The naval battle caused controversy, but historians have attested to the media that such reenactments were indeed held in the Colosseum. However, there are no records of sharks swimming there. Scott dismissed his critics. ‘Gladiator II’ should be seen as a spectacle cinema and not a documentary.
‘Gladiator II’ follows 16 years later the story of Maximus (Crowe) and Lucilla’s (Connie Nielsen) bastard child Lucius (Paul Mescal), who also goes by the pseudonym of Hanno. The cast is rounded up by Pedro Pascal playing General Acacius, the insane Emperor brothers Geta (Joseph Quinn) and Caracalla (Fred Hechinger), and an award-winning performance by Denzel Washington as arms-dealer and gladiator stable owner Macrinus.

But it is not only a follow-up to the original; it is also a homage to epic movies of the past, like ‘Ben-Hur’ (1959) and ‘Spartacus’ (1960) when a multitude of extras were available, and the scenarios were even better looking than the real thing. Much like them, the images of ‘Gladiator II’ appeal to the eyes because its cinematography achieves the status of art, as its shots could be images set in a museum or an art gallery.
Hollywood is having a hard time financing big-budget projects, and when it does, they are based on existing IP and not on new ideas. Still, ‘Gladiator II’ comes at a time when the spectacle of epic movies feels like shades of past cinema history and those who have access to hefty resources are wearing ultra-coloured spandex.

Meticulous care is taken with wardrobe and makeup, which helps differentiate the characters and the symbolisms involved in the narrative. The scenarios are also eye-catching and help immerse the reader further into the story.

‘Gladiator II’ isn’t a Shakespearean or an art-house movie, allowing it to be understood as entertainment. The acting is an asset of the film, Mescal confirms that he is able to be a blockbuster leading man and Washington shines in it. The script isn’t dense, nor should it be, to the point that the picture shines when there are fight scenes. On the other hand, there isn’t much depth in the political scheming scenes.

Washington gives one of his best performances in his career and steals the movie, which confirms his place in the picture that had been questioned by some audiences before seeing it due to his Blackness and American accent. Washington is dangerous and cunning in the picture. Still, Macrinus is very different from Alonzo Harris (Training Day) and Frank Lucas (American Gangster), and it is notable in how the actor modulates his voice, gestures, and eyes, confirming his status as one of the best to ever do it.

The effort put into building the spectacle of the movie is admirable. In the current era, many films don’t use many scenarios, and there aren’t many extras or investments into craft and technology to the point that they feel very similar, one trying to ride the coattails of the other until they tire the audiences. Together with the cast’s acting skills, budget, cinematography, and Scott’s direction, ‘Gladiator II’ stands above most epic movie attempts in recent years, in particular the remakes of Golden Age Hollywood epics or Gladiator-themed TV shows.

Although it doesn’t surpass the original, it is a decent sequel and worthy of being watched at movie theatres, particularly those with the best sound and image resources. ‘Gladiator II’ is an excellent sensorial experience.

Rating: (4 / 5)

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Spoiler Warning – some spoilers for Blade Runner

What’s Going On?

The film is set in 2019 in Los Angeles (2019 being the distant future when it was made) and this is a dark and dull Los Angeles, devoid of the sunlight which is normally associated with the city. Huge skyscrapers fill the city and bright, impossible to ignore, adverts dominate the skyline. It is a depressing place and many people have left Earth and gone to the off-world colonies looking for a better life. The central character is Rick Deckard, employed as a Blade Runner -the colonies rely a lot on the existence of Replicants, artificial creatures virtually indistinguishable from humans made by the Tyrell Corporation and Blade Runners hunt rogue Replicants. Deckard is recruited to track down four very dangerous Replicants who have made their way to Earth searching for a way to increase their tragically short lifespans. On this mission, Deckard finds out more about the replicants and the mysterious Tyrell Corporation leading him to question just about everything.

Behind The Scenes

Blade Runner is directed by Ridley Scott and is one of his greatest films. It is a film that has both exquisite, iconic visuals and commentary on the meaning of life. Scott created a template for sci-fi that is still used today. The book the film is based on is called Do Androids Dream of Electric Sheep? by Philip K. Dick, a titan of sci-fi literature who has work has been adapted numerous times (Total Recall, The Man In The High Castle and Minority Report are all based on his books).

In Front Of The Camera

Harrison Ford plays Deckard and in a career of iconic roles, Deckard is a great addition. Ford has a lot of work to do with Deckard, a lot to convey and – depending on which version you watch – without dialogue directly expressing it. Deckard is often overwhelmed, scared and outmatched by the Replicants and Ford portrays this perfectly.

Rutger Hauer’s performance as the leader of the runaway Replicants, Roy Batty, is usually the one most talked about in the film. Batty is charming, intelligent, terrifying, intense, and possessed of a strength and determination that is frightening. Batty’s monologue from the end of the film has gone down in cinema history and this is absolutely the definitive performance of Hauer’s career.

Another great performance is given by Sean Young who plays Rachael, introduced to Deckard as a relative of Dr. Eldon Tyrell. Even more than Ford with Deckard, Young has a very complicated role and does a great job in showing the doubt and terror that she would be going through.

