Some concept artists light the spark for the visuals of a film or television project. A few create something truly novel, something that endures. The late artist and designer Ron Cobb has something of both. Fans of pop culture know his work even if they don’t know his name. Now he’s the centerpiece of the next look at the greatest artists and artisans behind the scenes of cinema. With Titan Books’ new work The Art of Ron Cobb, the publisher adds to the film enthusiast’s bookshelf of sci-fi designers like Cinema Alchemist: Designing Star Wars and Alien, The Artistry of Dan Curry, Tech Noir: The Art of James Cameron, and a stack of books on John Eaves, includingStar Trek: The Art of John Eaves. The Art of Ron Cobb is available for pre-order now here at Amazon.
Zack Snyder finally did it. Despite taking on a heist movie and a zombie picture in a major action movie, he wrote a script and delivered the type of action blockbuster he has not yet been able to create. Army of the Dead is his first movie to get it right, a load of tropes, a mash-up of genre ideas, a tightly written story with a great cast, and wall-to-wall fun. Not a comedy like Shaun of the Dead or iZombie,Army of the Dead features the right amount of humor for this story, while incorporating all the expectations of any fan of the father of the genre, George A. Romero. Rivaling the incredible action and effects in 6 Underground, it also rises to become one of Netflix’s most promising productions.
So often big budget dramas dressed in sci-fi dress rise up the box office rankings, you might miss the best films, the ones that don’t need the big budgets or major stars, the refreshing sleepers that surprise you. One of those great surprises was Midnight Special, which I reviewed here at borg back in 2016. The next spectacular science fiction work is even better–The Vast of Night–the brainchild of writer-director-producer-editor Andrew Patterson (who is billed under multiple names), now streaming on Amazon Prime. Could this freshman filmmaker be the next J.J. Abrams, John Carpenter, or Steven Spielberg? Think Super 8, The Fog, and Close Encounters of the Third Kind, in a setting like American Graffiti and The Outsiders, with stunning cinematography, superb dialogue in a tightly written script, and a fresh and eerie use of sound. If you missed this Amazon Studios arrival earlier this summer, you’re in for a treat of 1950s teenage sleuths, a radio station, and strange goings about town: An ambitious film that comes pretty close to perfect science fiction in the classic tradition of The Twilight Zone, The War of the Worlds, and the short stories of Philip K. Dick.
Last year’s winner for most surprising film to be discussing at the water cooler was A Quiet Place, a uniquely quiet but suspenseful horror thriller that held back the true nature of the threat in its previews similar to Midnight Special, Signs, and 10 Cloverfield Lane. And as with those films we’re definitely looking at an otherworldly threat for the film’s protagonists. Critics and audiences seemed to go for this mix of sci-fi and horror, possibly out of an affinity for director and co-star John Krasinski(The Office, Jack Ryan) and his on and off-camera wife, co-star Emily Blunt (Mary Poppins Returns, The Adjustment Bureau, Edge of Tomorrow). It’s now streaming on most major platforms, including Amazon Prime, Vudu, Hulu, YouTube, Google Play, and Fandango, as well as Blu-ray, 4K, and DVD.
Few movies were hyped in 2018 as much as A Quiet Place, although come awards season it only received a nomination for best sound editing and Emily Blunt took home the Screen Actors Guild Award for supporting actress, despite her clearly starring role in the film. If there is a reason to watch the movie it’s for Blunt, who steals the show in any film she appears in. In A Quiet Place, for better or worse, she lets go from an acting standpoint and offers up a beginning-to-end melodramatic and possibly over-the-top emotional performance, similar to her portrayal as an amnesiac in The Girl on the Train. Some subtlety would have been a good thing, because in contrast to her ever-stoic husband she comes off as hysterical. We’ll chalk this up to a quirky misstep by an inexperienced director (it’s also an instance of his character doing all the smart and brave things, and Blunt’s all the dumb things, which gets old quickly).
But this one has been done before, especially as seen in the above-referenced films, and multiple episodes of The Twilight Zone. The plot is thin. A family of five are among the only people living (on Earth? in the region? we don’t know). A blind insectoid alien menace (think Blunt in Edge of Tomorrow only here she’s not the badass Angel of Verdun) will slaughter anything and anyone it hears with its sonic-locator brain. So everyone is quiet all the time. Only they aren’t–we hear them make all sorts of body and movement noises for the first half of the film, only to learn later from the father that they don’t listen for soft noises. The daughter of the family (played by Millicent Simmonds) is deaf, and so she doesn’t know when noises are happening around her, leading to the key dire circumstances throughout the film. The audience can’t help but put themselves in the positions of the characters. What would you do? Unfortunately the film is full of many tropes like you’d find in teen slasher flicks: so many times characters make decisions that are similar to a teen walking outside their cabin in a thunderstorm at night in their underwear after hearing a mass murderer is on the loose. Any viewer would think the circumstances are more dire than the characters in A Quiet Place.
