007 GoldenEye Review

Rated PG-13 (A Number of Sequences of Action/Violence, and for Some Sexuality)

Running Time: 2 Hours & 10 Minutes

Cast-

Pierce Brosnan-007, James Bond

Sean Bean-006, Alec Trevelyan

Izabella Scorupco-Natalya Simonova

Famke Janssen-Xenia Onatopp

Judi Dench-M

Desmond Llewelyn-Q

Joe Don Baker-Jack Wade

Gottfried John-General Arkady Grigorovich Ourumov

Alan Cumming-Boris Grishenko

Robbie Coltrane-Valentin Dmitrovich Zukovsky

Tchéky Karyo-Defense Minister Dmitri Mishkin

Samantha Bond- Miss Jane Moneypenny

Michael Kitchen-Bill Tanner

Directed by Martin Campbell

"She always did enjoy a good squeeze."

With MGM finally emerging from bankruptcy in late December, 2010, pre-production has finally resumed on “Bond 23,” set to be released on November 9, 2012 with Daniel Craig returning as 007, James Bond. As a way to celebrate, I decided to take look back on the Pierce Brosnan era, starting with his first appearance as Bond in 1995’s “GoldenEye,” the film that introduced me to Ian Fleming’s titular spy. The James Bond franchise has remained as one of the few longest continually running film series in cinema history, having been in constant production for the most part since 1962 with a total of twenty-two films released; the last one was 2008’s “Quantum of Solace.” The sixteenth Bond film, 1989’s “License to Kill”—and the last to star Timothy Dalton—flopped at the domestic box office with only $35 million, barely covering its $32 million production budget, though it did better overseas with an additional $122 million. Although it received generally positive reviews, moviegoers were turned off by the darker, more realistic tone and perhaps it was just too soon to go this route until the series was rebooted with “Casino Royale” in 2006. While Dalton was set to return for a third film, he quit the role in 1994 due to the ongoing legal dispute between MGM/UA, which was sold to Australian broadcasting group Quintex, and Danjaq, the Swiss-based parent company of EON Productions. Pierce Brosnan was cast to replace Dalton and the media made a huge fuss, proclaiming that he was ‘born to be Bond.’ Six years after “Bond 16,” production finally began on the seventeenth film and it modernized the character in the wake of the Cold War. The changes largely proved cosmetic as the formula remained unchanged but “GoldenEye” was still an excellent revitalization of an aging franchise thanks to Martin Campbell’s confident direction, and Brosnan’s suave and charismatic performance.

In 1985, MI6 agents 006, Alec Trevelyan (Sean Bean) and 007, James Bond (Pierce Brosnan) infiltrate a Soviet chemical weapons facility at Arkhangelsk. During their attempt to destroy the base, Alec is captured and shot dead by Colonel Arkady Ourumov (Gottfried John) but Bond manages to steal an airplane and escape. Nine years later, Bond is following Xenia Onatopp (Famke Janssen), a suspected member of the Janus crime syndicate. Onatopp is working with Ourumov, now a General, and together they steal a prototype helicopter that is immune to electromagnetic pulses. They fly to a bunker in Severnaya, where they massacre the staff and steal the control disc to a dual satellite weapons system dubbed ‘GoldenEye,’ which detonates a nuclear weapon in orbit and the resulting EMP knocks out all electronic devices on the ground. One is activated to destroy the complex but unbeknownst to them, a lone survivor, Natalya Simonova (Izabella Scorupco), manages to escape. M (Judi Dench) sends Bond to investigate, who discovers that the head of Janus is an old friend, seemingly back from the dead.

For the most part, the plot of “GoldenEye” is standard Bond fare but Campbell sure does a great job in making it all seem fresh and exciting at the time of its release. The character itself was so closely associated with the Cold War that critics felt that it was better to leave Bond in the past but one thing you can always count on in life (besides death and taxes) is that he always returns. There’s a heavy dose of action with a large shootout in the first ten minutes, leading to a thrilling escape involving Bond riding a motorcycle off a cliff and diving toward an unmanned airplane. The most memorable set-piece is when Bond steals a T-54/55 series tank and plows through the streets of St. Petersburg, causing untold amounts of property damage while the famous theme plays. When two police cars crash into him, he looks back to see if the officers are okay, adjusts his tie, and continues on his way. There’s the usual amount of gadgets, though it's thankfully nowhere near as outlandish as the later installments. They include a watch equipped with a cutting laser, a ballpoint pen that detonates after three clicks, and a belt that doubles as a grappling gun. The most disappointing aspect is that the script could’ve explored Bond’s internal conflict with having to kill his former best friend and while we get the feeling that he harbors regrets, nothing is ever made of it. The more things change, the more they stay the same and that’s the best way to describe “GoldenEye,” a successful modernization but with an unchanged formula. Still, the one-liners come fast, the Bond Girls are gorgeous, and the action scenes are expertly choreographed, making the film a fun ride.

