Before 2020 if you were pondering the form of a coming apocalypse, odds are it would look something more like the trailer for Greenland than wearing a mask and staying at home. Thanks to Hollywood the next big-budget, CGI spectacle that may or may not make it to movie theater screens taps into the disaster genre yet again. A stuntman-turned writer-director of movies like Angel Has Fallen, Ric Roman Waugh directs Greenland, which will not only have you asking “why that title for this movie?” but why do we keep returning to the disaster movie altogether. It stars recent go-to disaster thriller guy Gerard Butler, whose secret service agent character has headlined three movies in the “Fallen” series, plus there are a few other favorite actors of genre TV and film involved. Check out the first trailer for Greenland below.
When you have made as many movies as have been in the Godzilla franchise (31, more than James Bond movies), you run the risk of making a sequel or reboot that ends up like Independence Day: Resurgence, or Jurassic World: Fallen Kingdom, or Man of Steel, or Alien: Covenant. For some moviegoers, a quick fix with lots of CGI in one of their favorite universes is good enough. Godzilla: King of the Monstershas many things in common with these movies, without quite being as good as any of them, or Godzillas of the past. Inasmuch as moviegoers will see the great effort taken to be faithful to its predecessors, by bringing more than just Godzilla to the picture, by bringing in a significant number of character actors that will be familiar to audiences, and by trying to create more spectacular visuals than came before, the latest Godzilla movie, opening today, doesn’t match either the monster mayhem or the humor of its 20th century predecessors.
Stuffed with every over-used creature and action trope, some used repeatedly, Godzilla: King of the Monsterssuffers from taking itself too seriously. Its single attempt at levity is Get Out’sBradley Whitford as a wise-cracking scientist who seems to be channeling Brent Spiner in the Independence Day movies. But beyond that, this is a family drama, more talk and human family in-fighting than Godzilla screen-time, between Stranger Things star Millie Bobby Brown as Madison and her separated parents played by Kyle Chandler (Super 8) and Vera Farmiga (The Commuter) (in that way it suffers the flaws of the 2014 Godzilla). For some credibility we get Oscar-nominated actor Ken Watanabe (Isle of Dogs, The Last Samurai, Batman Begins) to remind us of the creature’s 65 years as a Japanese kaijū icon. Other than that, the production skipped Japanese actors for this installment. The best character and performance comes from Charles Dance(Pride and Prejudice and Zombies, Bleak House, Gosford Park), who plays a terrorist. His character is the lone voice who speaks sense in a film that only makes sense if you also believe ocean drillers are the best choice to pilot a space shuttle to save the world from an oncoming asteroid. Armageddon, War of the Worlds, Cloverfield, The Day After Tomorrow, Pacific Rim and every other disaster movie is rolled up into a single package here. Direction and decisions are all over the place. Even in a crazy, kooky, over-the-top monster movie, audiences deserve a plot with a foundation with a smidge of reality, especially if the talking heads scenes get equal time with the clashing creatures. So if you decide to see Godzilla: King of the Monsters in the theater, you’ll need to throw all logic and reason aside and try to enjoy the ride.
Although this wasn’t clear in the trailers, Godzilla: King of the Monsters is more than another franchise installment, it’s a direct sequel to Gareth Edwards’ 2014 Godzilla movie. Five years later the world is learning how to live as 17 titans (monsters like Godzilla) surface across the globe. Watanabe joins other returning cast members, including Oscar-nominated actress Sally Hawkins (The Shape of Water, Blue Jasmine, Layer Cake), Oscar-nominated actor David Strathairn(Sneakers, The Firm, Eight Men Out, Memphis Belle), as they attempt to cause the titans to join forces in support of Godzilla instead of his three-headed dragon competition Ghidorah. The best of the encounters finds the flying Rodan taking on a convoy of jet fighters, in a sweeping, well-choreographed scene that you’d expect from a Godzilla movie, although this scene and the rest of the monster scenes are mostly fuzzy and don’t make the most of high-definition camera capabilities or CGI.
The most expensive Star Wars prop and the most iconic single Star Trek costume sold at auction this past week. A new record was set for the highest sale price for a television costume, the market proved yet again that even the slightest Star Wars item takes top dollar, and sci-fi again rules the private collectors’ market for screen-used costumes, props and other entertainment memorabilia. It all happened at auction house Profiles in History’s latest Hollywood memorabilia auction, held in Calabasas, California over three days September 30 through October 2, 2015.
