The Night Out: Pandorum (2009), or Movie>Expectations

27 09 2009

I guess whenever I see a giant, cavernous space-faring vehicle in a trailer, made of cold steel, barely lit, and filled with all sorts of hellish, nightmarish imagery from the coldest reaches of space or the darkest circle of Hell, my expectations fall very quickly. Because most sci-fi films set in dimly-lit space stations or dimly-lit off-world research facilities housing freaky shit aren’t very good. Let’s look at the statistics; for every Event Horizon out there, there are dozens of movies like Pitch Black, Ghosts of Mars, any Cube sequel, Jason X, the first Resident Evil, Doom, or Wing Commander that just stink the joint up. The sub-genre itself is just riddled with cliches, and while it seems tempting to do a movie about the horrors that might exist at the borders of space, there are too many risks involved that could just lame it up. Today’s film, Pandorum, falls prey to a few of your standard, um, let’s call them horror-fi, films. But it succeeds where the others fail with a surprising originality that rises above the future muck to make something quite enjoyable.

It all begins in (brace yourself) THE FUTURE!!!!!!!!!!!!!!!!! Man is running low on resources in the year 2XXX and we’re all pretty much screwed because of overpopulation (it’s called a condom, guys; wrap it up!). So we send a ship out dubbed Elysium to a world far away that’s possibly inhabitable. The film begins midway through the ship’s journey, with one of the crew members, named Bower, waking up very violently after an extended sleep in hypersleep. He doesn’t remember much, if anything, as staying too long in a stasis like that can cause extreme memory loss. And, as it turns out, he’s been asleep for much longer than anybody anticipated. His commanding officer, named Payton, wakes up alongside him, and together they try to reassemble what happened along their voyage to the new world. The ship’s reactor is misfiring, the crew of thousands is seemingly missing, and strange noises are heard throughout the ship. Can Bower piece together the mystery of the Elysium while trying to restart the ship? Can he find the rest of the crew members? And can he survive the onslaught of bizarre creatures that now infest the ship and cry out for his blood?

It’s good. Surprisingly good. I wasn’t expecting to enjoy it as much as I did. Part of it is that Pandorum keeps you guessing until the very end. It has an air of mystery that is impenetrable because of its first traumatic, claustrophobic scene. You go in knowing about as much as Bower does as he painfully awakens from a deep hypersleep. It’s disorienting but engaging as you follow the crew and solve the puzzle. So many of these films give it away in the trailer, but fortunately the makers of Pandorum were wise enough to keep it all under wraps. There will be a few things that you WILL NOT see coming, and that is refreshing as hell.

You know what really sells this movie? Rising star Ben Foster. I am really digging his choice in roles, and his turn as Bower is just what he needs in his ascension to leading man. He’s been the obsequious second-banana long enough, and I feel that with more roles like this, I could see him becoming  the next A-lister, like a more versatile Shia LeBeouf. He’s heroic, he’s athletic, but most importantly he’s immensely talented, and I hope this becomes a vehicle for him to land even bigger, better roles in the future.

It’s not all sunshine and roses. There are a number of stock horror-fi BOO! scares that disgust me completely. The kind of scare where you just turn the volume up to the max and flash something on the screen. That doesn’t stick with you, that doesn’t make for a memorable moviegoing experience; that just makes you jump, big fucking deal. It’s more than a bit annoying, and it happens a lot. Not to mention the usual sci-fi exposition can be as clunky as a push lawnmower (OF THE FUTURE!!!!). Director Christian Alvart has a lot of interesting ideas, but some of them come out in a most unnatural way. Whenever Bower mentions something to Payton, played by Dennis Quaid,  about a particularly horrifying type of cabin fever (or space madness) called Pandorum, Quaid starts explaining it like he’s reading from a space encyclopedia. It was a little much, and although I know that there’s a lot of exposition to give out for a sci-fi movie, don’t dump it on us like it’s research for our term paper.

Oh, and there is a scene where Bower shaves with a laser razor. It’s like a regular razor, but a beam comes out of it and the hair comes off as if he were wiping a window. Is that really necessary? Really? How extraneous! What else do we have in the future that’s unnecessarily laser-powered? Combs? Ceiling fans? Feminine products?

