Star Wars

The Star Wars franchise is a useful tool to take us through almost fifty years of poster design. First and foremost, the poster is designed to get the audience interested in the film, then perhaps to give some idea of what the film is about. The posters for Star Wars: A New Hope scream science-fiction adventure – it shows the cast, ranging from plucky heroes to the sinister Darth Vader to cute robots; it has light sabres and blasters. The Empire Strikes Back poster is slightly more sombre but with a similar feel – the cast on the poster and some sci-fi accoutrements. Return of the Jedi again has the same style, but they have added an Ewok. In each poster, Darth Vader dominates the background. The major posters for the prequel trilogy follow much the same formula, with slightly sharper graphics. There is a poster for The Phantom Menace that is one of the most effective movie posters I’ve ever seen. It simply shows the child Anakin Skywalker on Tatooine and his shadow displayed on a wall behind – but the shadow is that of Darth Vader.

Alien

A film that came out two years after ANH was Alien, another seminal sci-fi movie with an iconic poster that spans the decades like Star Wars.. And as Alien is a very different sort of sci-fi film to ANH so is the poster. Whereas Star Wars tries to give you some idea of what to expect Alien does the opposite, most of the poster is sheer black, with a picture of an alien egg, a line of light cutting across the egg and the famous tagline – In Space, No One Can Hear You Scream. This is a mysterious poster, it is a cool poster, and despite the lack of detail and information, you want to see this film. For the later Alien films the posters change back and forth – sometimes focussing on Ripley and others the xenomorph. Prometheus is probably the best poster since the first film – again creating this mysterious image where a person will try and work out what is going on.

Posters As Art First

Cult sci-fi movie The One I Love has a film poster that only truly makes sense after you’ve seen the film and demonstrates a big shift in movie posters. There was a time when the ability to reach an audience was rather limited and posters may have been the most effective way to inform people about your film. Since the late 90s that is no longer the case – trailers are watched millions of times online, people know a great deal about the films they could see, so the poster has changed from informative and eye-catching to more like works of art. Moon is a great and underappreciated sci-fi film and it’s poster is also a work of art, perhaps not the most informative, but it look’s great.

The Best Film Poster Ever Made? The Truman Show

The Truman Show has one of the greatest posters of all time – it looks amazing, is intriguing and while not going into the plot demonstrates what the film is about. The poster is a huge picture of Truman’s face but is a mosaic picture – as this image is made up of lots of small images of Truman. The film is about a man who is being filmed every moment of his life, where people can see just about every aspect of him…it is almost perfect for a film poster.

Also Read: Movie Marketing: Films That Thought Outside The Box

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Today we will recommend five alien encounter films and look at what their use of extraterrestrial characters mean.

A Trip To The Moon

Georges Méliès early silent short sees a group of scientists venturing to the moon in a rocket. Where they encounter a not-so-friendly race of moon people. While its aliens have simple designs and lack emotional depth as one of the earliest science fiction films this short showcased that films were capable of presenting other worlds as well as showing our own. It represented progress for cinematic imagination and inspired filmmakers to start dreaming of what extraterrestrial life could look like.

2001: A Space Odyssey

This sci-fi masterpiece charts the human race as it evolves and pursues travel to the stars. Each major event in our history (the development of tools, colonisation of the moon and interstellar travel) is marked by the appearance of a monolith that seems to communicate something. Eventually, when one astronaut finds another monolith beyond Jupiter something happens to him. Is it the birth of a new alien being? A way of communicating with beings beyond our understanding? Or something else? 2001 presents a visually arresting but grounded view of humanity’s technological progress. Additionally, it asks us to consider if our first encounter with alien intelligence will be terrifying, liberating or even conventionally understandable.

E.T.: The Extra-Terrestrial

Cinema’s ultimate friendly alien. When E.T. gets left on earth he is taken in by the young Elliot. Eliott tries to keep E.T. safe from the government and eventually, with help from his family and brother’s friends, gets him home. A classic tale of bonding that through its fantastic direction, score, performances, and effects shows us the wonder of the world from a child’s perspective. But it also promotes the value of kindness by showing how the bonds of friendship and family are common. Even across the stars. It’s a film that by the end makes you want to be a better person.