Pierce Brosnan completely nails the role in his first outing as James Bond, displaying a confident, charismatic wit with a hint of vulnerability. When Onatopp gets crushed in-between two tree branches, he quips, ‘She always did enjoy a good squeeze.’ Famke Janssen is sexy as the sadomasochistic Xenia Onatopp, who has a penchant for killing people by crushing the life out of them between her strong thighs while screaming in orgasm. In contrast Izabella Scorupco’s Natalya Simonova plays a more homely Bond Girl who seems to enjoy being bossy but for the most part, ends up doing very little. As the main villain Alec Trevelyan, Sean Bean plays him as a dark mirror of Bond, without the moral center and fueled by petty revenge and greed. The rest of the cast includes Judi Dench as M, Desmond Llewelyn as the gadget-making Q and Samantha Bond as the flirtatious Miss Jane Moneypenny. The theme song, titled after the film, is sung by Tina Turner with the surreal opening credits depicting the fall of the Soviet Union.

Released on November 17, 1995, “GoldenEye” received largely positive reviews with 82% on Rotten Tomatoes, although the film does have its fair share of detractors who found that despite the new coat of paint, the series still seemed stale and tired. Bond had an explosive comeback at the box office after a six-year hiatus, earning $352.2 million worldwide, proving that Bond was still a relevant character in an increasingly changing world. With “GoldenEye,” Campbell successfully mixes everything you would expect from a Bond film: humor, exotic locales, gorgeous ladies, and stunning action in the name of fun, reintroducing him to old fans that had grown tired of him and gaining new ones. This is simply one of the best Bond films made.

Final Rating: 4.5 out of 5

"Good, because I think you're a sexist, misogynist dinosaur. A relic of the Cold War, whose boyish charms, though wasted on me, obviously appealed to that young woman I sent out to evaluate you."

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The Exorcist Blu-Ray Review

Rated R (Strong Language and Disturbing Images)

Running Time: 2 Hours & 2 Minutes (original), 2 Hours & 12 Minutes (extended)

Cast-

Ellen Burstyn-Chris MacNeil

Linda Blair-Regan MacNeil

Jason Miller-Father Damien Karras

Max von Sydow-Father Lankester Merrin

Kitty Winn-Sharon Spencer

Jack MacGowran-Burke Dennings

Lee J. Cobb-Lieutenant William F. Kinderman

Father William O'Malley-Father Joseph Dyer

Mercedes McCambridge (voice)-The Demon Pazuzu

Directed by William Friedkin 

"What an excellent day for an exorcism."

You know that unmistakable theme, the one that still sends chills down your spine even after thirty-eight years. Yes, I’m referring to the infamous Tubular Bells from William Friedkin’s 1973 horror masterpiece, “The Exorcist,” adapted from the 1971 novel of the same name by William Peter Blatty. Hailed as ‘the scariest movie of all time,’ the film finally made its debut on Blu-Ray last October. Although there have been many great horror films, the genre has remained virtually ignored by the Academy Awards, with some extremely rare exceptions. “The Exorcist” received an unprecedented ten nominations in 1974, including Best Picture, and is one of two horror films to have been a major player at the Oscars, the other being 1991’s “The Silence of the Lambs,” which remains as the first and only horror film to have taken home the top prize. Some may argue that it was a ‘psychological thriller,’ but that’s just pointless semantics and it shows how increasingly irrelevant the Academy Awards have become. While its impact and shock value has waned since its original release, “The Exorcist” continues to be regarded as one of the most influential horror films of all time and manages to convince us that a truly incomprehensible evil can exist in our world.

During an archeological dig in Al-Hadar near Nineveh in Iraq, Father Lankester Merrin (Max von Sydow) discovers the strange demonic statue of Pazuzu. Meanwhile, Chris MacNeil (Ellen Burstyn), an actress filming in Georgetown, begins to notice strange and disturbing behavioral changes in her twelve-year-old daughter, Regan (Linda Blair). During a routine check-up, the doctor explains that it’s just ‘nerves’ but Regan’s condition continues to worsen. She is subjected to a number of unpleasant medical exams but the doctors continue to find nothing out of the ordinary. Unexplained paranormal events occur at home, such as a violently shaking bed and strange scratching noises. The director working on Chris’ film is later found brutally murdered. When all medical explanations have been exhausted, the doctors recommend Chris to seek an exorcism and she consults with Father Damien Karras (Jason Miller), who is both a priest and a psychiatrist. Karras is suffering from a crisis of faith after the sudden passing of his mother and initially doubts that Regan is possessed. However, it soon becomes increasingly clear that something malevolent has taken hold of Regan, forcing Karras to look within himself if he is to combat this unseen force.

