RISE OF THE PLANET OF THE APES

August 12, 2011

 Greetings again from the darkness. As a young kid I saw the original Planet of the Apes at a drive-in with my parents. At the time, I mostly just thought the talking apes were cool and enjoyed the surprise ending, despite having no ability to really process the statement that Pierre Boulle (novel) and Rod Serling (screenplay) were making. Since then, I have had a soft spot for the series, including the Tim Burton version 10 years ago.

As you can tell by the title, this latest version is truly a prequel. It is meant to explain the beginnings of how the Apes gained intelligence and created a powerful society that would one day rule humans. It begins in a genetic engineering lab run by James Franco and his team. They are using chimps to test an experimental drug that will hopefully be used to treat and cure Alzheimer’s. In no small coincidence, Mr. Franco’s father is played by John Lithgow, a once renowned musician and teacher, who is now suffering the effects of this horrible disease.

 When things go wrong at the lab, Franco breaks most every known law and tests the drug on dear old dad. Of course, it works miracles. The accident in the lab, leads Franco to adopt a baby chimp born to one of the chimps used to test the drug. This chimp quickly becomes the smartest one in the house, neighborhood and city. Named Caesar, his learning curve is off the charts. And yes, after a couple of years, his strength and temper are as well.

After yet another accident, Caesar is put away in a chimp camp run by greedy Brian Cox and sadistic Tom Felton (Draco of Harry Potter fame). Caesar uses his intelligence and the unsuspecting and unobservant nature of the humans to organize a coup. This part is really something to behold.

 By far the best acting in the film is delivered by Andy Serkis. Don’t recognize the name? You might know him better as King Kong or Gollum in Lord of the Rings. Mr. Serkis is a motion-capture actor-extraordinare. It is sometimes difficult to tell where these effects stop and the CGI begins, but overall the look of the chimps is pretty good and the action sequences are downright amazing.

What hurts the film is the weakness of the human stories. Franco as a genius scientist? Doesn’t work for me. Freida Pinto as a primate specialist? The script gives her nothing to work with. Lithgow and Cox are excellent actors, but mere pawns in this story.

 Director Rupert Wyatt tips a cap to the original film a few times: tribute names such as Bright Eyes and Dodge Landon, an orange orangutan named Maurice (in honor of Maurice Evans), a quick glimpse of a Statue of Liberty puzzle, horse-back riding, Charlton Heston on TV (as Moses), and a couple of classic lines including “stinking paws”.

In what was supposed to be a transition story, this one really belongs to the apes … and it’s teed up beautifully for a sequel.  The apes are planning it in a wooded area located at the sign post just ahead … across the Golden Gate.

SEE THIS MOVIE IF: you are a fan of the Apes series that dates back 43 years OR you want to see how James Franco can screw up even worse than he did hosting the Oscars

SKIP THIS MOVIE IF: you just can’t buy off on the whole brilliant apes idea OR after a hard day at the office, the last thing you want is more talking apes!

watch the trailer:

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Posted by David Ferguson

JAWS (1975) revisited

July 15, 2011

 Greetings again from the darkness.  Ba-dum.  Two of the more recognizable notes from any movie musical score are courtesy of 5-time Academy Award winner (45 nominations!), composer John Williams.  A truly great score plays a vital role in the emotional connection that a viewer makes with a movie.  In some movies, we barely notice the music.  Not so with the Jaws theme.   In 1975, it signaled an immediate jump in our blood pressure and has since glided right into becoming part of our societal lexicon – musical slang for “danger is on the way”.

You are probably wondering why I am writing about a 36-year old movie … especially one that revolves around shark attacks.  Haven’t we had more than our share of monster and disaster flicks?  Well, my friends, it’s time for you to re-discover the wonderment, joy, anxiety, humor and humanity of Jaws.  I did just that last evening at a screening provided by the Dallas Film Society, Dallas Morning News and film critic Chris Vognar.