The rest of the cast excels, for the most part. Dennis Quaid is Ol’ Reliable, and he does fair enough. I can’t complain, seeing as how he’s doing high-profile work again, so congratulations for getting back in the saddle again, Quaid. Cam Gigandet is here as Gallo, a mysterious character who may or may not have Pandorum, and I found him to be a little grating. All of his scenes seem to involve him whining or crying or begging, sometimes in the nude. And that’s not something that I’d like to see from that guy for an extended period. Two breakouts here for me are two characters I’ll leave for you to figure out. Their names are Antje Traue and Cung Le, and respectively they play Nadia and Manh. These two really impressed me with their individual skills. Cung Le barely talks, as  he is supposed to be foreign, but his stunt work is pretty damn amazing and I liked his wise Tonto-esque demeanor, which is a great, if not slightly demeaning, foil to Foster’s Bower character. Antje Traue speaks quite a bit more, and this is her American screen debut! Her English is pretty flawless, and I was blown away by her character, who is a consummate survivor and independent woman. There need to be more Nadia’s in today’s film-making world, although they don’t all need to be so traditionally beautiful as she is.

I think you’ll like Pandorum. It’s satisfying in a lot of ways. Good cast, creepy atmosphere, plenty of interesting creature effects, and a story that will keep you from walking out of the theater at the end claiming you “called it”. I hope there will be more in this planned series of films, and I hope Ben Foster returns for them, because I really feel that this is his vehicle, through and through. It might not have the best time expressing itself or how it is to live in the future, but I still stand by it for the simple fact that it transcends almost all the pitfalls it could have been susceptible to, and it comes out of the horror-fi genre looking like a champ rather than a chump. I give Pandorum 8 laser-powered feminine products out of 10. Check it out!

I’ll be back with another review later tonight! Keep watching the site! I’ll have SOMETHING for you!

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The 6th Day (2000), or GET TO DA FUTURE CHOPPA!

9 09 2009

Oh, Arnold. You always know just what to do to get me smiling again. Only a mere couple months ago, I stated in my review of The Running Man that they didn’t make movies like that anymore, namely the preposterous action flick. All the movies he made in the 80s and 90s were so larger than life and so out their own minds that the believability was a little on the low side. But I preferred that to today’s action flick, the kind that takes itself too seriously and only stops to deliver some trite innuendo or a one-liner that has no place in the serious dramatic situations they’re alleging to be in. I don’t like today’s action, and it’s not a matter of nostalgia to posit that action today has lost the edge of wonder and imagination that the action flicks of yesteryear helped to establish.

Luckily, before Arnold got out of the game of acting and into the game of being a Republican waste-monger, he left us this little nugget at the doorstep of the new millennium, entitled simply The 6th Day. It’s a movie about the distant future, 2015, in which a man is unknowingly cloned and replaced in his day-to-day life, and seeks to regain his life back as well as to seek vengeance against those who wronged him. And considering what year it is right now, I have no doubt in my mind that this was not only a harbinger of the future but a documentary sent from the year 2015 itself! What with the XFL being so popular right now, America at the forefront of cloning research, and with lasers being issued to almost every rank and file officer nowadays, anyone can see how, in a way, Arnold predicted the future here!

In all seriousness, it’s a clunky sci-fi thriller about the dangers of corporate science and illegal cloning that was set just a little too soon into the future to be anywhere remotely viable. Its efforts to tie in the then-present with the future don’t come off as very serious, though, which allows for some hearty laughs to be had at all the harsh anachronisms. I mean, come on; the XFL are still playing games in 2015? Who thought that was going ANYWHERE? And lasers by 2015? That’s a little much! And cloning is used in that old 1980s idea that a clone will look and act exactly like you, and that there will be absolutely zero differences between the original person and said clone.

But that means some great scenes for Arnold, who plays the cloned man in question, Adam Gibson. He not only gets to play his usual All-American hero (imported from Austria), but he gets to act with his favorite leading man; himself! There are so many split-screens of him acting next to himself that it borders on parody, but it somehow still plays like your everyday action movie, now with DOUBLE the Arnold! It’s one of the many perks Arnold got for appearing in this film, which included a $25 million check and the chance to add a scene where he smokes some cigars on screen, a favorite pastime of his! And not only that, but he gets to dominate the screen without expending too much effort! Michael Rappaport is in here to add some comic relief, Robert Duvall is there a bit to add a modicum of gravitas, and there are some sexy ladies like Sarah Wynter to keep the movie from becoming a sausage-fest, but it is almost 100% Arnold here, and it’s really not as bad as it sounds.

