tom Skerritt’s Dallas was the main character not just because he was the captain of the ship and received top billing, but because he was a man. Many of today’s action heroines owe a debt to Ripley, although her tough-as-nails, no-nonsense attitude is actually attributed to Cameron’s sequel. Here, she plays a more supporting role until the film’s dénouement.

“Alien” arrives in high definition courtesy of the “Alien Anthology” set on Blu-Ray, which includes a whopping six discs. Considering the fact that it was made in 1979, the film has never looked better and the higher resolution allows you to notice even more details in the architecture, specifically the derelict spaceship and the interior hallways of the Nostromo. Blacks are vivid and on the whole, “Alien” looks like it was filmed today! Audio is much more subdued as Jerry Goldsmith’s score is used sparingly but dialogue is crisp and the various sound effects for the ship, from the dripping water to the hissing metal pipes, add to an already immersive experience.

“Alien” was released on May 25, 1979 and has received lasting critical acclaim with 96% on Rotten Tomatoes. The film was nominated for two Academy Awards: Visual Effects (which it won) and Costume Design and Weaver herself was also nominated for a BAFTA for Most Promising Newcomer to Leading Film Role. Shot on a small production budget of $11 million, the film earned $105 million worldwide, including re-releases. Roger Ebert perfectly sums up why “Alien” remains a science fiction masterpiece: ‘One of the great strengths of [the film] is its pacing. It takes its time. It waits. It allows silences. It suggests the enormity of the crew's discovery by building up to it with small steps.’ Most people have already made up their minds about “Alien” but I still shockingly discover people who have never viewed the film. There’s really no excuse and with it finally out on Blu-Ray, a new generation can discover and become lifelong fans. There have been many imitations, but they are just that, imitations. “Alien” is perfect—in every aspect.

Final Rating: 5 out of 5

"You still don't understand what you're dealing with, do you? A perfect organism. Its structural perfection is matched only by its hostility. I admire its purity. A survivor...unclouded by conscience, remorse, or delusions of morality."

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Black Swan Review

Rated R (Strong Sexual Content, Disturbing Violent Images, Language and Some Drug Use)

Running Time: 1 Hour & 48 Minutes

Cast-

Natalie Portman-Nina Sayers

Mila Kunis-Lily

Vincent Cassel-Thomas Leroy

Barbara Hershey-Erica Sayers

Winona Ryder-Beth MacIntyre

Ksenia Solo-Veronica

Kristina Anapau-Galina

Janet Montgomery-Madeline

Benjamin Millepied-David

Sebastian Stan-Andrew

Toby Hemingway-Tom

Sergio Torrado-Sergio

Directed by Darren Aronofsky

Natalie Portman delivers a bravura performance in Darren Aronofsky's brilliant masterpiece "Black Swan."

“Black Swan” is the best film of 2010. Hell of a way to start off, considering what I’m stating is an opinion but presented in a matter-of-fact manner. After you watch this film, preferably multiple times, I believe you’ll be inclined to agree with me. Darren Aronofsky, whose next project is the “Wolverine” sequel, is a director with few missteps and although his films are small in scale and of the art-house variety, there’s always that absorbing, almost intoxicating quality to them. “Black Swan” is a freakishly beautiful nightmare that delivers a mesmerizing, haunting, and tragic performance from Natalie Portman, taking us into a mind on the verge of collapse as the lines between genius and madness become almost inseparable.

Young Nina Sayers (Natalie Portman) is a ballerina at New York City’s Lincoln Center who discovers that prima ballerina Beth MacIntyre (Winona Ryder) is being put out to pasture by the company’s director, Thomas Leroy (Vincent Cassel). He announces that they will open the season with a new take on Pyotr Ilyich Tchaikovsky’s famous Swan Lake, with one dancer playing the dual role of the White and Black Swan. Nina covets the role and happens to be one of the few chosen to audition for Thomas. During the audition, Thomas says that she is perfect for the White Swan but lacks the raw sexuality of the Black Swan despite her flawless technique. Even so, she is chosen for the role of Swan Queen and Thomas begins to make advances and bullies her to unlock her darker side and sensuality. As opening day draws near, Thomas starts to notice that Lily (Mila Kunis), recently arrived from San Francisco, seems to embody all the qualities of the Black Swan, although her technique is not as disciplined. Nina begins to crack under the pressure as she begins to suffer from paranoia that Lily wants to steal the role from her. Unable to discern reality from fantasy, she begins a wild descent into the darker recesses of her mind which threatens to consume and destroy her.

