Aliens Guest Podcast

 

It's been a difficult summer - one of the toughest I can recall - yet I was determined to keep my recording date with the Greatest Movies of All Time Podcast to chat about one of my favorites, Aliens! 

You can listen or watch this anniversary revisit episode and don't forget to also check out GMOAT's Cinema Legacy Poll, in which I also had a small contribution among the cinephile and podcast community.

Browse more Podcast episodes and revisit past appearances including:

The Searchers

Ben-Hur

Women InSession 2025

Contemporary Chillers versus Cold Ducks

Two Contemporary Chillers versus Two Cold Ducks

by Kristin Battestella

While some of these recent releases can leave audiences cold, other contemporary pieces provide just the right amount of seafaring suspense and psychological chills.

The Reef – Sunrises and sunsets, stunning blue water panoramas, and lovely reef life create coastal bliss for this 2010 Australian fright loosely based on a true story. Shark teeth foreshadowing, statistics about the likelihood of shark attacks, and an inexperienced crewman aboard invoke the ominous to come alongside natural water fears, racing to beat the tide, trouble raising the anchor, and leaky rafts. Capsizing thuds, flooding, and underwater hectic don't need any herky jerky action cam as the innate water movement makes the audience feel like we are there amid the missing keel, sinking hull, no supplies, and outdated distress beacon. It's frightening when viewers can just make out the shark silhouette beneath the surface for themselves, but headless turtle shocks and false suspense moments go for cheap thrills. Instead of keeping us on edge with every chop in the water, over the top music tells the audience when something bad is happening. Unlikable characters inspire little conflict amid a lot of childhood friends and lookalike blonde cliches – they are completely unprepared for any aquatic disaster and there's no sense of ocean vast, the slow passage of time on the water, sunstroke, or thirst. These helpless followers holidaying on this deliver the yacht job are also over reliant on their macho, supposedly world water traveling leader who messes up tide times, can't find north, and thinks they can maybe swim to an island perhaps twelve miles away. Wishy washy, don't know they are in a horror movie stupidity compounds the uneven pacing as the strong girl suddenly in tears stays behind while others risk this uncertain swim before she changes her mind thirty seconds later so they wait in the possibly shark infested seas. The women rightfully call out the guy who orchestrated the trip under false pretenses before apologizing that its not his fault but yes it is. Weak men say they are tired and laugh over sex stories, breaking the swimming scenes to stop and stand on reef rocks rather than shape any kind of epic endurance risk. Fortunately, seeing the nonchalant great white cruising past the hysterical people as they flounder and panic both justifies the yell at the television aspects and makes the viewer recoil. Mirage visions of land and thought they saw something paranoia frays the group as one by one they must leave the dead behind in the ocean. The fatal attacks are well done, and eventually – disturbingly – those remaining can see land but can't get to it. Despite loose characterizations and an uneven narrative in need of taut focus – again all the negatives in low budget horror appear due to one writer/director wearing too many hats – overall this is well filmed with several quality sequences featuring fine scenery and practical shark work perfect for a late night scarefest.