Previewed with an elaborate display at last year’s San Diego Comic-Con, Project Blue Book at last has made it to television as the latest supernatural TV drama. It got off to a slow start with its premiere episode this week, but it has potential, beginning with the performance of the series lead, Irish actor Aiden Gillen. Gillen, known for roles in The Wire, The Dark Knight Rises, Game of Thrones, and Bohemian Rhapsody, plays real-life Dr. Allen Hynek, a college professor brought into the U.S. Air Force’s Project Blue Book program to help debunk the existence of UFOs beginning in the 1950s (he would later be a technical advisor on Close Encounters of the Third Kind–he actually coined the term “close encounter”). Gillen plays the role like the lead in a John La Carré novel, and he’s a ringer for a younger Gary Oldman (think Tinker, Tailor, Soldier, Spy). He is partnered with British actor Michael Malarkey as Captain Michael Quinn (an amalgam of several figures from the history books), the skeptic charged with quashing any idea that UFOs exist under the orders of General James Harding, played by Neal McDonough(Captain America: The First Avenger, Walking Tall, Star Trek: First Contact, Arrow, Quantum Leap).
A twist for the series is its effort to show a non-fiction side to The X-Files motif. It’s one of History Channel‘s rare efforts (along with Vikings) to get back to its educational roots. This includes a smartly added In Search Of -inspired coda citing specific data points used as background for the episode. And it has a big name attached to it–Robert Zemeckis–as executive producer. The two women leads may pull in even more viewers–Laura Mennell(The Man in the High Castle, Haven, Watchmen) as Hynek’s wife, and Ksenia Solo(Lost Girl, Orphan Black, Black Swan) as a newcomer to Hynek’s neighborhood.
The production looks good, a typical Vancouver production with a moderate budget, but what’s there is quality–something in the vibe of Wayward Pines. So look for plenty of good vintage nostalgia–some pretty 1950s cars, a solid wardrobe from costumer Carla Hetland(In the Name of the King, Butterfly Effect, Garage Sale Mystery) and a believable era from the past put onto the screen from production designer Ross Dempster (Wayward Pines, Lost in Space).
Timed for release as part of the 40th anniversary celebration of Steven Spielberg’s Close Encounters of the Third Kind, fans of Close Encounters finally get one of the most eagerly awaited, behind the scenes looks at the quintessential UFO film as Harper Design releases its hardcover chronicle this week, Close Encounters of the Third Kind: The Ultimate Visual History. And it’s everything fans of the film could hope for.
Known for his work as a publicist on more than fifty films, author Michael Klastorin worked with Sony Pictures and Amblin Entertainment to unearth rare and never-before-seen imagery from their archives. The book is a stunning collection of on-set photography, concept art, storyboards, and recollections of the cast and crew to create a visual narrative of the film’s journey to the big screen and through the entire production process. First created as a story idea by Spielberg in his twenties, Close Encounters is still considered by Spielberg as one of his most personal projects. Spielberg recounts his efforts to sell the film, his attempts to get a known screenwriter to write it only for him to finally decide to write it himself, and his original story synopsis, which remained hardly altered. Spielberg initially wanted to reflect Watergate in his film to reflect the current zeitgeist, something of a government trying to cover up the aliens like Project Blue Book, but by the time the film was far along in pre-production it was determined audiences were tired of conspiracies as the sole defining theme. Spielberg’s discussion of his early vision seems very similar to what Chris Carter would develop more than a decade later in his television series The X-Files.
Except those who are no longer with us, all of the players you’d expect provide contributions in the book. Actor Bob Balaban provides some of the most interesting stories from the set, including his casting process for the film and development of his working relationship with internationally known director and film co-star Francois Truffaut. Richard Dreyfuss’s recollections focus on his campaigning Spielberg to be cast for the role, the difficulty in the Nearys’ location shoot for the family home, and his realization from his very first discussions about the project with Spielberg that Close Encounters would stand up as a noble film pursuit. Melinda Dillon’s role changed throughout the shoot, cutting one scene for financial reasons and adding the scene where she has the revelation that Devil’s Tower is the image in her dreams. She also filmed much of the movie with a broken toe, followed by another leg injury caused on-set jumping from a helicopter.
The most fascinating behind-the-scenes effects discussion comes from Doug Trumbull. His UFO storm development effect work was extraordinary. You’ll find location photographs, visual effects explanations and process development discussions, photos of the Mother Ship model and other set models, concept art from Ralph McQuarrie, and many views of the film’s extra-terrestrials.
