A Reel Review: MEGALOPOLIS

When the conversation moves to the greatest films ever made, Francis Ford Coppola would be the only director who would have three (three!), films in the Top 5: THE GODFATHER, THE GODFATHER PART II, and APOCALYPSE NOW. No one gets that high on that list without breaking some rules, and Coppola has been the biggest breaker of them all; re-writing the book on filming, editing, scoring, and acting. This year, Coppola brings his style to the big screen with a film that he has been working on since 1977: the sci-fi epic MEGALOPOLIS. 

 

In re-imagined version of America and the city of New Rome, visionary architect Cesar Catilina (Adam Driver), has invented a new element called Megalon, which he wants to use in building a city of the future. Standing in his way is Mayor Cicero (Giancarlo Esposito), whose daughter Julia (Nathalie Emmanual), defies her father and begins an affair with Cesar. 

 

Written and directed by Coppola and heavily inspired by ancient Rome history, MEGALOPOLIS does not have much by way of plot; the guts of it are Cesar looking to break convention in building a utopia, and the conservative Mayor looking to keep things traditional. Rotating around that is Cesar’s relationship with Julia, his one-time love affair with a TV star (Aubrey Plaza), his big-bank running uncle (Jon Voight), and his wild and scheming cousin (Shia LaBeouf). All topped off with an aging Russian satellite that is in a decaying orbit and ready to fall to Earth on top of New Rome. It’s a film packed with side-stories that while interesting in the moment, do not have much of a payoff at the end. 

 

Underneath all that, Coppola is playing with big questions for his characters to debate: Are utopias good for us? What is art and who gets to say if it is or not? What is the responsibility of a leader, or society? MEGALOPOLIS throws around the questions like candy but ultimately offers no answers. Overall, Coppola uses the film as a huge metaphor for the state of America today. Thankfully, he doesn’t do so bluntly. Cesar’s ability to stop time is a bit of a mystery and is woefully undercooked. 

 

There is still much to admire in MEGALOPOLIS. Coppola uses every inch of the IMAX format, and every shot is a painting. His old out-of-the-box thinking in the editing is still active, with many scenes taking off sideways into psychedelic visions that may or not add much; it’s bewildering at times. The parallels between New Rome and ancient Rome are well done, and overall the film has a classic feel to it in its costuming and overall design; it’s gorgeous and earns its visual impact. Visual effects are stunning in places and ho-hum CGI in others. And for a guy who fired shots at Marvel movies, he sure used a shit-ton of Marvel-like green-screen effects which leads to many artificial-looking setpieces. The score by Mihai Golijov is non-existent. 

 

The cast puts in their best despite being asked to pull off some very odd performances. Adam Driver is great, as is Aubrey Plaza and Nathalie Emmanuel. Shia LaBeouf and Jon Voight are hilarious. Smaller roles are held down well by Laurence Fishburne (who also serves as narrator), Talia Shire, and Dustin Hoffman. 

 

Late in the third act, Cesar hits rock bottom (as most protagonists do), but the resolution to his woes comes too quick and easy (and somewhat ridiculous), and leaves the film with not much of a climax and a ho-hum ending. Like most of his filmography, Coppola throws everything he has on the screen in building MEGALOPOLIS; the foundation is solid, but the upper floors are shaky. That lack of balance makes it a nice place to visit, but we wouldn’t want to live there. 

 

BOTTOM LINE: Rent it 

 

 

 

 

A Reel Preview: Everything You Need to Know About MEGALOPOLIS

This week, famed filmmaker Francis Ford Coppola returns to the big screen with his long-awaited epic, MEGALOPOLIS. Here in this preview is everything you need to know: 

 

What is this about? – MEGALOPOLIS is the first film from 85-year-old Francis Ford Coppola since 2011. Set in a re-imagined United States, a visionary architect clashes with a corrupt Mayor over how to rebuild the metropolis of the fictional city New Rome. The film is labeled as an epic science-fiction drama, which draws parallels from the fall of Rome. 