Split – Suspicious rear view mirrors and distorted camera angles turn pity party invites into parking lot abductions for this 2016 multi personality thriller from director M. Night Shyamalan starring James McAvoy (X-Men: First Class) and Anya Taylor-Joy (The Witch). Subtle dolly zooms and sideways panning emphasize the bolted doors, dark basement, and huddled girls amid their captor's sinister calculations and ominous childhood flashbacks. Can three girls defend themselves against one violent man? Two gang up on the third, pressuring her to take action as scary switches from one personality to the next are subtle and well done amid local CBS Philly news reports, King of Prussia Mall insults, and distinct city skylines. However it's a mistake to cut away from the dungeon suspense so soon – especially for a foolish psychologist falling for the abductor personality's pretending to be his calm fashion designer persona. Product placement Skype conferences debate multiple personality disorders as a trauma in need versus a new brain chemistry gift, interfering with the tense internal layers we're already seeing. Rather than the Hooters eating Security Guard M. Night's exposition, the reveal should be with the audience as the girls peer through the keyhole and hear both male and female voices. Styling, accent changes, and stuttering show the killer versus child personalities, and the captives speculate on what is crazy or ruse though details from each persona. Location hints, hidden ducts, and underground tunnels lead to possible escapes as the victims are separated thanks to foolhardy attacks and mean girls still being selfish – expanding the cat and mouse between the abductees and a captor who is a prisoner himself. Once the warped situation is established, then the audience can appreciate when he departs for a psychologist session stroking the current dominant, gloating personality's vanity. He deflects on the history of abuse and the cause for this latest psychotic break, resenting his weak host as the kinder personalities blur our sympathies. The female personality of our male abductor, disturbingly enough, may be the most unstable, yet these rogue personas insist another “Beast” alter is coming. One persona needs glasses, another is diabetic – can multiple personalities create mind over matter physiological traits? Videos of all the personalities become an inner monologue paralleling the eerie train station wait for this new evil to manifest its super human abilities and sub human behaviors. Past and present revelations double the uncomfortably frightening suggestion that purity breaking pain awakens the strength and instinct needed to achieve greatness, and certain disturbing subject matter will be tough for some audiences. Though mostly realistic horror and psychological drama, there's a reason things progress into the fantastic with an overlong, somewhat flat ending. Such surprise Shyamalan connections both need viewers to go in cold and appreciate the payoff being held back for sequel winks, perhaps leaving this with reduced repeat value unless you marathon it with Unbreakable. Fortunately, the nuanced performances and no twist just twisted horror meets fantastic does make for some entertaining psychoanalysis.

Two to Skip

A Cure for Wellness – A corner office climber must retrieve his unstable boss from a spa in Switzerland so the company crimes can be pinned on him in this overlong two and a half hour 2017 twister starring Jason Isaacs (Awake) and Harry Groener (Buffy). The bitter work obsessed opening, haunting skyscrapers, and ominous hand written letter describing the darkness of superiority and sickness of men with wealthy people and their wealthy problems are ruined early by tiring product placement and laughable horror clichés. Our unlikable lead is also a wannabe edgy, Shutter Island DiCaprio interfering with the on location castles, mountain vistas, and ruthless baron history complete with blasphemy, incest, and townsfolk with torches. Distorted angles, askew pans, assorted reflections, and upside down inside out views add to the unnatural greenery of this apparent oasis in the middle of a dark cloud. White robes, bright rooms, aqua aerobics, and happy rich people throwing their money at the latest health fad contrast the dark tunnels, taxidermy, and well filmed car accidents despite momentarily confusing flashes amid the forward moving violence. Incidental old folks nudity at the spa increases the discomfort of the eerie steam, maze like hallways, and hazy series of doors, creating ambiguous atmosphere that may be surreal mind, warped structure, or Hotel California influence. Creepy girls by the fountain, bathhouse altars, and whispers of special case patients build to specimens in jars, skin graphs, and creepy urine samples. Body shocks, elevators, dehydrated corpses, and hydraulic assembly lines stir viewer suspense while shadows of what else may be in the tank loom and the smiling staff enjoy a little suspect saucy. Exam chairs, buzzing dental drills, vintage file folders, period lockets, relics of the baron's obsession to cure his sickly family – there are a lot of cool spooky things happening here. Unfortunately, unnecessary flashbacks, Robocop dolls, ridiculous animal gore, and the repeated insistence that something's in the water like it's all just a bad joke take the audience out of the dark atmosphere. Giant eels in the toilet frights are lost in scenes that serve no purpose, and the so-called mystery being given away all along contributes to the increasingly downhill lag. German speakers having cryptic conversations – in English for the underestimated, uninvested viewer's benefit – break the protagonist's point of view as more tunnels, hidden chambers, and early medical equipment expedite the watching fatigue well before the two hour mark or the coincidental timing in the final act. Public declarations, shoving the breakables off the desk, research montage reveals, menstruation and red lipstick a la Little Red Riding Hood, shovels to the face, fiery knockouts, nonsensical villain tell alls, and a Phantom of the Opera-esque lair borrow much too much before yet more tacked on candle light cults and child bride nasty. I hung on for this? o_O