 When Jaws was first released in 1975, I saw it three times over three consecutive days.  I couldn’t get enough!  It was, after all, the first “summer blockbuster”.  At the time, I was the ultimate beach lover, and along came a movie that was so frightening, it convinced people to stay out of the water!  Over the years, I have watched it quite a few times on cable/tape/DVD, but not until last evening was I able to re-live that theatrical experience from the summer that changed movies forever.  Last night the theatre was full, and nearly a third of those in attendance claimed to have never before seen the movie.  So my hope is that you will make time for this classic film … whether it’s your first time, or your twentieth.  Introduce it to your kids, grandkids, nieces and nephews (if they are ready).   Talk about what makes it great, and about all the movies it has since influenced.

Rather than “review” the movie, I will point out some interesting details on how it was made, its legacy and even some of my favorite moments from the movie.

Director Steven Spielberg was 28 years old when the movie was released.  He had already made some noise as a filmmaker with Duel and Sugarland Express, but it was the success of Jaws that labeled him wunderkind.  The now-legendary Spielberg went on to direct such classics as Close Encounters of the Third Kind, three Indiana Jones movies, The Color Purple, the first two Jurassic Park‘s, Schindler’s List, and Saving Private Ryan.  He is also listed as Producer on more than 120 other projects.  He is the ultimate ‘mover and shaker’ in Hollywood.   But Jaws was his last movie where the burden of expectations and box office results were minimal.  Jaws went on to gross almost a half billion dollars worldwide … an unheard of level at the time (movie tickets cost about $2.oo each in 1975).

 The story is based on the first novel by Peter Benchley, who would later write “The Deep” and “The Island“.  Mr. Benchley also appears briefly in the film version of Jaws as a reporter on the Amity beach.  The novel was a best seller, but much darker in tone than the Spielberg film.  Spielberg turned the book’s key characters into less abrasive personalities, while maintaining the colorful attitudes.

 Speaking of characters, many people tend to focus on Roy Scheider‘s Martin Brody,  Chief of Police on Amity Island.  He really does a nice job as the no-nonsense non-islander attempting to fit in without poking too much fun at the “problems” of the locals.  Others are drawn to the performance of Richard Dreyfuss as Oceanographer Matt Hooper.  Dreyfuss is far and away the most energetic of the actors, and his cocky, know-it-all, rich boy makes for a terrific contrast with the other more subdued characters.

The guy to really watch in this movie is the great Robert Shaw as Quint, the crusty local fisherman who vows to kill the shark for a huge fee.  Spielberg originally wanted Lee Marvin for the role, but it’s difficult to imagine anyone other than Shaw as the tough-as-nails Quint.  His sililoquy regarding his USS Indianapolis ordeal is mesmerizing and fascinating … and that scene alone should have won him the Best Supporting Actor.  Yet somehow, he wasn’t even nominated in the year that had, yes, George Burns winning for The Sunshine Boys.  Shaw’s character comes across as true salt of the sea, and watching him co-exist on a small boat with Scheider and Dreyfuss for the entire second half is movie-watching glory.  As they compare scars and enjoy an adult beverage, we are afforded a brief laugh outloud moment.  And don’t miss Scheider giving momentary consideration to flaunting his appendix scar.

 Much has been written over the years about the animatronic shark.  It was nicknamed Bruce, after Spielberg’s attorney.  Bruce gave the filmmakers a great deal of trouble and, because of that, the film works even better.  We don’t glimpse the shark until well into the movie, giving tension and anticipation much time to build.  Until the last few minutes, we really don’t get a full-on view of the shark, but it SEEMS like we do!

The Mayor of Amity is played by Murray Hamilton.  Mr. Hamilton is well remembered as Mr. Robinson … husband to THAT Mrs. Robinson … in The Graduate (1967).  In that movie, he refused to shake Dustin Hoffman‘s hand.  Here, he refuses to close the beaches, for fear of losing tourist revenue.  He only has a hand full of scenes in Jaws, but each is quite memorable.  Watching him speechify to the cameras, politicize to the citizens, and nearly break down while smoking in the hospital, adds depth and intensity to the film.

