Tag Archive for aliens

Movie Review: Dark Skies (2/23/13)

Movie Poster: Dark Skies

Dark Skies

Directed by Scott Stewart
Screenplay by Scott Stewart

Starring:
Keri Russell, Josh Hamilton, Dakota Goyo

How long is Dark Skies? 95 minutes.
What is Dark Skies rated? PG-13 for violence, terror throughout, sexual material, drug content and language – all involving teens.

CLR Rating: 2.5/5 stars

Movie still: Dark Skies

© Dimension Films

A neatly paced but flawed chiller
breaks up the February doldrums.

In the suburbs, there’s a feeling of camaraderie. If you need a hand fixing the minivan’s broken taillight, Joe from next door can help you out. If you’d like a date night for Italian food and a romantic comedy in theaters, Christine from up the street can take the kids. No one ever shows up empty-handed to a neighborhood barbeque. With so many families packed into such a tiny space, who could possibly feel unsafe?

In the opening scenes of the new PG-13 alien horror movie Dark Skies, the camera pans along gorgeously groomed suburban streets, pauses on teenagers walking home from school, slows for kids playing in a house, and illustrates how closely packed the suburbs truly are – there’s barely room for a driveway between this house and the next. The movie opens with a matter-of-fact quote from Arthur C. Clarke: “Two possibilities exist: either we are alone in the universe or we aren’t. Both are equally terrifying.” The suburbs seem to illustrate both aspects of this idea – in the suburbs, we are certainly not alone…but can we really count on our neighbors?

Dark Skies follows the Barrett family, Lacy (Keri Russell), Daniel (Josh Hamilton), thirteen-year-old Jesse, and little Sammy. It’s a typical suburban summer, with barbeques and fireworks and “rehabilitating” hurt lizards as pets; adults discuss open relationships and divorce over the heads of teenagers, who wrestle poignantly with blooming hormones. As the movie progresses, it becomes clear Daniel’s hollow eyes and Lacy’s strained appearance are no coincidence – Daniel lost his job in the (subtly alluded to) recession, and Lacy is picking up the slack as a real estate agent.

Meanwhile, Jesse is hanging out with an older kid, getting an education in porn (School Girls 3), pot, and girls. “Lunar Base to Star Command” is a common refrain in the Barrett household after bedtime as the two boys communicate via walkie-talkie, telling scary stories and discussing their parents’ discontent. Lacy, prone to nervous waking in the night, gets up to check on the kids and discovers eerily perfect towers of food products balancing in angles that physics deem impossible. When Sammy joins his stunned mother in the kitchen, she instantly asks him if he knows who did this. “The Sandman,” Sammy answers. In horror movies, kids and animals always understand things adults can’t; it’s just how the world works. It isn’t usually until the third act that the adults begin to believe the kids, though, so it’s a bit jarring that Lacy would so immediately ask her son what’s going on.

As strange occurrences continue to bombard the Barrett clan – the strangest, perhaps, three flocks of starlings committing violent suicide against their walls and windows – Lacy becomes increasingly determined to find the cause while Daniel turns to technology. Pointing cameras all over the house will reveal the culprits, right? Unfortunately, the nature of the invasion, according to the National Wildlife Center a geomagnetic disturbance, renders technology vulnerable. It’s frustratingly unrealistic that, for some reason, no one in the family turns to the internet before the final act. Haven’t these guys seen “Ancient Aliens” or even “The X-Files?”

Everyone in the neighborhood slowly turns against the Barretts, and despite this abandonment their resolve increases. Amidst his parents’ increasing worry and his brother’s minor breakdowns, Jesse grows up. His crush, an Emma Stone lookalike from up the street, kisses him even after he mistakenly cops a feel thinking that’s just how things are done based on School Girls 3. He learns his best friend is kind of a psychopathic jackass when the kid starts shooting an air gun at him for target practice. He wrestles with righteous anger at his parents. You know, all the things that make being thirteen great. Sometimes PG-13 horror doesn’t fully cater to its intended demographic, and it’s a rather ingenious move to include a coming-of-age story for the teenage set. Jesse’s storyline is interwoven smoothly with his parents’ failing marriage and obvious love for one another, creating a family about which you actually care.

