Sentences with phrase «more alien films»

After «accidentally» leaking the fact that more Alien films are in the works back in March, director Ridley Scott has now teased us fans again with his plans following the debut of Alien: Covenant.

Not exact matches

And when we locate one of those underlying forces — an economic drive, a blind libido — with a clarity that allows us to let go our overt harmonies and relate directly to their components, those components themselves in turn begin to dissolve into thin films covering even more alien vortices of strange harmonies.

A glut of alien sci - fi films comes at a time when scientific discoveries are making the existence of life beyond Earth seem more and more plausible

While the first film focused on creating an atmosphere of pure tension, this sequel is much more action - oriented, even if its first hour is actually very slow - and instead of one alien, Cameron has now a horde of goo - spewing, acid - blood creatures to scare the audience to death.

Commentary 3 — The Picture - Director of Photography Darius Khondji, Prodcution Designer Arthur Max, Editor Richard Francis - Bruce, Richard Dyer and David Fincher talk about the look of the film itself, the color processes used on the print, the locations scouted for the various shots, the detail used in the studio backlot constructions, the style David wanted to achieve and succeeded in doing, the clothing, the grittiness, the absolute black Fincher always wanted in Alien 3 but could achieve until now and more.

Well the film was wide release, so it makes sense there wasn't an entirety of focus on the specifics, but I still think it would have worked better if it was more like the trailers professed intentions; doco style, with vignettes of alien / human scenes that emphasized and helped explain, not found footage either, like for example, after talking about Wikus in the past tense, it could focus on him for a bit then move on, but it stuck with him, and the film changed gears, I just thought it would have been better to focus on other things, as opposed to dumbing the plot down to one man and his battle against the evil government / corporation, and still stay in the doco style, it could have worked, no?

In retrospect, it is a little hard to take Hackman all that seriously in this film, when he was about three years away from getting his butt kicked by a flying alien in tights, but make no mistake, in this film, he's a good deal more groovy than Queens» «Another Bites the Dust»... if not the term «groovy».

Plus most of the Decepticons don't even look like Transformers they look more like robotic aliens from another film «Batteries Not Included» and «Short Circuit» springs to mind, the Decepticon disguised as a female student was the worst offender.

What unravels is then a familiarly convoluted and busy spectacle film about yet another clash between the rival robot alien Transformers involving their human allies, with Sam Witwicky (Shia LaBeouf) once more coming to the rescue on the side of the Autobots.

The first movie, Alien, was a properly scary film and I figured Aliens would be more of the same.

Acclaimed director Ridley Scott returned once more to the Alien franchise he helped start decades ago with this brutal sci - fi horror film.

These more - for - more genre epics try to fill every corner with hundreds of creatures (this film contains over 600 various alien monsters) to the point where is stupefies whatever plot they are selling.

The alien mother ship floating over Johannesburg, South Africa, as well as the creatures themselves fit seamlessly into this film in a way that bigger, more expensive releases have failed miserably in achieving this summer (Wolverine, G.I. Joe: The Rise Of Cobra).

Much more fun is How to Talk to Girls at Parties, an endearingly silly and outré coming - of - age film from Hedwig and the Angry Inch creator John Cameron Mitchell about a trio of punk - obsessed teenagers, led by sensitive fanzine editor Enn (newcomer Alex Sharp), who stumble across a colony of cannibalistic pansexual aliens (among them Elle Fanning) in Croydon during the Queen's Jubilee celebrations.

My actual, real favorites, though, are not the films about contemporary society but more the ones about human psychology: «Alien» and «Aliens,» «Blade Runner,» «2001.»

In the opening moments of Prometheus, a strange, monk - like alien — looking more like a human than the xenomorphs we're used to from 1979's Alien, the film with which Prometheus shares a universe — disintegrates himself into a ralien — looking more like a human than the xenomorphs we're used to from 1979's Alien, the film with which Prometheus shares a universe — disintegrates himself into a rAlien, the film with which Prometheus shares a universe — disintegrates himself into a river.

