Prometheus was a very mixed bag for me. On one hand I was completely enjoying everything about it but as the film went on many of it’s glaring problems began to rise to the surface and really hurt the film overall. Despite those problems I did want to see more, I wanted to know what was out there, which is so fascinating about outer space to begin with. Who created us? Why did they create us? There were some very intriguing ideas flourishing in the film, ideas Ridley Scott plans on continuing with the sequel to his sci-fi/horror prequel which is set to go into production this February.
Prometheus 2 will continue Shaw’s mission to seek out the Engineers’ home world in order to find out why they created humanity and then wanted to snuff us out. “You can either say, leave the first film alone and jump ahead, but you can’t because it ends on too specific a plot sentence as she says, I want to go where they came from, I don’t want to go back to where I came from,” Scott explained. “I thought the subtext of that film was a bit florid and grandiose, but it asks a good question: who created us?”
The biggest question many of use want answered is Michael Fassbender, who played David the android in the 2012 film, will return for the sequel. “Oh, yes, Fassbender will do this one with me, and it’s meant to start production in February. I’m in prep, now. I’ll either shoot in Aussie, or here.”
I’m really eager to see more, but Ridley has to up his game on the sequel and not repeat the same stupid things he had in the first film. Anyone else excited for Prometheus 2?
Entertainment Weekly has released many set photos from the upcoming blockbuster giving us a deeper look into the production and the film’s villain Kylo Ren.
Kylo Ren on the cover
C3PO and R2D2
Kylo Ren, played by Inside Lewyn Davis actor Adam Driver, and his First Order Stormtroopers
Rey and Finn, played by newcomer Daisy Ridley and Attack of the Block’s John Boyega
Captain Phasma played by Game of Thrones actress Gwendoline Christie
Director JJ Abrams and Daisy Ridley, on top of a down AT-AT
Finn and a downed Tie-Fighter
General Hux played by Ex Machina actor Dohmnall Gleeson
Poe Dameron, played by Ex Machina actor Oscar Isaac
Rey and BB8
The pictures just make me more excited for this film and can’t wait to see it on the big screen this December!
During a manned mission to Mars, Astronaut Mark Watney (Matt Damon) is presumed dead after a fierce storm and left behind by his crew. But Watney has survived and finds himself stranded and alone on the hostile planet. With only meager supplies, he must draw upon his ingenuity, wit and spirit to subsist and find a way to signal to Earth that he is alive. Millions of miles away, NASA and a team of international scientists work tirelessly to bring “the Martian” home, while his crew mates concurrently plot a daring, if not impossible rescue mission. As these stories of incredible bravery unfold, the world comes together to root for Watney’s safe return. Based on a best-selling novel, and helmed by master director Ridley Scott, THE MARTIAN features a star studded cast that includes Jessica Chastain, Kristen Wiig, Kate Mara, Michael Peña, Jeff Daniels, Chiwetel Ejiofor, and Donald Glover.
This looks pretty amazing and sparks a pretty interesting idea in the sense that, what if we finally got to the point where we could reach Mars in a few days, can you imagine location scouting for movies on Mars? I would be so game for that. A film student organizes his shoot on Mars, him and his crew take a flight and boom, credits read “filmed on location”. Anyway, The Martian hits theaters November 15th!
Caleb is a computer programmer working for Bluebook, the apparent Google of the Not-Too-Distant-Future. He wins a company contest to meet with Nathan, the company’s Howard Hughes-esque genius founder, on a top-secret project at his secluded home. When he arrives, he discovers that he has been selected to help Nathan test a new form of artificial intelligence in the form of an advanced robot named Ava. As the story goes on, Caleb begins to have feelings for Ava, who may or may not have feelings of her own for Caleb and against Nathan.
Domhall Gleeson is the everyman-esque main character, Caleb, and as such, he gives the film its humanity; the quiet, reserved guy who is intrigued by what he sees, but gradually starts to question and challenge what the circumstances present themselves. He provides the thoughtful eagerness that properly feeds against Oscar Isaac’s douche-extraordinaire Nathan. Isaac plays Nathan as the guy you knew in college who was approachable, who knows from the get-go that he was smarter and more talented than you, but still tried to be a friendly rival all the same. He nearly steals the show while helping provide a Luke-and-Han dynamic between the two, which may come into play when they co-star together in Star Wars: The Force Awakens this Christmas. The standout is Alicia Vikander, who gives Ava the type of effective but reserved wonderment toward humanity, and Caleb in particular, that Brent Spiner gave to Star Trek: TNG’s Data, but hers is with a greater sense of either genuine fear or cunning manipulation. Sonoya Mizuno plays Kyoko, Nathan’s assistant, as a practically mute slave, unable to speak of the horrors she’s seen in Nathan’s hidden fortress, though she finds the strength to stand tall when the final act comes into play.
