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 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.
I watched the so-bad-it’s-good remake with Nicolas Cage a while ago, so I thought I’d look up the original British cult horror movie with Christopher Lee. I really mean it in the best possible way, but my reaction could be boiled down to, what the hell did I just watch?
Maybe it’s just the power of lowered (and I mean lowered) expectations, but to my surprise I didn’t hate this much-maligned crossover, and, from a certain perspective, found it a more enjoyable experience than the recent Alien: Covenant. Or perhaps I was simply able to disassociate it from the Alien franchise altogether, and watch it on its own terms as a trashy B-movie. Which yes is filled with cardboard-thin characters, laughable plot and much stupidity, but I would be lying if I said I didn’t have fun watching it.
I was on the fence about this one, but in the end I decided to catch it before it disappeared from the cinemas. I can’t say I regret the decision and I’m glad I’ve watched the film, because no one shoots sci-fi like Ridley Scott, but the most damning thing I can say about Alien: Covenant is that it’s the first entry in the series that doesn’t offer anything new, and instead plays like the Alien: Greatest Hits.
Written and directed by Frank Darabont, The Mist is a third story by Stephen King that Darabont adapted for the screen after The Shawshank Redemption and The Green Mile. It would have been a pretty solid if unremarkable horror movie except for two things: a truly awe-inspiring monster sequence near the end, and the ending itself, which I suspect left many people feeling angry, depressed or both (I’m in the “depressed, but wow what a bold ending” camp, myself).