Lucasfilm has released an interesting behind the scenes video of the film's creature shop and gives us more glimpses of the in - camera aliens we'll be seeing populate the screen in next weekend.

It's interesting to see a film about a space alien that doesn't resemble anything we've ever seen before, as most others have some sort of humanoid appearance, (or reptilian, etc.) Indeed, it's a much more plausible depiction of an alien threat than most other sci - fi efforts have featured, almost the opposite in terms of story as The War of the Worlds which featured aliens defeated from exposures to germs and viruses of our own.

Battle: Los Angeles, while more grounded in modern reality than Sucker Punch, is a sci - fi actioner and another installment into the recently busy genre of alien invasion films.

So, while his new film, his first English - language film since «Alien: Resurrection,» and his first 3D picture, would be a big get, it's probably not in the cards, especially as the film isn't expected to be delivered until the end of the summer, making TIFF or NYFF more likely possibilities.

The first Troma film in years to get a theatrical run is an aggressively absurd, outrageously gory and comically grotesque horror farce: part Poltergeist, part Alien, part Dead Alive, all zombie chicken musical, with more excruciating puns that you thought was humanly possible.

In fact, the entire premise of the film — an alien race has landed on Earth and they hunt... Read More

Alien is revered as one of the greatest horror films of all time, as well as one of the greatest films set in space, so what happens when the director of the film that originated the franchise returns to it to provide us back - story about one of the biggest monster movie icons more than three decades after the fact?

As such, it captures the earlier films» spirit perfectly - specifically the original, where a single alien puts up more than enough fight.

It gives the idea of consumerism run wild the short shrift that it deserves (and the cynicism that an intervening quarter - century demands), touching on the original's explanation of the zombies» affinity for the shopping mall and the human heroes» delight at their newfound material wealth before becoming a bracing action film that, like Marcus Nispel's reworking of The Texas Chainsaw Massacre (the source of which didn't need updating as much as Dawn arguably did), is more firmly entrenched in the James Cameron Aliens tradition than the Seventies institution of disconcerting personal horror film.

Outside of sci - fi, a sense of incomprehensibility has popped up in films that focus less on aliens and more on artists.

That Signs is easily the most derivative of Shyamalan's films doesn't seem to be of much of a concern for the director, as the chronic sloppiness of his alien MacGuffin this time around (his ghost and superhero MacGuffins are handled with far more consistency and respect in his previous work) seems to point to Shyamalan's desire for us to focus on his messianic zeal to convey his manifest message.

Arrival, with its handwringing worthiness and easy answers, certainly meets these criteria as escapist balm for the masses, but this analysis ignores the fact that M Night Shyamalan's 2002 film Signs is not just a superior film about alien invasion (funnier, darker, more cinematic), but also a stronger allegory for the apocalyptic fever that has gripped America and, by extension, the world.

The Signs DVD features about five minutes of deleted scenes (no more spooky alien critters, alas), a lengthy making - of documentary with commentaries, and another stellar film from Night's youth — wherein a robot wearing a Halloween mask slowly chases Night through his living room.

Signs owes its imagistic sources to more than The Birds: It cribs liberally from Drums Along the Mohawk (more precisely, John Sayles précis for an early unmade Spielberg project called «Night Skies» that reimagined Ford's film with aliens), Night of the Living Dead, Field of Dreams, Close Encounters of the Third Kind, and, crushingly, John Irving's pulp - Christian novel, A Prayer for Owen Meany.

On this new episode of The Golden Briefcase 2.0, Tim and Jeremy touch on this past week's Academy Awards (winners list here), share some Picks of the Week and then touch on a variety of topics including Lucio Fulci films (hence the image), Neill Blomkamp's Alien remake, Fantastic Fest horror film Spring (read Jeremy's review / watch the trailer) and so much more.

However, the softness and slightly alien aspect of an all - female romance within such a bygone era and the shifts of tensions within the relationship dynamics makes Carol stand apart from more universal films of a similar nature.

