Author: Stan

“Eight astronauts strapped to the back of a bomb. My bomb. Welcome to Icarus II.” —Dr. Robert Capa

Today’s quick review: Sunshine. Years in the future, eight astronauts launch into space with a massive bomb to reignite the dying Sun. Near the end of their trip, they pick up a distress beacon from the previous mission. Physicist Robert Capa (Cillian Murphy) makes the call to reroute and investigate in the hopes of recovering a backup payload. His decision sparks a chain of events that jeopardizes the crew, the mission, and all of humanity.

Sunshine is a science fiction thriller from director Danny Boyle and writer Alex Garland. Sunshine follows the crew of the Icarus II as they mount a last-ditch effort to kick-start the Sun and save the Earth from freezing. The film features a suspenseful tone, a well-structured plot, and credible character dynamics. The combination of plot and characters gives Sunshine a solid base to build on, leading to a satisfying watch from start to finish.

Sunshine’s plot follows the same pattern as other sci-fi thrillers but shows much more care. The trouble kicks off with a botched maneuver that puts the entire ship at risk, and the news only gets worse from there. The film does a good job moving its pieces around the board, including the ship’s systems, the crew’s psychologicial state, and the mystery of the failed Icarus I mission. The end result is a plot that’s well-paced and fits tightly together.

Much of Sunshine’s appeal comes from the Icarus’ crew. The film strikes an excellent balance between conflict and cooperation. The distinctive personalities of the crew shine through clearly, and their differences in opinion lead to plenty of tension. But no one onboard is incompetent, and the film includes a number of acts of heroism. The talented cast includes Cillian Murphy, Chris Evans, Cliff Curtis, Michelle Yeoh, and Benedict Wong.

Watch Sunshine when you’re in the mood for a serious, well-executed thriller with a dash of sci-fi. Sunshine’s solid fundamentals and careful planning make it an unusually skilled take on its genre. For a sci-fi action movie with a similar plot and a lighter tone, check out Armageddon. For an even more grounded tale of survival in space, check out The Martian. For another tense space mission with a touch more speculation, check out Interstellar.

7.3 out of 10 on IMDB. I give it a 7.0 to 7.5 for taut sci-fi adventure that delivers everything it promises.

“There are no answers, only choices.” —Gibarian

Today’s quick review: Solaris. At the request of a friend, psychologist Chris Kelvin (George Clooney) travels to a space station orbiting Solaris, an enigmatic celestial body, to investigate the strange phenomena its crew members (Viola Davis and Jeremy Davies) are experiencing. Soon after he arrives, Kelvin begins to experience inexplicable visits from his wife Rheya (Natascha McElhone), seemingly pulled from his memories by Solaris itself.

Solaris is a minimalistic science fiction drama with aspects of mystery, tragedy, and romance. Solaris is based on the science fiction novel of the same name by Stanislaw Lem, adapted for the screen by writer and director Steven Soderbergh. George Clooney stars as Dr. Chris Kelvin, a psychologist who’s forced to confront his troubled past when he encounters a perfect copy of his wife aboard a distant space station.

Solaris wraps its abstract philosophical themes around a taut personal drama. Rheya’s mere existence raises questions Kelvin cannot answer, while her presence dredges up memories of their tumultuous relationship. Neither Chris nor Rheya is particularly likable, but both of them are complex characters with hidden depths. Their shared history is doled out carefully over the course of the film, with plenty of unspoken details for the viewer to fill in.

However, Solaris is held back by its static plot. Once the question of Rheya’s humanity has been posed, there’s not much that can be done about it. The space station is less a setting than a stage for its inhabitants to act out their psychoses, and nearly all of the conflict is psychological. Solaris sets up interesting questions but has no way to answer them. The film can be striking and haunting, but its story feels only half-told.

Watch Solaris if you’re a fan of abstract, psychological science fiction. Solaris poses a number of interesting questions about humanity, reality, memory, and finding meaning in life, but it struggles to tie them to a story capable of moving forward under its own power. Solaris will appeal to a very specific type of science fiction fan who’s intrigued by such questions, but most other viewers will not find what they’re looking for.

For mind-bending science fiction in the same vein, check out Moon, Interstellar, or Inception. For a sci-fi horror movie with a similarly bizarre, personal mystery, try Annihilation. For a psychological thriller with similar themes and a more elaborate plot, check out Shutter Island. For a fantasy romance with a similarly abstract story and a hopeful tone, try The Fountain. For a minimalistic space thriller with George Clooney, try Gravity.