The trivia associated with Jaws is abundant.  What’s really important is that this is an incredibly well made movie that holds up extremely well today.  When you watch it, notice how you immediately understand the feelings of the locals at the town hall meeting, the desperation of the deputy, the shame of the Medical Examiner, the bravado of the fishermen and the confusion of Brody’s wife.  Notice the camerawork as it varies between the viewpoint of the shark, the viewpoint of a character, or interested onlooker to the beach happenings.  Check out the masterful film editing with three characters battling for space aboard the Orca.  Great stuff.

Jaws was nominated for Best Picture, but lost out to One Flew Over the Cuckoo’s Nest.  It did win for Best Editing, Best Sound, and Best Music (score).  Its lasting impact includes the genius of Spielberg, turning Summer into Movie time, and that iconic score.  Ba-dum.  Stay out of the water!

Check out the original trailer from 1975:

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Posted by David Ferguson

THE DOUBLE HOUR (La doppia hora, Italy)

June 24, 2011

 Greetings again from the darkness. Suspenseful thrillers, when well done, are just about as much fun as one can have at a theatre (unless you are Pee Wee Herman). The debut film from director Giusseppe Capotondi is very well acted, and pretty well written and filmed. It has some similarities to, but is not quite at the level of one of my Top 5 movies from 2008 – Tell No One.

Filmed in Italy (with English subtitles), the film does a terrific job of sucking us right in. Guido (Filippo Timi) and Sonia (Ksenrya Rappoport) meet at a speed dating event. He is a former cop now security guard, and she is a Slovenian immigrant working as a housekeeper at a swanky Italian hotel. Love blossoms for these two until the story takes a very dark turn. That’s when all the twists and turns and misdirection begin.

 Both lead actors are tremendous and I will seek out more of their work.  Really not possible to talk too much about what happens (without spoilers), other than to say the characters and events aren’t always what they seem. I really enjoyed the first two acts of the movie, but felt letdown a bit by the final act. Some of the visuals are very good, but the wrap up is just a bit disappointing. Still, the first 80 minutes or so are terrific and make the film worth watching.

SEE THIS MOVIE IF: you are addicted to suspense dramas, especially those involving personality twists and elaborate plans gone wrong

SKIP THIS MOVIE IF: you are only willing to read subtitles if the payoff is life-changing

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Posted by David Ferguson

SUPER 8

June 13, 2011

 Greetings again from the darkness. A nostalgic feeling generated by nostalgic filmmaking at the hands of JJ Abrams and classic Spielberg. Yes, I meant to use nostalgic twice … the film has a familiar feel to it, but also entirely new twists and effects. That’s what happens when the master (Steven Spielberg) and the star pupil (Abrams) unite.

Part of the nostalgia is that this is kind of a throwback to the blockbuster era that Spielberg helped create. There are bits and pieces of Jurassic Park, E.T., The Goonies, *Batteries not Included, Close Encounters of the Third Kind and Jaws. Spielberg has always had a nice feel for kids and emotions, and in this film the genius of Abrams’ script and special effects make for a spectacular combination.

 You know there is nothing more fun for these filmmakers than a story about smart, outcast kids obsessed with making a movie! Throw in the adolescent battle over the out-of-reach older girl, the somewhat demented kid who just loves explosions, the sensitive kid dealing with the death of his mother, the wise beyond her years girl who is a natural actress, and the chubby, driven boy with a camera … mix it up with a couple of clueless parents and the evil, secretive Air Force, a sci-fi element and you have quite the exciting small town Ohio drama with comedic elements and startling special effects.