Red Lights – This 2012 tale stars Cillian Murphy (Peaky Blinders), Sigourney Weaver (Aliens), Robert De Niro (Goodfellas), Toby Jones (Berberian Sound Studio), Joely Richardson (Lady Chatterley), and Elizabeth Olsen (I Saw the Light). However, the drive to the horrors, rattling séance, family in fear screams, and early jump shocks are just a lengthy opening before longer credits, jet setting introductions, and debunking seminar restarts. These physicists don't think all paranormal cases are frauds, but they haven't witnessed any miraculous proof against logical controls. Cute coeds, slight of hand platitudes, Occam's Razor – each scene repeats who they are and what they do without saying what university they represent or why authorities call them to expose these supernatural frauds. Editing creates suspense rather than letting the viewer catch the hidden earpiece or audience plant as news reports recount the fire and brimstone psychic selling comeback tour tickets and newspaper clippings on the laptop become the research montage. Weaver's doctor is brash, admonishing a telepathy card test due to the reflections in a doctor's glasses, but we never see her confront a real psychic challenge. The talk show debate better explains the parapsychology fails, seminar versus performance, and religion versus science while the behind the scenes meta television filming makes nicer statements than the shaky cams or booming music. Weaver and De Niro's rivals have personal history – he used the limbo of her vegetative son, adding doubt and emotional pain to her debunking crusade against his dramatic on stage healings. Unfortunately, this intriguing one on one of facts against faith and catching those who think they can get away with it is not the point of this picture, and the focus veers to Murphy's amateur exposé attempts and angry manpain complete with bizarre visions, unexplained electrical explosions, and characters who even say conversations with him are a waste of time. Although academic trials trying to set controls while testing paranormal phenomena, university video reels showing the experiments, and no scientific explanation for the bending spoons provide study for the viewer, there's no chill up the spine scary or awe inspiring wonder at the unexplained because the story completely changes what it started out as. Obnoxious final speeches waxing on man versus monsters, lines of salt, magnetism, and levitation are all over the place. Any commentary on the media, spectator sales, and money made off people who want to believe is lost thanks to the in the in your face protagonist, uneven plot focus, and the movie's failure to heed its own advice with falling flat deflections. If the simplest answer is the correct one, then why does it take an hour and a half to ask why the blind guy wears a watch?

Egyptian and Roman Epics!

Egypt and Rome, Beware the Ides!

By Kristin Battestella

Spoiler alert, somebody's going to get stabbed in the back, once, twice, maybe thrice in this list of classic, epic, historical, and dramatic tales bringing Egypt and Rome together again to party like its 44 B.C. Toga! Toga!

Caesar and Cleopatra – Claude Rains and Vivien Leigh make an unlikely comedy team in this 1945 British adaptation of the George Bernard Shaw play. Although some temple sets seem small scale cardboard now, the then expensive Technicolor headdresses, plumes, horses, sand, and centurions serve the ancient mood. Considering the wartime strapped production, this is a very fine looking film, and Steward Granger (Scaramouche) makes for a tan, dandy matinee idol, too. This is, however, a wordy picture – we don't see battles, just a lot of leftover standing around and talking in a slightly overlong two hours and change. Fortunately, the humorous arguing on which cousins are descended from gods and which mere mortals are descended from kings add forum self-awareness, a parody on the omnipresent chorus and chattering ladies who feel the need to put in their two cents – er, drachma. Raines (Casablanca) brings an immediate charm as a reflective, even doubtful Caesar more concerned with careful government than Cleopatra's me me me. The ridiculously delightful rug transit moments come after the witty conversations waxing on wrinkly old men, magic dreams, and rumors of Romans having tiger's blood. Caesar doesn't eat women – only girls and cats! And are those Roman sandal wedges he's wearing? Though not without some seriousness, the goofy cleverness of these two empire making titans is a pleasing change from the expected heavy to end all heavies. This Princess Cleo is learning how to rule and toughening up thanks to her mentor Caesar's tips. Yes, throw the obnoxious cry baby Ptolemy off that throne! Leigh's look is as gorgeous as ever, although it will be tough to separate our Gone with the Wind feelings since she still has a southern and shrill if fitting juvenile sound. Sadly, poor Flora Robson (The Sea Hawk) is basically in blackface with jokes about her Ftatateeta name alongside a stereotypical negro slave who is so scared of Caesar he runs away crying “Woe, alas!” Such racist and condescending humor is not a tone to enjoy, however such social layers make for an interesting study. This is Shaw's turn of the century commentary on ancient history remade in the shadow of World War II – Roman salutes recall then current Nazi threats while prophetic “Egypt for Egyptians!” crowds chant. The dated attitudes toe the line, but thankfully, the preposterous plot and not taking itself too seriously keep the fun scene chewing performances and star power bemusing.