«Alien Covenant» almost completely gives itself over to the scary stuff; director Ridley Scott dredges up a little of the «Prometheus» balloon juice (this film is a direct follow - up to that prequel), but he's more interested in an interstellar version of «Friday the 13th,» with a respectable ensemble of actors as the camp counselors and various fanged slimeballs filling in for Jason Voorhees.

Director Alex Garland, whose first film was the impressive science - fiction drama «Ex Machina,» returns with a more elaborate and expensive tale of alien invasion starring Natalie Portman and

Beyond also benefits from looking more like Star Trek as it uses more galactic species and creatures in various animal, alien, and human forms than the other two films.

After that film's mediocre box office return and slightly above - average critical reception, 20th Century Fox and director Ridley Scott decided to make its sequel a little more Alien - like to please fans.

«Aliens in L.A.» (17:57) gives us more thoughts on and looks at the extraterrestrials than the film itself does, discussing the aliens» physical and behavioral design with plenty of comments and production foAliens in L.A.» (17:57) gives us more thoughts on and looks at the extraterrestrials than the film itself does, discussing the aliens» physical and behavioral design with plenty of comments and production foaliens» physical and behavioral design with plenty of comments and production footage.

That said, Life bears more similarity to cerebral films such as Europa Report, Moon, and Alien, than any summer flick.

«Covenant» is far more interested in blood, guts, and making the audience jump out of their seat, it's just that after six of these films (seven if you count «Alien vs. Predator») there isn't much to anticipate.

Prometheus Starring Noomi Rapace, Michael Fassbender and Charlize Theron Directed by Ridley Scott (Alien) Rated R for sci - fi violence including some intense images, and brief language When Ridley Scott set out to make Prometheus, he was very adamant that this was not a prequel to his 1979 film Alien but rather more of a connected film.

Obviously, the third film either had to feature one alien or more than one; I guess they could have given us zero aliens, but that probably wouldn't have worked out too well.

Instead, we get more dumb aliens, more dumb government officials, and a ridiculous manner in which people harbor alien life forms (you'll know what I mean if you see the film).

Whereas that film focused more on the couple's budding sexual tension than any tangible extraterrestrial threat, Green and co-writer Jay Basu hew closer to the formula seen in pics like «Independence Day» and «Battle: Los Angeles,» in which U.S. troops are sent to deal with the aliens, albeit indirectly.

After making big - budget Hollywood films like Iron Man (2008) and Cowboys & Aliens (2011), Jon Favreau returns to his smaller, more comedic roots with Chef.

Sunshine is more of a purist sci - fi film than has come out in recent years, perhaps just a shade less esoteric than another notable entry, Soderbergh's remake of Solaris, less philosophical than Aronofsky's The Fountain, less menacing than Alien, less action - oriented than Armageddon or The Core, and definitely far less jocular than Star Trek IV: The Voyage Home, although it shares many story elements and themes from all of them.

Lots of big films in this week's preview of coming attractions, including an Alien: Covenant clip, Atomic Blonde, Beauty and the Beast, and more... Alien: Covenant Clip This Alien: Covenant clip gives viewers an insight into the crew and personalities in Ridley Scott's latest film.

This makes the charismatic performance of Serge Livrozet as Jean - Michel, who functions in the film almost as a choral figure, all the more striking — as if one of the best French character actors suddenly stumbled onto alien turf.

This film is a bit of a case of the journey being more important than the destination; I actually found the effects laden finale the least interesting part of the film, but there's some classic Spielberg along the way, most notably the sequence involving the alien abduction of a small boy.

Here you'll find a saga from Paul Thomas Anderson; a dramadey about writer's block; an underrated film from M. Night Shyamalan; a John Carpenter classic; a horror movie unlike any other; a star - studded alien invasion comedy; and more!

Sadly, this is also the final film in the Alien series that I even claim to be part of the story, as subsequent entries do little more than destroy almost every facet that made the first two films so wonderful to behold.