6.2 out of 10 on IMDB. I give it a 6.5 for a striking mystery that never quite comes together.

Today’s quick review: Your Name. Fate intervenes in the lives of Mitsuha (Stephanie Sheh), a teenage girl from a small Japanese town, and Taki (Michael Sinterniklaas), a high school boy from Tokyo, when they start to wake up in each other’s bodies. The two soon strike up an odd friendship and even grow to depend on one another. But when the exchanges abruptly stop taking place, Taki must track down Mitsuha in person to find out what happened.

Your Name. is a Japanese animated fantasy romance about a pair of teenagers who inexplicably begin to swap bodies. Each one is given a taste of the other’s life, one day at a time, until the phenomenon ends as quickly as it began, leaving behind an even deeper mystery. Your Name. explores the relationship between Mitsuha and Taki, the twist of fate that brought them together, and the remarkable journey that it takes them on.

Your Name. is an eclectic film that stitches together a myriad of pieces into a cohesive whole. The story consists of several distinct arcs that vary greatly in terms of tone and focus, yet all contribute to the greater story that is being told. The obscure mechanics of Mitsuha and Taki’s connection make the plot hard to predict yet rewarding to follow, while the tone fluctuates between mind-bending, charming, heartbreaking, and wistful.

Your Name. is also a visually gorgeous movie. Detailed environments, crisp characters, and astonishingly smooth animation create a world that is lively, believable, and frequently breathtaking. The animation style is conventional for anime, but it’s executed at a high level and has a few flourishes that set it apart. In particular, the film is packed with visual themes that tie it together, including the recurring image of a comet passing near the Earth.

Your Name. is an excellent choice for fans of Japanese animation, fantasy romance, or artistic filmmaking in general. In spite of its odd premise and unpredictable plot, Your Name. manages to be a gorgeous, emotionally stirring movie that is well worth the watch. For gorgeous Japanese animation with more of a storybook feel, try the works of Studio Ghibli. For another abstract fantasy romance with a somewhat darker tone, try The Fountain.

8.4 out of 10 on IMDB. I give it an 8.0 for a moving story and excellent animation.

Today’s quick review: Cloverfield. Rob Hawkins (Michael Stahl-David), a young executive bound for Japan, is at his going-away party in New York when an enormous monster attacks, toppling buildings and plunging the city into chaos. Rob must lead his best friend Hud (T.J. Miller), his brother Jason (Mike Vogel), Jason’s girlfriend Lily (Jessica Lucas), and Lily’s friend Marlena (Lizzy Caplan) across Manhattan to find a safe way off the island.

Cloverfield is a found-footage sci-fi disaster thriller that follows a band of survivors as they attempt to escape from a catastrophic monster attack. The entire film is shot from the perspective of Hud’s video camera, which he was using to tape Rob’s party. Cloverfield takes this simple premise and runs with it. The stakes are high, the thrills are effective, the characters are well-drawn, and the mystery is dribbled out in little doses.

Cloverfield goes far on quality alone. The premise is not that far off from other sci-fi survival films, but its execution helps set it apart. The movie moves forward at a steady clip, beginning with a glimpse into its characters’ lives before exploding into a tense, uncertain survival scenario. Cloverfield packs a wide variety of peril and character development into its short run time, while its found footage style keeps it grounded and personal.

Another point in Cloverfield’s favor is its sense of mystery. The monster attack happens without warning, causes total chaos, and has no obvious explanation. The monster’s appearance and capabilities are revealed gradually throughout the movie, but the important questions—what it is, where it came from, and what it wants—are left largely unanswered. What’s there is enough to pique the audience’s curiosity without giving too much away.

Still, Cloverfield’s particular style will not appeal to everyone. The found footage gimmick leads to shaky camerawork and restricted storytelling. While Cloverfield takes advantage of the medium in clever ways and weaves in bits of context as needed, it’s still a limited perspective on a much larger conflict. The other potential weak point is the characters, who are just likable enough to be sympathetic but not enough to fully bond with.

