WARNING: brief harsh language, not safe for work or school...watch at your own discretion:[YT]dJ7BX7E1VTw[/YT]
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Directed by ... John McTiernan
Written by … Jim Thomas and John Thomas
Executive Produced by … Jim Thomas and Laurence P. Pereira
Produced by ... John Davis, Joel Silver, Lawrence Gordon, John Vallone
Cinematography by ... Donald McAlpine
Production Design by ... John Vallone
Predator Creature Design by … Stan Winston
Costume Design by ... Marilyn Vnace-Straker
Editing by ... Mark Helfrich and John F. Link
Original Motion Picture Score Composed by … Alan Silvestri
Arnold Schwarzenegger ... Dutch
Carl Weathers ... Dillon
Elpidia Carrillo ... Anna
Bill Duke ... Mac
Jesse Ventura ... Blain
Sonny Landham ... Billy
Richard Chaves ... Poncho
R.G. Armstrong ... General Phillips
Shane Black ... Hawkins
Kevin Peter Hall ... The Predator / Helicopter Pilot
A team of commandos, on a mission in a Central American jungle, find themselves hunted by an extra-terrestrial warrior.
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If it bleeds, we can kill it...
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Action films of late have made a point of complexity…attempting to entice audiences with involved narratives, choreographed sequences and twists and turns that, added up, can all get a bit overwhelming.
But sometimes, the basics of guns, guts and guys is all it takes to create a memorable experience of action-oriented cinema.
Leave it to the proverbial king of 80s action to do just that with 1987’s sci-fi action extravaganza…”Predator.”
Deep in the heart of a Central American jungle off the coast of Guatemala called Val Verde, the story is that of a presidential cabinet minister who’s been taken hostage behind enemy lines. The only hope the U.S. Government has of retrieving the hostages is a grizzled, muscle bound squad of highly trained special ops headed by big time military man, Major Alan ‘Dutch’ Schaefer (Arnold Schwarzenegger). Joining in the rescue is George Dillon (Cark Weathers), a former comrade of Dutch’s who’s turned in his dog tags for, as Dutch simply puts it, ‘f**king tie business’ as CIA.
Taking a copter into guerrilla territory Dutch, Dillon and the rest of the team…Mac (Bill Duke), Blain (Jesse Ventura), Hawkins (Shane Black), Billy (Sonny Landham) and Poncho (Richard Chaves) find themselves set up by Dillon as a means of averting a major artillery invasion, with Dillon manipulating the team as a means to his own personal end…
But the time for deception and argument has passed…for while Dutch and his men, along with a rescued guerrilla hostage named Anna (Elpidia Carrillo) attempt to escape back over the border, someone…or something…is watching from the trees, invisible even to conditioned military eyes
Something not of this earth…an alien, hell bent on hunting down every single one of them.
A Predator.
Helmed by action guru John McTiernan (who would go on to give Bruce Willis his most iconic role in 1988’s “Die Hard”, “Predator” is a tour-de-force of action filmmaking with a science fiction twist that led to the debut of yet another contemporary sci-fi star character in the same vein as the Terminator and Robocop.
What makes the film work as well as it does is the fact that it is solely made up of the absolute essentials.
I mean, can you imagine if we had to be spoon-fed some sort of set-up of the Predator character? What about a long-winded flashback about how Dutch and his team got together?
What McTiernan and creators/screenwriters Jim and John Thomas do so well is that they refuse to take the audience for granted. All of the fat that usually gets attached to films of this nature is stripped away, leaving the film itself in a leaner more hardened form.
Through a handful of shots, a few bits of dialog and only a few glimpses of the Predator prior to the third act, we as an audience discover and identify the plot for ourselves to an extent.
For me personally, the objectives the film had to meet were on three levels…the action had to be spectacular, the direction had to be intense and the cast had to have a sense of camaraderie and development to the point that their being killed off was something I actually cared about.
Luckily, “Predator” manages all three in spades.
While the scope of the film is quite large, with a dozen of Donald McAlpine’s establishing shots of the jungle looking extraordinarily vast the story choose instead to follow in close quarters with our characters. As I said before, action films of late have made a point to allow epic sequences of visual effects wizardry to dominate the proceedings. But amidst all the spent bullets and smoke, it’s the characters of “Predator” that we’re more interested in. It’s very much their story of survival and struggle as they hopelessly attempt to fight an enemy beyond comprehension.
What’s so interesting about the film is the fact that, aside from the entire third act I suppose, there really isn’t THAT much action. Save for two prominent sequences, the film again is more about the characters. I think what happened was that audiences identified with these men so much in their comments about “Berlin” or “Afghanistan” or “Passing on Libya” that we became engrossed with a history that we didn’t see…to the point that, despite not seeing it, we felt it through the chemistry between them. This can also be identified by the relationship of Blain and Mac (as much as I loathe the term ‘Bromance,’ I suppose that’s what it is…although I’m sure that men and women who serve obviously come out of the experience with a bond that is entirely there’s and there’s alone).
But don’t misunderstand…when the action DOES hit, it hits HARD!
The attack on the guerrilla camp is a bloody sight to behold. What I love about it is that it doesn’t feel overtly choreographed…and it shows that when it comes down to it, Dutch and his team aren’t to be messed with as they easily blow the goons away with a showering of bullets, grenades and, of course, that freaking SWEET mini-gun that Blain’s packing. That just might be my favorite firearm (especially after seeing its use both in this and “Terminator 2”.
I just love that these guys can be seen on a steady diet of chewing tobacco, “Sgt. Rock” comics and Robert “Bumps” Blackwell’s ‘Long Tall Sally’ as if they don’t have a care in the world…but when it’s time to rock it’s time to ROCK!