Profiles in History reported that it tolled $7.3 million in sales in the auction. The biggest news came from a production model of the Rebel Blockade Runner, the first ship seen at the beginning of the original Star Wars, which set the record for the sale of any Star Wars production piece. It sold for double the catalog estimate at $450,000. The prior record for a Star Wars item was $402,500, for a TIE Fighter filming miniature from Star Wars that sold at Profiles in 2008.
George Reeves’ The Adventures of Superman television series earned its rightful place in the history of television, with his supersuit selling for $216,000, the most for any known sale of a television costume.
Star Trek fans saw the most iconic Star Trek costume with the best provenance recorded sell for $84,000. That was one of Leonard Nimoy’s blue tunics from the original series, accompanied by the documentation whereby a fan won the costume from a studio promotion back in the 1960s. No other original series piece has sold with better provenance back to the studio. Other Star Trek items sold included an original series third season McCoy standard blue uniform for $57,000, and an incomplete Class A Spock uniform for $14,000.
Everyone wants to get their hands on original Star Wars items–the most difficult of the major franchises to collect since most items remain with Lucas or Lucasfilm. A small section of the Death Star barely seen in Return of the Jedi sold for a whopping $39,000. And even though it wasn’t screen-used, a lot consisting of prototype pieces of the most cosplayed sci-fi outfit ever, Carrie Fisher’s “Slave Leia” outfit from Return of the Jedi, sold for $96,000. Finally, in the top echelon of sales at the auction, a special effects camera used to film Star Wars sold for $72,000.
Then there’s Indiana Jones. One of Harrison Ford’s screen-used bullwhips sold for $204,000, a fedora went for $90,000, and one of his shirts and leather jackets each sold for $72,000.
Other notable, classic, genre pieces sold, including:
From Forbidden Planet, a light-up laser rifle ($66,000), a light-up laser pistol ($27,500), and a Walter Pidgeon Dr. Morbius costume ($24,000).
From Jaws, a Robert Shaw Quint harpoon rifle ($84,000) and machete ($27,000).
It’s flat-out one of our favorite sci-fi sub-genres. The alien invasion flick.
The Day the Earth Stood Still (1951), The Thing from Another World (1951), Invasion of the Body Snatchers (1978), Close Encounters of the Third Kind (1977), E.T, the Extra-Terrestrial (1982), Predator (1987), Alien Nation (1988), They Live (1988), Independence Day (1996), Star Trek: First Contact (1996), Men in Black (1997), Starship Troopers (1997), Signs (2002), War of the Worlds (2005), Cloverfield (2008), District 9 (2009), Cowboys & Aliens (2011), Edge of Tomorrow (2014). These are some of the most exciting and fun sci-fi movies to watch and re-watch.
Kick-Ass and The Equalizer’s Chloë Grace Moretz stars in a new Sony/Columbia Pictures release, The 5th Wave, which looks like it’s mixing the alien invasion film with the disaster movie, the epidemic movie, and the body snatcher movie. The only thing missing is zombies. But body snatchers are close enough.
The 5th Wave co-stars Office Space star Ron Livingston, X-Men Origins and The Sum of All Fears’ Liev Shreiber, and Prime Suspect and Assault on Precinct 13’s Maria Bello. Is Moretz a normal Earthling or one of us taken over by the aliens?
Wild’s End, a new comic book series from BOOM! Studios, is quite strange and enchanting—it reads like a Masterpiece Theater version of Winnie the Pooh. Complete with talking animals, it’s also very British and old worldy. At the same time this is no ordinary town at its core, more like the town of Haven of the Syfy Channel TV series based on the Steven King story “The Colorado Kid.” And its inhabitants are as idiosyncratic as those troubled people of Haven.
But Wild’s End is more than that. Think Alice’s Wonderland of odd fellows versus an attack like you’d find in H.G. Wells’ War of the Worlds, as a downed ship is about to wreak havoc on a peaceful Hobbiton-like community.