Watch Cloverfield when you’re in the mood for well-paced thrills and efficient storytelling. Cloverfield has what it takes to spin a gripping tale out of a simple premise. Skip it if you’re looking for a tidy plot or you dislike shaky camerawork. For another dark, found-footage sci-fi movie, check out Chronicle. For another disaster movie about a monster, check out Godzilla. For a gritty sci-fi survival movie, try I Am Legend or War of the Worlds.

7.0 out of 10 on IMDB. I give it the same for being a gritty thriller that delivers exactly what it promises.

“Don’t kill me, Mike! I’m basically a good kid, so just don’t kill me.” —Sam

Today’s quick review: The Lost Boys. Following their parents’ divorce, Michael (Jason Patric) and Sam (Corey Haim) go to live with their eccentric grandfather (Barnard Hughes) in Santa Carla, California. While their mother Lucy (Dianne West) looks for work, the boys explore the strange beach town, only to find it menaced by a gang of vampires. Making matters worse, David (Kiefer Sutherland), the gang’s leader, wants Michael as its next member.

The Lost Boys is a horror comedy with an 80s style. The Lost Boys follows Michael and Sam, two ordinary teenage boys, as they cross paths with a group of vampires intent on making Michael one of their own. The movie takes a familiar premise and imbues it with its own unique style. Organic acting, a memorable 80s soundtrack, a touch of action, and just the right amount of comedy are enough to make The Lost Boys a thoroughly enjoyable watch.

The plot of the movie hits most of the expected beats. As Michael is drawn deeper into David’s gang, Sam begins to wonder what’s happening to his brother and tries to help. The plot itself is serious, an earnest struggle with the forces of darkness, but the delivery is comedic. The characters are quirky and fun, the jokes hit their mark, and the comedy offsets the horror nicely. The result is a balanced film that makes good on its premise.

Watch The Lost Boys when you’re in the mood for a fun adventure with a dash of darkness. The Lost Boys has all the ingredients it needs to entertain, while its distinctive style gives it plenty of cult appeal. Skip it if you’re looking for scarier horror or dislike the 80s. For a low-budget horror movie with a similar premise, check out Neowolf or Vampiyaz. For a more absurd 80s fantasy adventure, check out Big Trouble in Little China.

7.3 out of 10 on IMDB. I give it a 7.0 for a fun premise and lots of charm.

Today’s quick review: The Village. The inhabitants of a rural, late-19th-century village live in fear of the carnivorous creatures who inhabit the woods around them. Lucius Hunt (Joaquin Phoenix), a quiet young man, wants nothing more than to marry Ivy Walker (Bryce Dallas Howard), a blind young woman. But when a villager falls ill, the elders must weigh Lucius’ dangerous proposal to cross the woods and retrieve medicine from the neighboring towns.

The Village is a mystery thriller from writer and director M. Night Shyamalan. Set in a rural village beset by terrifying creatures, the movie centers around the villagers’ decision to break their fragile truce with the creatures to save the life of one of their own. The Village features an engrossing and unpredictable plot, a capable cast, and excellent direction. The supporting cast includes Adrien Brody, Brendan Gleeson, and Sigourney Weaver.

The Village is a carefully assembled mystery. The film guides the viewer’s expectations every step of the way and sets up a number of clever revelations. The pieces of the puzzle seem eclectic at first: a young romance, fear of the outside world, small-town politics, creatures lurking in the woods, and countless details of life in the village. But almost everything in The Village has a purpose, and the movie rewards close viewing.

The downside is that The Village gambles heavily on its mystery. Those who dislike where the story goes will find that there is little to tie the rest of the movie together. The uncertain nature of the plot and its dramatic shifts in direction mean that the movie cannot make many promises to the audience. The audience is left to trust that The Village is actually going somewhere and that the smaller dramas and mysteries will pay off in the end.

Give The Village a shot when you’re in the mood for something suspenseful and cerebral. The combination of an engrossing plot, solid acting, and Shyamalan’s directorial skills make it a movie with plenty to offer. Still, its winding plot, disconnected puzzle pieces, and focus on small-town drama mean that it won’t click for everyone. For another mind-bending Shyamalan movie, check out Signs, Split, or Unbreakable.

6.5 out of 10 on IMDB. I give it a 7.0 for a strong mystery and solid execution.