The Thing (1982)

John Carpenter’s The Thing took the cinema staple of the hostile alien encounter to its most gruesome conclusion. A dog carrying an alien life form reaches an antarctic research station. After grotesquely transforming its host’s body the research team discovers that the alien can infect people through contact and absorb and imitate other life forms. Was anyone else infected by the alien and worse how can the team tell who is still human? The Thing is a great allegory for how viruses affect the body and human nature. But it also gave us perhaps cinema’s scariest alien. A creature that can hide anywhere and transform life into twisted parodies of itself. The Thing is the pinnacle of cosmic horror films and practical effects work.

District 9

If E.T. uses alien encounters to show humanity at its best District 9 uses them to comment on the worst of humanity. After a ship of aliens lands on Earth they are placed into an apartheid system where they are discriminated against and forced into separate houses and systems to humans. From there we follow Wikus van de Merwe, an agent of the company MNU, who through being exposed to something slowly begins turning into one of the aliens. Similar to E.T. District 9 uses aliens to comment on how we view others but this film focuses more on the at-once banal and other times violent nature of systemic oppression and the ramifications it can have on oppressed people. With some fantastic effects work, a compelling story, and poignant thematic underpinnings District 9 is a hard but rewarding watch.

We could honestly recommend many more alien contact movies. These films have been a staple for years because they represent cinema’s greatest qualities. The ability to visualise new worlds and people while reflecting the most human of experiences. If you have any favourites you want to recommend then please do so.

Also Read: Trains of Events: Great Movies About Trains

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Vampires in Winter

There are places in the world where it gets really dark. 30 Days of Night is set in one such place, a town in northern Alaska where they have a thirty-day period of darkness every winter. Naturally, this is an appealing site for vampires and one year they descend upon the isolated town. There is a slow build of tension as people report phones being sabotaged and pets killed – to make the population more isolated and vulnerable – and then the vampires attack. There is a great scene of the initial attack, people dragged from their homes by vampires, people being chased down, it even includes an aerial shot showing the bloodbath from above. Frostbite has a similar premise but this time it’s a small town in Sweden. Frostbite has more comedic moments than 30 Days of Night and isn’t as good a film but it does have some great moments – such as the local police have detained a vampire in a cell but obviously have no understanding of what it is they’re dealing with and a simple questioning requires full riot gear.

Let The Right One In is another example of great winter horror and is an absolute masterpiece. Set in Sweden the story revolves around children Oskar and Eli, the latter we learn is a vampire, and while she looks like a child is very old. The film is very dark in every sense of the word with so much of it set at night – it turns out vampires quite like dark winter locations. As well as being genuinely horrific it is genuinely moving and one of the great horror films whatever time of year.

Winter In Space

Space can be a great parallel for winter. It’s cold, it’s dark, and it’s simultaneously lonely but you’re stuck with people. One of the most underrated films ever made is Moon – Sam Rockwell plays Sam Bell; who is left on a station on the moon conducting mining work with his only companion the station’s AI. Or so we think. Not long into the film Sam finds another person, someone in one of the automated vehicles, already this is weird as he believed he was the only person on the moon, but the person is his exact double.

It has been said before but Alien is a horror film set in space and if you’re looking for isolation and the idea that if you dare step outsides the confines of your home/spaceship you will need extensive protective outerwear to survive and may well not return then Alien is the film for you. In Alien outside is a dangerous place and it is where the horrors will come from, don’t go outside and don’t let those who do bring the cold back in with them.

There is a sci-fi film that mixes the isolation, cold and darkness of space with bright light and heat and this is Sunshine. The film follows a team of astronauts and scientists who have a mission to save the sun, so it is cold, it is dark and they are alone, but there is also the sun. One crew member has taken to staring at the sun through a protective screen, and even with the screen it is doing damage to his skin, but nonetheless, he is compelled to do it.

It’s Just Really Cold

The Thing is a classic horror in terms of isolation and the cold as a research team in Antarctica are attacked by a shapeshifting alien. The cold is a constant presence and limiting factor for the team, to leave their base to escape the alien is to invite hypothermia. After the grotesque special effects, some of the most memorable shots of the film are of Kurt Russell bundled in a huge coat with snow in his beard. One of the key elements at the end of the film is whether you can see the breath of the remaining characters because of the cold.