However, the other sequence paints quite a different picture of our guys…as Mac unleashes hell following Blain’s death, with the rest of the gang joining in.
Now here’s something a bit odd…and action sequence in which gunfire is blazing in an attempt to shoot…well…basically nothing. But there’s something so visceral about Ops leveling a jungle that you can’t help but cheer as they mow down the trees and brush.
But as Poncho laments…”No blood, no bodies…we hit NOTHING.”
It’s a perfect mirror to the camp attack; showing that while the technique of surprise fire and dominance might work against a bunch of half-assed mountain boys…it’s of little concern to the Predator.
The film is also shockingly violent…perhaps even more so than I originally thought it was going to be when I first saw it. But the violence makes it that much BETTER! The sight of Jim Hopper and his Green Berets…completely skinned and hanging up in a tree…man, I didn’t expect that. That Predator is one ruthless son of a b*tch!
The grotesqueness of the film, much like “Robocop” is essential to the piece and it makes that much harder and ferocious (SIDE NOTE: I always get a kick out of Dillon’s blown-off arm…STILL pulling the trigger!)
But what makes the film’s action is Dutch’s final stand, basically the entire ending of the picture.
Now, I’m fully aware that as an actor Arnold Schwarzenegger isn’t…shall we say…’Oscar worthy.’ Should he ever come back to Hollywood after this stint as the Governor of California, I highly doubt his triumphant return would be the lead in “Hamlet.”
Looking back through a career of projects like “Commando,“ “Red Heat,” “Last Action Hero” and “Eraser” it’s clear that, on the surface, “Predator” should technically be considered no different.
But in Dutch’s last effort to defeat the Predator, he becomes more than a man…he transforms into a sheer force of nature. That final scream as he challenges the Predator to one on one combat.
Don’t sit there and pretend that anyone else…be it Dolph Lundgren, Jean-Claude Van Damme, whoever…could have pulled off this character the way Arnold did. It’s not so much his acting…it’s his screen presence that make the bulk of his performances great.
It’s not my favorite performance of his per say…but I firmly believe that “Predator” is a prime example of quintessential Schwarzenegger.
With such a strong lead in the project, the supports are thankfully filled out with great accomplishment. Carl Weather’s ups the masculine ante from his time as Apollo Creed in “Rocky”s II, III and IV and delivers as Dillon in an exceptional role that helps to bring drama to the crew. His chemistry with the guys, both Arnold and Bill Dukes in particular is very well conceived (who DOESN’T love that arm-wrestle handshake between he and Dutch in the beginning of the film!?). His performance in “Predator” also helped pave his way for the hella-awesome Jericho “Action” Jackson in 1988’s “Action Jackson.”
Personally, I also really liked Shane Black as Hawkins. Probably just out of the fact that he read comics when he wasn’t butchering guerrillas. His ***** jokes are pretty good to.
The rest of the guys, particularly Blain, Billy and Mac all stand out…Jesse Ventura creates an awesome character in the span of an Act and a half and Bill Dukes (who would go on to portray Trask in “X-men III” for those of you keeping score) does a phenomenal job of display how their frustrations with the jungle, the Predator and everything else about their environment can easily drive you mad. His own personal vendetta with the Predator to avenge Blain is very inspired and it’s great to see that these guys were developed enough as characters to care about one another…despite being men of few words.
Sonny Landham’s Billy is a beast all his own and he just might be my favorite of the group aside from Dutch. To me he represented hope in the picture…and when he dies, it does in fact seem that all hope is lost for Dutch, Anna and Poncho. But what a way to go…taking out that machete and cutting himself (DUDE!!!) in his anticipation of the Predator.
Obviously the camaraderie display between the Colonial Marines in “Aliens” played a vital part of inspiration here. In fact, given that “Predator” is a 20th century Fox film, I have no doubt that the success of the James Cameron film helped to push “Predator” through.
But anyway…
As for the creature himself…simply put, hell yes.
The design of the Predator, created by late effects wizard Stan Winston is ferocious, with its giant mandibles and collection of skull trophies. I suppose that, in a way, this could be viewed as an extreme interpretation of strong, tribal African men from the Bush country…at least that’s the vibe I got.
But the Predator’s tech, from the camouflage to the shoulder-mounted cannon to the wrist gauntlet blades is just awesome. And that almost-insectoid sound he makes (eerily reminiscent of Darth Vader’s breathing to an extent) is spine-tingling and creepy.
Also, on a smaller note, “Predator” just might be the most quotable film ever made!
“This stuff’ll make you a goddamn sexual tyrannosaurus…just like me.”
“Stick around!”
“I ain’t got time to bleed!”
“This makes Cambodia look like Kansas.”
“The only way outta here is that valley that leads to the east. But I wouldn't wish that on a broke-dick dog.”
“If it bleeds…we can kill it.”
“Get to the chopper!” (or, in Ah-nuld speak, “Get tu da Choppa!!!”.
A rousing score composed by Alan Silvestri fuels the film. A brassy and percussive exercise, the score’s “Main Title” is quite commendable as is several of the cues that follow Dutch and co. through the jungle throughout the film. The tribal bongos that follow the Predator are extremely primal and, as a precursor to the two-note motif of the Joker in “The Dark Knight”, they work well to signal the approach of the Predator.
Survival suspense of the most thrilling kind, “Predator,” in essence, is a B creature feature given the A-quality treatment through an incredible mesh of talent provided by McTiernan and his cast and crew. Two solid hours of Arnold kicking guerrilla and alien (i.e. foreign) ass must’ve made Ronald Reagan giddy.