Cleopatra – Am I the only one who thinks specifically of Elizabeth Taylor rolling out of the carpet when one mentions Cleopatra? Probably not thanks to this long 1963 Joseph L. Mankiewicz (All About Eve) spectacle co-starring off screen steamy with Richard Burton, the then most expensive studio bankrupting budget of the time, an emergency tracheotomy, a record amount of Oscar worthy costumes – oh, and Rex Harrison (My Fair Lady), Roddy McDowell (Planet of the Apes), Martin Landau (Mission: Impossible), and more. Award winning cinematography, vivid outdoor scenery, colorful temple motifs, lavish set dressings, and a lovely score can't always save the restored, four hour windblown when the constantly changing script lags. This should be a straightforward story, a finale with which the audience is ever familiar – crossword clue: three letter word for “Cleo's snake.” But break out the superlatives, hyperbole, and pompous, for the second half here falls prey to the Burton School of Overacting^tm. Liz and Dick talk a cat and mouse (guess who is who) game, turning history into tawdry, back and forth, “You hang up. No you hang up first!” semantics. Despite the asp in the basket, the messy battles and increasingly empty scenes don't know when to end. Granted, reshoots and editing are more at fault than the talent – dialogue and characters don't make sense if you think too hard and the distant Todd-AO widescreen lacks emotional up close shots. Everything that could go wrong on a picture did go wrong here, so it's amazing this is so watchable at all. Fortunately, McDowell is in slick control as Octavian and Harrison grounds the superior first leg as a respectable, surprisingly kind but epileptic Caesar. He's going to listen and listen good, because Miss C says so no matter how misogynistic Romans are. It's a serious but charming battle of wills, and a much more palatable chemistry where the empirical politics don't feel superfluous. Risque fabrics, Dame Elizabeth lying pretty – that entrance is indeed epic in representing these egos going head to head in love and war. It's at once fifties old school with tense history and mid century melodrama yet breaking new ground off camera in then changing cinema times. Are there inaccuracies here that will delight or aggravate historians and cinephiles alike? Hells yeah. Nonetheless, this entertaining megalith is great for a toga party marathon and spot the trachea scar drinking game. 
 

Cleopatra – The slightly elusive bare bones DVD edition of this three hour 1999 ABC/Hallmark miniseries based on the Margaret George novel has no subtitles but lots of whispering low volume. Viewers can't expect much spectacle from a fifteen year old television production either, and the distant CGI landscapes, faux sphinx, small scale battles, and on the seas action are unnecessary distractions. Though, like other bibliophiles, I still mourn the Library of Alexandria, the nighttime scenery is too dark, and the slow starting pace remains uneven thanks to pointless dalliance and superfluous happenings. Ironically, this famous femme tale feels like a boy's club thanks to better male actors – even the lovable Irish centurion Daragh O'Malley (Sharpe) – and the unknown, pretty models look laughable in soap opera-esque costume party catfights. Whew! Fortunately, the opening scroll sets the scene for Egyptian exile, dynastic strife, and alliances with Rome alongside colorful statues, red capes, legion gear, familiar headdresses, and bustling temples. The slightly sheer robes and saucy sex romps are somewhat surprising for a Hallmark production, too – not to mention those Ptolemies intermarrying and all. Initially, Timothy Dalton (License to Kill) as Caesar is level headed and all business, educating Cleopatra in how to rule. His romantic scenes with Leonor Varela (Blade II) are awkward, however, their age gap and the historical culture clashing is also fitting. Maybe his feelings are genuine, but Rome will always come first for Caesar. Rather than responding shrewdly to her poor reception in Rome, this Cleo drops the baby scandal in public like a crazy clueless side chick. Sean Pertwee (Gotham) as Brutus gets his back stabbing moment halfway through, but Billy Zane's (Dead Calm) accent wavers once an unfortunately wimpy Marc Antony gets his Egyptian enchantment. The last hour looses steam by dropping much of Marc Antony in Egypt – including his children with Cleopatra – and dragging out the snake action finale too long. Told properly with more suave and trim finesse, this story could have been done in two hours and change. While not as epic or memorable as the 1963 telling, this update feels more palatable for today's audiences or condensed classroom showings. But where in the heck was Richard Armitage in this?