It’s impossible to not mention The Shining, not only one of the greatest films ever made but it has a lot of snow, and isolation is very much the point of it. Indeed some people think that there are no ghosts, that there is nothing supernatural going on and Jack is driven to insanity by the isolation. The family are more or less trapped in the snow-covered hotel, and when Dick Hallorann comes to rescue the family it becomes an arduous journey through the elements. It is a film that gets anyone thinking about how they would handle such an extended period of isolation. The hotel, even when it is the only Torrance family staying there, seems inviting and warm, it is bright and comfortable, contrasting with the ever-grimmer weather outside. And – spoiler alert ahead – it is the weather that actually saves Wendy and Danny with their father freezing to death.

Also Read: 10 Iconic Horror Movie Masks

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1. Horror: Friday the 13^th Part 2

Friday the 13^th Part 2 is a fantastic introduction to the iconic Jason Vorhees. Through sparse screen appearances, a genuinely creepy look, Harry Manfredini’s amazing music, and characters talking about him like a figure of legend, Jason becomes a truly terrifying figure. The film also has some great kills (the two-person spear) and tense set-pieces (the Sheriff’s chase through the woods and the final act showdown). And it gives us one of the genre’s finest female characters in Ginny (Amy Steel). The original is a classic, but Part 2 made the franchise what it is today.

2. Comedy: Bill and Ted’s Bogus Journey

If you’ve seen Bill and Ted’s Excellent Adventure watching this should be mandatory. Bogus Journey is incredibly imaginative and funny. The story includes concepts like Bill and Ted’s ghosts possessing people, having to play Twister with Death to return to Earth, Aliens living in the afterlife, and more. The sheer number of ideas and gags means that the movie never drags. The actors all have perfect comedic timing. The design work is incredible. And Bill and Ted are given more depth through the exploration of their fears. Bogus Journey is a riot and deserves to break free from its sibling’s shadow.

3. Superhero: Kick-Ass 2

While Kick-Ass 2 did lose something by having Hit Girl (played impeccably by Chloe Grace Moretz) no longer being a foul-mouthed youngster and Nic Cage not being involved it is still an entertaining comic book film. Each character has a satisfying and appropriate arc. The effective pitch-black humour returns, the murderous Hit Girl adapting to high school being the highlight. And some of the bloody action (particularly anything involving Olga Kurkulina’s Mother Russia) is really well done. Kick-Ass 2 is a good 15 rated antidote to an oversaturated market of 12a superhero sequels.

4. Sci-Fi: Alien 3

Alien and Aliens are very tough acts to follow. And while flawed it’s hard not to admire Alien 3. Rarely do we get a mainstream sequel as bleak as this. The prior film’s beloved characters are all killed. And Ripley (Sigourney Weaver in another masterful turn) is left to save a planet of prisoners who don’t value anything she has to say. While the plotting is sometimes confusing (not helped by some weird editing) Ripley’s story, the colourful supporting cast and the iconic imagery make Alien 3 deserving of appreciation on its own terms.

5. Children: Return to Oz

Despite being a sequel to one of the best movies of all time, made decades later and changing from a colourful musical with dark edges to a dark fantasy, Return to Oz somehow manages to be a great film. With a riveting story about trying to restore order to Oz, engaging new characters (Tik-Tok, Jack Pumpkinhead, and Gump), a terrifying ensemble of villains (The Nome King, Mombi, and The Wheelers), unbelievable effects, and Fairuza Balk doing good work as Dorothy this is a sequel with teeth. And it’s a perfect thematic follow-up to the original.

6. Action: Tomorrow Never Dies

Apart from the infamous Die Another Day Pierce Brosnan’s Bond sequels seem largely ignored. But Tomorrow Never Dies is a solid Bond film. The plot is somewhat plodding and after Goldeneye, TND can feel rather lacking. However, there are some great performances from Brosnan, Michelle Yeoh as Wei Lin, and Jonathan Pryce as news mogul Elliott Carver. Couple this with some fantastic action set pieces like the handcuffed motorbike chase scene, the rye humour, and a painfully relevant plot about news manipulation and you have a fun action film that more than makes up for its flaws.

