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When an insatiable great white shark terrorizes the townspeople of Amity Island, the police chief, an oceanographer and a grizzled shark hunter seek to destroy the blood-thirsty beast. Jaws 1975 review : Jaws.
A man eating shark is terrorising the holiday island of Amity. Police chief Martin Brody, shark hunter Quint and marine biologist Matt Hooper set sail in the hope of killing the great white monster.
Jaws is responsible for many things, it's responsible for propelling director Steven Spielberg's career into the stratosphere, it was responsible for a downturn in the package holiday trade, and it was responsible for shaping the summer blockbuster release practice's. There are many other things which one doesn't need to bore you with, it's just true to say that Jaws is firmly ensconced in movie history, if one hasn't seen it then one surely knows about it, it is, even today, part of popular culture.
But is it any good? Is it worthy of a long standing reputation as one of the greatest monster movies of all time? Hell yes it is, one or two easily overlooked flaws aside, it busted the box office (world wide) and tapped into a primal fear that resides in the majority of mankind, the unseen that resides in the sea.
Jaws sets out its marker right from the start with a truly shocking and attention grabbing opening sequence, from then on in Spielberg (learning from Hitchcock for sure) tweaks the tension to have the audience living on their nerves, even as character building (by way of Brody's family arc) sedates the pace, we just know that it's all relative to an extension of fear and terror that is around the next corner. After the first victims' remains are found, Brody glances out at the ocean, Spielberg perfectly framing the shot to say so much about what we are about to be witness' to. Jolts and shocks pop up from time to time to help build the unease, whilst Spielberg makes the audience wait before we even see what it is that so coldly and efficiently destroys man. Then it's the claustrophobic switch as our brave protagonists are out at sea on Quint's boat, unaware that the giant menace is now hunting them, eyes as black as death itself.
So many great scenes linger for all time in the memory, the entrance of Quint is a hum dinger, a mournful widow reducing Brody to a stunned realism, the Indianappolis monologue, the bigger boat! Just some of the reasons why I personally love cinema so much. The score from John Williams is as effective as any for the genre and Robert Hoyt's sound team's work furthers the unfolding dread. The cast are superb and uniformly excellent, managing to cast aside technical problems (and genuine resentments at times) to portray this story with verve and a genuine depth of feeling. Yet Roy Scheider (Brody), Robert Shaw (Quint) and Richard Dreyfuss (Hooper) were far from from original choices, Charlton Heston was wanted for the role of Brody, Sterling Hayden and Lee Marvin were both mooted for Quint, and John Voight was Spielberg's preferred choice for Hooper. Whilst Jaws author (and co screen writer here) Peter Benchley was heading for the top by asking for Newman, Redford and McQueen!! Imagine that!
Still it all turned out well in the end because Jaws stands the test of time as one of the best films of its type. No amount of complaining about continuity and a rough looking mechanical shark will ever dim its appeal, even as I revisited it recently for the hundredth time I still got tingles all over my body. So file it alongside King Kong in the pantheon of Monster Movie Masterpieces. 10/10 always, now go enjoy your dip in the ocean. Is it safe to go back in the water? ...
Steven Spielberg got ahold of the incredible Peter Benchley-penned novel about a giant, carnivorous Great White (dubbed "Jaws") who swims the ocean waters off a fictional resort town, preying on both the Island's locals and its visitors alike, and adaptated, for the silver screen, what would become one of the most terrifying American made thrillers to ever be released in the worldwide cinema. Exceptional filmmaking! And members of Spielberg's crew had the nerve to maliciously "mock" Jaws, by referring to it as "Flaws", during the filming process? All because of a few "glitches" in the mechanical shark? Ha! Who's laughing now?
Great screenwriting by Benchley and Gottlieb. Great composition by the legendary John Williams. Great direction by Spielberg. Phenomenal performances by Scheider, Shaw, and Dreyfuss. Great supporting cast. Just...magnificent. Jaws is a magnificent film. A true classic. Much like the shark itself, the movie starts slowly, deep down in the depths before coming to the surface to explode in pure sensationalism.
Jaws is one of those rare exceptions where high-brow art meets fun entertainment. At the time of its making, however, simply keeping its head above water was the most the cast and crew were hoping for.
But Spielberg had created something special. During production, no one saw it--I'm not sure Spielberg himself saw it, but it was there. I think it was really editor Verna Fields who saw it and put it together.
Jaws begins the way most primal fears begin: someone is alone, in the dark, in an alien environment, and is being attacked from some unknown entity. People remark today how Jaws worked so well, that it's kept them afraid of the ocean for years. I disagree. I think it's because we are scared of the ocean is why Jaws works so well. The opening scene of the young girl being savaged in the black nothingness that is the night ocean is terrifying because it preys on primal fears; it doesn't create them.