“Black Swan” is one of those films where it’s best to go in knowing as little as possible. The story is a twisted variant of Tchaikovsky’s Swan Lake but it’s more a means to an end as the film’s priority is to explore an already unstable psyche teetering on edge. Aronofsky presents ballet as a cutthroat world where it’s survival of the fittest and every girl wants that highly coveted role. They are physically and mentally pressured to attain the unattainable, that of perfection. When we first see Nina, she is living in a small apartment with her overbearing mother, Erica (Barbara Hershey) and there’s a sense that their strained relationship is bubbling below the surface in how they behave and speak to each other. Nina’s growth is stunted, as she is demanded to physically maintain a lithe body shape and mentally as she is sexually repressed and that her room is decorated in much the same of a young adolescent. When Thomas reveals that he is looking for a new dancer to play the Swan Queen, Nina wants the role so much that she’d do anything, almost as if her entire life has no purpose without it. She wins the role but at what cost to her well-bring? Nina is every psychologist’s dreams and as she begins to slowly transform into a physical manifestation of the Black Swan, we begin to question whether what she is seeing is real or not. Her transformation is frightening yet smolders sexuality in a hypnotic manner as her eyes turn crimson red. Lily is often presented as the concerned friend or the manipulative, conniving bitch but there are rare instances where we do see the ‘real’ her and it throws another wrench into who the real enemy is. “Black Swan” culls from a variety of different genres and while it feels like a psychological thriller, it’s more of a character study that includes elements of horror, melodrama, and eroticism. Due to the sexual contrasts between the White and Black Swan, the film’s exploration of sexuality mirrors that of Nina’s as she discovers herself through masturbation and has a lesbian tryst that again, may or may not be imagined. It is impossible to totally explore or even explain “Black Swan” because the film is so thematically rich that it effectively requires multiple viewings and every scene can be interpreted in a number of ways, especially its ending, which seems so final yet ambiguous. In the end, is Nina just mad, a victim of outside pressures beyond her control or was she an artistic genius that achieved, in every sense of the word, perfection?

The acting is of the highest caliber. Natalie Portman has essentially won the Academy Award for Best Actress; it’s just a matter of making it official. With the exception of wide shots where she had to be en pointe for an extended period of time, Portman performed all of her own dance scenes and she is flawless. You cannot take your eyes off her. Her transformation from a girl with no backbone and low self-esteem to someone without inhibitions is exciting yet tragic, as she effectively had to kill a part of herself to be perfect. Mila Kunis is underwritten but deftly switches between conflicting personalities due to how Nina perceives her. Vincent Cassel is the charming yet lecherous director of the ballet company whom we suspect to be sleeping with the students but we also wonder whether his behavior is due to his lofty expectations. Finally, there’s Barbara Hershey as Erica, Nina’s mother from Hell. She gave up her career when her daughter was born and now relives her lost dreams though Nina. The way she treats Nina often borders on abusive as she controls every aspect of her life but there is no question that she loves her. “Black Swan” looks and sounds amazing. The ballet scenes are beautiful and frightening all at the same time. The score, from Clint Mansell, takes many musical cues from “Swan Lake” itself but combines the epic romantic feel with a hint of a disturbing madness to it. Aronofsky also performs some sleight-of-hand in his scenes to further confuse us and question Nina’s sanity.