Hopefully, this list encourages some of you to watch these movies. As they are worthy of more love than they initially received. And please tell us about your favourite underrated continuations so we can give more love to movies that need it.

Also Read: The New Frontier of the Western

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Spoiler Warning – Spoilers for Ocean’s 12, the Alien films and X-Men: First Class

The Worst Idea Ever

Ocean’s 11 is an enjoyably silly heist film, George Clooney is his charming self, Don Cheadle has a ridiculous Cockney accent and they even had filmmaking legend, Carl Reiner, in it. Ocean’s 12, however, did the worst thing any film has ever done. This is not worst in terms of morality but worst in terms of the worst idea anyone has ever had for a film. This takes some beating. After all, there have been nine films in the Fast & Furious franchise with two more planned, so that’s nine bad ideas in a row, with each idea getting exponentially worse. However, these films are just bad and ultimately that is a matter of opinion and I know that many people love these films. Ocean’s 12 though cannot be countenanced.

Ocean’s 12 starts in a typical heist film fashion with the team being brought together, in this one the person they stole from last time is out for revenge and demands they do a job for him. Fairly standard heist stuff. And then it goes off the rails. There is an artistic idea of “the willing suspension of disbelief” meaning that we put aside our parts of our critical thinking to simply enjoy a piece of art. Ocean’s 12 is determined to push this suspension to breaking point. One of the lynchpins of the heist is that Tess, played by Julia Roberts, looks quite like Julia Roberts, so she can pose as Julia Roberts. When watching Ocean’s 12, and indeed any film, we understand that these are actors portraying these characters. Whether that actor “exists” in the world of that film isn’t important as no one thinks that character looks like that actor, otherwise every film would constantly be full of people saying, “You know, you really look like Michael Caine.” So this insulting plan is put into action only for – and get this – Bruce Willis to show up! The real Bruce Willis who is of course friends with Julia Roberts! Oh, the shenanigans that ensue.

Perhaps the worst thing about this is the filmmakers seem convinced this is the Greatest Idea of All Time! Like the “why don’t they make restaurants that look like food” idea for architects, this has occurred to every filmmaker and quickly is dismissed. There are films that play with similar “meta” ideas in good ways – in A Cock and Bull Story Steve Coogan plays both Tristram Shandy and a version of himself making a film about Tristram Shandy. The Last Action Hero plays with many of the little inconsistencies that make films work, The Purple Rose of Cairo, Pleasantville, Wandavision all play with these ideas but the difference being that is the point of those films – that is what they’re exploring.

Ruining What Came Before

As I’ve written about before I am a huge fan of the film Aliens, and believe it does the near-impossible challenge of adding a young child to a film who not only isn’t annoying but improves the film. Ripley’s relationship with Newt makes that film. So why on Earth in Alien 3 is Newt killed at the start? And even worse – she is not killed in service to the story, she is killed in a sentence or two about problems with the ship. Imagine if in The Lost World: Jurassic Park we learned the children from the first film had died off-screen? Alien 3 famously had something of a development hell, with numerous scripts being written and tossed out but even so, it’s hard to imagine how they settled on this script.

Magneto might be the most interesting character in the X-men films and probably the one who would have the most interesting origins film. So naturally what was meant to be the Magneto Origins film became X-Men: First Class. This is a film in which a survivor of the Holocaust literally rips the fillings out of a person’s teeth and it was thought that was what needed was the hijinks of young people. X-Men: First Class is half of a great film – a powerful mutant seeking revenge across the world caught up in the tumultuous events of the Cuban Missile Crisis. The scene in Argentina where Magneto confronts Nazis is astounding (although the choice for the final line to be delivered in English is bizarre) and the decision made by both Russian and American governments to kill the mutants who just saved the world goes further to explain the Magneto we know from the earlier films. He is a man haunted not just be what happened to his family at the hands of Nazis but even when he saved the world humans still wanted to kill him. But this incredibly dark storyline is combined with something far more light-hearted and neither storyline is served well by this combination.

So a brief look at some of the worst ideas and decisions in films and I’m sure there will be a lot more in the future.