But we don’t have to get too political here.
“Predator,” alongside “Aliens,” “Robocop” and “Terminator” has been absolutely essential in the creation of the sci-fi/action yarn…inventing a perfect symbiotic yarn of the two that is bombastically entertaining and has made for some of the best pictures I’ve ever seen.
Twenty years on “Predator” has still left an indelible mark on the memory of the action movie lover and remains one of Arnie's better known earlier films.
If you don’t like this movie...well then…you’re a girlie man.
Making top lists, especially one as big as a 100 I know can get hard (no.33 ends up being worse than no.58 but ones in between not so much, etc) but you've handled it pretty well so far, can't fault you really although Serenity would be no.1 for me or top 10 at least
Love Predator gets some respect, truly a straight up sci-fi/action movie which is nothing but great and doesn't require an intricate story to achieve that greatness.
Yea it is, its on my top five of this year. But he already said he did not see it, so it will not be apart of this list. No biggie though. Amazing list CFE.
Yea it is, its on my top five of this year. But he already said he did not see it, so it will not be apart of this list. No biggie though. Amazing list CFE.
LOL, many times when I mention Moon verbally to people I've gotten the same reaction. People going: "New Moon?" lol. Then I had to explain the movie "Moon" to them.
Indeed. Sadly, they don't make action like back in the 80's/early 90's.
Hopefully, there are films that might bring back films like that in 2010.
Predators (third installment of the Predator series)
A Couple of D**ks (buddy cop action/comedy genre, similar to Lethal Weapon)
The Expendables (80's style action film)
LOL, many times when I mention Moon verbally to people I've gotten the same reaction. People going: "New Moon?" lol. Then I had to explain the movie "Moon" to them.
Produced by ... Gale Ann Hurd
Cinematography by ... Mikael Salomon
Production Design by ... Leslie Dilley
Pseudo Pod Visual Effects by … Industrial Light & Magic
Costume Design by ... Deborah Everton
Editing by ... Conrad Buff IV, Joel Goodman and Howard Smith
Original Motion Picture Score Composed by … Alan Silvestri
Ed Harris ... Virgil 'Bud' Brigman
Mary Elizabeth Mastrantonio ... Lindsey Brigman
Michael Biehn ... Lt. Hiram Coffey
Leo Burmester ... Catfish De Vries
Todd Graff ... Alan 'Hippy' Carnes
John Bedford Lloyd ... Jammer Willis
J.C. Quinn ... Arliss 'Sonny' Dawson
Kimberly Scott ... Lisa 'One Night' Standing
Captain Kidd Brewer Jr. ... Lew Finler
George Robert Klek ... Wilhite
Christopher Murphy ... Schoenick, SEAL Team Member
Adam Nelson ... Ensign Monk, SEAL Team Member
Dick Warlock ... Dwight Perry
Jimmie Ray Weeks ... Leland McBride
J. Kenneth Campbell ... DeMarco
Ken Jenkins ... Gerard Kirkhill, Benthic Petroleum Co. Representative
Chris Elliott ... Bendix
Peter Ratray ... USS Montana Captain
Michael Beach ... Barnes
Brad Sullivan ... USS Montana Executive Officer
Frank Lloyd ... USS Montana Navigator
Phillip Darlington ... USS Montana Crewman
Joseph C. Nemec III ... USS Montana Crewman
Joe Farago ... Anchorman
William Wisher Jr. ... Bill Tyler, Reporter
Marcus K. Mukai ... Anchorman #2
Wendy Gordon ... Anchorwoman
Paula Cross ... Young Woman
Thomas F. Duffy ... Construction Worker
Chris Anastasio ... Truck Driver
Emily Yancy ... Woman Reporter
Michael Chapman ... Dr. Berg
Tom Isbell ... Wave Reporter
A civilian diving team are enlisted to search for a lost nuclear submarine and face danger while encountering an aquatic alien species.
NOTE: This review is based on the ‘Special Edition’ of “The Abyss.”
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There's everything you've ever known about adventure, and then there's “The Abyss.”
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While many of us look to the stars as the final unexplored frontier, we so easily forget the frontier right beneath our feet…
Covering an incredibly massive 70% of the Earth’s surface, the Ocean is an entire world in and of itself on our very own planet; filled with as much wonder, majesty and danger as any far off galaxy.
It’s within this aquatic landscape that visionary storyteller James Cameron (“Terminator,” “Titanic” crafts a beautifully underrated film with 1989’s “The Abyss.”
The film opens in the thick of the Cold War with the sinking of the USS Montana, an American nuclear submarine that was brought down under mysterious circumstances. The US Government believes the Russians were responsible and wishes to salvage the wreckage immediately. But since they can’t acquire a diving team fast enough, the navy commandeers a civilian underwater drilling rig and its crew to enter the sub and search for survivors. But this ragtag group of blue-collar workers, led by Bud Brigman (Ed Harris) and his ex-wife Lindsey (Mary Elizabeth Mastrantonio), are plagued not only by the SEAL team's insane leader, Lt. Coffey (Michael Biehn), but also by a series of bizarre underwater occurrences that could prove that they're not alone on the ocean floor.
Soon, the team begins to fall pretty to confinement of their vessel when it becomes separated by its ‘mother-ship’ up top…and they realize that the being that took down the Montana wasn’t Russian…it wasn’t even human.
Admittedly, water-based adventure films can be a bit of a hard sell (“Waterworld” anyone?) but “The Abyss,” by far Cameron’s most personal work, is one of the most poignant and beautifully constructed science fiction films of the past 20 years.