Mr. Clive Slipaway, a stout two-legged, walking-talking Great Dane, is new to the town of Lower Crowchurch. He’s clearly trying to find a quiet place to retire after years of military service or some kind of similar tough life experiences. He’s a bit like John Wayne’s Quirt Evans from Angel and the Badman—a tough customer who wants to mind his own business until circumstances require him to take action to protect the lives of local innocents.
Whether you’re a fan of the original novel, Orson Welles’ radio drama, or any of the film adaptations, you’ll be hard-pressed finding anyone who isn’t familiar with H.G. Wells’ War of the Worlds, in which giant tripod Martian invaders take over on Earth. What if H.G. Wells wrote War of the Worlds as a cautionary tale, based on facts known only to him and a few other government insiders? Author Kevin J. Anderson asked this question and many more in his 2006 novel Martian War, re-released this month in a trade paperback edition.
Anderson ponders several “what ifs”–What if the Moon and Mars were as Wells and his contemporaries had predicted in the 19th century, with roaming animals, birds and vegetation and advanced lifeforms? What if the Invisible Man was a real inventor, Doctor Moreau an actual twisted scientist, and they teamed with a young Wells, his would-be wife Jane, and real-life contemporary English biologist Thomas Huxley and astronomer Percival Lowell? It all sounds like another take on The League of Extraordinary Gentlemen and to an extent it is. Martian War is also every bit in the same genre as Guy Adams’ 2012 release, Sherlock Holmes: The Army of Doctor Moreau, reviewed here this summer.
If you ever had an inkling to go to film school, if you are going to film school or if you teach film courses, Richard Rickitt’s Special Effects: The History and Technique should be required reading. Not only is it a comprehensive work about the history and craft of special effects, it is a detailed account of the history and progress of film, and could serve as a college textbook to a master class in film technique. And it is also a history of science and technology in its own right.
Rickitt’s Special Effects is a well-reviewed work, which is why it was purchased for me as a gift. It is used as a college text in film schools and for good reason. It has seen several printings since its first printing in Great Britain in 2006, including a reprint as recently as 2011, and it is as current as a nearly 400-page volume can be, including new effects technologies employed as recently as the Lord of the Rings films and X-Men 3.
Because of its price, Special Effects may not be for the casual movie enthusiast–but only because of price–as it can cost $40 for older editions and up to $230 for the most current edition. Yet if you are really interested in behind-the-scenes cinema, it is probably worth saving for, and if you’re a college student, just slip it into your current semester’s $800 book purchase (at least that’s what I spent on each of my last few semesters for books and I can’t imagine prices have dropped–plus this book is actually a fun read you’ll hold on to). It’s breadth is enormous, with both general and detailed coverage of landmark people and technologies from George Melies to Willis O’Brien and Ray Harryhausen to Industrial Light & Magic to Pixar and Weta. Although it purports to cover merely Special Effects, in truth it covers the beginning of film and every technology that was created since, building upon each discovery and new invention to bring us to the complex CGI technologies of today.
This is far from a quick read, and will likely serve as a reference work or one you pull off the shelf from time to time when you need something exciting to read of the non-fiction variety. I mentioned college text–Rickitt is a good teacher, clearly explaining in terms anyone can understand not just the “what” but the “why” and “how” of benchmarks in film with visuals and diagrams, including explanations of the role and use of technologies like the zoetrope, the parts and functions of the modern movie camera, the history and types of film recording materials, matte film, blue-screens, film printing, optical and digital compositing, the A to Z of film projection, post-production techniques like image interpolation, the use of mirrors, forced perspective and miniaturization, pyrotechnics, cloud tanks, models, motion-control photography, digital and procedural modelling, texture mapping, special effects animation, rotoscoping, 3D technologies, motion blur, digital skin, performance capture, particle systems, high dynamic range images, match moving, rendering, the A to Z of matte painting, props, make-up, prosthetics, animatronics, sculpting, inner mechanisms, performance systems, digital make-up, atmospheric effects, breakaway effects, sound recording, sound effects mixing, foleying, dialogue replacement, and the future of film technologies.