Next we're introduced to our cast of characters: There's Police Chief Martin Brody--an everyman with a fear of the water--and his wife, Ellen. There's Brody's loyal deputy Len Hendricks (mysteriously named "Jeff" in the sequel). Then, of course, there's the other side. There is the crooked mayor Larry Vaughan, and his two toadies newspaper editor Harry Meadows and coroner Carl Santos. After Brody and Hendricks find evidence of a hungry shark off the coast of the resort town of Amity, they do the sensible thing and start closing up the beaches. The mayor, seeing dwindling dollar signs, convinces Meadows and Santos to back him, and together they confront Brody and put the kibosh on his beach closing plan.
In an era where the primitive special effects technology gave us a shark that looked like a pool toy, it became essential that the shark not be the focal point of the film. And while a fin here and a barrel there do work wonders, it's only because the shark is far from the only villain in the movie. To have credibility, we have to have a human villain. And that is where Vaughan comes in.
After Vaughan's cavalier "it-can't-happen-again" attitude blows up in his face, Brody brings in the book smart, but decidedly out-of-his-element marine biologist Matt Hooper. Hooper tells Brody everything he and we, the audience, already know: The shark is out there; it's hungry; it's eating people; and it will continue to do so unless it is killed.
After a disastrous Fourth of July celebration that should have gotten Vaughan impeached, Brody and Hooper join forces with Quint, a grizzled fisherman with a personal vendetta against sharks. The movie then switches from its horror and drama elements and becomes something of an adventure, foreshadowing Spielberg's work on films like Raiders of the Lost Ark. Even John Williams' score begins to conjure up images of Errol Flynn-style swashbuckling. The adventure almost seems fun.
And that is when the shark, previously only a shadow, fin, or plot point referenced by dialogue, takes center stage. The movie shifts gears further near the end, going from adventure to a full on monster movie.
The build up is slow, relying on showing us the results of the shark's presence rather than the shark itself. This creates enough fear and credibility so that by the time the big, rubbery toy shark is commanding the screen, we're afraid of it. It's already been established as a monster.
The movie's pacing, dialogue and acting are all perfect, creating a strong enough foundation on which a silly, albeit terrifying, plot rests. By the time the shark is sinking boats and eating shark cages, Spielberg has made us by into it that he could have had the shark blasting off for the moon and we would have accepted it. And that is how and why Jaws works. Solid shark-thriller that still holds up well with each subsequent viewings. Love the cast especially Robert Shaw and was entertained even during some of the slower moments. Not a favorite of mine or amongst Spielberg's resume, but a lot of fun. **4.25/5**
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A deep sea submersible pilot revisits his past fears in the Mariana Trench, and accidentally unleashes the seventy foot ancestor of the Great White Shark believed to be extinct. The Meg 2018 review : Well, when the credits started to roll I cannot say that I felt it had been a waste of time and money. I did indeed have some enjoyment watching this movie. However, it could have been a lot better.
For starters, what is the point of making a movie about a bloody “dinosaur shark” and aim for a PG-13 rating? Whoever made that incredibly stupid decision obviously missed the mark big time. I think this was the biggest fault with the movie. There were so many missed opportunities. The entire scene at the beach at the end of the movie was just wasted for example.
The script was of course somewhat illogical with holes in it large enough to drive a, well, a Megalodon through them. This however was something that I more or less expected given the kind of movie. First of all it is science fiction and fantasy after all and second, it appears that these kind of movies never seem to get anything better than mediocre script writers…at best.
There were some good things though. I have read the book and I didn’t really like it. In my review I gave it 2 out 5 five stars. The main reason for this was that the book was more of a bad soap opera than a horror/thriller. It was so filled with unlikable, scheming and backstabbing assholes that it was really not enjoyable. Jason’s ex wife was such a despicable bitch that she alone ruined the book for example.
Luckily the movie had toned down that aspect of the book quite a lot. Actually, in the end, there was really only one truly despicable asshole in the movie and he met with the fate that he deserved thanks to his own stupidity.
So, I did enjoy the movie and, as a science fiction and fantasy fan, I am glad to have watched it. I mean, a giant pre-historic shark on the big screen does have a certain cool-factor after all. It was somewhat saved by Jason Statham being in it though and it could have been a lot better. Child friendly horror...
You have to take in to context the post release statements by director Jon Turteltaub and lead actor Jason Statham. The Meg is not the film they either read on the page or filmed as a course of grisly schlock entertainment. This was meant to be a proper schlocker, a bloodletting monster of the deep on the loose picture, sadly the suits at the helm didn't see that as a viable money making exercise and had this cut to be a "12" friendly bums on theatre seats cash grabber. Shame on them.