Actual History!

Empires: The Roman Empire in the First Century – Sigourney Weaver narrates this 2001 documentary overflowing with more than three hours of history detailing the final BC years of Caesar's love triangles, the Augustus establishment, and the unlikely Claudius before Caligula's madness, Nero's infamy, Vespasian's military might, and everyone in between. The two show legs are actually four episodes titled “Order from Chaos,” “Years of Trial,” “Winds of Change,” and “Years of Eruption” with further chapter breakdowns, maps, and onscreen notations wrangling the dense subject matter full of epic scandals and battlefield prowess versus political shrewd. The Italian locations, ruins, and frescoes make for a lovely video tour while today's scholars, historical sources, and Ovid poetry add a tangible anchor to the relatively quick, by Emperor chronological order peppered with a Roman who's who of Tiberius, Germanicus, Seneca, and Agrippina. The lack of sources on Roman women is discussed alongside at times emotional first hand accounts, social mobility, and the all importance of status in Rome. Turns out the struggles of the common people were not all that different from today, and the baths, feasting, frolicking, and chariot races shine thanks to ancient satire and gossips. The narrative touches upon Jesus, Christianity, Paul, and Josephus as well as strife from Egypt to Britannia changing Roman culture – and the ironic, so-called Roman Peace bought with warfare. Pompeii is a fitting place to conclude, however, the time lingers with a tacked on Domitian and too brief a discussion of slavery and freedmen in Rome before almost an afterthought on Trajan glory. Some saucy subject matter, naughty poetry, and erotic frescoes are addressed, and the Judeo-Christian themes are perhaps not for a secular classroom. Fortunately, the individual segments make it easy to skip any problematic moments for education viewings. From its rocky birth to the Colosseum, this is a pleasant and informative encapsulation of the Rome we know and love.

Burton Bonus!

The Robe – Delightful color, scenic detail, and perfectly B.C. splendor with a score to match anchor this 1953 biblical drama based upon the popular Lloyd C. Douglas novel. Distant matte backdrops are occasionally apparent, and a final half hour of sword fights, dungeon rescues, and chariot pursuits feel like fast, shoehorned in action in a largely quiet, introspective, and timeless tale. However, the debut Cinemascope technique captures all the foreground and background movement within the frame, making coming and going or asides and internal angst a much nicer visual treat for the eye than today's at the screen, in your face effects. Perhaps now this two hour and thirteen minute ode has become somewhat second tier compared to later biblical epics such as The Ten Commandments or Ben-Hur, but the crucifixion scenes are excellent, a harrowing and stormy montage that remain powerful, perennial viewing. Yes, Richard Burton is sometimes stiff in his scenes with the classy and ever lovely Jean Simmons (Guys and Dolls). He's overwrought at times, too – just a little – but Marcellus is the tribune being haunted by Christ's blood stained garment won in a bet beneath the Cross. If ever there was a time where some hysterical is okay, this would be it! Nevertheless, Burton is also surprisingly somber and subtle, making for some fine tender, reflective moments. The supporting ensemble is also reverent and wonderfully soft spoken, with convert catalyst Victor Mature (also of the sequel Demetrius and the Gladiators) on his own touching character arc. Of course, depending on the mood you're in, Jay Robinson (The Virgin Queen) as Caligula is either maniacally evil perfection or an annoying brat – but it is Caligula, what did you expect? Commentaries, Martin Scorsese analysis, Cinemascope conversations, Bible in Hollywood documentaries, and more lengthy behind the scenes features accent the Special Edition blu-ray release as well. There is a whiff of blacklist turmoil paralleling the tolerance onscreen, however such veiled statements are made without overtaking the picture. This well done story handles spiritual change with honestly rather than as something abstract or mystical, resulting in a seemingly simple but no less transformative picture brimming with redemption for spirited folk, church classrooms, and classic film fans of all ages.

Avatar

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Avatar is Visually Good, but Certainly not Without Its Faults

By Kristin Battestella

After seeing the 2009 science fiction epic Avatar, my husband promptly made me dinner and insisted I watch it with him that night.  Although visually stunning, Avatar suffers from thin plotting, obvious twists, and too much politics.