Not going to say anything about the “surprise” that was hinted in the trailer, but what I will say is that the first hour of this movie was pure movie magic to me. Unfortunately, the second half was a slight let down, though certainly not horrible. I just enjoyed the pure human elements on display before it became just another …

 The film really rides on the shoulders of Elle Fanning (probably the last time I will reference her as Dakota’s little sis). Ms. Fanning has proved again that she may be the most talented of the acting sisters. She really has a feel for her scenes and clearly melts the heart of young Joe Lamb, played by newcomer Joel Courtney. Also excellent are Riley Griffiths as Charles the movie maker, and Ryan Lee as Cary the demolition “expert”. Joe’s dad is played by Kyle Chandler (Friday Night Lights), but again, this film really belongs to the kids.

The film is rated PG-13 for some pretty intense scenes and some language that many prefer not to hear coming from kids. It’s too bad more films “like” this aren’t made, but that’s probably a factor of not many filmmakers being in the class of Spielberg and Abrams (Lost, Star Trek).

SEE THIS MOVIE IF: you can sit back and enjoy a big ol’ blockbuster with a fun script and giant special effects

SKIP THIS MOVIE IF: you prefer high art that taxes the mind

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Posted by David Ferguson

HANNA

April 9, 2011

 Greetings again from the darkness. I am struggling a bit with how much to say about this one. It is such a different type of film that it’s difficult to categorize. Yes, it is definitely an Action-Thriller (in the Bourne vein), but it also has some dark comedy, as well as some commentary on parenting, governmental agencies and coming of age.

Let me first say that I highly recommend the film if you are a fan of thrillers and/or action films. It succeeds well on both fronts. However, there is much more to this movie, particularly the fantastic talents of Saoirse Ronan. You will remember her stunning turn in both Atonement and The Lovely Bones. Here she plays Hanna, a girl raised in the deep forest by her father (Eric Bana). His sole purpose in raising her was to train her to be a deadly weapon in any situation. Oh and he also “schooled” her with some generic encyclopedia that has the look of a gas station giveaway. Her head is filled with facts, figures and data on all parts of the world, and somehow she speaks an infinite number of languages.

When she finally tires of gutting deer in the wild, she tells her father she is “ready”. We then find out that her father is some type of former CIA agent and with the flip of a sonar switch, the two separate and the CIA moves in to capture her. While sitting in a secured bunker in the desert, her “mission” becomes clear. She is to kill the CIA agent played by Cate Blanchett, who is connected to Hanna’s “birth” and the death of her mother. That’s when the movie kicks into gear.

 What follows are some terrific action and fight sequences, a wonderful segment where Hanna hangs out with a traveling British family led by Olivia Williams and Jason Flemyng … and their daughter Sophie, played exceptionally well by Jessica Barden. The “friendship” that Sophie and Hanna create really brings into focus how sheltered from society Hanna has been.

The cat and mouse chase with Blanchett and her thugs would have worked even better if Blanchett’s character had been better defined and she wasn’t just god-awful in it. Usually Ms. Blanchett is a strong actress who adds much to a film. Here, she is the dead-weight keeping it from reaching even greater heights.  And what’s with her dental hygenic practices?

 The film is directed by Joe Wright, who has also provided Pride and Prejudice, Atonement, and The Soloist. The man knows how to make a movie … and that’s why this is so much more than an action flick. I must also mention that the Chemical Brothers are standouts with the film score, and though it catches you off guard at first, it really adds impact and effect to the film. There have been a few recent films with young girls in action/fight films. And while Chloe Moretz was excellent in Kick-Ass, this film is far superior. Get to know Saoirse (pronounced Sur-Shuh) Ronan. She is a real talent!

SEE THIS MOVIE IF: you are a fan of the action-thriller genre … especially those with a twist

SKIP THIS MOVIE IF: you’ve had your fill of fight scenes OR anytime you see a female field dress a large mammal, you think of Sarah Palin

 

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Posted by David Ferguson

INSIDIOUS

April 9, 2011

 Greetings again from the darkness. Ahh, the lost art of horror films. I don’t mean slasher films or gore-fests. I mean real horror films. The Saw series falls into gore-fest and its collaborators, director James Wan and writer Leigh Whannel, team up again for a more traditional horror film … one designed to scare the viewer, rather than just gross out society.  Of course, recommending a horror film is as risky as recommending a comedy.

