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Aliens (Special Edition)

(1986)

Maybe I've just seen this so many times that the action beats that made it seem so great originally have lost some of their power, but age hasn't preserved this film in the way it has Alien.

Whereas the former manages a fairly visionary future (as in, not weighed down by the period in which it was produced), Aliens has '80s movie all over it, from the outfits and haircuts to the macho militarism (always an aspect of Cameron's movies he's too much in love with to really buy into any apparent critique of the apparatus he may be making). And while the characters are clearly defined, this is only really of benefit to the supporting roles.

Ripley becomes a much broader character, with no room for Weaver to invest unsaid subtlety or nuance. Big signposts hang over her maternal instincts that drown out any shadings, so by the time of "Get away from her, you bitch" Cameron has zipped up the role model for every wannabe action movie heroine since.

Blu-ray does the film's effects no favours, showing Cameron reached beyond his grasp with a tighter budget than Scott had. It’s hard not to be distracted by some unforgiving front projection and blue screen work. Meanwhile, the aliens themselves are more like insectoid stormtroopers than the original's inconceivable nightmares. Still, Lance Henriksen is as magnificent as ever.

****

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I mean, I am just a dumb bunny, but, we are good at multiplying.

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Heaven’s Prisoners (1996) (SPOILERS) At the time, it seemed Alec Baldwin was struggling desperately to find suitable star vehicles, and the public were having none of it. Such that, come 1997, he was playing second fiddle to Anthony Hopkins and Bruce Willis, and in no time at all had segued to the beefy supporting player we now know so well from numerous indistinguishable roles. That, and inane SNL appearances. But there was a window, post- being replaced by Harrison Ford as Jack Ryan, when he still had sufficient cachet to secure a series of bids for bona fide leading man status. Heaven’s Prisoners is the final such and probably the most interesting, even if it’s somewhat hobbled by having too much, rather than too little, story.

Oh, I love funny exiting lines.

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Don’t be ridiculous. Nobody loves a tax inspector. They’re beyond the pale!

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Well, it must be terribly secret, because I wasn't even aware I was a member.

The Brotherhood of the Bell (1970) (SPOILERS) No, not Joseph P Farrell’s book about the Nazi secret weapons project, but rather a first-rate TV movie in the secret-society ilk of later flicks The Skulls and The Star Chamber . Only less flashy and more cogent. Glenn Ford’s professor discovers the club he joined 22 years earlier is altogether more hardcore than he could have ever imagined – not some student lark – when they call on the services he pledged. David Karp’s adaptation of his novel, The Brotherhood of the Bell is so smart in its twists and turns of plausible deniability, you’d almost believe he had insider knowledge.

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Now all we’ve got to do is die.

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A drunken, sodden, pill-popping cat lady.

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To our glorious defeat.

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I don't think this is the lightning you're looking for.

Meet Joe Black (1998) (SPOILERS) A much-maligned Brad Pitt fest, commonly accused of being interminable, ponderous, self-important and ridiculous. All of those charges may be valid, to a greater or lesser extent, but Meet Joe Black also manages to attain a certain splendour, in spite of its more wayward impulses. While it’s suggestive of a filmmaker – Martin Brest – believing his own hype after the awards success of (the middling) Scent of a Woman , this is a case where all that sumptuous better-half styling and fantasy lifestyle does succeed in achieving a degree of resonance. An undeniably indulgent movie, it’s one I’ve always had a soft spot for.

Now In Full Color, with a Happier Ending

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