What we get is a run of the mill creature feature that although once viewed does not leave a lasting impression (was anyone really hoping for that anyway?), but is kind of fun in that time filling sort of way. It runs through the modern day creature feature playbook 101. So off we go with the hero having a troubled backstory, a money made funder out of his depth, ladies with life quandaries, a man who can't swim working in the middle of the ocean! and on we go. Throw in some quite awfully scripted dialogue and it's cheese sarnie time.
Statham is nearly always a good watch - in the muscle bound action hero kind of way - though you see the cracks between what the film was meant to be and what it ended up as. For you see that The Stath comes off as taking it all too seriously, which in this released cut is ridiculous. He's surrounded by no mark actors, though no short supply of beauty (Bingbing Li socko gorgeous/Ruby Rose hard sexy) and the narrative feeds us all the pointers of exactly where this will end up. There's a couple of nifty fun homages to Jaws, some decent suspense scenes, and the cinematography (Tom Stern) is pin sharp and pleasurable.
Best bet to enjoy this is to know it's a "12" rated friendly piece, to understand it has ultimately ended up as a same old same old monster movie. It's a million miles away from the class of Jaws, and lacks the tongue in cheek knowing of Deep Blue Sea, but it fills a gap in that undemanding time wasting way. 5/10 It's nice to see a Shark-led Creature Feature that's actually got some money behind it, but _The Meg_ is still really nothing special.
_Final rating:★★½ - Had a lot that appealed to me, didn’t quite work as a whole._
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Hubie Dubois who, despite his devotion to his hometown of Salem, Massachusetts (and its legendary Halloween celebration), is a figure of mockery for kids and adults alike. But this year, something really is going bump in the night, and it’s up to Hubie to save Halloween. Hubie Halloween 2020 review :
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Essentially: 25 directors from all corners of the globe (plus one competition winner) were assigned a letter of the alphabet and tasked with making a short film - five minutes or so, give-or-take - relating to the letter of the alphabet to which they'd been assigned and to the subject of death (according to one of the entries - Adam Wingard's Q - they were assigned a budget of $5000 each although how true that is, I don't know). Beyond that, each director has free reign over what form their short takes. And that's it. There's no wraparound tale (V/H/S), no arcing narrative running through the stories (Trick 'R Treat), no recurring characters (Pulp Fiction) or motifs (Coffee & Cigarettes).
It should go without saying of course that this leads to wildly differing results, not only in terms of content but in terms of success as well. That's true of any anthology piece but it's even more acute here given a) the incredibly short time allotted to each piece and b) the "A, B, C..." nature of the film which prevents the film's producers Ant Timpson and Tim League from placing the shorts in an order that might build a momentum, leaving the best 'til last (in fact, the very worst comes last, of which more later). The bad entries - and there are more than enough - are SO bad that it almost derails the entire movie. As I said, last night having just watched it I felt very negatively about the whole experience. However, there ARE some good entries and even a few great ones, and... well, let's just go through them (I'm not going to name them by title since one or two titles - which are only revealed at the end of each short, not at the beginning - represent pretty decent plot reveals in their own right, so to print them here would constitute a spoiler. I'll just refer to them by their letter):
"A", "B" & "C" - The movie's off to a strong start with three Spanish-language tales from Spain, Argentina and Chile respectively; "A" kicking things off in start-as-we-mean-to-go-on gory fashion about a woman attacking her husband, the context around which is not given to us until the very end, "B" about a fairy tale that may not be as fictional as the protagonists suppose and "C" about a Twilight Zone-style time-travel paradox.
"D" - From Marcel Sarmiento (Deadgirl), this dialogue-free piece about a scuzzy backsreet illegal-gambling fight 'twixt a man and a ferocious Labrador (I know, I know, but trust me) is rightly garnering praise all around the internetz as the best piece of the bunch. That this short is in the same movie as some of the poorer later efforts is an affront to good moviemaking, really. It deserves better. At this stage, The ABCs of Death is absolutely rocking.
"E" - A slightly lighter, Creepshow-style effort here about a guy trying to rid himself of a rather persistent spider. Many of us can relate. Decent entry. We're in really good shape at this point.
"F", "J" & "Z" - I've lumped these together since they're all from Japanese directors attached to the Sushi Typhoon production company, and if that means anything to you then you'll know what to expect from these entries and whether you're going to love them or absolutely loathe them (there's little middle ground; it's essentially all latex-heavy "zany" super-bizarre splatter/humour. Ever seen any of Peter Jackson's early films? Bad Taste, Brain Dead and the like? That, x 10,000). Personally, I detested them. "F", by Noboru Iguchi, a man who used to make adult specialist fetish videos for the Japanese porn market (example titles: Real Beautiful Young Lady Stools: Lolita Lavatory and Beautiful Girl Excretion School, both of which point to some degree towards "F"'s subject matter) and about a girl who would rather inhale the... um, gases of her lesbian crush than those of a toxic volcano which has belched poisonous fumes into the air, killing everyone, was so shockingly poor - although my girlfriend laughed out loud at it - that even though it was the first truly weak entry in The ABCs of Death, it soured me and altered my stance on the film for the remaining duration of the movie. "J" - about what appears at first to be one man putting another off his stride by pulling funny faces - was easily the best and most restrained of these three, but it was still unimpressive. "Z" - by Yoshihiro Nishimura (Tokyo Gore Police), a highly-regarded writer/director and effects artist in Japan - is arguably the shittest thing I've ever seen. God knows what it's about, it's one of those sorts of films. What I CAN tell you is that there's a naked bitch shooting root vegetables out of her cunny at another naked bitch with a huge inflatable cock (complete with breadknife cock-eye attachment), whilst some guy apeing Peter Sellers' Dr. Strangelove character watches on. With his cock out. I'm making it sound miles better than it is, it's truly dreadful.