The film opens as Patrick Wilson and Rose Byrne move into a beautiful old house with their two young sons and infant daughter. By beautiful house, of course I mean terribly creepy with nooks and crannies, creaking floorboards, squeaky doors and an  attic designed by Satan. The mom (Byrne) quickly realizes things aren’t just right with this house, and as is customary in horror films, the dad finds some lame excuse (grading test papers??) to work late so the mom and kids can be haunted without him.

There are some bits and pieces from classic horror films like The Exorcist, Poltergeist, Amityville Horror and, yes, Saw (but not the gory stuff). Remarkably, this film is rated PG-13, which means the filmmakers really have to tell a story … and they do … well as much as can be hoped for in a fright film.  There are even touches of humor throughout.

The mom gets so desperate, she begs to move. They do. Guess what? Things aren’t better. So mother-in-law Barbara Hershey (from creepy Black Swan) says she knows someone. Next thing you know, two goof-balls (one is the film’s writer Whannel) who look like they should have their own cable show are in the house confirming something is definitely amiss. So they call in their boss. Unfortunately, the great Zelda Rubinstein (Poltergeist) passed away, so our expert is played by Lin Shayle. She does an effective job explaining astral projections and the next thing you know all hell has broken loose. Nice work lady.  Surely she requires payment upfront.

What makes the film work are the characters, the setting, the atmosphere and the really nice build-up of suspense and drama. Sure I think there were some details that could have been handled much better. For instance, the “other” brother looks like he is going to be a factor, but instead all of the attention goes to Ty Simpkins as Dalton. Simpkins was seen recently with Russell Crowe in The Next 3 Days. Also, more of the backstory with Hershey and Wilson’s childhood could have provided some twists.

Still, I will say if you are a fan of horror films, this one is worth seeing. If nothing else, you will absolutely love the opening credits with their haunted images and smoky font. It’s a bit of a fun challenge to find the “image” in each of the opening sequences. Just make sure to finish your popcorn before the movie starts. That stuff is too expensive to be tossing across the aisle when you JUMP!!

SEE THIS MOVIE IF: you are always game for a real horror film … one that scares you with characters and atmosphere, rather than splatter.

SKIP THIS MOVIE IF: you are expecting the next generation of Saw OR you can’t imagine an effective PG-13 horror film (in other words … you need gore).

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Posted by David Ferguson

SOURCE CODE

April 3, 2011

 Greetings again from the darkness. Duncan Jones (son of David Bowie) was the writer/director for a terrific 2009 film called Moon (highly recommended). Here he stays in the sci-fi realm with a thrilling and brainy script from Ben Ripley. The best, most accessible sci-fi films not only don’t require the viewer to hold a Ph.d, but they also don’t talk down to us. This is a fast-moving script with a smart (though a bit preposterous) premise, and plenty of reality to keep us glued to the screen … and hanging on every word spoken.

It’s impossible to write much about the film and not give away some of the stuff that makes it fun, so my comments will be brief. Trying to figure out what’s happening, how it’s happening, and whether they can stop it from happening again … well, that’s just about all a movie lover can hope for! So I won’t give away any more than what the trailer sets up.

 Jake Gyllenhaal is Colter Stevens and he is involved in a remarkable project that allows “time travel” to a parallel universe so that a military contractor can discover the terrorist who bombed a train. The first time he wakes up on the train across from Christina (Michelle Monaghan) he has no idea who she is or where he is. 8 minutes later he is face to face with Captain Goodwin’s face (Vera Farmiga) on a monitor with her voice telling him to calm down. Her boss (Jeffrey Wright) is some type of ambitious genius trying to make a name and a buck for himself.