 

Who is behind the camera? – MEGALOPOLIS is written and directed by Francis Ford Coppola, who is best known for his films in the 1970’s which are often considered to be among the greatest of all time; THE GODFATHER (1972), THE GODFATHER PART II (1974), and APOCALPYSE NOW (1979). Other notable films include THE CONVERSATION (1974), THE OUTSIDERS (1983), THE COTTON CLUB (1984), PEGGY SUE GOT MARRIED (1986), THE GODFATHER PART III (1990), BRAM STOKER’S DRACULA (1992), and THE RAINMAKER (1997). This is his first feature film since the experimental TWIXT in 2011. 

 

Who is in front of the camera? – Coppola has assembled an ensemble cast, with Adam Driver (THE FORCE AWAKENS) playing the role of the architect, and Giancarlo Esposito (TV’S THE MANDALORIAN), as the mayor. The rest of the cast includes Nathalie Emmanuel, Aubrey Plaza, Shia LaBeouf, Jon Voight, Laurence Fishburne, Talia Shire, Jason Schwartzman, James Remar, D.B. Sweeney, and Dustin Hoffman. 

 

Random Facts – Coppola conceived the overall idea for MEGALOPOLIS towards the end of filming APOCALYPSE NOW in 1977 * Coppola sold a portion of his winery to spend $120 million of his own money to fund the production * The film has been mired in controversy; from accusations of inappropriate on-set behavior by Coppola, a visual effects staff that was fired during production, and a trailer that was pulled after using fake, AI-generated quotes * Actor James Caan, who was in THE GODFATHER, was cast in the film but passed away before filming. His role was filled by Dustin Hoffman * MEGALOPOLIS premiered at the 77^thCannes Film Festival in July of this year * 

 

What to expect – When Francis Ford Coppola arrived on the scene in the 1970’s, he was part of the new age of filmmakers that would favor experimentation that would change the face of moviemaking. Coppola, along with names like Lucas, Spielberg, and Scorsese, did just that. The reactions from Cannes indicate that Coppola has continued to push the boundaries of what we know as traditional filmmaking. Some of it may work, some of it may not…but it looks like MEGALOPOLIS will be a film that will offer something very new. 

 

*

 

MEGALOPOLIS hits the big screen this Friday, September 27^th, with preview screenings on the 26^th.

 

A Reel Review: THE SUBSTANCE

Body Horror is a genre of film that can be difficult to watch. They are horror flicks that violate or deform the human body in grotesque ways. Over the years there have been landmark films in this genre, such as ALIEN (1978), THE THING (1982), and THE FLY (1986). This year, we can add the thrilling, stomach-churning, exquisite and ghastly statement on Hollywood, THE SUBSTANCE. 

 

Elizabeth Sparkle (Demi Moore), is a 50-year-old actress whose best days are behind her. After she is fired from her aerobics show by TV executive Harvey (Dennis Quaid), she is given a black-market serum by a mysterious supplier called The Substance, which promises to deliver a younger version of herself. 

 

Written and Directed by Coralle Fargeat, THE SUBSTANCE is an exploration of the human body and how it is perceived by ourselves and those around us. Showing no restraint, the film gets to the younger version of Elisabeth in a shock; the new version (Margaret Qualley), is “birthed” out of her back. Calling herself Sue, she gets her old job back and gets instant fame. But there are hard rules in place. The two have to switch bodies every seven days without exception, but when Sue decides to break the rules, things get gory in a hurry as their bodies begin to deteriorate. 

 

Director Coralle Fargeat is looking at familiar themes of beauty and how mainstream show business treats women after they reach a certain age. Fargeat is heavy on the metaphor, often using mirrors, reflections, billboards, and Walk of Fame stars to help tell her story. There is some excellent filmmaking here, and the contrast between the two women drives the story. 

 

When things get gory, things really get gory. The birthing scene is squeamishly done, and using some great practical effects, the eventual body deteriorations and deformations are stunning. But what really makes it all work is the sound design. Every creak and drip that the human body makes is brought up to the front, and even little things like eating shrimp or using a needle goes right through our ears. Fargeat understands that what we hear is just as important as what we see and blazes some new territory in movie-making. 

 

Acting is tremendous. Demi Moore puts in a career-best, and Margaret Qually is a delight. Dennis Quaid is a pig of a man aptly named Harvey, and chews it up. 