Does It Work?

Blade Runner is a masterpiece of science-fiction that manages to combine shoot-outs between detectives and replicants and profound discussions on the meaning of life and what it means to be human. Batty has come to Earth to find Dr. Eldon Tyrell, his creator, and get more time and it is hard not to sympathise with the Replicants. They have been built to do the difficult, dangerous and unpleasant jobs that humans do not want to do. They are given intelligence, and emotions and are physically indistinguishable from humans yet have no rights whatsoever. But they also kill people, some of whom are innocent of any crime, without a second thought.

When Deckard learns of the Tyrell Corporation’s experiment to give Replicants memories, to make them think they are human, and to make them easier to control, just about everything unravels. How does a person know they are not a Replicant? What truly makes a replicant any different from a person? Rachael at one point asks if Deckard ever “retired” a human by mistake, retired being the term used instead of kill. Deckard says no but by the end of the film this feels like a far more nuanced question – is Batty a human? Or the other Replicants that Deckard has killed? In fact, so similar to humans it requires specialised training and equipment to detect them. It is hard not to come to the conclusion that categorising the Replicants as not human is simply a way to exploit them without the legal and moral issues.

The film is an astonishing piece of work just from how it looks and continues to influence filmmakers today. Harrison Ford was still in the middle of the Star Wars Trilogy when this film came out and the two exist in stark contrast. There is the sci-fi of gleaming spaceships, laser battles and stunning shots of twin suns and there is the sci-fi of a dark and dirty cityscape, with perennial rain, crowded streets, looming towers and oppressive systems.

“I’ve Seen Things You People Wouldn’t Believe”

In short Blade Runner is one of the best films ever made. A film of such cultural and artistic importance it’s worth watching if only to understand the impact it’s had.

Rating: (5 / 5)

Also Read: Harrison Ford: Nerf Herder or the Grave Robber?

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Born in Spain and a London resident, Chino Moya has just completed his first feature film, Undergods, supported by the British Film Institute and produced amongst others by Scott Free, Ridley Scott’s company. We spoke with writer/director Chino Moya about his dystopian Sci-Fi film discussing issues such as the threat of totalitarianism, morality and the meaning behind his film.

Also Read: The Best Sci-Fi Films of the Decade

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1. Netflix Original Sci-Fi – Okja

A corporation sends 26 creatures, which were developed as a food source, across the world as a PR stunt. However, when they take one of the creatures (Okja) away, Mija (Seo-Hyun Ahn), sets out to get her back. What makes Okja special is its direction, which mixes many different elements (Science fiction, horror, comedy) together without feeling tonally confused, and Seo-Hyun Ahn’s performance which easily invests us in her struggle to get Okja back.

2. Hard Sci-Fi – The Martian

Mark Watney (Matt Damon) becomes stranded on Mars after his expedition team evacuates. Mark has one goal, survive. Thankfully, the world’s space agencies begin mounting a mission to rescue him. The Martian is great sci-fi. The entire cast makes their characters and the technical dialogue feel very natural. The special effects really sell the experience. And, it does a great job making the science feel accurate.

3. Sci-Fi Comedy – The Truman Show

Truman Burbank (Jim Carrey) slowly realises that his life is a TV show. He’s being filmed from every angle 24 hours a day. And lives inside the world’s biggest set. The Truman Show is a fantastic dark comedy that uses its sci-fi trappings to make great statements on humanity’s voyeuristic nature. In fact, with the continual expansion of surveillance technology, the Truman Show is more relevant now than ever.

4. Sci-Fi Action – Dredd

While on a training exercise Judge Dredd (Karl Urban) and rookie judge Anderson (Olivia Thirlby) get locked inside a futuristic skyscraper full of bloodthirsty gang members. With no retreat, the only option is to fight to the top to get out. Dredd’s futuristic setting explores many pressing issues such as the justice system and overpopulation, but it also facilitates some of the best action of the past decade.

5. Sci-Fi Horror – A Cure for Wellness

Lockhart (Dane DeHaan) goes to a remote wellness centre to retrieve his CEO. However, he soon becomes injured, meaning he can’t leave, and he begins to believe the facility is hiding something sinister. But what is happening and can Lockhart escape? A Cure for Wellness feels like a classic Universal horror film. Where the gothic atmosphere is thick and engaging. And the minor sci-fi ingredients greatly amplify the horror.

6. Sci-Fi Drama – Proxima

Sarah (Eva Green) is training to become an astronaut but she must try to balance her training with her family life, particularly preparing her daughter Stella (Zélie Boulant) for when she leaves. Proxima is an amazing look at the physical and emotional hardships astronauts go through to prepare for space travel, but it’s also an affecting family drama and an inspiring tribute to female astronauts. It’s also buoyed by Green and Boulant’s excellent performances.

7. Alien Sci-Fi – Close Encounters of the Third Kind

After Roy Neary (Richard Dreyfuss) has a mysterious encounter with an unidentified flying object he and the government begin investigating and trying to contact alien life. Close Encounters is a fantastic exploration of how obsession with the unexplainable can negatively affect people and can also be used to cross boundaries.