 The story evolves by Gyllenhaal being sent back and forth between “then and now” on numerous occasions with the mission of uncovering the identity of the train bomber. Of course, Gyllenhaal is a good soldier and wants to go above and beyond the call of duty. With some of the elements of Groundhog Day, the film then spins off and gets tricky and brilliant.

 Director Jones works wonders with the camera and we are treated to some fascinating images – both large (Chicago) and small (Gyllenhaal in a train restroom). Great stuff here. That’s about all I will say on this one. It should be obvious how much I like it. Also, a fun note … the phone voice of Gyllenhall’s father is that of Scott Bakula, who is known for his role in the TV series “Quantum Leap“, also a time travel premise.

SEE THIS MOVIE IF: you have one of those minds that is always asking “What if it were possible to …”

SKIP THIS MOVIE IF: you prefer your movies grounded in reality and have no use for any of that stinking hypothetical bunk.

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Posted by David Ferguson

LIMITLESS

March 21, 2011

 Greetings again from the darkness. I absolutely love this premise. The idea that, by taking a pill, we can simultaneously access all parts of our brain and process information at hyper-speed is fascinating, and a terrific idea for a movie. As it turns out, that terrific premise loses much luster when the center of action is a egomaniacal, smirking doofus played by a strutting Bradley Cooper and the story lines fall miles short of accessing a portion of the possibilities.

The set-up portion of the film is fairly interesting. Cooper plays a stone-walled loser  of a writer whose career-minded girlfriend (Abbie Cornish) wisely dumps him as he offers up very little in self-defense. A seemingly random street meet of his ex-brother-in-law leads Cooper to a whole new world brought on by the magic of NZT. He quickly realizes he can recall every detail he has ever seen or read and he process information quickly and clearly. He finishes his book in a flash and learns multiple languages, plays the piano, etc etc.

The film takes a wrong turn when he realizes his ability comes in handy in the stock market, as well as blackjack. But obviously if YOU were in this situation, the first thing you would do is contact a Russian loan shark and take out a giant loan … and then forget to pay it back. What? You wouldn’t? Well then, don’t expect to have a movie made about your life.

Director Neil Burger (The Illusionist) brings a wonderful visual touch to Cooper’s mind and an awesome telescoping zoom rush through the streets of NYC. That was actually my favorite part of the film (once over the opening credits and again during the film).

 The film misses quite a few opportunities to be as smart as Cooper’s character is supposed to be. Either the Russian loan shark or the ultra-rich businessman played by Robert DeNiro could have led to Faustian themes that would have provided endless opportunities. Instead, we don’t even get a satisfying battle of wits between the parties. Quite a disappointment.

Overall, the film is entertaining enough, but a letdown over what should have been. Watching Cooper strut and DeNiro sleepwalk are not enough for me as a movie goer.

SEE THIS MOVIE IF: you enjoy mentally re-writing a film as you watch it (there are plenty of opportunities here)

SKIP THIS MOVIE IF: you believe a move about the infinite possibilites of the brain should be somewhat mentally stimulating

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Posted by David Ferguson

THE LINCOLN LAWYER

March 20, 2011

 Greetings again from the darkness. Major dilemma: sucker for courtroom dramas vs. no fan of Matthew McConaughey. I decided to give it a shot, and given my low expectations, found the movie to be quite entertaining – despite its numerous flaws. If you are a fan of the endless stream of John Grisham book-turned-movie, then I expect you will find this one to your taste.

Based on the Michael Connelly series of novels built around Mick Haller, this one has the look and feel of part one (and also of a TV series). Haller is the Lincoln Lawyer, so named because of his propensity to handle much of his work from the backseat of a classic Lincoln Town Car. The choice of McConaughey as Haller seemed all together wrong given his annual appearance in some lame ass Rom-Com, where he spends most of each movie shirtless and smirking. Luckily for us, Mr. McConaughey manages to re-capture some of the acting skills he flashed in A Time to Kill, so many years ago.

