This movie is not the Eddie Murphy, Martin Lawrence jail comedy. Its about a crew fighting a killer amoeba. Although the overall quality of films the last five or ten years has spiked downward, sci-fi has spiked upward in quality with some wonderful films that haven’t gotten the attention they deserve. The current film “Life,” for example, is a very interesting “Alien” knockoff about what would happen if we discovered alien life on Mars. The answer: nothing good. We think we’re getting “E.T.” and instead we’re getting something worse than The Thing. This film has interesting characters, some believable science, and is a tremendously inspired production. The director uses long, painstakingly crafted sequences to draw us in and (hopefully) make us forget we’re watching a movie. The performances of Jake Gylllenhaal, Rebecca Ferguson, and Ryan Reynolds draw us in, and, although the film is similar to “Alien,” it scares us.
The new film “Phoenix Forgotten,” produced by Ridley Scott, is a found-footage film in the style of “The Blair Witch Project” about the Phoenix Lights UFO incident from 1997. A group of teens witness the event and decide to investigate further and film what they find. Bad idea. It turns out that the incident is much more sinister in nature than they thought. Will they survive? Maybe not, but their quest proves somewhat compelling as all of us are curious about UFO’s. The film is well-made, acted, and scored and delivers some terror on a low budget. It’s not great, but you could do worse.
I thought I knew what to expect from “Ghost in the Shell.” I assumed it would have great visuals and a mindless plot. I was right about the visuals. Although the futuristic city portrayed in the film looks a little too close to “Blade Runner,” overall the film is convincing and occasionally mind-blowing in terms of its visual impact. The surprise about the new film is that director Rupert Sanders has a story to tell, and tells it well. What would it be like to be an android (or, actually, a cyborg) with no body to call your own and memories you can’t trust? This film tells you.
I was very impressed with the cast that this film put together. It is true that Scarlett Johannson is rather miscast as the heroine, but this is only because her character is supposed to be Asian. She should have asked for rewrites to tailor the part more to her. However, “Beat” Takeshi Kitano (the Japanese action star), Juliette Binoche, and Michael Pitt are excellent in their roles.
The film is getting a lot of flack for supposedly “whitewashing” Japanese material. On the contrary, the film is very respectful to the magna and anime series, and to such a degree that I’m rather stunned. The scenes where the protagonist discovers the truth about herself are rather affecting. This film succeeds in capturing the essence of the film series, and I would not mind a sequel to this film. If you like science fiction and especially if you like anime, check it out! – CoolAC
The “Underworld” series is really something. It has great action and special FX and terrible scripts. The new installment, “Underworld: Blood Wars,” finds the heroine played by Kate Beckinsale once again in the middle of the war between vampires and Lycans, or werewolves. Her character is really hot and apparently cannot be killed and is a Death Dealer. Charles Dance (from “The Golden Child” and “Alien 3”) is also in the movie as the heroine’s (I think)grandfather, and he hams it up in fine Christopher Lee fashion. He’s a great actor and has helped save many a genre film. However, most of the acting and literally the entire script is bad. All this business about Lycans and Death Dealers is beyond me to explain, but what’s good about this movie and the series is the action and set design. I did feel like I was in another world, albeit a world without character development.
To say this film is ridiculous is a grave understatement; there is so much sneering and so many double-crosses that the film becomes a parody of itself. Beckinsale doesn’t act; she just poses. Many of the actors appear to be posing for a Calvin Klein commercial, in fact. And yet despite all this, I LIKED this flick. It’s like a Hammer film crossed with Clive Barker’s “Nightbreed” on crack. It aims for a sort of “Empire Strikes Back” kind of feeling, and it doesn’t totally fail. It earns its R rating with massive bloodshed and lots of sexual innuendo. And it doesn’t seem TOO much like a video game. The series also beat “Twilight” and “The Daybreakers” to the screen, so it was passably original. If the scripts had ever been any good, this could’ve been the greatest horror series ever. As it is, it is one of my leading guilty pleasure. You have to put your brain on hold, but if you do, “Underworld: Blood Wars” is good fun. I would compare it to the 90s sci-fi epic “Waterworld” in that regard.
Finally, a sequel that I want to see: “Blade Runner 2049” looks awesome! The new teaser trailer features Vangelis’ music (although he’s not scoring the film) and a violent standoff between Ryan Gosling and Harrison Ford in a dusty, environmentally devastated future.
Here are some reasons why the film will be good: Ryan Gosling, Harrison Ford, and Jared Leto are terrific actors who could potentially save even a disappointing film. 2. Denis Villeneuve is a very good director who cares about his work, as evidenced by “Arrival” and “Sicario.” 3. Hampton Fancher, screenwriter of the original film, wrote this one, and Ridley Scott is producing. 4. The trailer indicates that this will recapture the noir feel of the original film and surely NOT be a soulless special FX spectacle.