"G" - First-person-perspective film about a guy who goes surfing. From Aussie director Andrew Traucki, he correctly guessed that everyone would go over-the-top with their efforts and decided to go the other way. More thoughtful, gore-free, more contemplative. Unfortunately he went TOO far. It feels unfinished, and dull. Possibly the most forgettable entry in the film.
"H" - A bizarre live-action cartoon from Norwegian director Thomas Malling (Norwegian Ninja) featuring a WWII Allied forces bulldog falling for the wily charms of a writhing Nazi pussycat in a burlesque club. Cue eyes out on stalks and tongues rolling out of mouths like carpets in full Looney-Tunes style. Meh.
"I" & "R" - I'm lumping these together not because they're connected at all but because, to me, they're both similar inasmuch as they're clearly very well made and photographed, there is clearly talent here, but IMO they both represented wasted opportunities. "I", by Mexican Jorge Michel Grau, lacked sufficient context around its central image of a woman tied up inside an empty bath while a possibly apprehensive man injects her with... something. "R", from A Serbian Film's Srdjan Spasojevic about some sort of hulking prisoner whose skin when peeled by his captors turns into reels of film (I think) is obviously saying something to me in very blunt subtext, but I guess I'm too stupid to get it.
"K" & "T" - Two animated shorts, both toilet-related. "K" - a cartoon about a woman trying to flush a sh*t she's just taken - didn't do it for me at all although again, my gf laughed, but "T" - a claymation effort and the entry which won it's place on The ABCs of Death via a competition as opposed to being a piece entered by a director who'd been invited to participate - is surprisingly good, concerning a toddler's fears over graduating from the potty to the grown-up bathroom.
"L" - Powerful and disturbing entry from Indonesia, centering around sexual perversion and... um, performance, let's say. Some scenes - thankfully just off-camera - are among the most upsetting of the movie. Well made, glad I saw it, don't imagine I'll watch it again anytime soon.
"M" - Looking around numerous sites, this entry from Ti West (House of the Devil, The Innkeepers, V/H/S segment: Second Honeymoon) appears to have polarised people, some suggesting that it's one of the more powerful entries, it sticks with the viewer and it's typical (in the good way) of West's output; basically, nothingshappenningit'sallabitdullandthenBANG! All-of-a-sudden, a kick to the bags right at the end, others deriding it as lazy, and even an insult to the project. I agree with the former argument although I understand the latter, West's entry being easily the shortest of these shorts, and the most uneventful. If they really WERE given five grand each to make these films, Ti West must have trousered most of it. His piece could've been done on a fiver. Still, where some have seen that as an affront, I see it as pretty cool that the director can still pack the same trademark wallop on so very little. You'll note I haven't mentioned what it's about, but it's honestly so short that I can't; to say anything at all is to spoil it. Um, a woman needs to use a plunger. How about that? That's as much as I'm saying.
"N" - A comedy piece centering around a parrot that won't shut up - ever seen that episode of Frasier where Niles' parrot won't shut up? Same shtick here, pretty much - from Thai director Banjong Pisanthanakun (Shutter). Light and undemanding, not a great piece by any means but a welcome bit of relief that for once has managed to BE light without being zany or bizarre.
"O" - I'm going to "spoil" this one since it has no discernible plot as such anyway: "O" is for "Orgasm", and it's a waste of time which most closely resembles one of those pretentious and abstract perfume commercials that clog up the TV around Christmas time. I fully expected someone to growl "Chanel. Eau de Parfum" in voiceover at the end. Rubbish.
"P" - Dialogue-free, quick-cut, gritty and well shot piece from British director Simon Rumley (Club le Monde) about a woman doing... well, what she needs to to pay the bills. Ooh, my girlfriend didn't like this one.