Lacy does finally turn to the internet and discovers the Barretts aren’t alone – these very same things, mysterious nosebleeds, blackouts, seizures, unexplained rashes and wounds, have happened to other families. In typical form, Lacy locates a nearby weirdo who has experience in the supernatural realm (see also Insidious, Sinister, and any other supernatural horror film – the protagonist must find an “expert” to discover the cause of the haunting). After some convincing, Daniel agrees to accompany Lacy to the city, where a conspiracy theorist named Pollard (J.K. Simmons) meets them in his smoky, cat-filled apartment. The Barretts, according to Pollard, are being visited by The Grays, one of the three most common alien races. The invasion, he says, has already happened (this speech from Simmons brings to mind The Faculty, in which Robert Heinlein fanboy Elijah Wood asks, “If you wanted to take over the earth, would you blow up the White House, Independence Day style, or would you come in through the back door?”). Pollard tells them warily that there isn’t much they can do but fight.

In a sequence that’s most reminiscent of Signs, the Barretts board up their windows, buy a dog and a shotgun, and prepare for the invasion. This, of course, takes place on none other than Independence Day. Obviously a movie set in the American suburbs needs to culminate on the greatest American holiday. Suburbia is creepy enough as is – just ask Hollywood – but setting your final alien invasion on the Fourth of July is a little ham-fisted. Although Clarke noted that the possibility of aloneness in the universe is as terrifying as the idea that we may have company, the implication in Dark Skies is that even if we surround ourselves with people, we are still alone. On the Fourth of July in the suburbs there are people everywhere – so why doesn’t anyone notice the Barretts’ plight? (Pointedly, this is perhaps an eerier thought than the invasion itself.)

Although Dark Skies is flawed, it is well paced and neatly written. The screenplay is mostly subtle and intelligent, creepy and sweet in turn. Russell and Hamilton don’t have much chemistry, but even playing a wary, solemn alien enthusiast, J.K. Simmons is still equipped with his wry comic timing and discomfiting stare. The child actors are adequate, and the monsters are spooky without being overdone (luckily, you don’t see much of them at all).

Despite my deeply abiding love of horror, I’ve been gravitating recently toward ghosts and creeps instead of guts and gore. I don’t have anything against blood, sex, and copious f-bombs, but horror movies don’t need those things to be completely terrifying. A number of recent horror flicks (my favorite is Insidious, which shares producers Jason Blum and Jeanette Brill with Dark Skies) illustrate that horror can be spooky without being totally obscene. Likewise, Dark Skies serves as a neat combination of horror and sci-fi, bearing a distinct similarity to The Faculty, Independence Day, and Signs while remaining uniquely understated. It probably won’t blow anybody out of the water – though my theater full of teenagers, many of whom were running up and down aisles to talk to their friends, thoroughly enjoyed it. If you ignore the few nagging plot points that don’t make sense and the occasionally clumsy execution, it’s simple, creepy, and well done.

Movie Review: The Thing (10/15/11)

Movie Poster: The Thing

The Thing

Directed by Matthijs van Heijningen Jr.
Screenplay by Eric Heisserer

Mary Elizabeth Winstead as Kate Lloyd
Joel Edgerton as Braxton Carter
Ulrich Thomsen as Dr. Sander Halvorson
Eric Christian Olsen as Adam Goodman
Adewale Akinnuoye-Agbaje as Jameson
Paul Braunstein as Griggs

How long is The Thing? 103 minutes.
What is The Thing rated? R for strong creature violence and gore, disturbing images, and language.

CLR Rating: 2.5/5 stars

Movie Still: The Thing

Photo by Kerry Hayes/Universal Pictures

Dear Hollywood: if it’s not broken, quit trying to fix it.

 

There’s a whole cadre of snowbound horror films that includes The Shining and 30 Days of Night. These flicks utilize their settings to compound their extraordinary aspects, pitting vampires and ghosts against the intrinsic crazy that emerges when humans are trapped together – anyone who’s ever been confined in a snowstorm knows the truth of cabin fever. One of the most impressive of sub-zero-set movies is John Carpenter’s 1982 sci-fi/horror shocker The Thing. Ostensibly a remake of the 1951 Howard Hawks enterprise The Thing From Another World, Carpenter’s The Thing is alternately reviled (famously by Roger Ebert) and beloved. It’s a visceral, frigid exercise in paranoia and claustrophobia, compounded by its Antarctic setting. This weekend we’re seeing yet another The Thing. But if it’s not broken, why fix it, you ask? Well, this weekend’s release, also titled The Thing (are we confused yet by all these ambiguous things?), is a prequel.