“The Exorcist” works on so many levels due to its realistic take on the supernatural and focuses as much on the human drama as it does on the horror. Both the novel and film is based on a now-disproved exorcism that was performed in Maryland in 1949. Although the pacing can be slow at times, it is necessary as it shows how the fates of these seemingly disparate individuals are intertwined. The film’s focus is on the unending struggle against evil, not just with Regan and the demon that has taken over her but also as Father Karras grapples with his own doubts about his faith in God. When his mother suddenly passes away, Karras is devastated and questions why the God he has served unquestioningly could allow this happen. During the exorcism, the demon attempts to manipulate Karra’s guilt and it is only when he accepts that such evil can exist that he reaffirms his faith and makes the ultimate sacrifice. Father Merrin and the demon personifies the struggle with good against evil and in the film’s most famous scene, we see the aging priest looking up at the MacNeil’s bedroom window in what could be his final battle. The horror aspects are what struck a chord with the audience and the buildup is gradual but throughout the first hour, there’s this creepy sense of unease that something just isn’t right. Flashes of a demonic face are sprinkled throughout. We get small outbursts but the turning point is the infamous spider-walk scene where Regan’s body is unnaturally contorted as she runs down the stairs with blood streaming from her mouth. This was actually deleted in the original theatrical release due to the visible wire-work and was only added back in the 2000 extended version thanks to advances in CG. The most controversial scene is when Regan bloodily masturbates with a crucifix while screaming ‘Let Jesus f*ck you!’ When her mother attempts to stop her, she shoves her face down her crotch and smacks her, sending her flying across the room. Combined with the extremely coarse language and its unsettling atmosphere, “The Exorcist” affected audiences to the point where paramedics had to be called for people who fainted or went into hysterics. Nowadays, it’s unlikely a horror film would have such an effect as we have become desensitized.

The acting is superb and although the cast was comprised of largely unknowns, they explored their respective characters in a way that we could relate to. Ellen Burstyn is Regan’s mother, Chris MacNeil, who enjoys a close relationship with her daughter but as the situation spirals out of control, desperation sets in and when she pleads with Father Karras for help, we ask ourselves how this can happen to such good people. As Father Karras, Jason Miller’s subtle performance conveys the conflict and doubt he feels over his faith in God. Of course, the standout is Linda Blair and “The Exorcist” depends so much on her that if she was less than convincing for even a second, the film would’ve failed. Although Blair was nominated for Best Supporting Actress, this role proved to be both a blessing and a curse, as it became the defining moment of her career which unfortunately never took off. The only known actor was Max von Sydow as Father Merrin, who only appears in the prologue and the final thirty minutes of the film. He brings a sense of weariness to his character, one who has fought too many battles that has taken its toll on him. Unfortunately, as he was only forty-three years old at the time of filming, makeup was applied to make him look older and he sometimes took on a waxy appearance. In contrast, the make-up for Blair transformed her from a sweet young teen to a frightening visage with yellow-red eyes and rotting teeth. The voice of the demon, provided by radio actress Mercedes McCambridge, is chilling. Friedkin also went to extreme lengths to get the genuine reactions he wanted and both Burstyn and Blair suffered back injuries. The climax with the exorcism in Regan’s bedroom was actually built inside a freezer!

“The Exorcist” was released on December 26, 1973 to initially mixed reviews but opinions have changed over time and it is now regarded as a classic among horror films. It currently has an 84% on Rotten Tomatoes with the consensus that it ‘rides its supernatural theme to magical effect, with remarkable special effects and an eerie atmosphere, resulting in one of the scariest films of all time.’ Roger Ebert compared it to Ingmar Bergman’s “Cries and Whispers” in that both films force ‘us to look inside, to experience horror, to confront the reality of human suffering.’ At the box office, the film earned a worldwide total of $441 million, including re-releases. The Blu-Ray contains the original theatrical cut and the extended 2000 version on separate discs and while both have their fans, the former is the definitive one. The extended cut, made at the insistence of Blatty and dubbed ‘The Version You've Never Seen’ when re-released in 2000 is ten minutes longer and contains more exposition but these scenes prove to be extraneous. Although the film is close to four decades old, the video quality is excellent and is the best it will ever look. Some scenes appear soft or extremely grainy but this is the way it’s meant to be. Audio is fine but some sound effects come off as too staged and muffled. Whether you feel it is scary or not, “The Exorcist” will remain as an unsurpassed horror masterpiece, an experience that will stay with you long after the end credits have rolled.

Final Rating: 5 out of 5

“Especially important is the warning to avoid conversations with the demon. We may ask what is relevant but anything beyond that is dangerous. He is a liar. The demon is a liar. He will lie to confuse us. But he will also mix lies with the truth to attack us. The attack is psychological, Damien, and powerful. So don't listen to him. Remember that—do not listen!”

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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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