"Q" & "W" - Two "meta" entries, both concerning the tribulations of the directors themselves as they struggle with what to do as the subject of their short film for The ABCs of Death. And they couldn't be more different, Adam Windgard's (You're Next, V/H/S segment: Tape 56) "Q" being a light, self-deprecating and humourous tale of Adam's attempts to "actually" kill an animal on his segment, and Jon Schnepp's (Metalocalypse, from [Adult Swim]) "W" being, well, an absolute mess. In fact, sod it, I'm going to spoil this one too; "W" is for "WTF", and I suspect that's because the director f*cked up his random collage of goofy splatter images so badly that even he couldn't make hide nor hair of it by the end. Coming as close to the end of the film as this does and in tandem with the similarly unwatchable "Z", these shorts are what sour the film almost irretrievably, and probably explain why I was so very negative immediately upon having seen it.
"S" - From British director Jake West (Doghouse), what appears to be a purposely retro, washed-out, poorly-acted car chase involving Death himself becomes... something else. I really liked this one, once it had played out. Very good.
"U" - A final-reel fight scene told from the monster's perspective, made by Kill List director Ben Wheatley and reuniting Kill List stars Neil Maskell & Michael Smiley. Nothing wrong with it but I came away disappointed anyway. That was probably down to my expectations for this one though.
"V" - from Canadian writer/artist Kaare Andrews, and you can tell that this man specialises in superhero comic books. Another mis-step, this one, although this time it's an honest mistaken attempt to make his micro-budget spread over an ambitious futuristic action sequence featuring robots, mutants and Robocop-sized gunplay. At least it was a stab at something substantial, though. Too many of these directors just decided they couldn't tell a tale with the time/budget restraints, and went bizarre/abstract instead.
"X" - From French director Xavier Gens (Frontier(s), Hitman), this is a brutal, grisly and memorable piece about an overweight woman, mocked constantly for her weight (or at least, perceiving herself as being mocked; whatever they may think, grown adults aren't generally as in-your-face cruel as this womans tormentors are as she commutes to her apartment), who decides that she really wants to lose weight. Like, NOW.
"Y" - From Jason Eisener (Hobo with a Shotgun, a film I thought was great the first time I saw it, a little tedious the second time and just poor the third time), this really pretty good dialogue-free tale of a creepy school janitor with an unhealthy interest in the young boys within is marred for me by the same purposely retro red/green saturated lighting and hokey eighties synth soundtrack which served initially as such a successful parody/homage in Hobo with a Shotgun but which was maybe SO effective that it ended up being hard to tolerate. In this short, these things just detract from what is, as I said, a decent tale.
Phew! Well, there you have it. A very mixed bag of a movie, and ultimately I think one who's ambition overstretches its limited reach. 26 tales is just TOO much, both for the filmmakers who can't do enough with the time allotted AND the viewers, for whom 26 shorts - some incredibly grisly, some in shockingly poor taste - represents a trial of endurance. Because of these fundamental flaws and because of the numerous meh-to-poor-to-absolute-dogsh*t short films on display here I can't possibly mark The ABCs of Death too highly, but because of the superior, more memorable pieces I nevertheless have to recommend that you see it for yourselves. At the very least, if there's something you don't like there'll be something completely different to look at in a few minutes. “Horrible just horrible”
Basically this movie was made with the help of 26 alphabets in English each alphabet will make a way a person dies. In each of the 26 movies all were disgusting, horrible, filthy and complete nonsense. Talk about people dying due to farts, poop or by masturbating. Some scenes literally made me vomit. There was not one movie out this bunch of short films which was interesting or made some sense it was like this movies were made by directors who were drunk. I just wanted the movie to get over and I highly regretted that I watched it. If there was rating below zero I would have given that.
Won’t suggest this movie to anyone please stay away from this.
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When a 12-year-old boy goes missing, lead investigator Greg Harper struggles to balance the pressure of the investigation and troubles with his wife, Jackie. Facing a recent affair, great strain is put on the family that slowly gnaws away at Jackie's grip on reality. But after a malicious presence manifests itself in their home and puts their son, Connor, in mortal danger, the cold, hard truth about evil in the Harper household is finally uncovered. I See You 2019 review : I have been reading more and more about this film on the internet as more and more people watch it. While I didn’t take much notice of the reviews at first, the more I see its name mentioned, the more I became curious about it.
When the film started, I thought it is going to be one of those mystery films which an unknown entity starts troubling people and you get to find who or what it is towards the end of the film. Well, this film is also like this but with a big, unexpected twist halfway through. And for that, the film gets a positive rating from me. A well-deserved 7/10.