Paralyzed ex-marine Jake Sully (Sam Worthington) reluctantly agrees to take the place of his deceased twin brother on the distant moon of Pandora.  Jake will be able to mentally link with his brother’s avatar- one of several hybrid bodies Dr. Grace Augustine (Sigourney Weaver) and her science team use to integrate with Pandora’s local population, the Na’vi, for educational and diplomatic purposes. Unfortunately, the RDA mining operation lead by Parker Selfridge (Giovanni Ribisi) wants the valuable deposits of unobtainium under the Omaticaya Na’vi’s  Hometree.  Jake becomes part of the Omaticaya, training to be a warrior with Chief Eytukan (Wes Studi) and Mo’at’s (CCH Pounder) daughter Neytiri (Zoe Saldana).  Jake soon sides with the Na’vi and will defend his newfound people against General Quaritch (Stephen Lang) and the destructive plans for Pandora.

 

Yes, I am probably the only person on the planet who didn’t come away from Avatar thinking it was the best thing since the invention of the wheel.  Without a doubt, the effects and visual advancements are indeed the next step in the evolution of filmmaking-and I think this is why the box office records keep falling in Avatar’s wake.  The treasured demographics repeatedly returned to see Avatar in all its 3D and IMAX glory, and most likely saw it again and again purely for those graphics.  Despite his repeated mastery of the science fiction, action, and disaster blockbuster, James Cameron should not write his own films. Honestly, I felt the same way about Titanic.  The romance is obvious and sappy, the villains are stock players, and the movie doesn’t get dang good until the iceberg hits. 

Avatar follows the same pattern of stereotypical caricatures and obvious plot turns mixed with some silly and confusing stuff.  I know the research is online and companion books and such are following Avatar, but I swear I never heard that Pandora was a moon of Alpha Centauri in the film proper.  And even if it is a real scientific term, ‘unobtainium’ might just be the dumbest name for a metal that is, well...unobtainable.  Whatever statements Cameron is trying to make about war, civilization, imperialism, race, destruction, Bob’s Uncle or anything dang else-it’s all so obvious its almost insulting.  Why are all the Na’vi actors black or Native American?  Should we applaud the casting of the brilliant Cherokee actor Wes Studi in apology for Manifest Destiny?  I find it a little offensive that Studi (who was already in Dances with Wolves-déjà vu, anyone?) was digitally drawn over in a film that’s supposed to be about the destructive ills of industry and colonization.   And to think, onscreen in Avatar there are a select few white folks who know the error of our ways.  Cameron is being a little too high and mighty by pointing the finger instead of looking at the issues within his own film.  It’s like an abuser who says he’ll never lay a hand on you again-and instead uses a baseball bat the next time.

I’m afraid to ask where we can go next thanks to Avatar.  In some ways, I’d rather the picture have been a straight tale without big blue cat people who ride sea horse horses.  We didn’t need the first uneven hour and a half of awe and alien spectacles if social injustice was meant to be at Avatar’s center.  Why not really have Roman legions slaughtering Picts and Iceni?  How about the British tramping over India or Cortez setting his sights on South America?  Do we really need such a fantastical representation of an all too earthly experience?  Again, is Cameron shedding the light on our ways whilst sweeping them under the carpet at the same time?  What are the African American descendants of slaves or the almost completely homogenized American Indian generations supposed to make of Avatar? No, conquered and captured people won’t see what’s coming in the last hour of this film, no not at all.  Way to tell it like it is, without really telling it like it is. 

It’s not as if Avatar isn’t like anything we’ve ever seen before.  Visually, sure, but the idea of people living alternative lives while ‘jacked in’ and preferring the ‘dream’ to the real world is a little Matrix, don’t you think?  And the bonding with your extra special bird lizard mount to save the day, climbing perilous cliffs to reach him-well that’s right out of Dinotopia.  Some of the vehicles, the amplified mobility suit, and the casting of the wonderful Sigourney Weaver also reminded me a little too much of Aliens.  I kept thinking pilot turned Na’vi supporter Trudy’s (an under utilized and unable to branch out Michelle Rodriguez, Resident Evil) plane was just a drop ship from the Nostromo, and I half expected ‘Get away from her you Bitch!’ to make an appearance whenever the AMP lit up.  Maybe I watch Aliens too much and picked up on James Horner’s reuse of its score in Patriot Games, too- for his music was again reminiscent of his first collaboration with Cameron. 