 

THE SUBSTANCE, after a wild third act, doesn’t quite wrap up tightly. The identity of the mysterious supplier or what they were up to is never given, and there is a hanging question if Elisabeth and Sue actually share a conscious; each one acts like they don’t know what the other has been up to, which seems to cheat the experience of using a younger body. Despite that, THE SUBSTANCE is a powerful film that will destroy appetites and change perspectives on show business. 

 

BOTTOM LINE: See it 

A Reel 30: ED WOOD

 

“This is the most uncomfortable coffin I’ve ever been in…”

 

This month marks the 30th anniversary of Tim Burton’s ED WOOD. 

 

Based upon the life story of infamous director Ed Wood, Tim Burton’s loose comedic biopic was based upon the novel Nightmare of Ecstasy by Rudolph Grey. The film was the brainchild of writers Scott Alexander and Larry Karaszewski, who as film students at USC originally conceived the project as a documentary. As the project progressed and changed to a feature film, it eventually landed on the desk of strange and unusual director Tim Burton; the man behind hits BEETLEJUICE (1988), BATMAN (1989), and THE NIGHTMARE BEFORE CHRISTMAS (1993). 

 

The pairing of Burton with a story about Ed Wood, a director who would gain notoriety as one of the worst directors of all time, was a perfect one. Burton had always been a fan of the man’s work, and this admiration would seep into the film as ED WOOD would ultimately not make fun of the man, but would explore his passion for storytelling. Burton would also inject his personal relationship with screen legend Vincent Price into the film; his Ed Wood character would strike a beneficial working friendship with horror-film actor Bela Lugosi. 

 

Burton would assemble an ensemble cast. Johnny Depp jumped at the chance of playing the lead, and he was joined by Martin Landau (as Lugosi), Sarah Jessica Parker, Patricia Arquette, Lisa Marie, Jeffrey Jones, Bill Murray, pro-wrestler George “The Animal” Steele, Juliet Landau, Mike Starr, J.D. Spradlin, and a Vincent D’Onofrio as a young Orson Welles. 

 

The film had underperforming box office numbers, but the very strong reviews and accolades for the cast would earn it popularity long after it left the big screen. ED WOOD would be nominated for a Golden Globe (Best Musical or Comedy), and Best Actor (Depp). Rick Baker would win an Oscar for Best Makeup. Martin Landau’s dazzling performance would earn him an Oscar. Over the years, much like the director whose name is on the film, ED WOOD would gain traction as a cult favorite. 

 

*

 

This Blogger’s first encounter with ED WOOD came in the early Spring of 1994, when our film class was shown a work print of the film, nearly six months before it was to be released in theatres. That work print, shown to us in glorious VHS, was an incomplete version…with running time-codes, black spots where edits and effects had to be inserted, and a notable absence of opening and closing credits. The film, even in an incomplete version, was dubbed worthy of being shown in a film class as there was plenty that students of film could learn from ED WOOD. Not only is it perfectly crafted, well-acted, and written to the point where it is infinitely quotable, but Burton was able to find the heart and soul in the story of a very weird man. Burton’s Ed Wood character was the Little-Engine-That-Couldn’t; a very earnest director who spun his wheels really fast and hard but could never quite make it over that mountain. It is Burton’s statement on what is art and who gets to say if it is, which gives it a timeless quality. ED WOOD was a labor of love for Burton, and those are best kinds of film. 

 

“This is the one! This is the one I’ll be remembered for!”

 

James Earl Jones: 1931 - 2024

Actor James Earl Jones has passed away at 93. 

 

An owner of the most distinctive and iconic voices in cinematic history, James Earl Jones was born in Mississippi in 1931. A pre-med major in college, he served in the U. S. Army during the Korean War before pursuing a career in acting. He would have his Broadway debut in 1957 and would perform in several Shakespeare plays. In 1964 he would have his big-screen debut in Stanley Kubrick’s DR. STRANGELOVE. In 1974 he would co-star with Diahann Carroll in CLAUDINE, which would earn him a Golden Globe nomination. 

