The Hunter or the Hunted? Part 10 (Alien vs Predator, 2004)

AVP_PosterThe Predator films went quiet after the second film, and Alien films were stalled by Resurrection seven years earlier.  In that time, there had been a series of successful Alien and Predator comics by publisher Dark Horse Comics.  In 1990, Dark Horse brought the franchises together, which was one of those crossovers that you never knew you wanted until you were given it.  The Alien vs. Predator comics were very popular and fueled desires of a crossover movie from the fans of the franchises.  There were attempts to bring this to life, but it seems nobody could settle on a story idea.

After the first Resident Evil was somewhat successful in it’s box office, Director Paul WS Anderson was brought in to guide the film to fruition.  Rather than adapt the comics, they came up with an entirely new story (though they did adopt a few ideas from the comics).  Set in 2004, a Weyland (eventually becoming Weyland Yutani, the company from the Alien films) satellite discovers a unique structure buried below arctic ice.  The company assembles a team of historians, geologists, survivalists and so on to investigate (and lay claim to the discovery).  Lance Henrickson returns to the Alien franchise as Charles Bishop Weyland…the human on which his character from Aliens was based.

They discover a pyramid that seems to be a combination of structures from around the globe.  The film suggests this pyramid was part of the cradle of civilization and people worshiped the Predators as gods. Ridley Scott borrowed this notion for Prometheus (but it was language and cave art).  The humans are unaware of the arrival of the Predators, and inadvertently activate the dormant temple.  An alien queen is revived and starts pumping out eggs.  A bunch of nameless characters are attacked and birth aliens while the Predators discover they are not alone.  There is the standard misunderstanding where the people are hunted by both Predator and Alien, but eventually the last human and Predator team up.

The visual effects (especially the practical effects) are quite good, though Anderson relies to heavily on the “Transition Through Hologram” set up, which he used in Resident Evil.  Considering how large the cast is, very few characters are well defined, resulting in the majority of characters simply being monster fodder.

This is the first film set in the present for the Alien films.  The Predator films were always in the present, so the idea that people are running into Predators is not much of an issue.  For the Aliens, the idea that they are already on earth seems pretty problematic.  The film tries to resolve this and as a one off film, this would probably be sufficient…but then they made a second film…

The Hunter or the Hunted? Pt 9 (Predators, 2010)

PRED_B-ALT_Eng1sht (Page 1)After the second film, the Predator series went dormant.  The alien hunters only saw the screen in the “team up” Alien vs Predator films.  It was not until about 2009 Predator was announced as getting it’s own new film.  It was spearheaded by Robert Rodriguez (Desperado, From Dusk Til Dawn, Sin City) and was referred to often as a reboot.  The problem with the tendency to treat every film as a remake or reboot is that it is not always clear what a particular entry is.  These days, people tend to refer to a new film in a franchise as a reboot, even when it is in continuity.  Admittedly, it is a little unclear here.  Nothing discounts the previous two films, but they are not really acknowledge in reference (# 2 made reference to the first film).

It does however feature the original Predator design along with a much bigger and more aggressive version.

Anyways, whether this is a new start or simply a new installment is not that important.  What we have is a group of people who find themselves falling from the sky.  They apparently had not planned this themselves.  As things unfold, we find that the most common trait the group has is they are mercenaries, soldiers, mob enforcers and so on.  There is one odd man out named Edwin who is a doctor.  He seems meek (but very smart).  He is played by Topher Grace, so, you know something is up with him.  Adrien Brody plays mercenary Royce.  Royce takes on the role of defacto leader, convincing everyone they need to work together.

After encounters with strange animals, they start to try and find safety, only to realize they are not on earth.  Unlike the previous films, the people being hunted have been dropped onto a planet that functions as a big game hunting preserve.

This does make for an interesting idea, though it is basically a jungle like the first film.  The new Predator design is good, building off the previous design in a way that is sleeker and more threatening.  While the film strives to have lots of surprises, in the end, there is not much new here.  The humans are picked off by the predators in violent and bloody fights.  But it is pretty straight forward action, and pretty predictable.  Frankly, it feels like the franchise may have hit a wall, and truthfully, I don’t know that people will care all that much about it.  The second two films are not strong enough to pretend this is a trilogy.  It is just a decent action film followed by two okay sequels.

The Hunter or the Hunted? Pt 8 (Predator 2, 1990)

Predator_2_posterDirected by Stephen Hopkins (Lost In Space, Nightmare on Elm Street 5 and Race), Predator 2 is an attempt at being very different.  Instead of a jungle, we are in “the Concrete Jungle”.  Instead of a heavily muscled soldier, we have have a team of police.  The film tries to be different by being very opposite.  There are vicious gang wars that are tearing up the street.  Captain Mike Harrigan (Danny Glover) and his team are the cops on the front line.  They start to find dead and mutilated gang members.  Soon the cops find themselves as much targets as the gang members.