Also Read: From Blockbuster to Mockbuster: Big Films and Their Copies

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Gamera copied Godzilla

Of course, rip-off/copy movies aren’t a new phenomenon, as this entry proves. Gamera was Daiei Studio’s answer to Godzilla and both movies have similar plots. Both are about giant monsters, awakened by atomic devices, attacking Japan while the government tries to find a solution to get rid of the monster. Gamera’s initial outing failed in comparison to Godzilla’s (Gamera (1965) has a critical rating of 20% and an audience score of 32% on Rotten Tomatoes. But Godzilla (1954) has a 93% critical rating and an 89% audience rating). Nonetheless, the giant fire breathing turtle has since found cult success with his own franchise.

Battle Beyond The Stars copied Star Wars and Seven Samurai

Produced by the low-budget film kingpin Roger Corman and written by future Oscar-nominated screenwriter John Sayles, Battle Beyond the Stars has a simple premise. Remake Seven Samurai with Star Wars’ sci-fi fantasy aesthetic. Despite BBTS’ cult following the general impression it left wasn’t favourable (Critics: 45% Audience: 41%) especially compared to the gargantuan success of Star Wars (Critics: 92% Audience: 96%) and Seven Samurai (Critics: 100% Audience: 97%).

Contamination copied Alien

But copies and rip-offs are hardly exclusive to the American and Japanese market. The 1980s Italian film industry produced many films to capitalise on international hits. Contamination was one of several releases produced to capitalise on Ridley Scott’s Alien. Mostly through its use of alien eggs which wreak havoc on the human body.  Needless to say, Contamination was unfavourably received compared to Alien (Contamination- Critics: 40% Audience: 29%. Alien- Critics: 98% Audience: 94%). But Contamination attained its own legacy when it became part of the infamous video nasties list.

Ator: The Fighting Eagle copied Conan the Barbarian

Speaking of Italian copies. Conan The Barbarian (1982) inspired many sword and sorcery films in the 80s and Ator: The Fighting Eagle is incredibly close to Conan in terms of story elements. Focusing on a musclebound sword-wielding hero’s quest for revenge against an animal-themed cult leader who killed his parents and kidnapped a young woman. Although Ator couldn’t copy Conan’s success with audiences (Conan has a 74% audience rating, Ator has 14%), Ator acquired 3 sequels. A lot more than the Conan series.  

Mac and Me copied E.T.

Now we get to one of the weirdest rip-offs on our list. This movie focuses on an alien that comes to Earth and befriends a child while a shadowy organisation pursues him (sound familiar?). What makes this title weird is that it was created to promote McDonald’s and its charities. Predictably this knock-off suffered poorly (Critics: 0% Audience: 38%) in the shadow of the classic movie it copied (Critics: 98% Audience: 72%).

Snakes on a Train copied Snakes on a Plane

Snakes on a Train is very emblematic of most of The Asylum film studio’s output. Their titles are made to lure people in by being as close as they can to other films. Both this and Snakes on a Plane concern snakes coming after people in confined spaces. Snakes on a Plane didn’t receive rave reviews (49% Audience Score on RT). Even so, Snakes on a Train was hated (18% Audience Score).

Ratatoing copied Ratatouille

Video Brinquedo was one of the most shameless modern mockbuster companies. Released to bank off the success of Pixar’s Ratatouille, both movies deal with a rodent obsessed with making food. However, Ratatouille won an Oscar and is loved by audiences (87%) and critics (96%). While everyone dislikes Ratatoing’s ugly style and cheap animation (27% on RT).

Thank you for joining me on this excursion into the land of copies and rip-offs. What rip-offs do you hate? Have you ever mistakenly bought any copycat titles? Conversely, are there any copycats that are better than their inspiration? Please let us know.

Also Read: Online Film Festivals Are Here To Stay

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Today we are looking at another significant film celebrating an anniversary. As this year Ridley Scott’s Alien turns 40. Alien has become a phenomenon over the past 40 years. Spawning one of the most iconic horror movie monsters, heroines and one of the best sequels ever made. But 4 decades on, has Alien aged well? Or has the franchise it spawned eclipsed the significance of the original film? Let’s find out.