 

In 1977, he would land the role that would define him for the rest of his life, when up-and-coming filmmaker George Lucas cast him as the voice of Darth Vader in STAR WARS. He would reprise the role in the direct sequels, THE EMPIRE STRIKES BACK (1980), and RETURN OF THE JEDI (1983). He would come back to Darth over the long Saga, voicing him in REVENGE OF THE SITH (2005), ROGUE ONE (2016), and THE RISE OF SKYWALKER (2019).

 

His impressive filmography would include the towering villain Thulsa Doom in CONAN THE BARBARIAN (1982), along with roles in SOUL MAN (1986), Francis Ford Coppola’s GARDENS OF STONE (1987), COMING TO AMERICA (1988), FIELD OF DREAMS (1989), SNEAKERS (1992), SOMMERSBY (1993), THE SANDLOT (1993), and JUDGE DREDD (1995). He would have a significant role in films based on Tom Clancy novels, including THE HUNT FOR RED OCTOBER (1990), PATRIOT GAMES (1992), and CLEAR AND PRESENT DANGER (1994). 

 

Walt Disney Pictures would further elevate his iconic status when the cast him as the voice of Mufasa in their towering THE LION KING (1994). He would reprise the role in THE LION KING II: SIMBA’S PRIDE (1998), and the live-action/animated remake in 2019. 

 

In his career he would win two Primetime Emmy Awards, two Tony Awards, and a Grammy Award. He would earn a Golden Globe, and the Screen Actors Guild Life Achievement Award. In 2011, he received an honorary Oscar. The former Cort Theatre on Broadway was named the James Earl Jones Theatre in 2022. 

 

*

 

This Blogger still remembers his first time seeing STAR WARS way back in 1977. The dramatic entrance of Darth Vader, the maske intimidating bad guy with the chilling mechanical breathing made an instant impression. As awesome as that moment it was, it was nothing compared to what would come next…hearing him speak. The voice went right through us back then, and it still does now. 

 

James Earl Jones was gifted with a voice that was unforgettable, but he also knew what he was doing as an actor. His roles as a CIA Chief and a baseball-loving writer (where he delivered one of the greatest monologues of all time), also made deep impressions, and he always seemed to make every movie he was in a little bit better. The voice of Darth Vader has been silenced, but it will echo in our core memories as long as the stars burn. 

A Reel Review: BEETLEJUICE BEETLEJUICE

Strange and unusual director Tim Burton has not had the best millennium; directing an impressive number of stinkers with only the occasional flashes of brilliance that put him on the Hollywood map. After his disastrous DUMBO remake in 2019, he vanished into the underworlds of streaming with success…and this year he returns to the big screen by resurrecting his most iconic creation…the ghost with the most, Betelgeuse in BEETLEJUICE BEETLEJUICE. 

 

Lydia (Winona Ryder), along with her daughter Astrid (Jenna Ortega), and her stepmom Delia (Catherine O’Hara), return to Winter River for the funeral of Charles. Once back in their old house, Betelgeuse (Michael Keaton), is brought back to the land of the living. 

 

Directed by Tim Burton and set 36 years after the events of the first film, BEETLEJUICE BEETLEJUICE is a loaded film. Lydia these days has her hands full with a new fiancée (Justin Theroux), and dealing with her daughter who hates her guts. Astrid in the meantime gets tricked into the underworld in a desire to see her dead father (Santiago Cabrera), which leads Lydia to seek out help from Betelgeuse. Betelgeuse has his own problems, with his ex-wife Delores (Monica Bellucci), seeking revenge against him, which earns the attention of a ghost detective (Willem Dafoe). 

 

If all that sounds like a lot, it is. BEETLEJUICE BEETLEJUICE is at its strongest when focusing on the family issues of Lydia, Astrid, and Delia. But just when the film finds a good groove, it has to cut away for what seems like an intrusive storyline of Betelgeuse’s revenge-seeking ex-wife who is sucking the souls out of dead people in the afterlife. This leads to even more time having to be spent with the ghost detective. While the ex-wife scenes are well-done and Bellucci is well-cast, there isn’t nearly enough payoff for it all. All of it could be exorcised from the film and it would not affect anything save for the run time. 