A diagram from Rickitt’s Special Effects: The History and Technique
The author uses hundreds of photographs and provides real-use examples from movies to explain techniques. Detailed analysis is used for movie benchmarks Rickitt has identified, including The Abyss (1989), The Birds (1963), Aliens (1986), An American Werewolf in London (1981), Blade Runner (1982), Citizen Kane (1941), Close Encounters of the Third Kind (1977), Darby O’Gill and the Little People (1959), Destination Moon (1950), Earthquake (1974), The Exorcist (1973), Fantastic Voyage (1966), Forbidden Planet (1956), Forrest Gump (1994), Jason and the Argonauts (1963), Jurassic Park (1993), King Kong (1933), King Kong (2005), The Last Starfighter (1984), The Lord of the Rings trilogy (2001-2003), The Lost World (1925), The Matrix trilogy (1999-2003), Metropolis (1926), Mighty Joe Young (1949), 1941 (1979), Raiders of the Lost Ark (1981), all six Star Wars films (1977-2005), Terminator 2: Judgment Day (1991), The Thief of Baghdad (1940), Things to Come (1936), Titanic (1997), Toy Story (1995), Tron (1982), 20,000 Leagues Under the Sea (1954), 2001: A Space Odyssey (1968), The War of the Worlds (1953), Who Framed Roger Rabbit (1988), Willow (1988), and Young Sherlock Holmes (1985).
You’ll learn about ambient occlusion, beam splitters, cannon cars, color separation, depth of field, diffuse reflection, dissolves, dubbing, edge detection, emulsion, extrusion, fluid dynamics, go-motion, introvision, the Lydecker technique, morphing, NURBs, plates, ray tracing, squibs, time-lapse and time slice photography, wipes, zooms and zoptics.
An early edition of Rickitt’s book–note that earlier versions will not have the most up-to-date coverage of current technologies. The version shown at the top of this review is the most recent edition.
And along with the “what” and “why” Rickitt profiles a “who’s who” of landmark film creators, including Georges Melies, Mack Sennett, D.W. Griffith, James Whale, Alfred Hitchcock, George Pal, Roger Corman, Irwin Allen, George Lucas, Steven Spielberg, James Cameron, Robert Zemeckis, Peter Jackson, Dennis Muren, John P. Fulton, Linwood Dunn, Richard Edlund, Dennis and Robert Skotak, Arnold Gillespie, Theodore and Howard Lydecker, Gordon Jennings, John Dykstra, Steve Gawley, Lorne Peterson, Willis O’Brien, Ray Harryhausen, Phil Tippett, John Lasseter, Norman O. Dawn, Albert Whitlock, Peter Ellenshaw, Lon Chaney, Jack Pierce, Stan Winston, Rick Baker, Ken Ralston, Cliff Richardson, Michael Lantieri, Jack Foley, Ben Burtt, Gary Rydstrom, and the Carboulds.
But you don’t need to look at Special Effects: The History and Technique as a dense book of facts. Pick it up now and then and enjoy reading the book in 4-5 page stints and you’ll become an expert in film in no time, or just be amazed at how the magic of film works.
Back in June, Super 8 was in theaters and Jason McClain discussed it here and noted the split in the film between the focus on the kids’ story vs. the focus on the adults. I didn’t see this one in the theater and after viewing on video I wish I had, but only for the spectacular train crash. Other than that, the film makes a great rental. For me, this film was a cross between Goonies,Cloverfield,E.T., the Extraterrestrial, and Close Encounter of the Third Kind. I found myself viewing this and questioning whether this was more of a J.J. Abrams movie or more of a Steven Spielberg movie. And I found it to be a lot of fun.
I agree with Jason’s review, that this could have been a film focusing totally on the kids’ story—kids trying to make a zombie film. Joel Courtney in the lead role, in his first film appearance, was cast perfectly as Joe Lamb—as every little kid who doesn’t get into trouble, tries to do the right thing, tries to be friends to everyone. The film inside the film didn’t need to be a zombie film, but zombies was as good a subject as any, and something the director could use because of the humor zombie make-up adds to the picture. And maybe because the film also wants to be a monster movie of the alien variety.