On a lighter note, I just had to laugh at the idea of an energy field created by all living things that surround us, penetrates us, binds the galaxy together-oh wait, wrong movie! Cuddly natives and their arrows taking down the evil imperial machine- in hindsight, this wasn’t the best way to go for Return of the Jedi, either. Even the idea of a unified and living planet capable of interconnecting with its life forms and fighting to defend itself is nothing new.  Gaia, anyone?  We should be so lucky to live in such harmony on a glorious planet as Pandora-oh wait, we do. Again, it would have been more meaningful if this were an earthbound tale.  Avatar makes little mention of the chewed up and spit out earth that’s been left behind by RDA Mining Chief Parker Selfridge (Giovanni Ribisi).  (Whose name isn’t an indication of where his ego’s at, no not at all).  How many planets do we need to destroy already?  Isn’t that a scary enough question-right up there with when BP is going to get its due for effing up the Gulf?  Whose eyes is Avatar supposed to open?  Good God, if we don’t already know the err of the lessons Avatar is seeking to learn, then we deserve to loose our planet.

Now that I’ve gotten a little high and mighty with my doom and gloom, there are some good things about Avatar. The aforementioned Sigourney Weaver (Working Girl, Gorillas in the Mist) and Wes Studi (The Last of the Mohicans, Bury My Heart at Wounded Knee) are delightful inside and out, regardless of the blue cat people visuals.  Despite some obviously ruthless dialogue and corruption, Giovanni Ribisi (Saving Private Ryan, Boiler Room) and Stephen Lang (Gods and Generals, Tombstone) also give all of themselves thematically.  Sadly, CCH Pounder (The Shield, ER) isn’t given as much time as she deserves, and Sam Worthington and Zoe Saldana (Star Trek, Drumline) did little to impress.  Since we couldn’t actually see Saldana’s charm, her Neytiri merely becomes like every other hot chief’s daughter who loves our hero but is a perfectly capable and independent woman, too, thankyouverymuch! Likewise, Worthington (Clash of the Titans, Terminator Salvation) has literally come out of nowhere to rival the equally wooden abilities of Channing Tatum and any other pretty boy from this new blonde surfer crop.  His story arc as a paraplegic who finds he’d rather live in a beautiful alien world where he has a babe and working legs doesn’t give him much room to maneuver, I grant you.  Unfortunately, I dare say Neytiri and Sully’s avatars could have been drawn as digital cartoons without any actor doing motion capture and no one would have noticed the difference.

There are some lovely moments in Avatar, but they are buried so far beneath the visuals that they are almost a none factor.  My father was in the hospital recently, and he swears that the power of prayer from friends and family is what pulled him through.  His words reminded me of Avatar, when all the Na’vi unite and chant together to bring life and knowledge to each other. It is a touching scene showing the power of the many can be a glorious thing indeed.  So where is this moving and inspiration plot point underutilized in the film? Twice, actually, but very predictably in the final act.  When I saw it, I didn’t think these scenes were touching at all.  I was much more curious as to what Massive CGI software was used.  Did I miss the point or did Avatar?  

Avatar is an entertaining movie thanks to its stunning graphics, but I can see why the film didn’t come away with Best Picture and Director Oscars.  For the older science fiction fan that has read the old pulp books and seen The Twilight Zone episodes that debate these very same issues with subtly and no effects, Avatar is an old hat, heavy handed, and obvious pill to swallow.  Younger tween fans can be inspired, sure, but super young folks will probably miss the thickly themed forest for the blue cat people trees.  I will say that Avatar must be seen on blu-ray and blu-ray alone-unless you plan on seeing it in the theater again.  Though our rented disc was a little touchy and skipped, DVD cannot contain all that is Avatar.  I’d like to think Avatar has not totally replaced its precursor in changing the face of film-The Lord of the Rings trilogy-but merely stands next to Rings as a companion piece.  Take your pick if you prefer science fiction or fantasy!  If you want in depth storytelling, pick Rings.  For visuals masking themselves as story that’s really just conflicting politics and generalities, go for Avatar.   