 In addition to his close to the vest portrayal of Haller, the movie works because of an incredibly deep cast that includes Marisa Tomei as his ex-wife and frequent courtroom adversary (she is an ADA), Ryan Phillippe as the accused rich boy, William H Macy as the long-time and streetwise private investigator, Josh Lucas as the ADA in the main case, Bryan Cranston as the detective in charge, plus Michael Pena, Bob Gunton (warden from Shawshank Redemption), John Leguizamo, Frances Fisher, Laurence Mason (Earl the driver), Shea Willingham (Boardwalk Empire), Trace Adkins (the country star as the leader of a biker gang) and Michael Pare (Eddie and the Cruisers). Seriously, this cast allows every scene to have something worth watching.

 The two things that prevent the movie from being top notch are the beyond-belief exaggerated moments (including about 3 too many endings) and the absolutely distracting camera work courtesy of director Brad Furman. In the hands of a more experienced director, many of the flaws could have been corrected.

This is not presented as an ultra serious courtroom drama in the vein of 12 Angry Men or Judgment at Nuremberg. Rather it is a character driven story with a multitude of twists … some of which work and some of which don’t. I found it to be  enjoyable despite the script issues and the hey-look-at-me direction.

SEE THIS MOVIE IF: you too are a sucker for courtroom dramas OR you doubt my claim that McConaughey can avoid going shirtless for 2 hours.

SKIP THIS MOVIE IF: you demand perfection in your crime thriller scripts OR you believe the only reason to see a McConaughey movie is because he does go shirtless

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Posted by David Ferguson

BATTLE: LOS ANGELES

March 13, 2011

 Greetings again from the darkness. The downside to being an eternal movie optimist is that the falls can be very hard. I had hopes going in that this could be a sci-fi, alien-invasion, doomsday, special effects flick that would deliver a few thrills and chills. Not. So. Much.

The two best things I can say about the film are: 1. Aaron Eckhart has a great face for a grizzled Marine. 2. The film is loud. Loud and Noisy. If those don’t sound like resounding endorsements, it’s because I really, really, really disliked this movie.

Aaron Eckhart gives it all he has as the 20 year Marine who has put in for retirement. He also has a somewhat gray mark on his record from his last assignment, where (rumor has it) he was responsible for the death of men in his command. That really ends the depth of the film. Eckhart gets dragged back into active duty when a meteor shower turns out to be an alien invasion.

 This ludicrous alien invasion is evidently for the earth’s water. Somehow these aliens have run out of water on their planet, wherever that may be. They are smart enough for intergalactic travel and drone activity to minimize their own damage during the attack, but they can’t figure out how to successfully take over Santa Monica from a hand full of Marines.  By the way, Los Angeles traffic looks the same after an alien invasion – no cars are moving.

I found myself laughing on more than one occasion and I am quite sure that director Jonathan Liebsesman and writer Christopher Bertolini had no visions of this being comical. It has the look of a blend of Independence Day, Cloverfield and War of the Worlds. It isn’t in their league … and I really didn’t care much at all for two of those.

Bridget Moynahan, Michael Pena and a couple of kids are tossed in to soften the military slant and try to bring some human touches, but none of it works. Neither does Michelle Rodriguez as … SURPRISE … a tough as nails soldier who displays heroic instincts. Seen that before? The aliens look like malnourished Transformers. The camera work is god-awful. The special effects range from acceptable to laughable. The dialogue is limited to cool things like “look out”, “heads-up”, “in here”, “that’s an order” …  Actually, the movie could become perfect fodder for “Mystery Science Theater”!

But mostly what this one is successful at is NOISE. Lots of noise. Lots of loud noise. So believe me when I scream … STAY AWAY!

SEE THIS MOVIE IF: your life is so perfectly calm and boring that you crave a cacophony of chaos.

SKIP THIS MOVIE IF: you prefer to avoid motion-sickness and headaches generated by sloppy filmmaking

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Posted by David Ferguson

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