"E.T.: The Extra-Terrestrial" Still a Wonder

TRASH IN MY EYE No. 76 (of 2012) by Leroy Douresseaux

E.T.: The Extra-Terrestrial (1982)
Running time: 115 minutes (1 hour, 55 minutes)
MPAA – PG
DIRECTOR: Steven Spielberg
WRITER: Melissa Mathison
PRODUCERS: Kathleen Kennedy and Steven Spielberg
CINEMATOGRAPHER: Allen Daviau (D.o.P.)
EDITOR: Carol Littleton
COMPOSER: John Williams
Academy Award winner

SCIENCE FICTION/FANTASY/DRAMA

Starring: Henry Thomas, Dee Wallace, Robert MacNaughton, Drew Barrymore, and Peter Coyote

This year marks the 30th anniversary of the first release of E.T.: The Extra-Terrestrial to theatres (specifically June 11, 1982). E.T.: The Extra-Terrestrial is the story of an alienated boy and the stranded alien from another world he befriends. The boy must be brave if he is to help the extraterrestrial avoid authorities until he is rescued by his kin. Directed by Steven Spielberg, this Academy Award-winning, science fiction and fantasy drama surpassed Star Wars as the highest-grossing film of all time, and it held that record for ten years until another Spielberg film, Jurassic Park, surpassed it.

E.T.: The Extra-Terrestrial opens in a lush California forest where a group of diminutive aliens collect plant samples. One of them is mistakenly left behind and makes his way to a suburb near the forest. There, he takes up residence in a backyard shed, where he is found by 10-year-old Elliot (Henry Thomas). Elliot lives in a two-story home with his recently divorced mother, Mary (Dee Wallace); his older brother, 16-year-old Michael (Robert MacNaughton), and his little sister, 5-year-old Gertie (Drew Barrymore).

Elliot names his extraterrestrial foundling, “E.T.” Elliot and his siblings hide E.T. in their home, but Elliot soon discovers that in order to protect his friend, he must help him find a way home (“E.T. phone home”).

I had not watched E.T.: The Extra-Terrestrial in its entirety since I first saw it 30 years ago, back in June 1982. With the release of an anniversary edition Blu-ray, I decided to watch it again, and I’m simply amazed and flabbergasted. Over the years, I always thought that if I watched E.T. again that I might still like the movie, but certainly not as much as I did the first time I saw it. And I was quite taken with it back in ’82. I was practically heartbroken when it lost the best picture Oscar to Gandhi. In fact, I even thought that I might not like E.T. if I watched it again.

As Sir Richard Attenborough, the Oscar-winning director and producer of Gandhi once said, E.T. is inventive, powerful, and wonderful. There is a sense of magic and wonder that permeates the film, infused by Steven Spielberg, who spins this story as if he were part magical storyteller and part wizard. He pulls from his bag of tricks and makes everything work by using the magic of movies.

The film’s most famous sequence is probably the one in which Elliot and E.T. fly to the forest on Elliot’s bike. One of the moments in that sequence has the bike passing in front of a full moon, which has become an iconic moment in cinematic history. Actually, the great moment of magic in E.T. for me is when E.T., Elliot, Michael and their friends are on their bikes on the run from pursuing police. When it seems as if they have reached a dead end, E.T. uses his telekinesis to lift the bikes in the air towards the forest.

When I watched the movie recently, I knew that scene was coming; yet seeing it again, I lost my breath for a moment. This is a spellbinding sequence that still blows my mind and even makes my eyes a little misty. Yep, E.T.: The Extra-Terrestrial is still magical. God willing, I’ll watch it in another 30 years and see if I’m still spellbound.