“Black Swan” was released into theaters on December 3, 2010 in 18 theaters, racking up a spectacular $80,212 average for a total of $2 million so far. The film will expand each week and play at over 1000 locations by December 22. Reviews have been highly positive with 86% on Rotten Tomatoes as critics hailed it as ‘bracingly intense, passionate, and wildly melodramatic’ and gave accolades to Portman’s ‘bravura performance.’ It’s hard to really sum up the film in one closing statement but Roger Ebert says it best: ‘All of the themes of the music and life, all of the parallels of story and ballet, all of the confusion of reality and dream come together in a grand exhilaration of towering passion. There is really only one place this can take us, and it does.’ “Black Swan” is a beautiful nightmare, an exhilarating, absorbing experience. This is the best film of 2010.

Final Rating: 5 out of 5

"I had the craziest dream last night about a girl who was turned into a swan, but her prince falls for the wrong girl and...she kills herself."

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Paranormal Activity 2 Review

Rated R (Some Language and Brief Violent Material)

Running Time: 1 Hour & 31 Minutes

Cast:

Katie Featherston-Katie

Micah Sloat-Micah

Sprague Grayden-Kristi Rey

Brian Boland-Daniel Rey

Molly Ephraim-Ali Rey

William Juan Prieto & Jackson Xenia Prieto-Hunter Rey

Seth Ginsberg-Brad

Vivis Colombetti-Martine

David Bierend-Surveillance Camera Expert 

 

Directed by Tod Williams

There's something by the door...

Paramount Pictures struck gold with last year’s terrifying “Paranormal Activity,” from first-time director Oren Peli. With a shoe-string budget of $15,000 and featuring unknown actors, the film went on to make $193 million worldwide. A sequel was quickly announced but many people were skeptical and feared that it would be a repeat of the disastrous “Book of Shadows: Blair Witch 2,” which eschewed the minimalist style of its predecessor as Artisan felt that it wasn’t ‘commercial’ enough. These fears only grew when Peli revealed that he wasn’t returning to direct and will instead serve as producer. Fortunately, our skepticism was much ado about nothing, as “Paranormal Activity 2,” while lacking the freshness of the original, retains everything that worked but also subtly upping the ante to once again create an unsettling atmosphere.

The film does not pick up immediately after the first one until its final minutes but instead focuses on the events that led to it, so in a sense, this is more of a prequel. Katie’s (Katie Featherston) sister, Kristi (Sprague Grayden) is happily married to Daniel Rey (Brian Boland) and has recently given birth to a beautiful baby boy named Hunter. Their family includes Ali (Molly Ephraim), Dan’s teenage daughter from a previous marriage, the nanny/housekeeper Martine (Vivis Colombetti), and their loyal German Shepherd Abby. When Hunter is a few months old, the family finds their house ransacked but with the exception of a necklace formerly given to Kristi from Katie, nothing valuable was stolen. Daniel decides to install a number of motion sensor security cameras throughout the house in case they get burglarized again but it soon becomes apparent that there is an unseen force at work as strange things begin to occur at night, such as random objects falling to the floor or a door slamming shut. The situation gets worse as the days go by, forcing the family to take drastic and questionable actions to protect themselves.

For the most part, “Paranormal Activity 2” feels indistinguishable from the original and the only major change is the new and expanded cast of characters. You might say this is a flaw but this is one time where changing the formula was not necessary. Director Tod Williams wisely maintains the escalating sense of fear and dread but the new characters present a new dynamic in how they react to what is happening to them. While we may expect the sudden loud noises, the scares still pack quite a punch and I was literally on the edge of my seat every time that low droning noise is heard in the background. The film does stumble at one point as it rushes toward its climax when Daniel sees the footage of his wife being dragged away and suddenly changes his tune, leaping onto a drastic measure to save her and their son without considering the consequences but given his emotional state, it’s not hard to see why. The only other issue I can point out is the fact that since this is a sequel, it lacks that sense of newness audiences experienced with the original film and it would be wise for Paramount to avoid turning this into another “Saw” franchise. Of course, there’s going to be a third one if the ending is any indication.