Today’s quick review: Signs. Graham Hess (Mel Gibson), a priest who lost his faith after the death of his wife, lives on a farm in Pennsylvania with his brother Merrill (Joaquin Phoenix), his son Morgan (Rory Culkin), and his dauguhter Bo (Abigail Breslin). The family must confront the unknown when a series of strange occurrences, including crop circles, animal attacks, and strange radio signals, hint at a coming alien invasion.

Signs is a science fiction movie written and directed by M. Night Shyamalan. Signs is a straight take on the alien invasion genre reminiscent of the science fiction of the 1950s. Executed in a subdued, serious style and backed by Shyamalan’s thoughtful writing and direction, the movie balances character, mystery, and suspense. However, the film’s slow pacing and hit-or-miss payoff keep it from fully capitalizing on its strengths.

Signs spends as much time building up its characters as it does on the alien invasion. Graham and his family are all unique, well-defined, and very human characters who react to the events around them in understandable ways. What they lack in flashiness they make up for in staying power. The Hesses are easy people to get used to, and their dynamic as a family only grows stronger as the movie goes on. Strong characters give the film plenty of heart.

Signs also has a sense of humor that’s seen in countless little moments throughout the movie. For the most part, Signs plays its story straight, sticking closely to the plot and tone one would expect from the genre. But it gives its characters free reign to behave like real people, with all the skepticism, credulity, and bafflement that entails. The result is a layer of wry self-awareness that doesn’t undermine the seriousness of the story.

However, Signs does have a few issues with its story that end up holding it back. The pacing of the movie is extremely slow, a lengthy chain of clues and foreshadowing that takes a long time to reach any payoff. By the time the story really gets underway, there’s not much room for a full conflict. Signs does have a satisfying mystery at its core, but it’s a more restricted one than the movie first lets on, even if it does tie everything together.

Watch Signs when you’re in the mood for a sci-fi mystery with a bit of suspense, solid craftsmanship, and likable characters. Signs is an unusual combination of the familiar and the innovative. Fans of M. Night Shyamalan’s directorial style will appreciate it, as will those who like puzzles, sci-fi in general, and character-driven stories. Skip it if you’re looking for a fast-paced story, sci-fi action, or hardcore suspense or horror.

For a similarly slow-paced, character-focused sci-fi movie from M. Night Shyamalan, check out Unbreakable. For a more suspenseful, horror-oriented take on a similar premise, try A Quiet Place. For a bleaker, more catastrophic alien invasion movie, check out War of the Worlds. For another classic tale of alien contact, check out Close Encounters of the Third Kind. For another, lighter take on 50s-style sci-fi, check out The Iron Giant.

6.7 out of 10 on IMDB. I give it a 7.0 for well-drawn characters and skilled direction, hurt somewhat by its slow-paced, passive story.

Today’s quick review: 28 Weeks Later. Twenty-eight weeks after a virus outbreak devastated Britain, the survivors have begun to rebuild with the aid of American troops, and Donald Harris (Robert Carlyle) is reunited with his children Tammy (Imogen Poots) and Andy (Mackintosh Muggleton). But when another outbreak occurs inside the safe zone, the family must rely on an American soldier (Jeremy Renner) and medical officer (Rose Byrne) to get out alive.

28 Weeks Later is a zombie horror survival movie that picks up several months after the events of 28 Days Later. With the initial zombie outbreak dealt with, the British people and their American allies are free to begin the cleanup process. However, the discovery of another carrier of the virus threatens to destroy what has been rebuilt. 28 Weeks Later follows one beleaguered family as they attempt to navigate the crisis.

28 Weeks Later is an evolution of the previous film. Equipped with a bigger budget, more action, and a new cast of characters, the sequel explores the aftermath of a zombie outbreak. The sequel follows up on some of the more interesting ideas from the original while adding in a few more of its own. The quality of the film is high enough to make good on its premise, and it delivers a healthy mix of tension, action, character development, and plot.

However, 28 Weeks Later has flaws that keep its story from being as effective as the previous film’s. Donald is a weak man who never gets his chance at redemption, while his kids are fairly neutral characters. The events of the film stem from several bad decisions by the characters, making the whole second outbreak feel more like a blunder than a tragedy. These issues aren’t enough to hurt the film badly, but they do weaken an otherwise solid story.