Would I watch it again? Probably not. Would I make my friends watch it? Sure. Click here for a video version of this review: https://youtu.be/YhEhAndmxxM
I don't know if it was the bad acting, its inability to settle on a genre, or Helen Hunt's facelift, but _I See You_ is a mixed bag of a movie. Never heard of this one? Consider yourself lucky. Regardless, here is the official description:
_When a 12-year-old boy goes missing, lead investigator Greg Harper struggles to balance the pressure of the investigation and troubles with his wife, Jackie. Facing a recent affair, great strain is put on the family that slowly gnaws away at Jackie's grip on reality. But after a malicious presence manifests itself in their home and puts their son, Connor, in mortal danger, the cold, hard truth about evil in the Harper household is finally uncovered._
This is one of those movies where there are no heroes or anyone to cheer for, because everyone is an asshole. Helen Hunt fails to fire, the rest of the family are bland, and some characters that turn up later are so lame that they elicited many laughs out of me - in a movie that is most certainly not a comedy. The film takes what should be a horrifying situation but muddies it with an unneeded side plot about the father. Which is a shame because the movie overall has a good concept but would have been so much better with a stronger cast who could really sell it, a stronger score to punch up the tension, and a stronger commitment to sticking to one main storyline so it remains focused.
This is, in my opinion, very much a Friday-night-after-a-few-drinks type of movie.
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Read the full review here: http://screen-space.squarespace.com/reviews/2017/5/8/alien-covenant.html Alien Covenant marks the third Alien movie directed by Ridley Scott and the second prequel to the franchise after Prometheus. They also seem to be getting worse with age.
Prometheus was really a lot of questions searching for answers, ambitious in asking not only about the creation of alien life, but human life as well. However the plan to stretch out these topics into 3 or 4 movies should be met with some skepticism.
Especially considering the basis for this was started by Damon Lindeloff, the creator of Lost and the man most of us are still waiting for answers for most of the things that happened on Lost.
He of course has abandoned this second movie, leaving it in the hands of the far more capable John Logan, but even he struggles to find meaning here, or escape the clichés that have started to grow like a Xenomorph in John Hurt's stomach.
We're dealing with a whole new crew this time; the Covenant. They are headed on a colonial mission to another planet before an electric shock takes out the ship, the Captain, and 47 other members.
Reluctant to get back into their pods for a 7 year journey, the on board crew responsible for the ship's upkeep decide instead to answer a distress transmission coming from another planet.
That's where they find what continues to be the best character in these prequels; Michael Fassbender's David the Android. His motivations and whether he considers himself human or God is constantly in question and Fassbender's soft-spoken performance continues to haunt.
I also really do consider Prometheus to be one of the most gorgeous-looking special films of the last decade and this continues that- from the Covenant ship to the grain fields and other vegetation eerily covering the mostly desolate other terrain of the planet.
We also get the first look at the Neo-morph, who is born the same way, seems a bit faster than the Xeno-morph but the main differences are it doesn't have the Venus fly trap tongue and it can stand like a human. Pretty cool.
Just it's at this point I should probably say that after Aliens there started to be less reason to want these. Alien 3 was fine, Prometheus I thought could really go either way depending on the sequels, and Alien 4 of course was garbage.
The biggest problem here is that it feels so redundant. We get a distress call, the crew investigates, some background characters do stupid things leading to impregnation, someone says "we never should have come", final alien chase.
The aliens, when you can see them, are cool, but there is a lot of downtime between them, and a few quality kills does not a 200 million dollar mega blockbuster make.
It's also really odd that Prometheus does this whole thing of setting up the engineers as the creators of human beings but here they only get one scene and let's just say those looking for more info about them will get angry.
The promise of some larger conversation is in here somewhere but these movies feel so stretched out at this point that when this does get to the few moments of actually having something to say, it's hard to get re-engaged.
The characters don't help either as most just come off like archetypes. Katherine Waterston is the Captain's widow and really the bargain basement Ellen Ripley here.
Billy Crudup plays the faith-based character, and like the last movie, this movie seems to be including that without ever really giving it value in the meaning of life conversation.
But at least those two have some background. I'm so tired of most of these others. The ones who just go tramping through the woods of an unknown planet or show the decision making skills of the Trump administration. You're not supposed to make us root for the alien, guys.
Finally i'm no closer to understanding why these movies are necessary. It's easy to tell what this movie wants to do and it's even easier to see the twist coming a half hour before it even comes.
There are a few nice kills here, I will give the movie that. If you can remember to wake yourself every time Fassbender and Fassbender (he also plays an android named Walter) have a philosophy conversation, you might find some interesting stuff there too. But overall not enough action or thought to make this overly drawn out series seem necessary.
So I go 5/10. For more reviews, check me out on Youtube here- https://www.youtube.com/channel/UCY_IvAm1bJADConJhDCuq6A
I had a few reservations going in to _Alien: Covenant_. In my opinion there hasn't been a truly great entry to the franchise since _Aliens_, so I was worried that the statistics were against it. I thought _Prometheus_ was incredible from a technical standpoint, but not a very engaging movie, and I was worried we might get the same here. The trailers had been mostly good but I was worried I had seen too much of the third act in them, and I was worried this would spoil the experience for me a little.