Though some people don’t think so; the film gets rigorously bashed on occasion by audiences and critics from time to time (even by self-proclaimed “dedicated Cameron fans” as well…who obviously and ignorantly don’t even know what being ‘dedicated’ means).
There have been several arguments made against the film…deeming that, for all of its wizardry and art it lacks a humanist edge.
Bull…absolute bull.
Ostensibly, this is a film about first contact with non-terrestrial intelligence and I’ll give them that.
But the story allegorically deals with an amazing array of themes common to great dramas - violence, love, capitalism, war, courage and cowardice. Biehn’s character…the hardest, most obedient soldier in the film…is a coward and a man like Brigman, who’s so hopelessly in love with his estranged wife, turns that very same love into an act of suicidal heroism which might unintentionally save the world. And yet nothing is exactly as it seems to be.
At its core, “The Abyss” is about separation. The separation between land and sea, the marital separation between the Bud and Lindsey, the separation between the large rig and smaller sub, separation between man and the aliens (NTIs)…and the fact that some separations, like those between the ideologies of political practices and countries at odds with one another, can lead to chaos and devastation.
What’s so captivating about the film’s science fiction aspect is that these alien lifeforms from the ocean floor aren’t here to invade or terrorize…but, like extra-terrestrial Poseidon’s, they take it upon themselves to threaten our way of life only as a means of pointing out how much we’re screwing up the planet and its environment…a means of pointing out the wasted potential of mankind to do something for the benefit of both the world and the universe at large.
While I personally feel the film to in fact be weaker then the rest of Jim’s sci-fi fair to date (that statement will be in need of new confirmation pending the release of Cameron’s upcoming “Avatar.” I find the constant ragging on it by viewers to be both tiresome and unnecessary…to me, “The Abyss” is, more than anything, misunderstood and, above all, underrated.
The lead actors put in great work. Ed Harris and Mary Elizabeth Mastrantonio give the film its centrifugal emotive heart as the warring Brigham's, while Cameron fave Michael Biehn does a fine line in Gung-Ho decompression nut case!
The progression from normality to lunacy isn't exactly handled with subtlety (Coffey goes mad almost instantly; a reaction to being so deep underwater), but its fun.
One of my favorite bits is when the divers are talking and Coffey is discretely cutting his arm under the table. Mental just doesn't describe him adequately. And I also like it when the divers confront him after he brings a nuclear warhead onto the rig. He says something about them doing an 'about-face', but Biehn delivers the line superbly; he hisses it like a snake.
And then once they leave you see that he's been holding a gun behind his back all the time. Again he's just completely lost the plot. But what makes him such a good character is that he doesn't think he's mad. He thinks what he's doing is for everyone's good; he thinks there are commies down there. So as dangerous and crazy as he is, he ends up being something of a pathetic figure. Indeed, even his death isn't cause for celebration.
After an excellent submarine chase he falls down into the abyss and dies when the sub cracks under the pressure.
Soldier boy just couldn't take the strain.
True it takes at least half an hour for anything conventionally 'exciting' to happen and, by extension, for us to get to that aforementioned moment in the film…but by then we're so involved with the characters and their situation that it makes the drama all the more intense.
"The Abyss" is a richly constructed story that puts honestly developed and well executed characters into a situation that looks to be a schmaltzy, love story set under the sea. Of course looks can be deceiving.
The NTI's pretty much take a backseat to the human element and our old conflicting ways, these NTI's are non-violent and they want to teach us the error of our ways and they mean business…especially in this longer more intense version as opposed to the watered-down (BA DA BUMP!) theatrical cut of the movie.
What makes the Special Edition (Director’s Cut) work so much better, on a personal level, is the fact that the film is now allowed…through the material that Cameron had now reinstated…to have a clear-cut ending and a message to go along with it.
Albeit a tiresome one…which decrees that war is, in fact, a very bad thing.
Can’t we all just get along?
But I’ll be more than happy to take that final note than to be left scratching my head over the Theatrical Cut again.
Technologically, the film is a wonder…and clearly ahead of its time.
I mean it has beautiful camera work and breathtaking underwater photography both at the hands of cinematographer Mikael Salomon and the eye of Jim himself (an obvious pre-cursor to his work both on “Titanic” and his documentaries “Aliens of the Deep” and “Ghosts of the Abyss” given his own personal fixations with the ocean). The diving scenes are dramatically shot and help to build in the increasing tension of the moment.
The design of the craft and tech of the film is very reminiscent of 1986’s proceeding “Aliens” to an extent but obviously it’s a bit more science faction this time around.
The visual effects provided by Industrial Light & Magic are nothing short of spectacular. The NTIs, who have found a way to live in harmony with water, have the gift of molding and bending it to their will. In a technique dubbed by Cameron and ILM as the ‘Pseudo Pod,’ our human characters come face to face…quite literally…with a cascading being of pure water, channeled and morphed into an organic and solid yet liquid entity.
It’s dazzling for 1989 and remains, hands down, as one of ILM’s defining achievements in the realm of digital effects artistry more than worthy of standing alongside its own sibling successor the T-1000 in “Terminator 2: Judgment Day” and the T-Rex of “Jurassic Park.”
Aiding the cast and special effects is the wonderfully operatic score work of Alan Silvestri. A complete departure from his tribal-laced material for “Predator,” Alan delivers a score filled with as much majesty as the ocean itself…complete with fluid and haunting chorus and meticulously awesome string work.
In a sea (I’m on a roll!) of less-than stellar underwater films such as “Leviathan,” “Sphere” and “Deepstar Six,” it’s abundantly clear that “The Abyss” stands head and shoulders above them all. It’s a movie with true depth (okay I’m done now) that plays well as both a human story of compassion and sci-fi fantasy of aquatic exploration.