I also agree with Jason that you could cut all the adult themes and probably end up with a better picture. I find it puzzling that every film about differing genres that includes kids must have a one-parent family at the core. It used to be that all movies had two parents and two kids, and I understand over time why the change to more diverse families makes sense. But I can’t remember the last time a two adult, couple of kids family was pictured on film. They exist in real life so I’m not sure what the draw is for the barrage of broken families. You’d think Hollywood would mix it up a little. I expect filmmakers think it gives the film some weight. I usually find dwelling on family in this kind of film unnecessary and irrelevant to the plot–the father-son and father-daughter reunion pieces of the film here included.
But back to the good parts. The themes of young teens mimic the superb, classic kid film Goonies so much you could draw parallels through the whole movie. Young boys’ crushes on the older girl. Rescuing a friend. The desire for adventure and the decision to go off and “just do it.” The same themes were also addressed more seriously in Stephen King’s Stand By Me and less so in E.T., the Extraterrestrial. If Goonies was better at being a kids’ film it was probably because the adults only played the enemies and barely served another purpose in the plot. After all, in the context of a fictional adventure film, why not play into that natural tension between parents and kids? In E.T., the adults were primarily the enemies, too. In Stand By Me, again, no parents, just kids being kids. The change-up is Close Encounters—where the little boy in the film is kidnapped by the aliens. But even there the little kid parallels the real little kid story in the film–the little boy trying to get out, trapped inside the lead character played by Richard Dreyfuss. Close Encounters is the ultimate kids film about grown-ups. Dreyfuss wants to believe in aliens every bit as much as Elliott and Gerty in E.T. The kids in Super 8 aren’t longing for this kind of connection, they just want to be the kids they are.
As a “horror-light” film, viewers will see similarities to the alien/monster pursuit in Cloverfield, and the alien/monster images from Cowboys & Aliens. I thought this was a fun genre-bending exercise and it worked better here than Cowboys & Aliens but not as well as in Cloverfield. I include Cloverfield in the discussion here because of the similar vibe throughout the last half of the movie, undoubtedly based on Abrams participation in both productions.
Super 8 should be looked back on later as a big film for Abrams. Where Star Trek 2009 was J.J. Abrams’ big-budget sci-fi feature, Cloverfield was his Blair Witch-type horror film, and Mission Impossible III was his post-Alias spy movie, Super 8 is Abrams’ take on Spielberg–it’s his Spielberg homage of sorts. I expect to see a boxed DVD set coming—Close Encounters (directed by Spielberg), then E.T. (directed by Spielberg), Goonies (written by Spielberg), War of the Worlds (directed by Spielberg) and then Super 8 (produced by Spielberg). Not so much a set of coming-of-age films as a set of solid kids-being-kids films. Although written and directed by Abrams, anyone would believe it was a Spielberg creation, were it written and directed by Spielberg. Looking back on Abrams’ short list of films, it’s as if Abrams is a director mimicking the style of others. As style goes, he certainly doesn’t have an established niche yet. The only exception is those lousy lens flares he can’t seem to avoid. You have to wonder if he sees something in those glares we don’t see, as we are blinded multiple times mid-film. But it seems to be his signature. A lens flare is even in his poster for the film shown above. Bizarre.
If you pulled Goonies out of our fictitious boxed set, you have a nice series of alien films—Close Encounters, about meeting aliens, E.T. about befriending aliens, Super 8, about fearing aliens, although you have to empathize with the alien in Super 8, as with past Spielberg aliens, and then War of the Worlds at the other end of the spectrum opposite E.T., where the aliens are entirely and unquestionably our enemy.
Team Fanning also follows through again with a gaggle of teen actresses who only seem to get better with each new sibling to take the stage. Here, Elle Fanning plays the tough teen with a chip on her shoulder, a role done before several times in films, but usually by male characters played by the likes of like Heath Ledger or Matt Dillon. In one scene she switches from playing a kid character to playing an actress practicing for a scene to be filmed on the Super 8 camera, and the switch is as well done as you could hope for with any performer. Ryan Lee in a small role as Joe’s friend Cary was a notable stand-out, playing the future pyromaniac who looks like a mini-Tom Petty. The rest of the characters are a motley mix of typical honest, good, nerdy kids.