The acting still convinces and we buy the illusion that this is a normal, everyday family but the increased budget allows for the employment of professional actors. While all of them are largely unknown with the exception of the returning Katie Featherston and Micah Sloat, some may recognize Sprague Grayden, who had a supporting role during the seventh season of “24.” This does not derail the film but it’s a small misstep as it’s important for the filmmakers to not let the audience feel that what they’re watching is staged. The final minutes serve as an epilogue to the original and while not packing the same out-of-you-seat shock, it’s no less unsettling and keeps us yearning to know what will happen next.

“Paranormal Activity 2” was released on October 22, 2010 and went straight for a wide release, compared to the slow roll-out of the original film as it depended more on positive word-of-mouth and viral marketing. Reception has been noticeably more mixed with 61% on Rotten Tomatoes, with the most common complaint from critics being that it ‘doesn't cover any new ground’ but agreed that ‘its premise is still scary—and in some respects, it's a better film than the original.’ Its opening weekend was heavily front-loaded with $41 million at the box office, suggesting that it might flame out in its second week but the only competition is the rematch with “Saw 3D,” which is being billed as the final chapter, though this can be taken with a grain of salt. However, last year’s “Saw VI” failed to top $30 million and it does not seem like the seventh will either despite the added premium price of 3D so expect “Paranormal Activity 2” to take the top spot once again. Despite the novelty having worn off, “Paranormal Activity 2” is the rare sequel that maintains its frightening atmosphere despite its minimalist style but those who didn’t appreciate the original won’t likely be converted.

Final Rating: 4 out of 5

"I don't know if the house is haunted, but I hope it is."

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Let Me In Review

Rated R (Strong Bloody Horror Violence, Language and a Brief Sexual Situation)

Running Time: 1 Hour & 55 Minutes

Cast-

Kodi Smit-McPhee-Owen

Chloë Grace Moretz-Abby

Richard Jenkins-The Father

Elias Koteas-The Detective

Cara Buono-Owen's Mother

Sasha Barrese-Virginia

Dylan Kenin-Larry

Ritchie Coster-Mr. Zoric

Dylan Minnette-Kenny

Jimmy 'Jax' Pinchak-Mark

Nicolai Dorian-Donald

Brett DelBuono-Kenny's Brother

Chris Browning-Jack

Directed by Matt Reeves

Chloë Grace Moretz stars in Matt Reeves' "Let Me In," a remake of the 2008 Swedish film "Let the Right One In."

Around the time of the release of the original “Twilight” in 2008, there was another vampire film in limited release called “Låt den Rätte Komma In” or translated “Let the Right One In,” based upon the 2004 novel of the same name by John Ajvide Lindqvist. The Swedish film received widespread critical acclaim due to its effective blend of ‘scares with intelligent storytelling’ and currently holds a 97% on Rotten Tomatoes. Since Hollywood can’t leave well enough alone, they’ve decided to remake the film for an American audience. The renamed “Let Me In” largely follows the general plot of the original with some subtle changes but despite playing second fiddle, this is an oddly sad and poignant horror romance which owes much to the strength of the source material. One of the best vampire films I've ever had the pleasure to see, director Matt Reeves has crafted a remake that does not sacrifice the integrity of the original to pander to a more mainstream audience and for that, I applaud him for keeping his promise.

Set in Los Alamos, New Mexico in 1983, a lonely twelve-year old boy named Owen (Kodi Smit-McPhee) is bullied at school while his parents are going through a divorce. With no friends, he spends his time spying on his neighbors until one night, a strange barefoot girl named Abby (Chloë Grace Moretz) moves into the apartment next door with her ‘father’ (Richard Jenkins). Owen is naturally drawn to Abby as she seems to be impervious to the cold and the two quickly strike up a friendship, as she offers him advice on how to fight back against his tormentors and communicating through the wall of their apartments with Morse code. Although Abby possesses the physical appearance of a twelve-year old girl, she is actually an ancient vampire that needs to consume human blood to survive, which is provided by her elderly companion who goes out every night to kidnap teenagers and drain them of their blood. These killings attract the attention of a detective (Elias Koteas), who suspects it to be the work of a satanic cult.