Perhaps this is meant to hint that the deepest ocean in need of excavation…is the one in our hearts and our souls, collectively, as humanity.
Eww…that reads so sappy. Oh well.
Although the runtime of the film CAN be a tad long in the tooth, I feel it’s more than worth it.
A solid sci-fi thriller with some emotional attachment to it (despite what anyone else might tell you, it’s there), “The Abyss” is cinematic storytelling in one of its finest examples…an enthralling motion picture. And while, for 1989, it might not have stood up to the likes of a certain fedora wearing archeologist or a black clad caped crusader, it…with its sense of magic and cast dynamics…deserves proper recognition.
Count me in among the ones who love this movie. I totally bought into the characters and the story, and i must say the drowning scene still gets to me today. It was very powerful, and i think Ed Harris acted it brilliantly. I thought the effects were really good, i just love the scene of the water column just sneaking in. t:
Directed by ... Alfonso Cuarón
Written by … David Arata, Mark Fergus, Hawk Otsby, Timothy J. Sexton and Alfonso Cuarón
Adapted from the novel “Children of Men” by … P.D. James
Executive Produced by … Armyan Bernstein and Thomas A. Bliss
Produced by ... Marc Abraham, Pablo Casacuberta, Kristel Laiblin, Eric Newman, Hilary Shor, Iain Smith and Tony Smith
Cinematography by ... Emmanuel Lubezki
Production Design by ... Jim Clay and Geoffrey Kirkland
Costume Design by ... Jany Temime
Editing by ... Alfonso Cuarón and Alex Rodriguez
Original Motion Picture Score Composed by … John Tavener
Clive Owen ... Theo Faron
Julianne Moore … Julian
Michael Caine ... Jasper
Juan Gabriel Yacuzzi ... Baby Diego
Maria McErlane ... Shirley
Michael Haughey ... Mr. Griffiths
Paul Sharma ... Ian
Miriam Karlin ... Caged German Grandmother
Philippa Urquhart ... Janice
Charlie Hunnam ... Patric
Tehmina Sunny ... Zara
Jody Halse ... Immigration Policeman
Ilario Bisi-Pedro ... Cigar Man
Chiwetel Ejiofor ... Luke
Michael Klesic ... Rado
Martina Messing ... Birgit
Simon Poland ... Preacher Trafalgar Square
Barnaby Edwards ... Ministry Official
Danny Huston ... Nigel
Ed Westwick ... Alex
Valerie Griffiths ... Dog Track Woman
Billy Cook ... Bookmaker
Pam Ferris ... Miriam
Clare-Hope A****ey ... Kee
Gary Hoptrough ... Simon
Rob Inch ... Road Traffic Police
Jamie Kenna ... Road Traffic Police
Maurice Lee ... Samir
Dhafer L'Abidine ... Dhafer
Bruno Ouvard ... Bruno
Denise Mack ... Emily
Jacek Koman ... Tomasz
Joy Richardson ... Joy
Caroline Lena Olsson ... Caroline
Milenka James ... Milenka
Somi Guha ... Somi
Francisco Labbe ... Francisco
Thorston Manderlay ... Thorston
Georgette Pallard ... Georgette
Peter Mullan ... Syd
Oana Pellea ...Marichka
Faruk Pruti ... Sirdjan
In a chaotic time in which humans can no longer procreate, a former activist agrees to help transport a miraculously pregnant woman to a sanctuary at sea, where her child's birth may help scientists save the future of humankind.
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No children. No future. No hope.
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The prospect of life dying off and signaling the extinction of mankind has always been a fascinating subject…handled through dozens of innovative authors and storytellers.
But none may be as poignant as 2006’s “Children of Men.”
Based on the novel by popular British mystery author P.D. James, the film sets us in 2027. Eighteen years have passed since a woman bore an offspring…and the world’s youngest living human, an infant boy, has died. Women have become infertile due to pollution, radiation or something to that similar effect. Hopeless, mankind stands on the brink of its own extinction. England appears to be the only country on earth still thriving, its citizens torn apart by political ideologists revolting against the increasingly fascist government by using terrorism tactics, while those in power isolate the people of the country and have them shipped away to enclosed camps where they live like animals (Holocaust anyone?).
But when Theo (Clive Owen), a former political activist, gets back in touch with his wife (Julianne Moore), she begs him to help a woman who miraculous has managed to conceive somehow. He must help her in this savage world and time where she will be killed for being an illegal immigrant. The task gets harder and harder when there is a group of terrorists after them, not to mention the government.
"Children of Men" would be easy to be described as a futuristic thriller about the last pregnant woman on earth and how a reluctant alcoholic with a troubled past makes it his mission to transport her to safety in a world gone mad. But that would make it sound fairly tired and routine.
It would be easier, perhaps, to call it a chase film, a war film, a buddy film, a variation on Wells, a political commentary, a satire, and even – to some degree – a comedy. The truth is, it's all of the above, and it manages to combine all these different aspects into a provocative whole.
Yes, that's an interesting premise to begin with, where we can question the What Ifs, whether our evolution can begin to go down that slippery slope, and if that chief reproduction problem could be tied down to technology, or ecology, that Nature or God just decided that our plundering of the Earth is enough, and it's time for us to take our place in history. For those who had enough of apocalyptic issues threatening us human beings, what with the Sun dying, or an alien invasion, or a disaster so extreme that it'll obliterate all of us in one swoop, this premise is a breath of fresh air, even though it may serve as an immense red herring, that the much larger context here lies in hope and faith.
Curiously, much of the context can be tied back to the current world sentiments, with issues like freedom fighters, homeland security, the corruption of those in power and even a reference back in time to a flu pandemic which we are facing right now with H1N1.