There’s not really a lot to add here. The special effects are good for 2000, but not great. Keep an eye out for the freaky genetically altered dolls throughout the film; they’re pretty impressive, as well as pretty freaky. Director Roger Spottiswoode directs this affair like a commercial, and that’s actually a good thing for a slick sci-fi thriller. And there is a lot to laugh at in this pseudo-serious message movie about man’s imminent fears of cloning. It’s fun, it’s fast, and it’s a product of a bygone age, the last hurrah for big, dumb, spectacular, imaginative action flicks. I enjoyed it as an experience, and although it’s nowhere near the heyday of Arnold’s The Running Man glory, it’s good enough for me to for me to award The 6th Day 5 1/2 XFL leagues out of 10 (and those’ll be worth a lot more in THE FUTURE!)

Tomorrow check in for my Night Out segment, where I’ll watch the new animated feature 9! Until then!





Krull (1983), or I Feel Like A Little Kid Again

30 08 2009

Wow. All I have is “wow”. I just saw Krull for the first time, and I feel like I’m in elementary school, pumped full of sugar and ready to take on the universe. I’m electrified by it; it may well be one of the most entertaining fantasy films I have ever laid eyes on. It has absolutely everything to just rock the world of anyone who’s a fan of the fantastic; lots of quests, funky-but-effective special effects, plenty of medieval rapport, magic and sorcery up the wazoo, and a score that will have you bounding with delight. It’s just wonderful, and if you can get out of the hum-drum adult mindset for a second and get your imagination going, you’ll be in for quite a treat while you’re watching this.

The journey begins on the far-away planet of Krull. It’s kinda like our world, but a lot cooler. Evil aliens called the Slayers have invaded the somewhat-peaceful medieval world, and the inhabitants seem powerless to stop it. In a desperate bid to counter this evil, the two great kings of Krull decide to allow their respective son and daughter to marry, allowing for the unification of their kingdoms in the face of the Slayer presence. The two prospective rulers of the new kingdom, Prince Colwyn and Princess Lyssa, fall instantly for each other, and the match-up between the two seems perfect, but the Slayers have other plans. They stage a bold attack on the castle on the eve of the wedding, killing both kings and capturing the daughter for an unholy inter-species marriage between her and the Beast, leader of the Slayers. Prince Colwyn is left alive, however, and is that ever gonna come back and haunt them! He and a wizened old sage band together a motley crew of people who are much more effectual than they are, including a band of thieves, a semi-powerful wizard, and a cyclops, and OFF THEY GO! on a magical adventure of whimsy and wonder, questing here and there for all kinds of things. Can Prince Colwyn save his beloved wife-to-be from some inter-species love and save his planet from devastation? Not alone, that’s for sure!!!

Man, just talking about it gets me electrified. I haven’t seen a movie like this in SO long.I’ve seen Masters of the Universe. I’ve seen Conan the Barbarian. I’ve seen The Princess Bride. They all have good elements between them that make them adequate fantasy films. But Krull takes everthing that makes fantasy so good and it combines it into one delicious, delightful bite that goes down smooth. It’s 100% fantasy; it’s like watching someone play an RPG or reading a David Eddings novel to you. There’s magic, fantastic creatures, quests to complete other quests, and bad guys that are just so ambiguously evil that they incense me with the persistence of their ambiguity!

The score by James Horner is just awesome! It’s jaunty, medieval, and upbeat, punctuated only by a single synthesizer to symbolize the alien presence. It’s orchestral, lush, and powerful, just like any good fantasy film score. Imagine the power of Excalibur‘s score, the jauntyness of Ladyhawke‘s score, and the imagination of The Neverending Story’s score, and voila! Just listen to one of these tracks. It just screams whimsy!