9 of 10
A+

NOTES:
1983 Academy Awards: 4 wins: “Best Effects, Sound Effects Editing” (Charles L. Campbell and Ben Burtt), “Best Effects, Visual Effects” (Carlo Rambaldi, Dennis Muren, and Kenneth Smith), “Best Music, Original Score” (John Williams), and “Best Sound” (Robert Knudson, Robert Glass, Don Digirolamo, and Gene S. Cantamessa); 5 nominations: “Best Picture” (Steven Spielberg and Kathleen Kennedy), “Best Cinematography” (Allen Daviau), “Best Director” (Steven Spielberg), “Best Film Editing” (Carol Littleton), and “Best Writing, Screenplay Written Directly for the Screen” (Melissa Mathison)

1983 BAFTA Awards: 1 win: “Best Score” (John Williams); 11 nominations: “Best Direction” (Steven Spielberg), “Best Film” (Steven Spielberg and Kathleen Kennedy), “Best Cinematography” (Allen Daviau), “Best Film Editing” (Carol Littleton), “Best Make Up Artist” (Robert Sidell), “Best Production Design/Art Direction” (James D. Bissell), “Best Screenplay” (Melissa Mathison), “Best Sound” (Charles L. Campbell, Gene S. Cantamessa, Robert Knudson, Robert Glass, and Don Digirolamo), “Best Special Visual Effects” (Dennis Muren and Carlo Rambaldi), “Most Outstanding Newcomer to Leading Film Roles” (Drew Barrymore), and “Most Outstanding Newcomer to Leading Film Roles” (Henry Thomas)

1983 Golden Globes, USA: 2 wins: “Best Motion Picture – Drama” and “Best Original Score - Motion Picture” (John Williams); 3 nominations: “Best Director - Motion Picture” (Steven Spielberg), “Best Screenplay - Motion Picture” (Melissa Mathison) and “New Star of the Year in a Motion Picture – Male” (Henry Thomas)

Tuesday, October 02, 2012

Doug Liman/Tom Cruise Sci-Fi Film Due March 2014

Tom Cruise and Emily Blunt to Invade Theatres in a New Sci-Fi Thriller on March 14, 2014

From Director Doug Liman, the Film is Based on the Book All You Need is Kill

BURBANK, Calif.--(BUSINESS WIRE)--The upcoming epic sci-fi thriller, starring Tom Cruise and Emily Blunt and based on the book All You Need is Kill, will open on March 14, 2014, from Warner Bros. Pictures, Legendary Pictures and Village Roadshow Pictures. The announcement was made today by Dan Fellman, President of Domestic Distribution, and Veronika Kwan Vandenberg, President of International Distribution, Warner Bros. Pictures.

Being directed by Doug Liman, the film is the first motion picture to be shot at the recently christened Warner Bros. Studios Leavesden, and begins principal photography today, Monday, October 1.

The story unfolds in a near future in which a hive-like alien race, called Mimics, have hit the Earth in an unrelenting assault, shredding great cities to rubble and leaving millions of human casualties in their wake. No army in the world can match the speed, brutality or seeming prescience of the weaponized Mimic fighters or their telepathic commanders. But now the world’s armies have joined forces for a last stand offensive against the alien horde, with no second chances.

Lt. Col. Bill Cage (Cruise) is an officer who has never seen a day of combat when he is unceremoniously demoted and then dropped—untrained and ill-equipped—into what amounts to little more than a suicide mission. Cage is killed within minutes, managing to take an Alpha down with him. But, impossibly, he awakens back at the beginning of the same hellish day, and is forced to fight and die again…and again. Direct physical contact with the alien has thrown him into a time loop—dooming him to live out the same brutal combat over and over.

But with each pass, Cage becomes tougher, smarter, and able to engage the Mimics with increasing skill, alongside Special Forces warrior Rita Vrataski (Blunt), who has lain waste to more Mimics than anyone on Earth. As Cage and Rita take the fight to the aliens, each repeated battle becomes an opportunity to find the key to annihilating the alien invaders and saving the Earth.

Oscar® nominee Cruise (the “Mission: Impossible” films, “Collateral,” “Jerry Maguire”) and Blunt (“The Devil Wears Prada,” “The Adjustment Bureau”) lead an international cast that also includes Bill Paxton (“Aliens,” HBO’s “Big Love”), Jonas Armstrong (BBC TV’s “Robin Hood”), Tony Way (HBO’s “Game of Thrones”), Kick Gurry (Australian TV’s “Tangle”), Franz Drameh (“Attack the Block”), Dragomir Mrsic (“Snabba Cash II”), and Charlotte Riley (“World Without End”).