There’s plenty of inspired imagery here, be it icons, or religious linked ones, right down to security issues, that makes this film deserving of more than 1 viewing just to pick them all up. Director Alfonso Cuaron deftly incorporated much of today's world into this not too distant future that we may be in danger of slipping into (except for that human fertility problem, but who knows?) and the despair that will come and plunge everyone into, which is expertly placed in and around the visual backdrop of the story.
”Children of Men” accomplishes what films like “Babylon A.D.” failed, where both on the surface deals with a protector of the last hope of mankind, and having to overcome various obstacles posed by those who are corrupt, and want to politicize humanity's last chance for their own ends. It goes to show that special effects if done right, will add a superb cinematic dimension and wow you. “Babylon A.D.” didn't offer anything new, and neither did “Children of Men” in terms of its cinematography, but its detailed and brilliantly crafted continuous take in action sequences, simply steals your breath away. And as if the filmmakers here are set on sadistically challenging themselves, they do no less than 4 of such scenes with increasing complexity that has to be seen, admired and appreciated.
The cast is incredible. Clive Owen really shines in this movie, and this could be the movie that will put him up there with the cream of British talent…hopefully leading him, along with his performance in “Sin City,” onto bigger and even better things.
support is quite fantastic in the form of Michael Caine as the thought provoking Jasper…Moore, Ferris and Ejiofor also bring am edge to the film in their very different roles.
The strength of the movie is in how incredibly authentic it all looks and feels.
It works in getting the movie to make quite the lasting impression.
The cinematography is superlative, immersing the viewer in the terror and violence of a world that is quickly unraveling, and which resembles the European post-WWII wastelands. At one point, blood splatters the screen, jarring the view from the film but somehow managing to keep us in the world it is exploring. Other scenes, such as the now iconic car-chase, are incredibly innovative and visceral.
With amazing landscapes created, “Children of Men” tells a lot without showing you everything in verbatim. It has plenty of cultural references and metaphors, back stories of characters that make you care about them and eye popping effects (the explosion early on…WHOA!!!).
The movie subtlety shows 'the future' through its production design, so no flying cars or ray-guns. It’s a future that looks familiar, one that we can relate to. There are only small changes and more subtle things such as the way we talk and society lives with its-, almost as if it has accepted, violence. I also like the way animals play a subtle role in this movie, which use can be interpreted in many different ways and some other small elements and references in the movie that have a deeper meaning in it.
Yes, the future in this movie is dark, depressive and about a hopeless situation but the movie doesn't do anything to exaggerate it. Also again a reason why this movie feels so incredibly realistic.
The score work of composer John Tavener is exquisitely beautiful, almost reminding me of Thomas Newman’s “Road to Perdition” score (which I’m also a fan of). It’s use of staccato strings is very elegant yet manages to deliver when the action heats up from time to time.
I don't necessarily see "Children of Men" as a warning for the future but more as a person’s vision of the future, if the world, environment and society goes on living and changing the way it does now. The movie thank goodness does not have a preachy undertone and it doesn't prominently try to send out an overt message to its viewers.
Except the all important message of preserving life.
A downer with an eventual uplifting spirit, “Children of Men” will stick with you longer than you might’ve anticipated with its notions of precious life.
But, in hindsight, I’d say that’s a very good thing.
Executive Produced by … Andrew Rona, Bob Weinstein and Harvey Weinstein
Produced by ... Lucas Foster, Sue-Baden Powell, Jan De Bont and Ninon Tantet
Cinematography by ... Dionne Beebe
Production Design by ... Wolf Kroeger
Costume Design by ... Joseph Porro
Editing by ... Tom Rolf and William Yeh
Original Motion Picture Score Composed by … Klaus Badelt
Christian Bale ... Cleric John Preston
Emily Watson ... Mary O'Brien
Sean Bean ... Cleric Errol Partridge
Taye Diggs ... Cleric Brandt
Sean Pertwee ... Father
William Fichtner ... Jurgen
Angus MacFadyen ... Dupont
Matthew Harbour ... Robbie Preston
Emily Siewert ... Lisa Preston
Dominic Purcell ... Seamus
Maria Pia Calzone ... Preston's Wife
Mike Smith ... Enforcer Commander
Christian Kahrmann ... Officer in Charge
John Keogh ... Chemist
David Barrash ... Evidentiary Storage Officer
Dirk Martens ... Gate Guard
Florian Fitz ... Gate Guard
Danny Lee Clark ... Lead Sweeper
Francesco Calabras ... Rebel Leader
Kurt Wimmer ... Rebel Victim
Anatole Taubmann ... Crematory Technician
Brian Connelly ... Reading Room Proprietor
Alexa Summer ... Viviana Preston
Brian W. Cook ... Dupont's Secretary
Mehmet Kurtulus ... Search Coordinator
David Hemmings ... Proctor
Klaus Schindler ... Interrogator
Oliver Brandl ... Polygraph Technician
In a Fascist future where all forms of feeling are illegal, a man in charge of enforcing the law rises to overthrow the system.
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In a future where freedom is outlawed…outlaws will become heroes.
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Throughout mankind’s history, we have seen the follies of passion and emotion.
The passion that drove the Christians to ignite war during the Crusades…
The passion that drove Hitler to give rise to the Nazi party…
The passion that drove Bin Laden to strike titans of American finance and military power…
But what if emotion were dead? What then? Would those passions that extend to deviant behavior die with it? Perhaps…
But at what cost?
For 2002’s “Equilibrium,” the answer is made abundantly clear.