Reflecting back on the films about kids mentioned above, I have a note for the current onslaught of child actors, especially those playing lanky, skinny, fat, odd, etc. kids: Just check out what happened to the child actors in the above films. Drew Barrymore who was Gerty in E.T. is now a Cover Girl model and was a Charlie’s Angel. The chubby kid, Jerry O’ Connell, in Stand By Me ended up as the leading man-looking guy who starred in Sliders and several later series. Jeff Cohen who played Chunk in Goonies became an L.A. lawyer. Sean Astin who played the lead in Goonies ended up as the beloved Samwise Gamgee in Lord of the Rings. And the oldest teen in Goonies played by Josh Brolin, was nominated for an Academy Award. My point? Awkward teens take note: Life gets better. The old child actor’s curse doesn’t exist anymore.
As science fiction goes, Super 8 stands up as a good film, as a horror film it’s a little light, as an adventure film it’s better than good, but as a film about kids, Super 8 is a solid, entertaining picture that will keep the attention of viewers of any age.
My best reaction to movies comes from those films that are not over-hyped, and that have trailers that do not show too much of a film’s content. Examples are Inception and Avatar, two movies that were so hyped that by the time I saw them I was disappointed. Not so for Source Code. Source Code is so innovative and interesting that you may keep talking about it, keep thinking about the different elements, the different choices made and possibilities the story reveals. If they only made sequels to movies like this.
For one, my favorite sci-fi movie subject involves alternate realities, whether they are parallel timelines, time loops, time travel, or alternate histories. On a basic level you will encounter time loops, a discussion topic from earlier this week, and you may encounter other alternate reality topics in Source Code. Despite its title, it is not a computer techno-romp like The Net. That’s a good thing.
Source Code stars Jake Gyllenhaal as a man on a train who appears out of nowhere and believes he is an American soldier whose last memory was fighting a battle in Afghanistan. He is pulled out and replaced into a confined space, and from the trailer we know this place is a train that has a destiny with some type of horrible explosion. Like Unstoppable, reviewed earlier here, only a handful of characters and tight locations are necessary to tell this tale. The grandiosity of the typical blockbuster is not necessary here to deliver fast-paced action and harrowing circumstances for Gyllenhaal and co-star Michelle Monaghan, and uniquely difficult decisions for a project leader played by Vera Farmiga. The is a small film, but high concept.
Gyllenhall fails to disappoint. Joining Tom Cruise and Bruce Willis, his films always deliver. His acting project choices, like this film, will hopefully continue to propel his career forward. Like his character in Zodiac, the suspense mystery about the search for the real-life Zodiac serial killer, his character in this film struggles with confidence, angst, and a desire to break out of his confinement, his lot. His performance here is as equally exciting as his acclaimed role as a troubled youth in Donnie Darko.
Source Code contains traditional sci-fi elements, to the point you would swear this was based on a Philip K. Dick, Arthur C. Clarke or Ray Bradbury story. It has the feel of a classic sci-fi story. Like with Bruce Willis’s Twelve Monkeys, Gyllenhaal’s Colter Stevens is a traveller, not by choice, not in the way we all dream about what you could do if time travel were possible. Like characters in Connie Willis books (To Say Nothing of the Dog, Lincoln’s Dreams, Doomsday Book, All Clear) Stevens has a mission to complete, but not all is as it appears. Rounding out the key characters of the story is Jeffrey Wright (Casino Royale), a lead actor type who is always equally solid in a supporting role as “the man behind the curtain.” Look for the voice of Scott Bakula as Stevens’ father, not entirely coincidental considering this Quantum Leap-inspired quest. And see how this could be considered another borg story, not unlike The Six Million Dollar Man.
Source Code could be compared with the Matrix, but Source Code is much better, much smarter, and more compelling. As with movies like War of the Worlds, you are forced to ask yourself “what would I do if I suddenly awoke in Stevens’ shoes?” Directed by Duncan Jones, this film does not follow any typical pattern and the story begins in the middle of the action, like a lot of TV shows, such as Heroes, have been filmed in recent years. The pace works really well here. You may be able to stay ahead of the action and decisions a few times throughout the movie, but I’d wager no one could predict the branches the story ultimately follows. What contributes to the gravity of the characters’ situations is the believability of the circumstances in our current era of varying colored alerts.
While you’re buckling down for Irene to arrive this weekend, you could do a lot worse than renting Source Code on DVD or Blu-Ray. Source Code’s creative story, action, and good acting earn 4.5 of 5 stars. This may have fared even better in theaters, because so many details contribute to the story understanding that even on a decent size small screen you may miss some of these bits and pieces.