The direction by Peter Yates is powerful and majestic. The thing about fantasy film directors, by and large, is that they hit it and quit it. They try the genre once, and feel almost instantly that they cannot do another one. Most of the time it doesn’t bother me, but I really feel crappy that Yates never tried his hand again, because Krull was a sweeping success. He made all the right decisions, got all the best shots, and set the right tone for a fantasy movie that goes above and beyond the line of duty. My favorite thing about Yates is that he doesn’t pull any punches. He SHOWS what the characters are talking about. When they say, “Oh, we must go to the Cave of the Widow and face the evil Giant Spider!” , they don’t cut away and show them talking about how cool it was to go there and talk to the Seer. No, we actually go there and see some cool stuff! We go all over the place and see all the cool stuff that is mentioned in the story; there’s no wait, like in some movies (I’m looking at you, Star Wars…)

Ken Marshall IS Prince Colwyn. He never really went on to do anything else, but at least he gave us one good thing before he fropped into film obscurity. He is the classic fantasy protagonist; a Shakespeare character with magical accessories. He inspires people all over the place, he emotes a little too quickly a little too much (see what happens when he learsn of his father’s demise), but he drives the story with his whiny, princely problems, and for that role he was brilliant. Alun Armstrong plays the leader of the bandits, Torquil, and he seems to be the unsung hero of the film. He brings character, humor, and street-smart insight into the plot that can be a little blinded by Colwyn’s search for his Lady Love that was in his life for a good 12 hours prior to her kidnapping. Keep an eye out for a young Liam Neeson as one of the bandits, as well. Looking at him now, it seems like he was a bit of a scrapper in his youth; he was bulky, tall, and a bit of a wiseguy, not the regal old man we all know and love. It brings our favorite English gentleman into a whole new light, and I enjoyed seeing him here free of his usual British scruples.

Run, don’t walk, to see Krull! It’s a high-flying adventure that actually keeps me entertained enough to suspend disbelief. I’m thoroughly impressed by this film, and although I’m an incurable FILM SNOB these days, I still have a place in my heart for good fantasy, and I can recognize quality when I see it. Krull is quality, through and through, and I give it my highest rating of 10 alien-on-lady rendezvouz out of 10! Huzzah!

Keep an eye out later today for my review of Halloween II!





Wing Commander (1999), or Is That Your Joystick Or Are You Just Happy To See Me? Oh, It’s Your Joystick…

19 08 2009

Welcome back to Failed Franchises Week! It’s the week that we’ll be exploring the death of potential franchise films based on their first movie. It’s the week that will also severely test my patience with big-budget Hollywood filmmaking. Today’s feature is another colossal loser, in the tradition of the rest of the week, but it stands out for a very particular reason, and that is its truly bold and truly botched attempt to break bread with the most finicky and fickle fanbases in the universe; gamers. Even worse than that, they were trying to court PC gamers! I’m surprised these people made it out with their lives, considering how insanely pissed PC gamers get when someone tries to fuck with one of their titles. Wing Commander was an immensely popular title for sci-fi flight simulator fans, and while I didn’t particularly enjoy the games, I can see why they’d be popular. If you like to pretend like you’re in a cramped cockpit with nothing but the universe and a handful of enemy planes and CG videos to entertain you, perhaps its cool. But I digress. The series somehow spawned a major Hollywood picture in 1999 with a budget of $30 million and a young up-and-coming cast. Expectations from the gaming community were low, but somehow even those meager standards were smashed like the hull of a tiny spaceship when this thing came out. To this day, people STILL come by the forums to openly mock this horrendous mess. I honestly wish I had some sort of measly defense for it, but everything you’ve heard about this movie is true; it’s quite awful.

Based loosely on nightmares of Wing Commander creator Chris Roberts and even more loosely based on the series of games he designed, it’s about three sexy new recruits of yet another future war. At some point in human history, not only do we reach beyond the furthest stars, but we manage to piss off an alien race called the Kilrathi along the way. So earthlings, known here as Terrans, are fighting a difficult war with aliens on one front in space, and at the same time are experiencing racial tensions amongst themselves as a race of humans known as Pilgrims have recently had a falling out with the rest of the species and waged a war against the Terran Confederation. Well, it turns out that out of these three young, bright, incredibly attractive soldiers, named Blair, is a Pilgrim *gasp!*. His friend, Todd “Maniac” Marshall, is a total psycho jock who would be dispensing wedgies if he were back on Earth, and his boss is Jeanette “Angel” Devereaux, ia a seasoned Wing Commander who got the two guppies Blair and Marshall to work with and is at first none too pleased to have to babysit them. But they might just be the key to winning the war, because while the Kilrathi have developed a new navigational system to sneak up behind the Terrans and their fleets, Blair’s Pilgrim genetics give him a huge edge when it comes to navigating, allowing him to do it without the aid of a computer. Using Blair’s super navigation skills, can the three partners stop the Kilrathi from jumping to Earth and killing everyone before reinforcements arrive?