This sort of works well, and the film acknowledges the first film with Gary Busey as head of a task force trying to capture the Predator explaining it all to Harrigan.  The film also establishes what draws a Predator to a location.  Extremely hot weather in volatile areas.  It also expands the previous film’s rule that Predators do not hunt and kill the unarmed to not killing pregnant women (even if they are armed).

Predator 2 is competently made, but Hopkins is not as strong as McTiernan.  It has it’s charms (such as a very late 80’s action cast including Bill Paxton, Maria Conchito Alonzo, Robert Davi and Ruben Blades) but does not rise to the entertaining levels of it’s predecessor.

There is a throw away moment towards the end where Glover’s Harrigan is on the Predator ship and looking at the trophies on a wall…one is clearly a xenomorph skull from the Alien films.  Although just a “wouldn’t this be fun” gag, it set fire in the imaginations of fan who soon wanted a crossover between the franchise.  For a long time, this only occurred in the comics.  It took fourteen years (seven from Alien Resurrection) to get to the Alien vs Predator films.

The Hunter or the Hunted? Pt 7 (Predator, 1987)

Predator_posterPredator is from Arnold Schwarzennegar’s action movie heyday.  Directed by John McTiernan (Die Hard, Die Hard With a Vengeance and the Hunt for Red October) it is a capable action film.  It is a simple plot, a mercenary group hired by the government goes into the jungles of South America on a rescue mission.  Instead, they find themselves up against an unseen and unearthly killer.

Arnold is the leader, hired by an old friend (Carl Weathers) for the mission so the American Government can keep it’s hands clean.  At first they believe they are just up against warlords…but soon discover they are being hunted like animals.  The killer seems to be invisible and unstoppable.

We learn it is an alien, an intergalactic creature who lives for the thrill of the hunt.  There is nothing particularly unique, hunting humans is a longstanding plot for thrillers.  But McTiernan (who would direct Die Hard only months later) shows he has the chops for telling effect action thrillers.

The cast is pretty ideal for a testosterone romp through the jungle.  Along with Schwarzennegar, there is Jesse Ventura (who went on to be Govoner), Bill Duke and Sonny Landham.  The effects still stand today, as McTiernan does not try and get overly complex.

Predator is a worthy and minor sci-fi action classic that is a lot of fun to watch.

Love is the Weapon (Wonder Woman, 2017)

wonder_woman_posterThere has been a lot of hype declaring that Wonder Woman is the best of the DC movies so far.  But that is not fair to the film.  Wonder Woman only had to be mediocre to rise to the top.  Wonder Woman is a much stronger film than that.  While Batman and Superman have had multiple appearances on movie screens, this is Wonder Woman’s first film in her 25 year history.  This in spite of the fact that she is an iconic character, she is part of DC’s “Holy Trinity” along with Batman and Superman.

It is no secret that despite financial success, the DC Cinematic Universe has hit a lot of speed bumps.  There have been things to like in previous outings, but overall, the films had a dark oppressive tone and frankly, Snyder and Company really did not get Superman at all.  One of the big pluses of Batman V Superman was, in fact Gal Gadot’s Wonder Woman.  Enough so that I felt encouraged by the film.  It help that it was in the hands of a director other than Snyder.

And what do you know?  It worked.  Wonder Woman is an origin tale, which is no surprise.  But the film opens with a beautiful sense of awe on the island of Themyscira (or as Steve Trevor calls it “Paradise Island”).  We see warriors training, being watched by young Diana.  She want to learn to fight, but her mother Hippolyta is adamant she will not be trained.  As time passes, Diana learns combat in secret, much to the disappointment of her mother.  Hippolyta eventually relents, but demands Diana be trained harder than any Amazon before her.

When a pilot on the run from the Germans crashes into the ocean near Themyscira it is clear that the war (World War 1) may come to them.  Diana makes impassioned pleas to her mother that the Amazon’s must step in and join the war.  In the end, she sneaks off the Island with Trevor to find and destroy the Greek god of war, Ares.

Diana is cast in the role of wide eyed innocent in a world she does not quite understand.  And the film follows largely in suit.  She has moments of child like wonder.  For example, sshe sees a baby-something she never saw on her island home-home and instantly wants to run over to it.  She tastes ice cream and tells the vendor that they should be very proud.  Even the sexual humor is polite in this film.  Yet, the innocence is not at the expense of Wonder Woman’s character.  No, it is integral to her nobility.  She believes the best.  She believes mankind was created to be good and noble, only corrupted by Ares’ cruel nature.  And then she must come to terms with the fact that this may not be the case.  Mankind may be capable of both greatness and the worst.