While we wait for the opening night of Cowboys and Aliens on July 29, two days ago we walked through the top western movies to get psyched for Jon Favreau’s big budget clash of Old West and classic sci-fi story. Today we run down the best alien movies Hollywood has created. We’re not thinking so much about aliens in their native environment, or Star Wars and Star Trek films would top the list, but unexpected human encounters with otherworldly, friendly and not-so-friendly brethren.
1. THE DAY THE EARTH STOOD STILL (1951). It should be no surprise that a movie from the director of West Side Story, The Sound of Music, The Sand Pebbles, and Star Trek: The Motion Picture (and the editor of Citizen Kane and The Hunchback of Notre Dame) makes the top spot of this list. Robert Wise’s classic story would fit solidly alongside the best Twilight Zone episodes. And story is the point–no modern glitz and special effects necessary. Michael Rennie appears to be just a man. But he is not. He is Klaatu, a visitor who has come to observe us in his flying saucer with the giant robot Gort. How would we react to an alien visitor? The first look at ourselves revealed paranoia and fear–it is the original self-reflection story that would later inspire V and Alien Nation.
2. PREDATOR (1987). He’s a hunter. A collector. And he’s on vacation. That doesn’t sound like a high calibre story description. Substitute the alien visitor and Predator is a western not unlike High Noon. Our creature is a visitor with a secret past like any of a number of Clint Eastwood gunslingers. And he is just as cool, a hunter that would stand firm alongside Boba Fett, Bossk, Dengar and Zuckus. His make-up is unreal–truly alien to us–and he looks like a Nausicaan–that race that shoved a pool cue though Captain Picard in Star Trek: The Next Generation. Let’s see, who has an unusual skull that would look good on his trophy mantle? How about that melon on Arnold Schwarzenegger? There’s a cool vibe throughout the film and a great cast–and what other genre film features two future state governors? And one of those gauntlets looks like Daniel Craig’s from the Cowboys and Aliens trailers.
3. CLOSE ENCOUNTERS OF THE THIRD KIND (1977). But for Star Wars this picture would have gone off the charts the year it was released. Because of multiple Star Wars viewings by me in 1977 and 1978 (I saw it ten times with my brother and sister instead of going to see anything else), I didn’t get to see this movie until years later when it was released on video. But once I saw it, I realized how grand in scope it was. Mix all the episodes of Leonard Nimoy’s old TV series In Search Of… and you’ll end up here. A ship in the middle of the desert, a 1940s squadron appears out of nowhere, and we keep seeing this shape, painting it, making models of it. Near the place where the Sundance Kid grew up is a destination for sci-fi fans now, at Devil’s Tower, Wyoming. And those five musical tones. And an alien kidnapping scene, revealing nothing about the aliens, toys that seem to come alive, shocking and scary. Invaders or friends? Richard Dreyfuss’s second best movie. One of Spielberg’s best.
4. E.T.,THE EXTRA-TERRESTRIAL (1982). Not only did Close Encounters and The Day the Earth Stood Still teach us that aliens can be our friends, with E.T. a lot of us would never think to put up a fight when the invasion arrives. Ugly but lovable, E.T. was funny, thrilling, and made us all cheer. Ignore the recent edited, updated version–the original was just fine, thank you very much. A classic pop culture film that gave us several catch phrases: “Home,” “I’ll be right here,” “Be good,” “Phone home.” And I am still addicted to Reese’s Pieces. Another great Spielberg picture in his long list of blockbusters.
5. ALIENS (1986). Bill Paxton’s Private Hudson had it right when he said, “Game over, man, game over!” The polar opposite of the aliens-as-friends films, these exoskeletal aliens have nothing in common with humans. As villains, there is nothing for us to sympathize with. They will just exterminate us. This was a wake-up call for everyone who wants to meet our galactic neighbors. Stay home and draw your curtains instead. It was destiny that someone would pit them against Predator years later and it was no contest that we’d cheer the Predator. And I don’t care what anyone says about the first movie with these monsters, Alien–Aliens, the sequel, was tons better with less unnecessary gross-outs. You’ve seen one stomach burst, you’ve seen them all. Skip the sequels but check out Aliens vs Predator for even more fun.