Watch 28 Weeks Later if you’re a fan of zombie movies or dark science fiction. 28 Weeks Later isn’t a radical departure from the usual zombie formula, but it does manage to expand on the premise of the first film without sacrificing much quality. Skip it if you’re looking for a movie with a tighter story. For a more action-oriented zombie movie, check out World War Z. For a sci-fi survival movie with a focus on family, check out War of the Worlds.

7.0 out of 10 on IMDB. I give it a 6.5 to 7.0 for good ideas and decent execution hurt by a few plot holes.

Today’s quick review: 28 Days Later. Twenty-eight days after a virus outbreak in Britain, Jim (Cillian Murphy) wakes up from a coma to find the country overrun by the virus’ victims: aggressive, flesh-eating humans who can infect others with a single bite. Jim must join forces with fellow survivors Selena (Naomie Harris), Frank (Brendan Gleeson), and Hannah (Megan Burns) to search for a safe haven where they can wait for salvation.

28 Days Later is a zombie horror survival movie about a zombie outbreak that wipes out Britain in a matter of weeks. 28 Days Later is a modest, well-judged entry into the genre. The characters are credible, the tension is well-managed, and the direction is capable. The movie does show signs of a budget, namely in the size of its cast and the scale of its action, but some minor rough edges don’t stop the movie from telling a satisfying story.

28 Days Later has less action than other zombie movies. The zombie attacks are brief and infrequent, and they serve their purpose well. Jim and his allies are never quite safe, but the focus of the story remains on characters and situations rather than combat. The selective use of zombies lets the film develop a more human side to it than a pure action film would be able to. It also lets the film ramp up the action at key moments.

The end result is a solid execution of a formula that has become standard. 28 Days Later’s character-focused story and solid fundamentals make it a worthy entry into the genre at the very least, while connoisseurs will likely find even more to appreciate. Those hoping for pure action or a high degree of horror may want to temper their expectations.

For a more comedic take on the zombie formula, check out Zombieland. For a more action-oriented zombie movie, check out World War Z. For a moodier zombie movie with a bit more action, check out I Am Legend. For another dangerous trek across dystopian Britain, check out Children of Men.

7.6 out of 10 on IMDB. I give it a 7.0 for a well-crafted story.

Today’s quick review: The Beyond. When an anomaly dubbed the Void appears above Earth, the Space Agency is tasked with determining its origins. Under the direction of Space Agency executives Gillian Laroux (Jane Perry) and Alex Grant (Nigel Barber), the Agency prepares to launch a manned expedition into the Void. But to withstand the forces involved, the mission will have to be crewed by volunteers who have been transplanted into new, robotic bodies.

The Beyond is a budget found-footage science fiction movie. Framed as a documentary about the Void and the Space Agency’s efforts to investigate it, The Beyond chronicles the Agency’s increasingly risky attempts to plumb the Void’s secrets. The movie touches on themes of space exploration, transhumanism, and first contact. However, issues with the film’s writing, acting, and general storytelling quality keep it from doing much with the ideas it has.

The documentary format is actually well-suited to the subject matter, but it robs the story of much of its drama and humanity. Key moments take place either off camera or captured only in grainy fashion. There are few scenes where characters interact with each other rather than the camera, and even the most dramatic scenes have a neutral, sanitized quality about them. There are also few characters worth caring about and no character arcs to speak of.

The Beyond also has issues with basic storytelling. There’s no narrator to tie the documentary together, so the events have to be explained after the fact by the Space Agency’s specialists. This works well enough for certain developments, but there’s no clarification for some of the movie’s most perplexing events. The characters’ neutral affect is also at odds with the high-stakes problems and the ethically dubious solutions they come up with.

Watch The Beyond if you’re a sci-fi fan looking for something experimental. Its unusual presentation format makes it a mildly interesting watch, while its focus on the logistics of the project distinguishes it from most other sci-fi movies. But its low production values and limp storytelling keep it from living up to its full potential. Even die-hard sci-fi fans will get mixed results at best, and most viewers would be better off skipping it entirely.

For a much more expansive sci-fi film about space exploration, check out Interstellar. For a grounded, near-future look at space exploration, check out The Martian. For a well-crafted space drama about a stranded astronaut, try Gravity. For a more thoughtful, complex look at first contact, check out Arrival. For a sci-fi drama about human augmentation to explore beyond Earth, check out The Titan.

4.8 out of 10 on IMDB. I give it a 5.5 for decent ideas and missed potential.