What I was not worried about was within ten minutes of the damn thing starting I would think to myself: "Wow, this movie is really poorly made."
Well I guess I'm an idiot because that is exactly what happened. And that feeling never entirely abated over the course of the whole thing.
Don't get me wrong, it's no "_AVP: Requiem_", but I was still very disappointed.
_Final rating:★★ - Had some things that appeal to me, but a poor finished product._ **Limps along under the weight of its own importance.**
I love my films dripping with self importance and this one is definitely one of them. I can't get enough of these films that positively bubble over with a high handed, serious and arrogant attitude that indicates that there is no film quite as important as this one.
This film knows it all. It knows everything that we- the lowly, pathetic and simple minded audience do not know and could not ever possibly know because we are not intelligent enough to grasp anything, you see?
For such an authoritative, superior and intelligent film - I find it odd that every character stumbles around like a simple minded cretin making unwise decision after unwise decision.
Ridley and his scriptwriters seem to think that they are intellectuals but somehow they just _can't pull off_ the role of **being** an intellectual.
- Simon Quinlank I agree with most of the negative comments about this movie.It is a gigantic missed opportunity.My biggest issue apart from the utter predictability and nonsensical,inept script,was the disappointment of seeing 'Prometheus' mixed up with 'Alien' Alien covenant gets locked up in its own self importance while forgetting why we loved 'Alien' in the first place.I really wanted to like it but came a way with a huge sense of disappointment Not sure about all the bad reviews, I enjoyed the movie. I'm guessing because I wasn't expecting it to be particularly cerebral. Its a sci-fi/horror flick, I was looking forward to Sir Ridley Scott coming up with new and disgusting ways to terrorize the cast and I wasn't disappointed. Of course, the android going rogue was pretty obvious, but if the Star Wars franchise can feature a planet destroying space station in 3 of 7 movies, I'll give Sir Ridley a pass. If you are looking for the loose ends from Prometheus to be tied up, I suggest you include Sir Ridley in your prayers so he can survive long enough (the man is friggin 80) to film the prequel to _Covenant_ currently titled _Awakening_ that will hopefully meet your expectations. Watched Alien: Covenant a 3rd time. It is a lot better than first meets the eye. The drastic difference from what we were expecting in direction from Prometheus threw all of us off. We had expectations of what we would get to see and we didn't get those. There is so much detail and such good acting. It takes multiple watches to pick up on it all. It blends the styles of Alien, Aliens, and Prometheus all together and does it very well. There is also a lot of subtle reference to Terminator 2. The dynamic between the androids Walter and David and the acting that went into that is something quite special. In that alone is a reference to T:2. My first 2 watches I didn't appreciate the android Walter like the character deserves. I was biased against his character in light of the android David. The android Walter and how he was portrayed also blends the style of android we see in Aliens. The actor's voice and demeanor reflect that of the android Bishop and gives us a bridge to his design. Michael Fassbender really did one hell of a job acting those two parts of Walter and David. Near the end of the movie there is another nod to T:2 as a beam is clearly marked as such and the scene that follows has a strong T:2/Aliens sequence and taste in styling to it. Through and through the acting is very good. Details are abound everywhere. There are a few points of rather convenient plots however overall the film is now among my favorites right along side Aliens and T:2. Even the monkeys stood upright at some point.
Hee! Ridley Scott, it seems, is damned if he does and damned if he doesn't as regards the Alien franchise he so gloriously kick-started back in 1979. Prometheus was too cerebral for many and definitely bogged down by expectation levels. Not without flaws of course, but a very tidy science fiction piece it be. So we roll on to Alien Covenant, which while not universally reviled, has certainly garnered some fearful scorn in Alien franchise fan circles.
Alien Covenant is a cover version, no two ways about it, it's a retread of what was showcased in 1979, only with the tie-in to Prometheus and a continuation to the origins of Xenomorph and pals. Clearly we have a case of Scott making one for the fans, a return to chest busting goo and space adventurers under great duress, all of course while he fills in the blanks as well. For sure it's lazy when put up against Alien, and indeed against his other superlative sci- fi offerings such as Blade Runner and The Martian, but for those who lambasted Prometheus for its non Alien conventions, you have now got what you hankered for. Any expectation of this turning out to be a fresh masterpiece was always going to be crushed, so really it's best viewed as a loving retread. Yes! Bad science, plot and logic holes, average acting etc, these rightly don't deserve forgiveness, but it's hardly the devil's spawn here, in fact its's great fun as much as being a visual treat.
Log cabin on the lake.
We start with a prologue involving Weyland and David, the conversation involving creation, the most pertinent of which being the question of the ages, where do we come from? Then after a tantalising tinkle of the ivories for Wagner's "The Entry Of The Gods Into Valhalla", we are whisked into outer space 2104 to be in the company of the Colonisation Vessel Covenant. Crew 15 - Colonists 2000 - Embryos 1140. The destination is ORIGAE - 6, ETA in 7 years and 4 months. Only Walter the Android (Michael Fassbender) is awake, until it's time for the crew to be abruptly awakened from their hyper sleep...