It is the little moments of goodness that start to drive Diana, as she sees the small treasures in the band of mercenaries she and Steve are saddled with.  At one point, one of the men buckles in combat, unable to do the one thing he was brought there to do.  When he suggests they leave him behind, Diana looks to him with a gentle smile and asks who would sing for them?  This instantly changes his spirit.  And that is the thing with Wonder Woman.  She is a fierce warrior.  She is powerful and dangerous.  But she is driven by kindness.  She is drive by love.  She is driven by hope.  And that is something that was missing in the DC Cinematic Universe.  A *hopeful* tone.  This is what the first Wonder Woman movie brought us.  Light in a dark movie universe.

There was a lot of talk about how Warner Brothers took a real gamble on Patty Jenkins as director.  That is a whole other discussion.  But if it was a gamble?  It paid off.  And Gal Gadot is proving herself to be the right choice for the role.  She has grace and kindness, but is equally convincing as a warrior.

Wonder Woman is most certainly the best DC film, in large part due to the fact that it really understands it’s hero.

The Hunter or the Hunted? Pt 4 (Alien Resurrection, 1997)

Alien_Resurrection_PosterIn spite of a lukewarm reception to the third film, the studio wanted to take another try at the Alien Franchise.  Although they managed to pump this one out in just three years, it is a bigger mess than the last one.

This film is set around two hundred years after the last one.  It establishes a new wrinkle in the xenomorph mythology.  Not only do they borrow from their host, they seem to share DNA.  Scientists clone Ripley and the clone has an alien queen in her chest.

A ship of space pirates arrives at the military base that has cloned Ripley with top secret cargo.  The scientists are trying to control the aliens as possible weapons.  You know how that will work out.  The aliens break free and take over the installation, leaving Ripley (along with the Space Pirates) to try and escape.

The film tries to explore the ethics and horrors of genetic experimentation.  There is a nicely played moment where they discover a lab full of less successful Ripley clones.  One is still alive, causing Ripley true horror.  The film has Ripley’s humanity in question (her blood has acidic qualities like the xenomorph) which is punctuated by a late reveal of a synthetic person.  The film also tries to add a new breed of alien, but it looks absolutely hideous.  Giving the alien beady eyes, white skin and a pot belly is not frightening, just an awful design.

The practical effects are, as they have been throughout the franchise, strong and effective.  However, the digital aliens do not stand up well twenty years later.

In spite of a strong cast (not to mention script doctor work by Joss Whedon) the story feels rather pedestrian.  Nothing quite gels into a cohesive narrative, and seems like it was built on a series of “wouldn’t it be cool if…” meetings.

The Hunter or the Hunted? Pt 2 (Aliens, 1986)

Aliens_PosterAbout seven years after Alien, hotshot director James Cameron brought the franchise roaring back to life.  Rather than make a generic sequel, Cameron made a bold choice.  The first film was a haunted house movie, Cameron opted to make a war movie.

Ripley is awakened 50 years after the first film to find everything she knew is gone.  On top of that she is plagued by nightmares of the alien creature.  Ripley joins a mission at the request of the corporation to check on a colony that is on the same planet they found the eggs with the alien xenomorph.  It is promised to Ripley this is a search and destroy mission.

She is joined by a platoon of Space Marines.  They don’t believe her claims of an alien monster, but of course, they soon find out she is neither crazy nor a liar.  And then things get bad.  And then?  They get worse.

Aliens is one of those rare sequels that manages to rival it’s predecessor.  Ripley is angry and aimless at the film’s beginning.  When she discovers a young girl named Newt hiding in the remains of the colony she starts to see beyond merely destroying the aliens.  In the extended cut of the film, it is revealed that Ripley had a daughter on earth who grew up and died in the time Ripley floated through space.  This gives an added dimension to Ripley and her dedication to Newt throughout the film.

The marines are a hearty and confident lot.  Their banter feels natural as they trade insults and yet fight to protect each other when it all comes crashing down.  They are a compelling group.  And then there is Bishop.  A synthetic or android, Ripley does not trust him, due to the fact that the android on her ship tried to murder her.  Bishop represents the other side of that coin.  He is kind and polite.  He is also willing to risk himself.  At one point, after volunteering for a risky mission he states, “Believe me, I’d prefer not to. I may be synthetic, but I’m not stupid.”  How much of this is programming that compels him, versus a certain human quality is unclear.  He notes his programming prevents him from causing harm to a person, but does that programming extend to risking himself to save a person from outside threat?

This is a near perfect action film, with thrills and twists and turns.  It manages to expand upon the mythology of the first film’s animal without being a tired retread of information.  The performances are compelling and the visual effects have withstood the test of time.  On top of that, in spite of being a sequel, you could go into Aliens never having seen Ridley Scott’s film and follow the story with few, if any, questions.