The story

While heading back to Earth the crew of the spaceship Nostromo are awakened from cryo-sleep by the ship’s computer to investigate a distress signal coming from a nearby moon. During the mission, Kane (John Hurt) is attacked by a creature, which attaches itself to him and incapacitates him. Against officer Ellen Ripley’s (Sigourney Weaver) wishes, Science Officer, Ash (Ian Holm) lets him back onboard.

Eventually, Kane is freed from the alien’s grasp. But the lifeform left inside him by the alien kills him by erupting from his chest. Now, with an alien loose on the ship, the crew must find a way to survive. Will they stop the alien? And is the alien the biggest threat to the crew?

What did I like…

You can accomplish a lot with a simple idea. The concept of a monster on the loose in a confined area killing people is nothing new. But Alien presents itself so well that the unoriginal premise never impacts it.

Firstly, Dan O’Bannon’s script is a marvel of showing without telling and natural characterization. The Nostromo crew aren’t action heroes but everyday people who just want to complete their job and go home. Actions define these people. Rather than being handed information we discover more about them and their world through their interactions. The space setting also makes most of their lapses in judgment feel warranted and serves the narrative. Because running away is impossible. Thus, when the alien begins stalking the crew, the film becomes tenser because we relate to and fear for these people. And dread is built effectively because of what is left to the imagination. The alien itself is constantly changing and the company the characters work for is just a vague entity hanging over them, playing on our fears of the unknown.

The acting of Alien also works with the writing to create a believable world in an unbelievable situation. The actors use understated and restrained delivery to sell their characters. Even their hysteria feels natural and not forced. With each actor adding something to their performance that makes them feel unique. Whether it be Sigourney Weaver’s hard attitude, John Hurt’s everyday charm or Harry Dean Stanton’s goofy obliviousness. Many of the characters are memorable. Even if the writing was not strong these actors would still be able to carry the film.

And then there is the production design and direction. The first thing most people think of when they think of Alien is H. R. Giger’s legendary creature design. Which evokes many subconscious fears. But it becomes scarier because we rarely see the whole thing on screen. Instead. we see close-ups or out of focus shots of it in the background. Again playing up the idea that what we don’t see is scarier. And the gothic, mechanical set design heightens the tension. We watch as the clinically clean safe rooms slowly change to unnerving mechanized monstrosities. With the direction letting atmosphere grow naturally through long shots and attention to editing. Allowing us to get use to the safety of certain things before slowly breaking them.

What I do not like…

But while the elements work together overall there are still hindrances that prevent the movie from being perfect. The film effectively builds atmospheric tension, but several jump scares are used at random points. Seemingly just to remind the audience that they are watching a horror film – which feels cheap.

Some could also argue that the characters feel a little underdeveloped. Because the script focuses more on their actions relating to their current situation many could claim that we don’t get to know the characters as individuals. We don’t get to learn all their facets as we have become used to in films. Which will be distancing for some. Also, while the actors mostly do a good job Tom Skerritt is a weak link. Unlike the rest of the cast, he feels ill-suited for his role as leader. He never leaves an impression, coming across more as whiny than as authoritative.

Finally, there are some lapses in logic that can take some audience members out of the experience. Some are relatively minor annoyances such as Ripley risking her life for Jonesy in the finale. Which doesn’t sync up with her previous characterisation as someone who puts survival first. But then there are bigger questions. Such as: if the company wanted the alien why did they entrust the job to space tuckers rather than a group of marines or people who would be more prepared to deal with the alien? And, Ash’s presentation in several scenes make his treacherous intentions too obvious to ultimately be surprising.

Verdict

Despite its hype and long legacy, Alien is still engaging all these years later. It does rely too much on jump scares. Some characters can be seen as underdeveloped. Tom Skerritt offers little to his part. And the plot requires the audience to suspend their disbelief a lot. But these flaws never damage the movie too much.

The characters are relatable people doing a job beyond their capabilities. And the film creates effective tension by keeping certain plot elements vague and unseen. The actors are also very natural in their roles making them easy to believe and giving them an innate likability. And it’s all played out against some of cinemas best production design. Which combined with the slower direction and pace creates a palpable atmosphere. It’s easy to see why everyone gravitated towards it. A genuine classic that deserves revisiting.

Verdict: (4 / 5)

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