6. THE LAST STARFIGHTER (1984). When Robert Preston, the original salesman from River City in The Music Man, comes to your planet looking to sell you something, like being a Starfighter, you know you have a different kind of film. Here we expand the alien movie archetype from either good or bad–aliens are shades of gray, like people, some are good, some are evil. Directed by Nick Castle, John Carpenter’s colleague, a simple, quiet movie that has a lot of heart and makes everyone wish they’d get Alex Rogan’s calling. And Grig’s make-up was the greatest thing until Enemy Mine. With a great ending for the bad guys, with an all-time classic exchange: “We’re locked into the moon’s gravitational pull! What do we do?” Answer? “We die.” Back in the days of arcades, this movie rivaled Tron as to coolness factor. “Greetings, Starfighter. You have been recruited by the Star League to defend the frontier against Xur and the Ko-Dan armada.” Where can I sign up?
7. THEY LIVE (1988). This is a John Carpenter classic reviewed in an earlier post and puts Carpenter’s storytelling up there with Kurt Vonnegut, Jr. Here, the story goes that Earth has already been invaded and They have been living amongst us. We could just ignore them. After all they aren’t hurting anyone. But once we see them they are sooo ugly. And we were here first. Some of us will play along to get the “good life”. But for one guy trying to keep to himself, this is something he can’t ignore. The truth must get out. Roddy Piper is here to chew bubblegum and kick ass, and he’s all out of bubblegum. But no happily ever after will be had here. They are here to stay. On the one hand, some movie watchers and critics dismiss They Live as just another action flick. But if you pay attention, like with all Carpenter movies, you can see Carpenter’s masterwork is much more complex and dips into our own world’s politics and those who do, and those who don’t, sell-out.
8. ALIEN NATION (1988). Much more than just a morality play and allegory to our own prejudices, Alien Nation digs into the struggles all lifeforms surely must face in a multi-species environment. What motivates us, how do we get along with others? James Caan (The Godfather, Elf) and Mandy Patinkin (Princess Bride) were perfectly cast as human and Tenctonese cops. The film’s themes prompted an immediate successful TV series starring Gary Graham and Eric Pierpont. Beyond the deeper themes, it’s a great police story and an odd, but fun, buddy movie of the Odd Couple variety.
9. WAR OF THE WORLDS (2005). I almost didn’t see this remake in the theater. But Tom Cruise movies are exciting and enjoyable 95% of the time. So I saw it and just re-watched it a few weeks ago. Here we see the futility of combating an invasion of even slightly more technology and might than us. The situation really is hopeless. All one can do is run. As in They Live, with War of the Worlds the aliens have been here for a long time, only here they parked their vehicles here and are just now coming back to rev ’em up. This movie has great special effects, truly creepy unsympathetic villains, and a lot of dread. You really feel the pain of the result of alien visitors who don’t want to be our friends. Yet another Spielberg blockbuster.
10. DISTRICT 9 (2009). A great film of political complexity. A variant on Alien Nation, yet the same basic story. An extraterrestrial race is forced to live in slum-like conditions on Earth. Their vessel runs out of resources and parks itself over South Africa. It’s a blunt morality tale about the brutality of prejudice. This one will strangely make you cheer against the humans. Luckily for the visitors, they find a kindred spirit in a government agent who is accidentally exposed to their biotechnology. You’ll find yourself asking: What are your values? How do you treat others who are different? Where would you draw the line between life worthy of mutual respect and not? Its documentary-style filming and non-American cast is refreshing and new. And half the time you have to cringe at the protagonist’s actions. Are we with him or not?
Honorable Mention: Starship Troopers (giant bugs destroy Rio de Janeiro, Johnny Rico is a classic western hero type), Enemy Mine (like Stagecoach, a human is stuck with an alien and even without a common language they come to realize how alike even different species can be and how valuable relationships can be formed by just trying to get along).
, re-released this month in a trade paperback edition.
and to an extent it is. 
should be required reading. Not only is it a comprehensive work about the history and craft of special effects, it is a detailed account of the history and progress of film, and could serve as a college textbook to a master class in film technique. And it is also a history of science and technology in its own right.