On the other hand, here’s why the film might suck: 1. Jared Leto’s films are widely variable in quality, from the greatness of “Dallas Buyers’ Club” to the formula dreck of “Suicide Squad.” 2. David Webb Peoples, the OTHER writer of the first film, is not back for this. 3. Harrison Ford’s recent “Star Wars” and “Indiana Jones” sequels have not been that great.
Of course, the big question is: How are they going to explain bringing Ford back? He was supposed to be a replicant with a 3-year life span, according to the Director’s Cut. Also, Ford reportedly didn’t like the first movie, so why is he doing this one?
Despite these issues, I’d much rather see this movie than “XXX 3,” “John Wick 2,” and “Guardians of the Galaxy Vol. 2” combined. This is a sequel to a classic that just might match or exceed the original film. “Blade Runner 2049” looks like a winner that would make Philip K. Dick proud!
The captured skaters forced to undergo transformative surgery. As they are tied to
schoolroom chairs and forced to watch a promo video about their
transformations, labor and the sexbots. Vier is about to be forcefully
The camera that the SKATERS hid in the working mine area proves to the SKATERS
that Vier is alive. The WORKER MUTANTS tear apart the camera. The BIKERS
who are armed with metal bars, fire axes, and junk go to face off with the
Nearly all of the Will of the People are killed off by mutants. TRISH, GOOGAMOOGA
and KANGAZOO hide in some rubble. They radio back to the gas station base.
The plan the SKATERS come up with is conveyed over the radio. The SKATERS at
base set up a van as a SONIC DESTRUCTION Unit. Loudspeakers blaring NO
GOD ONLY PAIN, flanked on both sides by columns of SKATERS with light
bombs and pistols, it gets to the gate of the Echelon Agency building.
There’s no one guarding the gate. KANGAZOO and GOOGAMOOGA interrogate a
BIKER for the access code to open the front. When the van crashes through
into the foyer of the Echelon/bot.gov building, Vier recognizes the music.
The noise disables the MUTANT workers and the BIKERS. The SKATERS get away
with Vier in the van. When the music is out of earshot, both the MUTANTS
and the BIKERS join together to crash through the gates of the work area and
The TOP BRASS of the LIZARDS enter into escape space vessels. The ENGINEER
LIZARDS try to hide with the sexbots. The MUTANTS tear through the
kennels and fight the LIZARDS.
The LIZARDS crank up the poplaver music. But it doesn’t effect the Will of the
People BIKERS. The BIKERS fight the remaining LIZARDS fiercely. A sprinkler
system breaks out and floods the flames that cause the sexbots to malfunction.
On a global scale the mutants plan revenge with their international allies from
space. The SKATERS return to loot the Echelon facility for tetras and sexbots.
They look for surviving BIKERS to bring to their folds.
People are talking about a “large” comet that is supposedly visible to the naked eye and will be passing on NYE. This is supposed to go down while partyers are out in the streets, waiting for the ball to drop. Some website forums are spelling doom for society and talking about elites taking to underground bunkers in anticipation of the comet slamming into Earth.
This all very closely resembles the plot of the classic 80s camp sci-fi classic Night of the Comet. 80s camp films have a lot of social criticisms embedded in them, which are poignant, and often overlooked. In that film, those who follow the crowd (and stand in the streets watching the comet) are turned into a pile of red dust. Only their sneakers and clothes remain. Just like holiday shoppers -even the survivors in the film would mostly rather go fashion shopping than worry about more practical type things. Meanwhile scientists are living in underground bunkers, aiming to harvest the dumb blondes’ organs. And zombie police are out to bust anyone for anything ( just like in real life) – and to eat them.
Night of the Comet and movies like Omega Doom are said by some to be warnings from the elite about events that only insiders know about. Night of the Comet was likely one such piece of multi-dimensional propaganda. It was intended to warn those willing to look past the surface of the film and to look into the hidden message of the film: that excessive mass-culture consumerism and herd mentality will lead to certain calamity.
Story by Saint Reggie/ Sketch by Nate Erickson
In the dusty early morning of a future, distantly familiar earth a barren fortress of steel and dense plexi-glass surrounded on all sides by barbed wire electrified fence. The sign on the front reads Echelon Agency.
We show a montage of the fortress, a look at a kennel with sexbots recharging, and view of a living barracks where the grimy men who dig holes laboring for the bot.gov. The visual introduction is overdubbed with a female narrator, maybe English who says:
The year is 2046. Plague has rubbed out blah blah.
From out of the desert a nomadic man approaches the fortress gate on a futuristic scooter. He is blocked at the computerized control panel by a burly motorcycle gang member named Sludge. Sludge is wearing a headset and radios in.
Scene 1 (Click to read more.)