Crusoe and the pathogen.
From the off disaster strikes, thrusting the crew into emotional strife. Characters are introduced, conversations and traits establishing the bare minimum that we need to know, then a ghost transmission is received from Sector 87, planet number 4, and off we go into familiar territory. Things inevitably go from bad to worse and the action, blood flow and creature feature conventions are all laid out for our digestion. There's some surprises in store, with Fassbender a double bonus, and there's some striking chatter ranging from if there's benefits of the human race? and even that involving the poets Byron and Shelley.
Bed Bugs.
Who will survive? If anyone? Just what does the finale have in store? As we get devilish answers, and the barn storming aural pleasures of the full orchestral version of "The Entry Of The Gods Into Valhalla", it's tied up nicely and the pulse rate can settle. Job done. No bar raising here, no film to push the space lander out into new dimensions, just a good honest sci-fi thriller to be viewed with that in mind. 7/10 **Good robot! Bad robot!**
After some gaps, the 'Alien' franchise came alive with the prequel 'Prometheum' which originally said to be a spin-off. Particularly, it landed in the hands of the original maker. Now, even the original title back in action. It's another prequel, hence the prequel series on the making. The next film too will be the same kind, before the overall storyline in the franchise align in a straight line.
I enjoyed it. But not as good as 'Prometheum' or the first two 'Alien' films. The issue with it was, the same old cliché. There's nothing in the story. It was like any space film that's set in a similar fashion. The 80 per cent of the film was what we had seen in the earlier 'Alien' films. Just altered scenes with a new cast and a great visuals. So the update makes it the special.
The story focused too much on the robot. The alien parts were reduced. Because it was like the first appearance of the original aliens we saw in the old films. Precisely to say, the origins. Genetic modification, crossbreeding, there comes the beast. From this film what I have learnt was, it was nothing but more or less the same old fear the humans have about that the robots which are the ones going to make humans go extinct. Except here the aliens come between them. Hence, falling prey to the same clichéd theme from any sci-fi that had humanoid.
Nevertheless, well maintained film in its balance coming from previous hits in the series and going forward to bring more hits. This flick would serve as a fine bridge between them. So only 18 years to go between this, from 2104 to 2122. I'm already anticipating the next film. As I have heard, that film would be focused more on the robot. That's going to be a different experience. Fassbender's time to have some space adventures.
_7/10_ I paid to see the movie, just to see what all the hype was about. It's a mess, of course, from David going Nazi and practicing genocide, to the mindless violence of "an earthworm impaled on a hook to catch fish," to space idiots/children who aren't smart enough to be hall monitors. I had wondered why some folk considered the first three "Alien" movies Canon and NOT the current set. I'm with the "three and done" crowd, this movie is a Hollyweird popcorm flick. "Do not watch this movie. God complexes and stupidity abound. Stay away if you value your peace of mind." (Repeating acoustic beacon) Though Michael Fassbender did a sublime job and the movie itself was visually immersive, the actions of the main characters did not seem very smart. I could forgive the decision that the newly installed captain Oram (Billy Crudup) took about going to the unknown planet. But everything that happened after David cut his hair exactly the same way Walter head just makes you shake your head in amusement and think ‘Oh, come on!’. David, obsessed with the act of creation that had value in its end, uses any means available. It is remarkable that no one from the remaining crew has questioned imposter Walters’s identity and just carried on like the worst was left behind. Meanwhile, the last scene when Daniels (Katherine Waterston) realizes (finally!) that Walter is, in fact, David and she had totally screwed up with the thousands of colonizers and embryos on the ship… does give you slight goosebumps. I would hate to be in the shoes of a filmmaker that needs to please a rabid fan base. The "Star Wars" sequels are a perfect example of this. Ridley Scott has the same challenge with the "Alien" prequels which you see in user scores.
I loved "Prometheus" with its attempt at something bigger than just more face huggers and xenomorphs wreaking havoc. It was clear he was building a grander story to the eventual bridge to the original "Alien."
He continues that bigger story with "Alien: Covenant" and whether he meant to provide fan service or not, we get that with face huggers and xenomorphs. (No spoiler as both are in the trailers.)
Do yourself a favor and watch the short clip "Last Supper" (youtu.be/EkXgRlRao5I ) before you watch the movie. At only five minutes, it gives a better introduction of the Covenant crew than the movie does providing deeper emotional investment in these characters.
Ultimately "Alien Covenant" delivers an excellent, fast-paced sci-fi action horror thriller (yes, it hits that many genres) like only Ridley Scott can that continues exploring the "Prometheus" theme of creation.