Everything about this movie would suggest that:

A. It was made exclusively for the Sci-fi Channel

B. It was a home video for 90s big-shot Freddie Prinze, Jr.

C. This was a compilation of deleted scenes from Starship Troopers.

But it turns out that none of this is true. Actually, this movie was directed and written by the guy who created the games! Which truly amazes me, because anyone who has ever played the games and understood the story knows that this is a totally bastardized version of the original mythology combined with almost every single soldier-centric war movie EVER. It’s one of those chicken-or-the-egg conundrums that plagues the fan of any work of art that is intentionally marred by its creator. Is it wrong for an artist to sabotage his own work? Should a fan even complain? I don’t know; all I know is that Chris Roberts somehow made something less underwhelming than a barely 3-D PC game with $30 million, and in the words of our Lord Jesus Christ, “What the fuck, Bro-mosexual!?!”

The acting is bad on all sides. Nobody even tries to save this fly-ball from hitting the fence (that is my first and only sports reference on this site).  It is grossly unjust how a veteran like Jurgen Prochnow has to play a paltry side role when wimp extraordinaire Freddie Prinze Jr. locks in a leading role. Especially since they really put the same amount of effort in, with is precisely zero. The lead is a waste of space, David Warner, the king of sinister, can barely work up enough energy to be a supporting character, and Saffron Burrows didn’t have enough time to really get into the character because if they didn’t finish with her by midnight she would turn back into a pumpkin. I’m so sick of a cast who doesn’t give a shit!!! It’s really starting to bring me down, and if it wasn’t for Matthew Lillard I would have lost my cool with this whole theme week. He plays Lieutenant Todd “Maniac” Marshall, and he puts it the old Lillard try, which is a hell of a lot compared to most of the cast. The character is just plain fun; he IS a maniac! It’s not just a “hilarious” faux-military tough-guy nickname! He’s a total bad-ass jock! His death scene makes me proud to be a Terran! So here’s to you, Matthew “Lil’ Smokey” Lillard; your so-so is everyone else’s amazing.

And the hits just keep on coming! Let me give you a quick problem medley. The special effects are crap. Simple as that.

The Kilrathi creatures look like a Jim Henson Workshop reject concept, and for some reason they hunch. What kind of advanced alien race has the same posture as Quasimodo?

The scientific errors boggle the mind! Who knew that ships in 2654 took off like jets in 2009? One would think that they wouldn’t, seeing how one is in space and the other isn’t, but what do I know?!?!

And to top things off, humanity’s greatest enemy turns out to be the dumbest intelligent race ever! Their best warships are bamboozled like a villain in a Scooby-Doo episode! (see the sequence in which a Kilrathi Snakeir is dispatched within the span of a couple minutes. Ridiculous!)

What a disappointment to fans of Wing Commander everywhere. I’ve seen some forums that celebrate the movie because it was a legitimate piece of the Wing Commander mural, seeing as how Chris Roberts made it as well, but most fans will be the first to express their hatred of this movie. Even when the creative force behind one of your favorite series tries to break into a new medium, the results can be disastrous. Nothing is fun about this movie. It’s a sickeningly boring sci-fi movie that chokes on its own-self-importance and endless references to events that will never be important due to its glaring lack of sequels. It’s lameness piled on top of lameness, and the one shining flag that keeps its head above the dung is Matthew “Hump Cat” Lillard as Todd “Maniac” Marshall. I wish I had something better to report, I really don’t. Sometimes 90% of America is actually right, and since only 10% of America was insane enough to watch this, I now anxiously long to be in the majority again. I give Wing Commander 2 1/2 Matthew “Bloody Nachos” Lillards out of 10. Boo.

Tomorrow we continue with a movie that never spawned any sequels on the big screen, but might be due for a reboot in the near future; I’ll be watching David Lynch’s Dune! Until then!





Alphaville (1965), or The Most And Least Sci-Fi

7 08 2009

Anybody who’s followed this site knows of my distinct love for one particular French director. Jean-Luc Godard knows how to move me. It feels like every movie he ever made was made just for me. There’s something so personal about the journey of an auteur, and Godard is an auteur whose personal journey and unique vision are really close to my heart. As an artist, he evokes feelings with unusual dialog and images, much like a poet would with unusual beats and vocabulary. He also evokes feelings by dissecting different genres of film and turning them on their head to show us what makes them tick and why they affect us. Today’s feature is Godard’s crack at science fiction, and it might be the most experimental sci-fi film I’ve ever seen. There are no fancy sets, no big budgets, not even many indications that it is a sci-fi film. But that’s the whole point, really; to see just how far a film can go beyond the norm, to push the boundaries and explore the genre a little. And, after all, isn’t exploration one of the most powerful themes of science fiction?