The title “Let Me In” is a reference to vampire folklore which states that a vampire cannot enter a person’s residence without being invited in first. Although fans of the original Swedish version may decry the changes, they are minor at best with the ambiguity of Abby/Eli’s gender removed and the relationship with the father made more palatable for American audiences but no less disturbing. The driving force between Owen and Abby is that the two suffer from extreme loneliness. His relationship with his mother is distant at best and Reeves films her in such a way that her features are blurred and indiscernible. Owen is desperate for any sort of human connection and becomes excited at the prospect of having a friend like Abby. Being twelve and at the cusp of puberty, he is unable to articulate his feelings but the bond he shares with Abby transcends a label such as love. To make it ‘official,’ Abby shows up in Owen’s room one night and sleeps with him unclothed. Obviously, there is no sex involved but it’s not all that hard to read between the lines. As for Abby and her older guardian, their relationship could be likened to that of a ‘long-time wedded couple who have grown apart during the many years they have spent together’ (James Berardinelli, ReelViews). When he fails to provide her with human blood, he wearily remarks that perhaps he wants to be caught and feeling left behind, requests that Abby stop seeing ‘the boy.’ I overheard one of the audience members remark that Abby was essentially using the boys she befriends to help her procure blood. While that’s a more cynical interpretation, I don’t believe that’s true. Being immortal, it’s only natural that Abby will come to grow weary and seek new companionship.

Reeves has chosen his two leads well and both bring a surprising level of maturity and talent to a film which could’ve been sanitized to make a quick buck. Kodi Smit-McPhee’s (last seen in 2009’s “The Road”) melancholy performance makes us empathize with his lonely existence as he lives in fear of being brutalized at school but comes into his own as he spends more time with Abby. He is initially shocked when he discovers that she is not what she appears to be and although we can tell that he is unable to come to terms with her violent nature, the fact that he cares for her and she for him overcomes any doubts that he may have had. Like “Kick-Ass,” the real star is Chloë Grace Moretz and she is quickly becoming a favorite amongst genre fans. Her Abby is vicious but she is also brave and confident, having accepted that her life is a constant battle for survival and that the only way to make this burden easier to have someone to spend her time with. Richard Jenkins only has a few lines of dialogue but how he came to know Abby is revealed in a key scene when Owen sees a faded photograph. Finally, there’s Elias Koteas as a detective who’s in way over his head and cannot fathom the horror that awaits him.

“Let Me In” doesn’t hold back with the gore as these aren’t your normal, everyday vampires that sparkle in the daylight. When Abby assumes her vampire form, her eyes glow a bright blue and takes on a discolored complexion, with her voice becoming an inhuman growl. She becomes little more than an animal when she feeds and in the film’s final scene, she eviscerates all of Owen’s attackers in a shower of severed limbs. The only weakness is the CGI but since it is used sparingly, it does not detract from the film.

“Let Me In” was released on October 1, 2010 and has received positive reviews with 88% on Rotten Tomatoes. Critics hailed it as the rare successful remake that has 'enough changes to stand on its own' without adding 'insult to inspiration.' The film competed with David Fincher’s “The Social Network” which took the number one spot with an estimated $23 million and although I had pegged this film to come in second, it flopped at the box office, coming in at a shockingly low eighth place with a paltry $5 million. Audience reaction was positive but a few muttered that the film was boring and openly mocked some of the more touching scenes. Granted, some may find the content disturbing or ‘wrong’ but mainstream American society is often way too uptight. “Let Me In” is an excellent vampire romance film and one could say that given their circumstances, Owen and Abby were destined to be together. This is the high standard that all remakes should set for themselves.

Final Rating: 5 out of 5

"Do you think...there's such a thing as evil?"