Garland, who also wrote the original 28 Days Later and the criminally-underrated Dredd, populates his directorial debut with scenes comprised mostly of long, takes between one or two of the characters with cutting only when seemingly necessary. These scenes are in environments consisting of either bright, Kubrickian hallways and sitting rooms or in the serene, almost magical forests that surround Nathan’s tiny structure outside. Nearly every shot in the film, courtesy of cinematographer Rob Hardy, is a wide-angle photograph unto itself.
In addition to the finely-tuned acting, I really appreciated Garland’s approach to 2001 and Solaris visuals. He opts for bright-but-claustrophobic rooms and hallways shot with long, wide-angle takes to give Nathan’s small forest dwelling with a big, techy basement a sense of dangerous intrigue. It effectively and beautifully plays on the nature-versus-nurture state of Ava and Caleb’s budding relationship as well as the conflict that arises between the trio. Ava’s design itself is equally sparse but effective, with just her arms, torso and the back of her head showing any visual signs of inhumanity. She even manages to hide those with some girly outfits and wigs to make herself look and potentially feel real.
If there is anything to complain about the film, it’s that there a only a precious few surprises. Nathan’s story is a variation of Frankenstein’s Mad Scientist/Playing God motivation, and as said before, Caleb is pretty much a smarter, more cynical version of Luke Skywalker. But when your biggest complaints are retreads on well-established formulas, at least ones that have been done over and over again for decades, you can easily forgive the filmmakers for going the unbroken routes that they did.
Yes, there is precious few fresh ideas about this tried-and-true cautionary tale, but film still thrives on the wide-open sparseness of the environments and cinematography as well as the completely believable performances of the three main actors. In the modern era of Sci-Fi, littered with the flashy fun of superheroes and giant robots (which I also love), it’s nice to see the kind of smart, bleak and thought-provoking tales of the future that only seem to come along every few years. And Garland has taken this simple idea and created a fantastic, little film that’s the best of its kind since Moon and District 9 that may not be a fully recognized now, but in hindsight will only become a benchmark for Sci-Fi films of this decade. Maybe the future won’t be so bad after all.
Written by: Christopher Dees
From Disney comes two-time Oscar® winner Brad Bird’s “Tomorrowland,” a riveting mystery adventure starring Academy Award® winner George Clooney. Bound by a shared destiny, former boy-genius Frank (Clooney), jaded by disillusionment, and Casey (Britt Robertson), a bright, optimistic teen bursting with scientific curiosity, embark on a danger-filled mission to unearth the secrets of an enigmatic place somewhere in time and space known only as “Tomorrowland.” What they must do there changes the world—and them—forever.
Here’s my problem with this, they are showing nearly the entire escape which looks amazing but I’d rather not see all that, but when George Clooney says, “You ain’t seen nothing yet” of course that’s Brad Bird’s way of saying, “I’m not spoiling anything.”, so I’m willing to go with it, but the downside is, he better deliver.
Wow, I had to be honest, when I saw the ads for this film and hearing that the Wachowski’s were back to making big grandiose film making with the possibility of a new trilogy. Well, that’s why I think it hurts so much to know the movie is just, well, maybe, ok. I mean visually it’s impressive as their camera zips and zooms, just check out an action/chase scene over the skyline of Chicago with huge c.g.i. visuals destined to jaw drop and impress. Everything else is just a mess. Basically the plot Mila Kunis is the genetic heir to a galactic fortune, I think, why I don’t know? But she get’s protected by a genetically enhanced solider, sort of, in the form of Channing Tatum, who finds her by, sense of smell, no joke. The rest, I don’t know? I’m still trying to figure that out?
The plot, the story, I have no idea I got lost myself. Poor Wachowski’s they really, really, really try to entertain us so badly. I mean they can do it, we’ve seen it, check out the underrated “Bound” and, of course, “The Matrix” a sci-fi action/thriller that raised the bar for all. And the political satire with a message thriller/drama “V for Vendetta,” which ok they’re not credited as director, but it was still their baby. These two can deliver when they want but I guess they want to just over impress us so much that it’s just overdone. I mean “The Matrix” sequels (“Matrix Reloaded” & “Matrix Revolutions”) were just eye rolling, blah, “Speed Racer” was an attempted kiddie flick that just made its target audience go, huh? Then let’s not forget their attempt at “indie” filmmaking, and I use that term loosely to describe “Cloud Atlas,” which I can respect the ambition but should have come with cliff notes because I got lost in just 10 minutes and needed a pause and rewind button just to follow who was who.
All in all the movie is like I said, visually stunning but that doesn’t excuse, boring characters and a plot/story that NOBODY can follow. Again, poor Wachowski siblings. And to think they needed a 175 million dollar budget to make people roll their eyes yet again in disbelief. The two of them better go back to the drawing board and try, oh please, please, please try to make something normal before it’s too late. Believe me, I still haven’t lost faith.
2 out of 5 stars
Written by Jason Greathouse