Liman (“The Bourne Identity,” “Mr. & Mrs. Smith”) is directing the film from a screenplay by Dante Harper, Christopher McQuarrie and Joby Harold, based on the acclaimed novel All You Need is Kill by Hiroshi Sakurazaka. Erwin Stoff (“The Blind Side,” “I Am Legend”), Gregory Jacobs (“Contagion”) and Jeffrey Silver (“300”) are the producers. The executive producers are Jason Hoffs, Joby Harold, Doug Liman, Dave Bartis, Tom Lassally, Hidemi Fukuhara, Thomas Tull, Jon Jashni, Alex Garcia and Bruce Berman, with Tim Lewis and Kim Winther serving as co-producers. (Credits are not final.)

The behind-the-scenes team includes Academy Award®-winning director of photography Dion Beebe (“Memoirs of a Geisha”), production designer Oliver Scholl (“Jumper,” “Independence Day”), editor James Herbert (“Sherlock Holmes,” “Sherlock Holmes: A Game of Shadows”), costume designer Kate Hawley (upcoming “Pacific Rim”), and Oscar®-nominated visual effects supervisor Nick Davis (“The Dark Knight”).

The film will be distributed by Warner Bros. Pictures, a Warner Bros. Entertainment Company.

Stay Alive: Good Movie, Poor Title

TRASH IN MY EYE No. 57 (of 2006) by Leroy Douresseaux


Stay Alive (2006)
Running time: 85 minutes (1 hour, 25 minutes)
MPAA – PG-13 for horror violence, disturbing images, language, and brief sexual and drug content
DIRECTOR: William Brent Bell
WRITERS: Matthew Peterman and William Brent Bell
PRODUCERS: McG, Matthew Peterman, Gary Barber, and Roger Birnbaum, Peter Schlessel, and James D. Stern
CINEMATOGRAPHER: Alejandro Martinez
EDITOR: Harvey Rosenstock and Mark Stevens
COMPOSER: John Frizzell

HORROR

Starring: Jon Foster, Samaire Armstrong, Frankie Muniz, Sophia Bush, Jimmi Simpson, Adam Goldberg, Rio Hackford, Milo Ventimiglia, and Maria Kalinina

The subject of this movie review is Stay Alive, a 2006 horror film released by Hollywood Pictures, a Walt Disney Pictures production label. The film is directed by William Brent Bell, and McG (who directed the Charlie’s Angels films) is one of the film’s producers. Stay Alive follows a group of teens who enter the world of an online video game in order to solve the mystery of their friend’s death.

After the mysterious and brutal murder of his childhood best friend, Loomis Crowley (Milo Ventimiglia), Hutch MacNeil (Jon Foster) inherits “Stay Alive,” a test copy of a next generation, first person shooter, horror survival game that Loomis had. The game is based on the true story (only in the movie) of “The Blood Countess,” an 18th century New Orleans noblewoman who ran a boarding school for girls. It was later discovered that the countess was a witch and that she would torture and murder her students.

Hutch gathers a group of friends and fellow gamers to play Stay Alive, but they don’t know anything about the game other than that they shouldn’t have this test copy. Soon after playing the grisly game, Hutch and his friends discover a chilling connection: they are being murdered one-by-one by the same method by which the characters they play are murdered in Stay Alive. In fact, the game has blurred the line between the real world and the world of Stay Alive. Now, the gamers must unravel the mystery of The Blood Countess to defeat her because that’s the only way they are going to stay alive.

The advertising campaign for the new horror film, Stay Alive, suggests that the movie is a gruesome horror show about a gang of youngsters playing an equally gruesome horror video game. In order to get a “PG-13” rating, the filmmakers toned down what should be the goriest scenes, or perhaps the gore exists and will show up in an “unrated” DVD release. However, what does exist on film is quite good. Stay Alive is a goofy, fun horror flick that is way too unsettling and creepy at time. Director William Brent Bell has even mastered the jump-out-at-you tricks.