 

There is still plenty to enjoy here. The atmosphere of the first film is perfectly recaptured; the quirks, the ghostly bits, and even the old cast seems to slip right back into their roles. There is a commitment to practical effects work that really works and adds to the charm, and the setting of just before Halloween gives it an October watchlist vibe. Burton also does well in exploring and expanding the afterlife world with its inner workings revealed. Flashbacks are handled beautifully using Claymation and black-and-white filming, although an extended song-and-dance routine near the end goes on way too long, and the chosen song is a stinker. There are also some weird editing decisions made; the long-awaited big reveal of Betelgeuse's return is lazily handled. 

 

Acting is mostly superb. Michael Keaton brings back Betelgeuse very well and is a blast, but he seems tamer…likely a byproduct of his age. Jenna Ortega is a delight and carries the film. Winona Ryder and Catherine O’Hara are excellent. Justin Theroux is just annoying. 

 

BEETLEJUICE BEETLEJUICE feels like it was playing with several different ideas and concepts in the writing stage, most of which could have been saved for a third film, but then decided to cram everything in one place in case BEETLEJUICE BEETLEJUICE BEETLEJUICE doesn’t get made. What we are left with is a film that is frustratingly overcomplicated. It’s not dead-on-arrival, but it won’t make your millennia either. 

 

BOTTOM LINE: Rent it 

 

 

A Reel Preview: The Year in Film 2024 - Episode IX

The Summer Movie Season for 2024 has ended, and the cool winds of Glorious Fall have begun to swirl. This September is packed month, with some heavy hitters swinging for the fences. Here’s what’s coming to the big screen this month: 

 

 

 

 

BEETLEJUICE BEETLEJUICE – Tim Burton returns to direct, and Michael Keaton reprises the role of the demonic prankster Betelgeuse in this legacy sequel, which sees the daughter of Lydia (reprised by Winona Ryder), releasing him. The cast includes Catherine O’Hara, Jenna Ortega, Monica Bellucci, and Willem Dafoe. 

 

 

 

THE 4:30 MOVIE – Director Kevin Smith (CLERKS, DOGMA), helms this semi-autobiographical coming-of-age comedy based on his youthful experiences of sneaking into movie theatres. 

 

 

 

THE KILLER’S GAME – Dave Bautista (GUARDIANS OF THE GALAXY), plays a hitman who fends off a hit on himself after he finds out his terminal diagnosis was incorrect. The cast includes Ben Kingsley, Sofia Boutella, Terry Crews, and Bautista’s GUARDIANS castmate, Pom Klementieff. 

 

 

 

SPEAK NO EVIL – In this remake of the 2022 Danish film of the same name, an American couple has their dream holiday in a country house turned into a nightmare. The cast includes James McAvoy, Mackenzie Davis, and Scoot McNairy. 

 

 

 

TRANSFORMERS ONE – This animated film explores the early friendship between iconic robots-in-disguise Optimus Prime and Megatron. The voice-cast includes Chris Hemsworth, Brian Tyree Henry, and Scarlett Johansson. 

 

 

 

SUPER/MAN: THE CHRISTOPHER REEVE STORY – This documentary film explores the life and legacy of famed Superman actor Christopher Reeve. 

 

 

 

 

LEE – In what is expected to be an awards contender, Kate Winslet plays famed war photographer Lee Miller, who chronicled WWII for Vogue magazine. 

 

 

 

MEGALOPOLIS – Famed filmmaker Francis Ford Coppola (THE GODFATHER, APOCALYPSE NOW), returns to the big screen with his first film in 13 years, which follows a visionary architect who is struggling to rebuild a metropolis after a devastating disaster. The cast includes Adam Driver, Giancarlo Esposito, Aubrey Plaza, Shia LaBeouf, Jon Voight, Laurence Fishburne, Talia Shire, Jason Schwartzman, D.B. Sweeney, and Dustin Hoffman. 

 

 

 

*

 

 

Next month, Reel Speak previews the month of October. 

A Reel 60: MARY POPPINS

"Supercalifragilisticexpialidocious!" 