The parameters of the future are set in a non-descript timeframe…we don’t know how long it’s been since contemporary times. The world has endured a 3rd World War and those who survived are extremely concerned that the remains of humanity cannot possibly hope to live through a 4th.
In order to abolish war and all of its death and destruction, what’s left of civilization creates a massive walled city/nation called Libria. There, the people are governed by the Tetragrammaton, a seemingly diplomatic institution that has decreed that the cause of all human suffering lie within that which triggers human emotion.
Books, Music, Art…all are suspect to confiscation and destruction.
To aid in the support of this movement of eradicating humanity’s ability to feel, a pharmaceutical compound called ‘Prozium’ is created, which shuts down the extreme highs and lows of human emotion.
Those who refuse the Tetragrammaton, known as Sense Offenders, live on the outskirts of Libria (or within) as an underground resistance group determined to uncover the truth; that the Tetragrammaton is a totalitarian force of evil, bent on circumcising the god given right of feeling that all human must be allowed to have in order to truly live.
They must constantly fight against the oppressive forces of the Tetragrammaton…the police, the Sweepers and…the most dangerous of all…the Grammaton Clerics, a special breed of police who’ve mastered the art of Gun Kata, making them all but invincible in combat. They live to serve Libria and unknowingly uphold the façade of diplomacy.
But when the highest ranking Cleric in their forces (Christian Bale) accidentally skips his Prozium interval, he begins to realize the truth…and decides to do everything in his power to bring down the Tetragrammaton and free what’s left of mankind.
Written and directed by Kurt Wimmer (who also created the far inferior “Ultraviolet”, “Equilibrium” was a film that fell far below most everyone’s radar (initially, the film was a hit in Europe, but was all but ignored in America). Given the casting of lead Christian Bale as Batman back in 2005, it spark interest in many people (myself included) to sniff out his previous work…which led to the uncovering of “Equilibrium” at large.
Ironically, I find efforts of his such as “American Psycho,” “Empire of the Sun” and this film to all be superior to “Batman Begins”…but maybe that’s just me.
As a film, “Equilibrium” is a sweeping symphonic master stroke of storytelling…and while I personally find the ladder to be better, the claims that the film can top “The Matrix” aren’t entirely unjustified.
Many people claim that the film isn’t all that original…and that it pulls from sources such as “Fahrenheit 451,” “Gattaca,” “THX-1138,” “Brave New World,” “A Clockwork Orange,” “The Matrix” and George Orwell’s “1984” among others. To an extent its true…but what makes “Equilibrium” work isn’t just its notions of an emotion-free society and what’s wrong with that…it works in Wimmer’s fusion of social commentary with slick and non-overdone action, dynamic camera work and production design and Bale’s wonderful performance. All of these elements are “Equilibrium”s alone.
So yeah it can be billed as somewhat of a rip-off…but y’know what? It’s an extremely inspired and entertaining one.
Besides, since when did pulling inspirations from the past have to be such an issue for art? Art, by definition, practices this all the time.
The undertones of “Equilibrium” are very clearly defined. Of course a big part of the picture is the set of philosophical points it has to make about emotion. There are sections of the film that are appropriately dialogue-heavy, and Wimmer is more than conspicuous with this (one of two) primary theme(s). Just as important as dialogue for Wimmer's commentary on man's emotions are body language and behavior. Some viewers might see it as a flaw that characters…most clearly Cleric Brandt and DuPont…frequently show what they consider to be signs of emotions in their comments or behavior, but that's part of Wimmer's agenda. Because it's difficult to even say just what counts as an emotion, and emotions are so wrapped-up with being sentient beings, it would be difficult if not impossible to fully eliminate them, and it's certainly not recommendable.
Wimmer has a harsh view of our society's self-medication epidemic--even the title of the film seems to be a stab at the common claim that drugs like Prozac and Xanax are taken to help one "smooth out", or "equalize", extremes of mood, or extreme dispositions. The Tetragrammaton extends this agenda into the tangible material realm as they also attempt to "smooth out" mood swings by eliminating any cultural artifacts that might promote varied moods/emotions. Wimmer seems to see it as a not-too-exaggerated extension of the modus operandi behind Prozac-like drugs.
The other primary theme is one of institutional control. Wimmer has a lot to say about unquestioningly following authorities, and he's careful to show that it's not just governmental authorities that can be a problem. He does this by tightly wrapping religious allegory with his depiction of Equilibrium's government. The leader is known as "Father", and the government secret service members are "clerics". Those outside of this control are shown as authentic, free, individualistic and happy despite the hardships involved with their embrace of forbidden thought/items.
More subtly, Wimmer employs the now overused washed out blue-gray cinematography of late 1990s/early 2000s genre films towards an unusual end. It's not just a stylistic device here, but represents a particular kind of reality. Under the purview of the fascistic government, blue-gray predominates. When glimpses of freedom/authenticity enter the film, the blue-gray look is gone, replaced with strongly saturated warm colors, and occasionally a more nostalgic subdued tone. This is one of the film's similarities to “The Wizard of Oz,” although maybe not the most significant one.
The cast does an excellent job of portraying characters who are supposed to be mostly emotionless but with cracks in the stoic armor continually poking through. Christian Bale is absolutely the focal point here as John Preston and within this one film he manages to create an iconic action hero who’s fighting for the most precious and virtuous reason of all. His mix of steely determination with the conflicting edge of running the gamut of human emotion (from bewilderment to sadness…rage, love, loss) throughout the entire film all makes for an incredibly poignant and developed character. He manages to keep a constant air of threat about him, how dangerous he can be…but when we follow his transformation as a character, we feel with him. It’s an incredibly cathartic journey Preston takes, to the point that we are on our feet cheering for him as he prepares to take out DuPont…’not without incident.’