Science fiction should be an artsy allegorical mirror to our faults-just not so obviously played for the box office bottom dollar. Take the good of Avatar for what its worth-as if you can escape how it’s made cartoon alien sf for the masses the way Twilight has unfortunately made vampires cuddly to little girls. There’s no denying the re-releases, merchandising, and sequels in Avatar’s wake.  I only hope a true writer is able to step in for Cameron’s ego-er screenplay with a red pencil for round two.  Enjoy Avatar for a family night of friendly film-but perhaps take some time, too, for a real historical lesson or current events session.  Teachers can also use the ups and downs here for a great classroom discussion. Enjoy the hullabaloo while it lasts, for beyond the visual spectacles, Avatar misses the mark.

Aliens

Special Edition of Aliens A Must
By Kristin Battestella

Only a handful of sequels are equal to if not better than their predecessors. Although James Cameron’s 1986 sequel to Alien isn’t quite the same caliber as The Empire Strikes Back or The Godfather Part II, Aliens is a must see science fiction classic in its own right, regardless of its place in the Alien Legacy.

Ridley Scott's 1979 original Alien was technically a horror movie in space-complete with all the shocks and suspense of a psychological thriller. Despite the special effects, in Alien it's what you don’t' see that makes it exceptional. With the 1986 sequel, however, James Cameron's crafty movie making sets up a thrills and chills action flick that has a story to boot. Long before his over ambitious Titanic, Cameron was making history.

Sigourney Weaver reprises her role as Ellen Ripley, but after 56 years drifting in space, Ripley is all but a basket case. Bad enough, but the only person interested in her situation is Corporate sleaze Carter Burke, played devilishly by Mad About You Star Paul Reiser. Burke convinces Ripley to return to LV-426 with a group of Space Marines, but not just one alien has infiltrated the Terraforming colony. Ripley has to battle it out with the infamous Alien Queen and all her minions.

The Special Edition DVD of Aliens-available individually or in The Alien Legacy Set-includes 17 minutes of restored footage. These additional moments refine the movie and cap off a film that was already one of the best science fiction flicks since Star Wars. The restored footage highlights Ripley's trouble with the Corporation and showcases her lost daughter. Ripley left for space when she was 11, and now Ripley learns her daughter has grown up, married, and died. Instead of destroying Ripley, this extra storyline strengthens and solidifies Ripley's later attachment to little alien survivor Newt (Carrie Henn).

James Cameron often uses the same actors in his blockbusters. Terminator alumni Michael Biehn and Lance Henriksen round out the Aliens cast as Corporal Hicks and the android Bishop. The relationships Ripley develops with both men mirror her strength inside and out. After her betrayal by an android in the first film, Ripley’s respect and trust in Bishop is a significant step, as is her relationship with Hicks. They flirt, he shows her how to use weapons, early on Hicks protects Ripley and Newt. In a perfect world these three outsiders could be a unified family, but if in space no one can hear you scream, the odds are definitely against them.

In addition, fans are treated to bits and pieces of the Sulaco, extended scenes on LV-426, and a special speech from Hudson as played by Bill Paxton. Jennette Goldstein (who later appeared in Terminator 2) is also treated with more dialogue for no-nonsense Private Vazquez. Another storyline skillfully restored after being left on the cutting room floor shows repaired robot sentries repelling several alien attacks. These sequences add extra time to the movie, but they also add depth and intelligence to the love-to-hate Xenomorph. Now instead of one big assault, we see the trial and error and brain power of the aliens. Not only do they have acid for blood, but now the aliens are smart-and that’s frightening. As Hudson says, “They cut the power!”. Details like these give the creatures a life of their own and help a movie seemingly about marines versus slime outlast the competition- 20 years and three sub par sequels later.

The stellar theatrical release of Aliens was a blockbuster success and garnered critical acclaim for its production, direction, and acting. The uninitiated need not see the original film in order to enjoy Aliens, but the extra material is worth a look from naysayers. Cameron’s extra footage goes beyond human good, alien bad. 17 minutes can go a long way in adding character to an action movie that already carried a level of seriousness. Without the popularity of Aliens and its subsequent rise to cult status, the still quality but inferior Alien 3, Alien Resurrection, and the fan boy Alien vs Predator would not have been made.

Although the Special Edition of Aliens has been available on DVD for some time, it’s never to late to add a must have to your collection. Parts may be too scary for kids, and high tech fans might find a few of Stan Winston’s creatures a tad hokey, but the Special Edition of Aliens is more than worth the trip to your favorite retailer. Die Hards will definitely pay the price of admission-if they haven't done so already.