This week marks the 60^th anniversary of Walt Disney Pictures’ MARY POPPINS. 

 

Often considered to be Walt Disney Pictures’ crowning live-action achievement, MARY POPPINS was directed by Robert Stevenson and based on the books by P.L. Travers. It told the tale of a magical nanny who visits a dysfunctional London family and uses her unique style to bring them together. 

 

The film was mostly based on the first book in Travers’ series, which was a favorite of the daughters of Walt Disney. Disney attempted to buy the rights to the books as far back as 1938, but was refused by Travers. He would finally succeed in 1961, with Travers holding script-approval rights. The relationship between Travers and Disney was rocky at first, but would improve throughout the production. 

 

By March of 1961 casting had begun. The role of Mary Poppins would go to Julie Andrews, who would be appearing in her first feature film. The rest of the cast would include Dick Van Dyke, David Tomlinson, Glynis Johns, Karen Dotice, Matthew Garber, Elsa Lanchester, and Ed Wynn. Filming would take place from May to September of 1963, with post-production and animation work taking another 11 months. A sequence involving Andrews and Van Dyke dancing with animated penguins would use new techniques combining live-action and animation. The music and lyrics would be composed by brothers Richard Sherman and Robert B. Sherman. 

 

MARY POPPINS would have its premiere on August 27, 1964, at Grauman’s Chinese Theatre in Los Angeles ahead of its September wide-release date. It would receive universal acclaim from critics, and would finish as the highest-grossing film of the year. At the 37^th Academy Awards, it would receive 13 nominations, a record for any Disney film. It would win five; Best Actress for Julie Andrews, along with Best Film Editing, Original Music Score, Visual Effects, and Original Song (Chim Chim Cher-ee). It would be the only Walt Disney film to earn a Best Picture nomination in his lifetime. In 2013, it was selected for preservation in the United States Film Registry. A biographical drama on the making of the film, SAVING MR. BANKS, was released in 2013. A sequel, MARY POPPINS RETURNS, arrived in 2018. 

 

*

 

After 60 years, MARY POPPINS has become so embedded in our culture that it is difficult to imagine a world without her. Glances at chimneys spark visions of dancing chimneysweeps, cherry blossom trees remind us of the Banks’ beautiful and charming Cherry Tree Lane, and moms across the world will say “spit-spot” in an attempt to keep their kids moving along…and sometimes while mimicking Julie Andrews’ razor-sharp delivery. Even for those who have barely watched the film, there is a little bit of MARY POPPINS in everyone. 

 

In 1964, MARY POPPINS brought Walt Disney Pictures back into relevance after a string of box office troubles. Since then, the character has become as big of a part of Disney as Cinderella’s castle. The film represents everything that Disney would master so well; family films that are fun, serious, important…and even magical. 

 

“…Practically perfect, in every way.”

 

 

A Reel 10: GUARDIANS OF THE GALAXY

“I am going to die surrounded by the 

biggest idiots in the galaxy…”

 

This month marks the 10^th anniversary of Marvel Studios’ GUARDIANS OF THE GALAXY. 

 

Directed by James Gunn and serving as the 10^th film in the Marvel Cinematic Universe (MCU), GUARDIANS OF THE GALAXY followed the adventure of a team of galactic misfits; Star Lord (Chris Pratt), Gamora (Zoe Saldana), Drax (Dave Bautista), Rocket (voiced by Bradley Cooper), and Groot (voiced by Vin Diesel), who team up to prevent a hostile force from acquiring a devastating weapon. 

 

Development of GUARDIANS was announced by Marvel producer Kevin Feige at the San Diego Comic Con in 2012. Marvel would be adapting the comic title as a way of expanding its vast cosmic universe, which had been hinted at in their previous films (AVENGERS and THOR). Nicole Perlman was initially hired to write the script, which was later taken over by James Gunn when he was hired as director. 

 

In addition to the principal cast, GUARDIANS would assemble an ensemble supporting cast; Lee Pace, Michael Rooker, Karen Gillian, Djimon Hounsou, John C. Reilly, Benicio del Toro, and Glenn Close. The film also had cameos by Josh Brolin as Thanos, along with Alexis Denisof as Thanos’ vizier, “The Other”. Filming began in July of 2013 and would complete in October. Tyler Bates would provide the score, and the soundtrack would be packed with pop hits from the 1970’s and 1980’s. 