 

Father-Son Bonding (Guardians of the Galaxy Vol 2, 2017)

guardians_vol_2_posterGuardians of the Galaxy was a bit of a risk for Marvel Studios.  It was really their first film that had little name recognition.  It also was their first film not closely tied to the Avengers.  And yet, under the guidance of James Gunn, Guardians of the Galaxy succeeded with a healthy dose of humor and action.  Towards the end of the film, Yondu mentions knowing who Starlord’s father is.  In this sequel, we meet dear old dad.

While fighting an inter-dimensional beast, Rocket steals some batteries from the Sovereign.  This results in a chase through space that culminates in Starlord meeting his father Ego. Ego is a “living” planet.  He has a human avatar who sired Starlord.  In the meantime, they are being hunted by Yondu and the Ravagers to collect a bounty for the Guardian set by the Sovereign.

Volume 2 carries forward with the same tone and attitude of the first film, making it a lot of fun to watch.  The opening credits are a blast to watch.  Easily one of the best opening sequences for a comic book film.  The cast has really come together and it shows in their performances.

The new cast adds to the fun, with Kurt Russell being a high point for…well being Kurt Russell.  He is one of those actors you hire because you want a “type” that is specific to a particular actor.  Call it the Goldblum Effect if you will.  You hire Jeff Goldblum for a movie because you want a “Jeff Goldblum Type”.

In addition, Sylvester Stallone, Ving Rhames and Michelle Yoeh have small but pivotal roles (obviously setting up Volume 3).  The film is full of blink and you might miss it fan service, but with James Gunn, it is not distracting (for the most part) and for people unfamiliar with the comics will be unnoticed.

Of course, the soundtrack is integral to this film, each song clearly chosen carefully by Gunn.  Marvel was wise to stick with Gunn for the Guardians brand because he has a very specific vision that allows these films to stand out from the Marvel Pack.

A lot of the humor this time around is coming from Drax (Dave Bautista) and Baby Groot. Some of the more surprising emotion comes from Michael Rooker’s Yondu.

Guardians of the Galaxy Volume 2 can be pretty intense and it is not really for young kids.  But teens and adults alike will find a lot to enjoy here.  Personally, I found Volume 2 to be a very fun film-going experience and find myself anticipating the next outing.

Oh, and by the way…there are five mid to post credit scenes.  So do not get up and head for the door right away.

The Bigger They Come Part 14 (Godzilla 2000, 1999)

Godzilla_2000_posterRight on the heels of the failed American-Zilla Toho answered back with…well, the most Traditional Godzilla they could imagine.  No computer generated lizard here (though, there are plenty of digital effects).  Just a good old man in a suit.  Unlike Godzilla 84, this is much lighter fare.

Godzilla 2000 follows a young photo-journalist who is forced by her editor to ride along with a father daughter team who run the GPN, or the Godzilla Prediction Network.  Apparently, Godzilla is as sort of predictable as thunderstorms.

Elsewhere, scientists are researching a large meteor found deep in the Japan Trench.  It turns out to be a spaceship which, once, raised to the surface comes back to life.  This culminates in a massive battle between Godzilla and the alien within.

After Godzilla 1984, the franchise went back to the more popular “Godzilla Fights Other Big Monsters” approach.  This pretty much works here.  The overall tone is light, with characters being over the top to silliness.  Generally, the effects work.  There are some moments that seem simple errors were made.  One specific example is as the GPN are fleeing Godzilla and the green screen effect makes it appear that Godzilla is growing larger and larger.

For what it is, Godzilla 2000 is a perfectly entertaining diversion.

The Bigger They Come Part 13 (Godzilla, 1998)

godzilla_1998_posterInstead of  just re-editing existing films, American  studios got the rights to produce an actual American Godzilla feature.  And so, being an American feature, they thought they should rebuild Godzilla from the ground up.  So we get a totally new look for Godzilla.  But in the end, we get something that kind of looks like Godzilla, but not really.

The film tells us that Godzilla is the result of nuclear irradiated iguana eggs.  Which, takes away the epic nature of the monster.  And while the original Godzilla feasted on atomic power?  Our American monster desires fish.  Lots and lots of fish.

The film focuses on Mathew Broderick’s Nico a scientist called in to try and determine what Godzilla is for the American military.  There are a ridiculously large amount of ongoing plots competing with each other (failed romance, french spies, government ignorance, giant eggs!).

Everything in the film is big, as this is the dawn of the “event film” as we now know them.  I get not going with a “man in a suit” approach, but the redesign feels unnecessarily extreme.  They so reduce Godzilla to a typical animal, much is lost.  There is no atomic fire breathing, because this Godzilla is just a mutated lizard.  By keeping it so “down to earth”, it keeps the film from having to much fun with this crazy notion of a giant lizard wandering New York.  When all is said and done, this is an uninspired remake that finds a way to make Godzilla a bit boring.

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