In Carpenter’s The Thing, a team of scientists on an American base in Antarctica find themselves stranded by a hellacious storm, trapped with an extraterrestrial life form that devours and becomes a replica of its victims…but perhaps more importantly, they are trapped with their own paranoia. In Matthijs van Heijningen Jr.’s new movie, a team of Norwegian scientists (the very same from the opening of the original) are the first to find the creature that haunts the dreams of many a horror fan. When the Norwegians literally stumble upon some kind of a structure buried for 100,000 years beneath the ice, they bring in apparently renowned Dr. Sander Halvorson (Ulrich Thomsen) and American paleontologist Kate Lloyd (Mary Elizabeth Winstead). The investigation begins mundanely enough, but when the team realizes the creature they’ve unearthed is still alive, things go straight to frozen-over hell. This version delves deeply into the origins of the Thing – which is problematic.

Detractors of Rob Zombie’s Halloween know that the cardinal rule of a classic monster is this: don’t reveal too much. In the same way Michael Myers was a far spookier fiend when he hid behind the impassive mask, tilting his head in fascination at his kills, the alien in The Thing was wholly horrifying when it was an unknown life form. When Zombie strove to tell us the story of how Michael Myers became a monster, we quit listening. Unfortunately, van Heijningen falls into the same trap with his prequel. Those of us who love the original don’t want to see the creature in its original form. We don’t want a closer glimpse at its vehicle than we got in the opening shot of the first movie. Here, we get those things.

Carpenter’s movie featured a large cast of men, including Kurt Russell in the role of MacReady, the levelheaded helicopter pilot. These men are confined to the bowels of a base nestled within the harshest climates in the world. A whistling wind pervades the entire film, and subconsciously we feel the chill. It’s forty below zero and there’s no civilization within hundreds of miles. Under those circumstances people get a little nutty. The addition of women to the new cast (Winstead as Kate and Kim Bubbs as French scientist Juliette) adds another complicating layer. It’s clear from the beginning that we should regard Kate as a sex object despite her apparent disinterest in men. Halvorson treats her like an insect, while a few other men leer or cringe. Kate of course takes on the role of Final Girl while also slipping quietly into the role that Russell built for her. It’s a superficially interesting gender switch, but not particularly effective since no character in the film really stands out.

The genius of the original was in the fact that these snowbound men were, mostly, friends. When the alien could have been any one of them, it was duly terrible because they had to stare into the eyes of people they’d known for months or years and decide whether these friends were still human. The Norwegians and Americans in the prequel are at best suspicious of each other, and at worst downright xenophobic. The unfamiliarity, cultural differences, and language barrier in the prequel take away the horrid, creeping dread of the first film.

Although he only received a “Special Thanks To” credit, Stan Winston was largely responsible for the mind-blowing, stomach-churning effects in the original; the creatures, including a severed head on arachnid legs and a tentacled husky-alien, were arguably the most visually memorable part of the film. In the new movie, the effects are (of course) largely digital. Image Engine, the company responsible, does a totally passable job. Amalgamated Dynamics Inc. (doesn’t that sound sort of ominous?) is accountable for the physical effects, and they too managed to create a version of the creature that pays homage to the first while taking it to the next level. Mary Elizabeth Winstead’s (Scott Pilgrim vs. the World, Black Xmas) enormous brown eyes are perfect for horror – but it sure would’ve been nice if Kate Lloyd had a real personality. Finally, composer Marco Beltrami is no Ennio Morricone.

The new film features the same credit font and the same heartbeat guitar rhythm as the original, and a scene during the credits takes us up to the very minute the older film picks up. Unfortunately, it doesn’t bring anything new to the table and instead feeds us a lot of schlock we didn’t really need. There have been some truly brilliant horror remakes in the last decade (though they’re admittedly rare). This just isn’t one of them. If you’re in it for the gore – and many of us are this time of year – then by all means, this movie is a fun, disgusting, jumpy B-movie. True fans will be in theater seats this weekend, but you might do yourself a favor and give the original another chance.