For me, Close Encounters of the Third Kind was the film that got away. I was lucky to have been taken to every great sci-fi classic and Spielberg film from Jaws forward, but multiple Star Wars viewings probably nudged out my chance to see this one back in 1977. Close Encounters didn’t arrive in theaters until the Christmas season that year and it would likely have generated some nightmares as I was only about a year older than the boy co-star of the film–so it was probably a good thing. Close Encounters of the Third Kind is back in theaters this week to celebrate its 40th anniversary. Watching it for the first time on the big screen was like filling in a last brick in the wall. It’s a satisfying re-watch, and every time you screen a classic in the theater again you learn something new. The film is being preceded this week by a behind-the-scenes featurette, including an interview with Steven Spielberg and excerpts from the home movies he routinely films as he directs his movies. It also contains a clip of each iconic scene in the film, so those who haven’t seen the film and want to view it for the first time may want to duck out for popcorn during the previews. Close Encounters is screening only for a few more days, so no matter how many times you have seen it, it’s time to go back again. Nothing beats a classic, especially a Spielberg film, on the big screen.
You might find Close Encounters’ pacing to stand out as a bit slow. Movies today need to be action-packed to grab viewers. The elements the viewer needs to know are laid out methodically, and yet the film is not told in normal storytelling fashion. Richard Dreyfuss’s innocent everyman Roy Neary is not your normal protagonist. Every bit the victim here, he also may be more like a lottery winner, selected to do what many dream of. He asks for none of the personal invasion he encounters–ripped from his family and job, this uncontrollable compulsion arrives, pursuing him with only a realization that whatever this vision is about it’s somehow important. From the film’s abrupt start it feels very avant-garde, a bit like modern independent filmmaking, with its back and forth explanation of a communication project in progress spliced with a utility worker who experiences a strange event. Sequences of real world end-to-end conversations that other directors might have edited to more quickly get to the point also illustrate unusual directing decisions. Only in what doubles as a horror movie sequence–basically a child abduction–do we get a clear realization of aliens as one possible antagonist of the film. And when the movie really kicks in at Devil’s Tower the audience can see the international marriage of scientists and military is possibly another villain. Or is there a villain at all? Many scenes suggest dissonance itself is the culprit–all the barriers to clear communication that get in the way–the ongoing, pounding barrage of multiple interpreters in a single conversation, air traffic control operators speaking at once, Neary’s wife played by Teri Garr and her kids all talking or screaming or beating toys to pieces, Roy’s co-workers on the radio all speaking at once, a room full of scientists babbling at each other as they try to interpret these six repeated numbers beings sent to them from outer space, aliens playing rapid tones against humans doing the same. And the sound of all the toys turning on at once, the toys of little Barry (Cary Guffey) that wake up his mom Jillian, played by Oscar nominee Melinda Dillon, forcing her to join the story as a victim along with Roy. Then the resolution of conflict only arrives as the aliens and humans finally reach clarity with the tonal communication between them in the film’s climactic encounter. In the preview to the film, Spielberg mentions Pinocchio and Jiminy Cricket’s crooning “when you wish upon a star, makes no difference who you are” as his inspiration–what the film is all about. That familiar Disney motif is certainly present thanks to John Williams’ beautiful score. Maybe Roy is his own enemy–unable to break away from the influence of these beings? Or by following this calling does he rescue himself from a family that doesn’t understand or listen to him, and a mundane job and neighborhood of zombie-like suburbanites who always seem to be watching him?
Whatever the through line of the story is intended to be, the film is sweeping and enormous in scope, addressing subjects everyone can get sucked into: telepathy, conspiracy theories, all the UFO theories (from cattle mutilations to Area 51 to alien abductions and flying saucers), and unexplained phenomena (from missing people to the curious fascination of aliens with rummaging through refrigerators). It’s all there in this suspenseful package, all from this brilliant young filmmaker who said he and his cast just couldn’t wait to show everyone this great thing they had created. Hints at so many films are contained here that you could wonder if Spielberg starts generating every subsequent project idea by first watching Close Encounters: We see the young child’s parents terrified in their home by some strange force in Poltergeist as Jillian tries to prevent the aliens from breaking into her home. We see the quiet standing crowd at night waiting at the foot of Devil’s Tower for something good or bad to happen filmed similar to the soldiers waiting as the Ark is opened at the end of Raiders of the Lost Ark. And it’s almost a surprise to realize the mother ship at the end of Close Encounters is not the ship from E.T., the Extra-Terrestrial, another giant, flying, lit-up Christmas tree-house transporting that curious little botanist who would arrive only five years later.