The film doesn’t really go into the gaming sub-culture, which is disappointing. The characters are contrived and hackneyed (I did like Frankie Muniz’s Swink Sylvania), and the plot has some holes. Still, this is a better video game movie than the mediocre adaptation of a real first person shooter game, Doom. The gaming sequences are convincing, and I certainly wanted to be in the game with Hutch and his friends. The sound effects and computer animated ghosts mixed with the idea of the supernatural creeping through our electronic entertainment makes this film kind of like an American version of such recent Japanese horror films as Ringu or Pulse. It also gives a nod to such apocalyptic scary movies as In the Mouth of Madness and Season of the Witch and video games like Resident Evil and Silent Hill.

In the final analysis, Stay Alive is a fun “gotcha” horror flick that combines the typical elements of a slasher film that has a supernatural boogieman (such as Halloween), and those are a youthful cast as the victims, a merciless killer, and lots of bumps in the night. In that case, Stay Alive is not as good as the best of that horror sub-genre, but it’s still good.

6 of 10
B

Friday, March 31, 2006

Negromancer Rocks October with Restart

Welcome to Negromancer, the rebirth of the former movie review website as a movie review and movie news blog/site.  Due to some financial stuff, Negromancer is now a ComicBookBin blog.  By the way, the Bin has smart phones apps and comics.  More info to come.

All images and text appearing on this blog are © copyright and/or trademark their respective owners.

New "Rise of the Guardians" Poster Revealed

Here is a new poster from DreamWorks Animation's latest 3D computer-animated flick, Rise of the Guardians (to be distributed by Paramount Pictures).  Due November 21, 2012, the film stars the voice acting talents of Chris Pine, Isla Fisher, Hugh Jackman, Alec Baldwin, Jude Law, and Dakota Goyo.

Ken Burns' "The Central Park Five" Closes Montreal Black Film Fest

THE CENTRAL PARK FIVE to close the 8th Montreal International Black Film Festival (MIBFF)

The heart-wrenching film, The Central Park Five, will close the 8thannual Montreal International Black Film Festival on September 30, as a Quebec Premiere. THE CENTRAL PARK FIVE, which was also selected last May for the Cannes Film Festival and the Toronto Film Festival this fall, was directed by Ken Burns, David McMahon and Sarah Burns, who have said that the film represents "the untold story of one of New York City's most horrible crimes."

"It is an honour to have this film make its Quebec debut at the MIBFF. We always close the festival with a hard-hitting film, and THE CENTRAL PARK FIVE is undoubtedly a film that will send chills down your spine, take you to the depths of human evil and change the way you think," stated Fabienne Colas, President-Founder of the Festival.

In 1989, five Black and Latino teenagers from Harlem were arrested and later convicted of raping a white woman in New York City's Central Park. They spent between six and thirteen years in prison before a serial rapist confessed that he alone had committed the crime, leading to their convictions being overturned. Set against a backdrop of a decaying city beset by violence and racial tension, the film tells the story of this horrific crime, the rush to judgment by the police, a media clamoring for sensational stories and an outraged public, and the five lives upended by this miscarriage of justice.

"This tragedy reminds us how much we struggle to come to terms with America's original sin, which is race. One only needs to look at the history books to understand that, unfortunately, the Central Park Five are not unique in American history," said Ken Burns. "This case is a lens through which we can understand the on-going fault-line of race in America. These young men were convicted long before the trial, by a city blinded by fear and, equally, freighted by race. They were convicted because it was all too easy for people to see them as violent criminals simply because of the color of their skin." said Sarah Burns, who also wrote The Central Park Five: A Chronicle of a City Wilding (Knopf, 2011). "Ultimately The Central Park Five is about human dignity. It is about five young men who lose their youth but maintain their dignity in the face of a horrific and unimaginable situation." said David McMahon.

The 8th annual MIBFF will take place from September 19 to 30, 2012, and is presented by Global Montreal.