 

On release, GUARDIANS OF THE GALAXY would be met with high acclaim from critics and fans. It would finish as the third-highest grossing film of the year. At the 87^th Academy Awards, it would be nominated for Best Visual Effects and Makeup & Hairstyling. It would spawn two sequels, and the primary cast would appear in future Marvel films. 

 

*

 

In the Spring of 2014, this Blogger attended Wizard World Philadelphia. At that glorious convention and celebration of all things cool, there was a panel with future star Dave Bautista. Since this was a few months before GUARDIANS would be sprung upon an unexpecting world, the full auditorium didn’t quite know what to make, or to expect of Dave or his upcoming movie that would make him and his co-stars…stars. After all, the GUARDIANS OF THE GALAXY were far from household names in the superhero business…but when the dust settled a few months later, the world had changed. 

 

GUARDIANS OF THE GALAXY was a fun, and delightful romp that set a new tone for superhero films. Humor played a central role, and the rapid-fire, endless wit and jokes had audiences sitting there with a big dumb grin on their faces from start to finish. And despite the yuks, the film had a ton of heart. The soundtrack influence, filled with classics of the 1970’s and 1980’s, became a cultural phenomenon. The characters clicked with audiences, became instant household names and cultural icons, and the MCU expanded into the far reaches of the galaxy in a blink. There were many turning points and milestones in the MCU in their first 11 years, and GUARDIANS OF THE GALAXY was the one that turned the hardest. 

 

 

“We are Groot…”

A Reel Review - ALIEN: ROMULUS

ALIEN: ROMULUS is the seventh film in its franchise, which began with the genre-breaking, closed-quarters horror flick ALIEN (1979), and continued with the action-packed sequel ALIENS (1986). Those were the glory days, because since then, it’s been an endless train wreck of sequels, prequels, and spin-offs…with bad movies, messy mythologies, and what-were-they-thinking stories. This time around, the franchise tries something new: the Interquel. 

 

Set 20 years after the events of ALIEN, and 17 years before the events of ALIENS, Rain (Cailee Spaeny), and her android Andy (David Jonsson), are recruited by their friends (Archie Renaux, Isabela Merced, Spike Fearn, Aileen Wu), to raid an abandoned space station to steal cryo-pods…which will enable them to escape to a better life. Once aboard, they are hunted and attacked by deadly…aliens. 

 

Directed by Fede Alvarez, ROMULUS goes back to the roots of what made ALIEN and ALIENS so great. Gone are the attempts at building mythologies or exploring god-concepts or humanity’s place in the universe, and back are the basic building blocks of closed-quarters horror, body-horror, gut-wrenching tension, and feelings of isolation and helplessness. Once the crew is aboard, they awaken the famed facehuggers which leads to the equally famed xenomorphs. The clock is ticking as the station is losing its orbit…and the race is on to survive the fall and being torn apart or cocooned. 

 

Showing no shame, ROMULUS borrows extensively from previous ALIEN films, recreating scenes, situations, and lines of dialogue. It’s almost like a greatest-hits package, but it does enough that it feels like its own thing. Director Fede Alvarez puts together some amazing set pieces, and with a combo of practical and CGI effects, we see the xenomorphs and the facehuggers in a whole new light; they are more terrifying than ever. 

 

Acting is excellent. Cailee Spaeny carries the film very well. David Jonsson is tremendous as the standard-issue android, who goes through his own personality changes in surprising ways. And speaking of surprises, an extended cameo by a franchise legacy character is handled very well and is a shocker. 

 

ROMULUS delivers everything that fans have been demanding from the franchise for many years, going back to basics and ticking the boxes on all the good stuff. The recycling of old moments could be considered lazy, but it does enough to make it feel fresh. As an interquel, it fits nicely between ALIEN and ALIENS, and even cleans up the mess that was left by the goddamn prequel movies. ROMULUS returns the franchise to its glory days. 

 

BOTTOM LINE: See it