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The Social Network Review

Rated PG-13 (Sexual Content, Drug and Alcohol Use and Language)

Running Time: 2 Hours

Cast-

Jesse Eisenberg-Mark Zuckerberg

Andrew Garfield-Eduardo Saverin

Justin Timberlake-Sean Parker

Armie Hammer-Cameron Winklevoss

Josh Pence-Tyler Winklevoss

Max Minghella-Divya Narendra

Patrick Mapel-Chris Hughes

Joseph Mazzello-Dustin Moskovitz

Rooney Mara-Erica Albright

Brenda Song-Christy Lee

Rashida Jones-Marylin Delpy

Dakota Johnson-Amelia Ritter

Douglas Urbanski-Larry Summers

Wallace Langham-Peter Thiel

Bryan Barter-Billy Olson

Steve Sires-Bill Gates

Directed by David Fincher

"Did I adequately answer your condescending question?"

When we look back through the last ten years, one of the most defining attributes is the rise of the social networking site and in particular, Facebook, which currently boasts over five hundred million active users as of July, 2010. Facebook was launched in 2004 by Mark Zuckerberg, Eduardo Saverin, Chris Hughes, and Dustin Moskovitz in a Harvard dorm room but the journey toward the site that we know and use today is a sordid tale of lost friendships, greed, and betrayal as recounted in Ben Mezrich’s 2009 nonfiction book, The Accidental Billionaires. David Fincher’s latest film “The Social Network” recounts the tumultuous first years of Facebook’s founding and the resulting lawsuits that followed. However, do not mistake this for a documentary. As it takes inspiration from Mezrich’s book, where Saverin served as a consultant, the details are skewed against Zuckerberg’s favor yet no one can deny his ambition and genius. “The Social Network” is a highly engrossing picture that boasts amazing writing and direction but it’s the excellent performances that cements its status as one of the best, if not the best, film of 2010.

Mark Zuckerberg (Jesse Eisenberg), a Harvard University student, is having dinner with his girlfriend Erica Albright (Rooney Mara) where he reveals his desire to join an exclusive Final Club but she breaks up with him when he unintentionally insults her about sleeping with the doorman and going to Boston University, which he feels is less academically rigorous. Afterward, Mark rushes back to his dorm room and begins to write an insulting blog post against Erica on his LiveJournal account while drunk. Inspired by an offhand comment from one of his roommates, he begins to write the code for a website dubbed ‘FaceMash,’ which allows users to rate the attractiveness of the student female body at Harvard. Since there is no unified directory of all of Harvard’s students and their photos, he hacks into the databases of various residence halls to download the information. The site goes live once Eduardo Saverin (Andrew Garfield), Zuckerberg’s best (and only) friend supplies him with a special algorithm. FaceMash becomes highly popular with over 22,000 hits overnight, causing the entire Harvard network to crash. Zuckerberg is brought before the Administrative Review Board and is put on six months academic probation for violating privacy and disrupting security. The creation of FaceMash catches the attention of Cameron and Tyler Winklevoss (Armie Hammer, Josh Pence), and their business partner Divya Narendra (Max Minghella) who meet with Zuckerberg about having him work on a social networking site called Harvard Connection, which will be exclusive to Harvard students with people joining through invitation only. Zuckerberg agrees but goes off on his own to create ‘The Facebook,’ with his friend Eduardo putting up $1000 to start the site. When Facebook finally goes live, the site quickly becomes popular and angers the Winklevoss’, who believe that Zuckerberg had stolen their idea. They eventually sue him for theft of intellectual property. As Facebook expands to more universities, Napster founder Sean Parker (Justin Timberlake) wants in on the action, driving a wedge between Zuckerberg and Eduardo. Facebook soon becomes a full-fledged company with the backing of various investors but as the site is about to reach its one millionth subscriber, Eduardo realizes that his share of the company has been reduced from 30% to less than 1%. Furious, he decides to sue his former best friend.