ABOUT THE MONTREAL INTERNATIONAL BLACK FILM FESTIVAL (MIBFF)
Presented by Global Montreal, the Montreal International Black Film Festival (MIBFF) was created in 2005 by the Fabienne Colas Foundation, anon-profit organization dedicated to promoting Cinema, Art and Culture. The mission of the MIBFF is to stimulate the development of the independent film industry and to showcase more films on the realities of Blacks from around the world. The Festival wants to promote a different kind of cinema, cinema that hails from here and from abroad and that does not necessarily have the opportunity to grace the big screen, groundbreaking cinema that moves us, that raises awareness and that takes us all by surprise! The MIBFF wants to deal with issues and present works that raise questions, that provoke, that make us smile, that leave us perplexed, that shock us... A fresh new look at black cinema from the four corners of the globe.

Review: "The Cabin in the Woods" Mixes New Ideas with Tired Cliches

TRASH IN MY EYE No. 75 (of 2012) by Leroy Douresseaux

The Cabin in the Woods (2012)
Running time: 95 minutes (1 hour, 35 minutes)
MPAA – R for strong bloody horror violence and gore, language, drug use and some sexuality/nudity
DIRECTOR: Drew Goddard
WRITERS: Joss Whedon and Drew Goddard
PRODUCER: Joss Whedon
CINEMATOGRAPHER: Peter Deming (D.o.P.)
EDITOR: Lisa Lassek
COMPOSER: David Julyan

HORROR/COMEDY with elements of an action film

Starring: Kristen Connolly, Chris Hemsworth, Anna Hutchison, Fran Kranz, Jesse Williams, Richard Jenkins, Bradley Whitford, Brian White, Amy Acker, Tim DeZarn, Tim Lenk, and Sigourney Weaver

The Cabin in the Woods is a 2012 comedy horror film directed and co-written by Drew Goddard and produced and co-written by Joss Whedon. Whedon and Goddard worked together on Whedon’s television series, Buffy the Vampire Slayer and its spin-off, Angel. The film focuses on five friends who visit a remote cabin in the woods where they get more than the fun they bargained for.

Dana Polk (Kristen Connolly), Curt Vaughan (Chris Hemsworth), Jules Louden (Anna Hutchison), Marty Mikalski (Fran Kranz), and the new guy, Holden McCrea (Jesse Williams), decide to take a break from school. The group travels to a remote area where there is a cabin owned by Curt’s cousin. They like the cabin’s rustic décor, but are surprised to find that the cellar is full of weird and bizarre odds and ends. They don’t know that their visit to the cabin in the woods has initiated something horrifying.

The Cabin in the Woods was filmed and completed back in 2009, but its release was delayed by the financial troubles of MGM. Lionsgate purchased the film and gave it a wide release in April 2012. I mention that the film is a little over three-years-old because Joss Whedon and Drew Goddard apparently wrote The Cabin in the Woods’ screenplay as a response to the “torture porn” horror film genre.

This kind of scary movie has been popular for the past several years, although its popularity seems to have peaked about three or four years ago. The genre’s most famous examples would be the Hostel and Saw film franchises. Torture porn isn’t the big horror movie thing anymore because it was surpassed by something new. Now, it’s demonic possession movies, especially films featuring possessed white girls. In the real world, white girls get snatched up by strangers. In the movie world, demons snatch their asses.

Anyway, as is to be expected of anything from two of the big Buffy/Angel guys, The Cabin in the Woods is fun and funny, and it also has a clever concept. However, the film never really seems to reach its potential; it’s as if Whedon and Goddard came up with an idea that deserved something bigger than what they planned for it. It is almost a good slasher movie; not quite developed enough to be a supernatural evil movie; and a slight misfire as a strange science fiction and H.P. Lovecraft-type weird horror movie.

Still, The Cabin in the Woods is funny, strange, and clever enough to be a welcome change for horror movie fans. Maybe, the film is such a novelty that its tricks could not work a second time, but for the most part, they work this first time.

6 of 10
B

Tuesday, September 25, 2012

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