There’s just something about ragtag teams of extended families trying to get by after an apocalypse. It feels like a particularly American fantasy — that when the chips are down, we’ll all put aside our petty differences, realize what’s truly important and come together to kick some ass, whether it be Nazi or Commie or even alien or zombie. The point is that our melting pot really doesn’t get cooking until the heat is applied and the burner’s on high.
These two series are flagship action pieces for their respective networks — The Walking Dead came first on AMC, followed within a year by Falling Skies on TNT. The former has its second season finale this Sunday and the latter comes back this summer for its sophomore year. Both are in their prime when it comes to the life of any TV series — enough of a run to fix some early mistakes but not so much as to render the week-to-week predictable. […]
Our “Dark Skies” has established itself in the minds of a significant number of science fiction fans as a gripping piece of conspiracy drama set in the world of UFOs and abductions. It anchored NBC’s Saturday night “Thrillogy” concept in the 1996 season premiere and starred Eric Close (“Nashville”) and the late film character actor J.T. Walsh (“Sling Blade”). Its main title design won the Emmy award and its pilot screenplay received a Writers Guild nomination. The Syfy Channel aired the entire series multiple times. Since 2010 there’s been a Facebook page where thousands of fans from many different countries push Sony for a TV revival. […]
Despite the fact that people from around the world go to Antarctica in the spirit of friendship and scientific cooperation (more or less), in the movies it is usually a setting for Something Bad That Is About to Happen.
The Thing has been made before. In the first go-round, it was The Thing from Another World in 1951. Three decades later, 1982, it was just The Thing and in the hands of John Carpenter. Now, another three decades later, 2011, it’s still The Thing, only constructed now to serve as a prelude and not a remake of Carpenter’s classic version. […]
It’s the Harrison Comparison – two big-budget, high-energy, studio-produced, action adventure yarns starring a Ford with enough miles on him to qualify not only for Triple-A, but AARP as well. I don’t know about you, but I love being taken for a ride (unless it involves a Mexican cartel), and this summer the silver screen is besotted with a plethora of eye-popping, CGI-infested mega-movies starring comic book heroes and video icons. But only one has its roots firmly planted in the wild, wild West – the two-genres-in-a-blender contender, Cowboys & Aliens.
And who better than Mr. Harrison Ford to lead the way? After all, with the Indiana Jones franchise, Ford has proven himself over and over again to be America’s reigning cinema swashbuckler. The fourth and most recent edition of that series, Indiana Jones and the Kingdom of the Crystal Skull, serves as our Champion for the purpose of this Smackdown by virtue of its own alien storyline..
Two Harrison Ford genre-mashing period pieces, bothvfeaturing an other-worldly presence. They say the hat makes the man, so which one of Ford’s fedoras will prevail in this head-to-head duel? The 10-gallon Stetson? Or the wool felt homburg? […]
There are alien invasions and then there are alien invasions.
This Smack is about the ones where the aliens swoop in, lasers blazing, hell-bent on some balls-to-the-wall human ass-kicking. No demands, no negotiations, just straight-ahead mayhem where the Earth is torn up with no regard whatsoever. It’s as if they’re treating our planet like a condemned building that just needs to knocked down as fast as possible so the new construction can get started. I know some folks think we’re already doing that ourselves but let’s skip the politics and just define this as apocalyptical visitation.
“Predators” spreads the interest around. As a group, the cast outperforms their counterparts in the earlier movie. Adrien Brody (bulked up for the role) as the team leader easily shows depth and dramatic complexity that is beyond Arnold. The same is true of every member of this kidnapped and ill-fated cast. Alice Braga, Topher Grace and Laurence Fishburne especially stand out. The all have something interesting to do. Especially since it involves steering clear of the creatures and different predators inhabiting this outer space game preserve.
Last year here at Movie Smackdown we got the idea to see what readers thought was the Best Alien Invasion Film of All Time. We thought that the genre really broke down into two sections — “Classic” and “Modern.” And so we did what we always do in these cases, we put it to our readers and let them weigh in.
We have two winners now, and we’re about to put them to the test against each other. For our purposes, we defined “Classic” as all the films that existed in the early 1950-1970 period (although all our candidates came from the 1950s), and “Modern” as everything that followed. Interestingly, fully half of our “modern” films were re-makes from the “classic” era. The “Classic” race was a close as hell, the “Modern” race yielded a clear winner. Here are our results: […]
Sometimes, it’s the reality of a scenario that scares us the most. Film-makers are turning to more and more alternate methods of delivering a film to jaded, YouTube-obsessed audiences. With the two films on offer in this Smackdown, we delve into the world of “found footage” cinema and its gradual proliferation among the mainstream today. One, “Cloverfield,” takes us into New York city during a terrifying alien attack. The other, “Quarantine,” (a remake of a successful Spanish film entitled “REC” from 2007) delivers the story of a group of apartment residents, some fire-fighters, police, and a news crew, who become trapped inside a block of units when they are sealed in to stop the spread of a mysterious virus. Both are filmed in the Single Camera Perspective. Both are equally gripping. Both are filled with images and moments that will stay with the viewer forever. But which is better: alien attack and mass destruction, or simple, human drama played out with feverish speed and incalculable terror?
You have to wonder if we’ll all still be so interested in aliens after the aliens finally arrive — assuming we’re alive to care. Typically, Hollywood believes in the existence of two types of aliens: lovable little critters who love moonlit bike rides and carnivorous monsters intent on humanity’s destruction. Both “Alien Nation” and “District 9” propose a third option, both using aliens as metaphors for socially-conflicted minority groups. With “Alien Nation”, the Newcomers are a vague avatar for homosexuals, blacks, and women. In District 9, the prawns most definitely represent the oppressed Apartheid-era Africans as well as the growing number of refugees in third world countries (i.e. Darfur). So, today, we throw these socially-conscientious sci-fi flicks against one another to see which one U2’s Bono would most likely write a title song for…