With all the celebration activities earlier this year for the 40th anniversary of Star Wars, Steven Spielberg’s Close Encounters of the Third Kind hasn’t received all the love it deserves as it also celebrates the big 4-0. But Star Wars and Close Encounters were each iconic, appealing to different facets of similar fandoms, with Star Wars as the space fantasy and Close Encounters as brilliant science fiction (and then Spielberg would make E.T.!). Later this year fans of Close Encounters finally will get an eagerly-awaited, behind the scenes look at the quintessential UFO film as Harper Design releases its hardcover chronicle, Close Encounters of the Third Kind: The Ultimate Visual History.
Known for his work as a publicist on more than fifty films, author Michael Klastorin explores the production and legacy of the fan-favorite flick, coinciding with the anniversary of the movie and a return to the theaters in a restored 4K version coming your way the first week of September. Klastorin worked with Sony Pictures and Amblin Entertainment to unearth rare and never-before-seen imagery from their archives. The book promises a stunning collection of on-set photography, concept art, storyboards, and more to create a visual narrative of the film’s journey to the big screen. It will also feature commentary from every key player involved in the film, from Spielberg to the film’s stars and the key department heads, including model maker Greg Jein and composer John Williams, who brought Spielberg’s vision to life.
Look for special inserts and interactive elements including script pages, call lists, and concept sketches. Check out the below 11-page spread, providing a great preview of what will be included in the book’s nearly 200 pages:
What would Devil’s Tower be today–40 years after the release of Close Encounters of the Third Kind–if director Steven Spielberg hadn’t located his point of first contact with aliens at that singular national monument? Think about the revenues Spielberg drove into the National Parks over the years–today it gets 400,000 visitors annually. How many side trips have we all taken off the beaten path between Yellowstone Park and Mt. Rushmore to see it for ourselves? Would it have the same allure?
Forty years later and Close Encounters of the Third Kind has been given a full 4K restoration, and it’s coming to theaters for one week this summer followed by a home release. Fresh off the success of Jaws, it was a return: Spielberg, John Williams, Richard Dreyfuss, production designer Joe Alves and more–and nobody knew what Spielberg was bringing to audiences as the big follow-up after his first summer blockbuster. A science fiction film nominated for eight Academy Awards? It would take home the award for sound effects editing (Frank A. Warner) and cinematography (Vilmos Zsigmond). Plus we saw memorable performances from Teri Garr (Young Frankenstein, Mr. Mom), Melinda Dillon (A Christmas Story) nominated for her role, French director François Truffaut in one of his few acting performances, and Bob Balaban (Lady in the Water, Best in Show).
This new theatrical version has been restored from the original negatives–it’s the director’s cut, for those familiar with the various releases over the years. If you missed it in the theaters (or weren’t born yet!), don’t miss this epic masterpiece on the big screen. And for eagle-eyed genre fans, watch for brief encounters in the film with Carl Weathers (Rocky, Predator) and Lance Henriksen (Alien).
Check out this smartly edited new trailer for a sci-fi classic:
Close Encounters of the Third Kind. E.T., The Extra-Terrestrial. The Green Mile. Escape to Witch Mountain. Watcher in the Woods. Maggie. Super 8. The Omen. D.A.R.Y.L. A Perfect World. Starman. Michael. Tomorrowland. The Day the Earth Stood Still. The Blues Brothers. The Twilight Zone Movie. What could these all possibly have in common? Somehow they are all conjured up together into this year’s release, Midnight Special.
Let’s get the only problem with Midnight Special out of the way first. It had an inexplicable limited release this past March. And its theatrical and television trailer was creepy cool, but too cryptic to draw in the masses. If you don’t tell people what your movie is about, they won’t always take the time to learn more and decide to see it. And what a loss! Midnight Special is not only one of the year’s best films, it’s one of the best films of the decade.
You will think about The Twilight Zone episode “It’s a Good Life,” but it’s nothing like it. You will think about Haven and Grimm, but it’s not like that either. And you may even accuse Stranger Things of being a knockoff of this film. But it’s very, very different.
A father and his old friend kidnap his son from a religious cult, with the government in hot pursuit for very different reasons, drawn in by the son’s mysterious abilities. Is some messianic end looming ahead? Why is the government justified in tracking the father down for treason? Replace the enchantment and wonder you’d find in Spielberg’s Close Encounters and E.T. with a combination of mystery, curiosity, and heart-pounding dread. Gripping, personal, riveting–Midnight Special will keep you guessing until the end. What happened to this kid? Why does he have these powers? What ends will his father and his friend go to protect him from what seems like the entire world crashing down on them?
