Watched the latest unsettling sci-fi mind-bender from Alex Garland, the writer/director of Ex Machina, that got dumped on Netflix for being “too complicated” for the wider audience. I’m sorry that I never got a chance to see it on the big screen, but good on the creative team for refusing to dumb it down.
Is there life on Mars? According to this passable sci-fi movie, yes there is and we are better off staying the hell away from it.
By far, the weirdest thing about this film written and directed by Darren Aronofsky is the notion that someone actually believed it could be turned into a mainstream hit a la Aronofsky’s Black Swan. What put me off watching it in the cinema however wasn’t the polarized reaction and stories of the audience members demanding refunds, but the mention of the dreaded hand-held camera in one of the reviews. I made the right call to avoid nausea at the cinema, but the big screen and darkened isolation from the outside world would undoubtedly have been a better place to fully appreciate the movie’s unique claustrophobic insanity. As opposed to my living room with my Russian neighbours talking in the background.
There’s no point talking about mother! without mentioning what it’s really about, so spoilers ahead.
Written and directed by M. Night Shyamalan back in the dark days when he was making one stinker after another, The Happening has too many dull stretches to be a proper good bad movie. Still, I find Shyamalan’s bad movies fascinating in the same way I find Star Wars prequels and films like Jupiter Ascending weirdly fascinating. Say what you want about them, but they’re not your generic bad movies and they bear the individual stamp of their creators.
Neil Gaiman has become one of my favourite writers over the years and I was happy to get my hands on this latest third collection of short trips into the weird, shadowy country of Gaiman’s mind. It never really occurred to me to compare him to Ray Bradbury, but in fact Gaiman’s short stories have the same effect on me that I had while engrossed in Bradbury’s fiction when a teenager – a pleasantly uneasy sensation of looking at the world in a distorted mirror, or lifting the fabric of reality to find some dark, strange, disturbing things lurking underneath. Gaiman’s imagination is just as boundless, and his voice as a writer is just as distinctive (his books on the whole have a lot more graphic sex, though not in this particular collection).
This big-screen version of Stephen King’s 1,200-page doorstopper is not great, but solid enough, and considering the overall woeful track record of King film adaptations, it can be counted as a success. I haven’t read the book or watched the popular 80s mini-series with Tim Curry, but knowing King’s propensity to write and write and write and write some more, I gather that the screenwriters pruned away the verbiage and streamlined the novel to its basic story about a bunch of kids in a small American town who are terrorised by a creepy, cackling clown Pennywise (Bill Skarsgård). Actually, make it half of the story, as the filmmakers split the novel into two cinematic chapters, with the follow-up a certainty now that this movie has made a mountain of cash.
I always liked post-apocalyptic settings, and in 28 Days Later, directed by Danny Boyle, it’s the zombie apocalypse, which happens after a bunch of animal activists break into a research lab and free a chimpanzee carrying a deadly “rage” virus. Once a person is infected, they have 20 seconds before they turn into a mindless berserk monster. As the film’s title suggests, you don’t get to see the collapse of the society, instead the action switches to our hero Jim (Cillian Murphy), a bicycle courier who wakes up in the hospital after suffering a road accident. Emerging from his coma, he wanders the silent, deserted streets of London, made even more eerie by the total lack of soundtrack. These early scenes of the abandoned metropolis and familiar postcard locations stripped of life are probably the most striking sequences in the film.