Sometime in the future (or the present; it’s hard to tell with the strange architecture mixed with 60s-style cars and dress), an agent named Lemmy Caution has a series of missions to complete in the futuristic (?) city of Alphaville. First, he must find another agent named Dickson who has disappeared within the last few weeks. Next, he must capture the creator of Alphaville, Prof. Von Braun, dead or alive. And lastly, he must destroy the evil computer that runs the town, Alpha 60. Along the way, he meets the inhabitants of this strange future world; a cold, emotionless lot who have been worn down by their computer master to worship logic above all things. This secret agent must dig deeper than any have dared to destroy the power of Alpha 60, and he must also deal with its living disciples/police, who will do whatever it takes to keep the status quo. Can Lemmy do it all without dying or, perhaps worse yet, falling in love with the Professor’s cold but beautiful daughter Natacha?

This movie will test your tolerance for bizarre imagery. This is one of the most vividly unsound films I have experienced. Out of all his entire body of work I’ve seen so far, this one demands the most from me, and it is so invigorating! I really enjoyed not being able to lay back and let the movie just happen to me. It tested me, and I think I passed, albeit with some points counted off (but that’s just first-time jitters!). You will absolutely NEVER see another film like this. I swear on my life that this is a once-in-a-lifetime experience. How unique is it? Well, here’s 3 minutes of the film. Just 3 minutes!

Was that not incredible? Was that not insane? Now, it all makes sense in context, in a way, so don’t be ashamed at your confusion. And don’t be afraid to laugh if you thought the fighting was hilarious; that was intentional. It’s not your typical sci-fi, where laughing is a cardinal sin. Godard is actually a very funny director, when he wants to be, so the mock-noir violence was a hilarious homage to movies like The Big Sleep, where all the action was VERY blocked.

But it is so much more. There are the philosophical questions asked throughout the film about life without emotions and the ramifications of a logical machine imposing its will over wildly illogical humans. There are the scenes where Lemmy tries to break through Natacha’s frozen heart with a logic all his own. There is a wealth of priceless dialog and interaction between Lemmy and the denizens of Alphaville. It is a Surrealist movie about the domination of logic over imagination, and how one should never be allowed to have control over the other. It’s wonderful, beguiling, and not easily understood the first time viewing it.

The acting is superb! Lemmy Caution is played by Eddie Constantine. In another bit of “Where in time is Alphaville?”, Lemmy Caution is actually a character that had been around for years before in Noir movies of the 50s, even played by Eddie Constantine every time, but Godard used him in this movie as a template for a hard-boiled detective that could be the foil to Alpha 60. It sets the movie into time-zone limbo again, but Constantine’s straight-man performance is just what this film needs. Anna Karina is beautiful as Natacha, in one of the last Karina-Godard pair-ups. She is amazing, as usual, and never let anyone say that she has no depth. Through the veil of despondence, Natacha says a lot about human relationships without saying much at all, and I deeply respect that quality in such a role. My other favorite character was one I’m sure you heard in the clip, Alpha 60. The strange voice of Alphaville’s mastermind was created by hiring a voice actor with a mechanical voice box due to throat cancer, and it makes for quite a performance that must have been very difficult for the actor, but very intriguing for the audience.

Alphaville is unlike any sci-fi movie you’ll ever see. It is a movie with a lot to say, but it never says it directly. It’s spoken in Surrealist code that must be broken down by an inquisitive viewer in order to fully digest it. It’s funny, tragic, suspenseful, and satisfying. If they could make more sci-fi movies like this, the genre wouldn’t be such a stagnant mess right now. But, as it stands, Alphaville exists alone and apart from the genre it both epitomizes and alienates. You might find it pretentious and off-putting, as some indeed do, but true cinephiles cannot deny its potency and its originality. I give this one-of-a-kind movie my highest rating of 10 slow-motion fights out of 10. My highest recommendation!
Tomorrow I don’t know what I’ll watch! But you can bet that I’ll watch something, whatever it is! Until then!!!