8. Steampunk Sci-Fi – Castle in the Sky

Sheeta (Keiko Yokozawa) holds the key to finding Laputa, the castle in the sky, and along with Pazu (Mayumi Tanaka), she must try to outrun the pirates and a government agent trying to find Laputa for greed and conquest. A touchstone of modern steampunk fiction, Castle in the Sky is a thrilling adventure with a fun story and wonderful characters who populate an inventive fantasy world that melds modern and primitive technology together beautifully.

9. Children’s Sci-Fi – Spider-Man: Into The Spider-Verse

When Peter Parker dies Miles Morales (Shameik Moore) must become his world’s Spider-man and defeat the Kingpin with the help of the spider-people of several realities. Into the Spider-Verse is perfect kids science fiction because it’s full of great action, gorgeous visuals, and creative use of sci-fi concepts like alternate realities. But it’s also grounded by a fantastic lead, a great supporting cast, and a positive message about carving your own path.

10. Surreal Sci-Fi – Sorry to Bother You

Cassius (LaKeith Stanfield) begins losing touch with his roots after being promoted at his telemarketing company until he discovers a new project the company is working on. Sorry to Bother You is a vehicle for social commentary. This movie critiques capitalism, race, media and uses sci-fi elements to create a riveting dystopian portrait of contemporary life.

Those are just 10 great sci-fi movies available on Netflix. If you have any favourites we missed, let us know.

Also Read: The Future Is Now: How Sci-Fi Imagined the Future

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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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Big Picture Film Club took a trip to one of the most talked about art exhibitions this summer: Daydreaming With Stanley Kubrick, held at London’s Somerset House. The exhibition featured a variety of paintings, installations, videos, and sculptures inspired by the late cinematic genius Stanley Kubrick. Much like Quentin Tarantino, George Lucas & Ridley Scott after him, Stanley Kubrick’s impressive body of work has given him a cult-like following, particularly after his death in 1999.

Curator, James Lavelle, has done an excellent job in putting together this mix-media exhibition. The 45 works on display flow effortlessly together and make for a seamless and captivating experience. While there were many great pieces of work on display, in no particular order here are some of our favourites from the exhibition:

1) Life, by Dexter Navy

This piece was distinct, in that it references current social commentary of civil unrest, as opposed to directly taking from Kubrick’s films. However, the intricate use of colour in this piece was inspired by the work of Kubrick.

2) Various Works, by Philip Castle

Airbrush artist, Castle, who designed the original poster’s for Kubrick’s A Clockwork Orange & Full Metal Jacket, gave the iconic posters a contemporary redesign, and showcasing a never used alternative design for Full Metal Jacket.

3) Camera A, Scene 136, Take 1, by Thomas Bangalter

Bangalter, one half of electronic duo Daft Punk, exemplifies what Kubric’s work is about with his simple, yet powerful video piece. The slow-mo clip features a person walking calmly through a pitch darkness engulfed in flames – the fire providing the only source of light, illuminating the ground below.

4) In Consolus – Full of Hope and Full of Fear, by James Lavelle & John Isaacs ft Azzi Glasser

Immediately the senses are treated to an overload of sight, sound and smell. The clearly recognisable, Lolita inspired giant teddy bears gives a sense of fun and playfulness whilst the darkness of the room and the juxtaposed neon love sign hints at sinister undertones. Empty pantry boxes reference The Shining, 2001: A Space Odyssey inspired scent from perfume designer Glasser fills the room, whilst the soundtrack comes courtesy of: Detroit techno pioneer Carl Craig, Italian dance ensemble Planet Funk – Domenico “GG” Canu and Marco Barani, spoken word artist and designer Michele Lamy, and UNKLE collaborator Elliott Power.

6) Das Problem der Befahrung des Weltraums, by Norbet Shoerner

Norbet created a 360° virtual reality recreation of the Discovery One space. Breath taking in its redesign, fans of 2001: A Space Odyssey will feel as if they have been dropped right into the movie. Definitely one of the key highlights of the exhibition!

7) History Painting, by Marc Quinn

Quinn draws from media reportage of social unrest, amplifying the sense of violence and unease with the contrasting use of colour.

8) The Shining Carpet, by Adam Broomberg and Oliver Chanarin

Immediately recognisable, no Kubrick exhibition would be complete without the iconic print carpet from the Overlook Hotel. The print continues to inspire artists of all mediums.

9) Clockwork Britain, by Paul Insect

Famous for his street art, Insect alludes to violence and the alienated youth in A Clockwork Orange by fusing 60s pop art and contemporary street art with the use of bold colours and the Union Jack motif.

10) Metanoia, by Polly Morgan

Morgan explicitly exhibits the implicit sexual imagery we see from Alex and his Droogs in A Clockwork Orange. The downward pointing triangle is traditionally referred to as the chalice, symbolising the flow of water, the grace of heaven, and the womb – an ancient symbol of female divinity. Seeing this stuffed uncomfortably with a serpent, provokes very real feelings of disturbance just as when we watched those awful scenes in the film itself.

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