“The Social Network” offers a more-or-less accurate account of the founding of Facebook and the lawsuits that followed during the period of October, 2003 to September, 2005, but keep in mind that it does take liberties for dramatic effect. The film is presented as a series of flashbacks while Zuckerberg is involved in two separate lawsuit depositions where he stands accused of cheating his best friend and committing theft of intellectual property. Although we don’t know whether the film’s version of Zuckerberg is true to his real-life counterpart, the character as presented by Fincher and screenwriter Aaron Sorkin is a multi-faceted individual. There is no doubt he is a genius and filled with big ideas. Unfortunately, he lacks humility, coming off as arrogant, over-confident, obsessive, and cold to most of his peers. He lacks the social graces to be accepted and it’s not hard to wonder whether he created Facebook to prove to everyone that the nerd whom everyone vilified at school has become the youngest billionaire ever. While his actions make him out to be total a**hole, there at times where, thanks to Eisenberg’s performance, that he looks on at his best friend that is now suing him with weary and regret. His portrayal of Zuckerberg defies any conventional praise and is deserving of an Oscar nomination. It also helps that the rapid-fire dialogue from Sorkin's script keeps the film's momentum going and at times, darkly comic. Before the credits roll, we're left with an important question: is Zuckerberg really a jerk or is his behavior the product of his own genius? I'll leave that for you to ponder.

Andrew Garfield’s (our future Amazing Spider-Man) Eduardo Saverin is a devoted friend who manages to put up with Zuckerberg’s idiosyncrasies, much like Wilson and Dr. House on the FOX television show. As Facebook continues to expand at an exponential rate, Saverin wants Facebook to start generating revenue through advertising since he is the CFO with a 30% stake but Zuckerberg refuses because he feels it would ruin the ‘cool’ factor and exclusivity of the site. He gets pushed further into the background once the founder of Napster, Sean Parker, whom Justin Timberlake portrays as a Faustian character, enters the scene and eventually his ownership in Facebook gets reduced to virtually nothing. Part of the blame lies on Saverin because he didn’t fully read the contracts before signing as he got caught up with the excitement of the site going fully incorporated. Like Eisenberg, Garfield’s Saverin is also full of regret that it had to come to this. It represents a prime example of how money and greed combined with the cutthroat world of online business ventures can destroy even the strongest of friendships. Timberlake defies all expectations and turns in a fine performance as Sean Parker, charming Zuckerberg with the promise of billions of dollars but at the cost of his own integrity.

There is no denying that Facebook has changed the way we communicate but while it has brought millions of people together, it has also driven them apart as they eschew physical interaction. The anonymity that the Internet brings has allowed people to create a persona in which it was not possible or acceptable in the real world. Let’s be real here, Facebook is an absolute useless tool, an addictive time waster but Zuckerberg created it to take the ‘entire social experience of college and putting it online.’ People are naturally curious about other people. They want to know what kind of friends they have, if they’re in a relationship or not and Facebook provides that. Yet all this is really on the surface in “The Social Network” and at its core, it’s about a friendship lost. ‘You don’t get to 500 million friends without making a few enemies.’ Never has a tagline been so appropriate.

“The Social Network” was released into theaters on October 1, 2010 to critical acclaim with a whopping 97% on Rotten Tomatoes, making it one of the few highly rated films of 2010. Critics called it ‘impeccably scripted, beautifully directed, and filled with fine performances, [the film] is a riveting, ambitious example of modern filmmaking at its finest.’ As it is one of most anticipated films of the fall, it should have no problem coming in number one at the box office with an estimated $25 to $30 million. A Best Picture and Best Director nomination at the Academy Awards is a no-brainer at this point and it is well-deserved as this is as good as films come. With “The Social Network,” David Fincher has crafted a crowning masterpiece that takes themes as old as time itself: friendship and betrayal, and marries them with the electronic interconnectivity of the world that we live in such a way that ‘defines the dark irony of the past decade’ (Peter Travers, Rolling Stone).

Final Rating: 5 out of 5

"I think if your clients want to sit on my shoulders and call themselves tall, they have the right to give it a try, but there's no requirement that I enjoy sitting here listening to people lie. You have part of my attention; you have the minimum amount. The rest of my attention is back at the offices of Facebook, where my colleagues and I are doing things that no one in this room, including and especially your clients, are intellectually or creatively capable of doing. Did I adequately answer your condescending question?"

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