Supporting Bale is the wonderful Emma Watson as his ‘romantic’ interest Mary O’Brien…I say ‘romantic’ because while they never engage in sexual or even romantic contact of any kind it’s clear that it’s their emotional connection (that’s the whole point) that’s the most important. Watson plays Mary with much conviction and her chemistry with Bale is remarkable. Angus MacFayden and Taye Diggs round out the major players as our antagonists…there’s something so disconcerting about Diggs that it comes off quite creepy. It’s true, as stated before, that he displays what could be seen as emotion…a smile here and there. But what makes it even worse than showing no emotion is that the smile in an of itself is emotionless. There’s nothing behind it. Only a rare actor can do something like that and Diggs delivers. Angus does admittedly get caught up in the mix, cast aside in favor of Bale, Diggs and Watson…but he manages to hold his own as the malicious vice-council.
The remainder of the supports…from Dominic Purcell (“Prison Break,” “Blade: Trinity” to William Fichtner (“Prison Break,” “The Dark Knight” to Sean Bean (“Lord of the Rings,” “Flightplan” all give incredible flavor to the proceedings in their own right.
The production design of the film is something that I’m a huge fan of…since principal photography took place in Germany, several of the Tetragrammaton super-structures are realized through the use of Hitler’s uncompleted subway station and tracks for the Palace of Justice and Hitler’s Olympic Stadium.
Libria, architecturally, looks completely reminiscent of the cityscapes in “Metropolis” and, more recently, Gotham City as depicted in Jeph Loeb and Jim Lee’s “HUSH” story arc. Libria is fashioned with giant zeppelins floating around ominously and flags that bear the Tetragrammaton seal (which clearly looks like a Swastika…though Wimmer hadn’t intended that and it was only after he put four ‘T’s together that he realized what it ended up looking eerily like. Fortunately, it’s pure serendipity and it works VERY well to get the point of Fascism across). The design of film, obviously, is very Germanic with a symbiotic fusion of Expressionism and Brutalism that works very well given the oppressions of the society and the story.
The action of “Equilibrium” is unique and quite refreshing. The gun battles of the film aren’t just a matter of characters going gun-crazy showering the entire set with bullets and what have you.
No…they’re fine-tuned, well orchestrated pieces of live art.
Which obviously brings me to the Gun Kata.
Now in a way, yeah…it seems pretty ridiculous. It might’ve read that way on paper.
But through Wimmer’s own creation of the Kata, Bale’s physical prowess and the wonderfully calibrated editing of Rolf and Yeh, the Gun Kata looks superb in every single sequence. Wimmer’s admittedly a stickler for portraying heroes that not only kick ass…but do so with flair and the uncanny ability to never get a scratch on them…and since this is a comic book-ish sci-fi actioner I can totally get into that.
Right from the get-go, the Gun Kata looks incredible in its debut sequence…which is spectacularly lit solely by gunfire (!!!). It’s so simple yet so ingenious and it looks amazing done that way.
You’ve also got the wonderful fight in the Nether as Preston takes out the Sweeper team…complete with the sweet ass move of flipping the Sweeper shot-guns on the Sweepers themselves (!!!) and that hell-yeah backflip off the motorcycle.
And that was all over a puppy!
The style of the action definitely brings an air of chivalry and nobility to it…seeings how violence and the need to defend is pretty much man’s way of expressing romance.
The one-on-one swordplay between Preston and Brandt in the practice chamber is also quite cool (though perhaps that ‘nut-sack tap’ was a bit much…I understand it was playing for laughs, but…meh).
But, above all, you’ve gotta give it up to the entire finale of the film…in which Preston, donned in white for the first time, reverts back to the emotionless ‘Angel of Death’ and proceeds to kick every single ass in his path on his way to killing DuPont. That fight scene is, honestly, one of the greatest action scenes in film from this past decade…I kid you not.
Given that the film was a low-budget cult fair that people initially ignored in a sea of “Lord of the Rings” and the “Matrix” sequels at the time…that’s really saying something. But it’s true!
The film is all capped off with a downbeat yet lovely score by composer Klaus Badelt (“Final Fantasy X” and the “Poseidon” remake)…I wish this score would get an official release it’s so magnificent. The score combines synthesizers tones with harsh, overbearing orchestra and haunting chorus in a way that almost seems to be emotion-filled and yet simultaneously emotionless when it needs to do so to benefit the narrative. The ‘Tetragrammaton’ theme is very reminiscent of Nazi undertones without being the brassy fanfare the Third Reich is known for (see the documentary “Triumph of the Will” or “Indiana Jones and the Last Crusade” to see what I mean). The finale is also dynamically conceived with hard-edged electric guitars and pulsating beats that work well in relation to the choreography.
So what if emotion was dead? What then? Would the passions that extend to deviant behavior die with it? Perhaps…
But at what cost?
The truth?
It’s a heavy cost, living with human emotion and all the trappings, both positive and negative, that come with it…but we should all pay it gladly.
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, “Predator” is a tour-de-force of action filmmaking with a science fiction twist that led to the debut of yet another contemporary sci-fi star character in the same vein as the Terminator and Robocop.
such a great sci-fi film!
but I personally would have put Predator in the top 5 due to my bias. 
I know can get hard (no.33 ends up being worse than no.58 but ones in between not so much, etc) but you've handled it pretty well so far, can't fault you really although Serenity would be no.1 for me or top 10 at least 
Sadly, they don't make action like back in the 80's/early 90's. 
I told my dad he had to see Moon and he was like "That new vampire movie?".
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