Skip to main content

Holy shit! I heard about a weird car driving around.

Extraterrestre 
(Extraterrestrial)
(2011)

Anyone who has suffered the debacle that is Skyline (so bad, a sequel is guaranteed) would understandably be give pause by the premise of Extraterrestre. An alien invasion told from the vantage of an apartment building. Except that this is only very loosely a science fiction movie, and certainly not an alien invasion one. An offbeat romantic comedy, Nacho Vigalondo’s film plays with the tropes of the genre but through the expectancy of those who have seen such fare rather than anything the aliens do. The result is an unremarkable but agreeable comedy of misunderstandings.


Vigalondo’s previous (and debut) picture Time Crimes is also a science fiction piece, and a frustrating one. Vigalondo worked up some striking ideas and presented them in an often unsettling and visceral manner, but the picture lacks internal logic (that is, the internal logic of the protagonist rather than the internal logic of the time travel device).  Extraterrestre is much gentler in form and eschews hard SF concepts. Tensions also tend to be punctuated by humorous developments, yet both films share protagonists labouring under mistaken assumptions who create bigger messes as they attempt to resolve their situations.


Julio (Julian Villagran) awakes in the apartment of the girl with whom he spent previous night. Julia (the mighty purdy Michelle Jenner) clearly doesn’t really want him there, but outside events soon overtake such awkwardness. The streets are deserted, the phones are down, the TV and Internet aren’t working, and there’s an enormous spaceship hanging over the city. Added to this, Julia’s stalker neighbour Angel (Carlos Areces) has remained behind to give her his full attention (he is less than happy at Julio’s presence) and then Julia’s boyfriend Carlos (Raul Cimas) returns.


Face with a very awkward situation, the only option is to lie. First that Julia found Julio passed out on the street. Then, taking cues from Invasion of the Body Snatchers, Julio and Julia cast aspersions on Angel, suggesting there is something strange about him. Events spiral out of control from there; there are attempts to send Angel packing, and Carlos reveals a survivalist instinct (separated from them, he departs to make bombs in another part of the city).


The most effective aspect of Extraterrestre is the manner in which the “invasion” is undercut by the domestic intrigues and subterfuge of the quartet. Julio and Julia continue their carry on, perhaps because Carlos’ presence makes it exciting. Angel, meanwhile, devotes himself to exposing their behaviour to Carlos. This involves taking up residence in an apartment across the street, and attempting to announce Julia’s cuckoldry through banners and firing endless quantities of tennis balls through Julia’s apartment windows.


The escalating tensions between the dogged Angel and Julio make for the funniest scenes; they, and Julia, are out for what they can get, and more than willing to behave manipulatively (if Julio had behaved honourably in the first place the situation wouldn’t have gotten out of control). It’s appropriate then that Julio should be called upon to right the wrongs he has instituted, brewing up one more dose of confusion.


At points the low budget emptiness recalls the Geoff Murphy’s The Quiet Earth, and it’s fitting that the aliens should never make their physical presence felt (except as the paranoia of others). It might be the anti-Pegg and Wright picture, taking a genre staple and backing away from it. There’s an especially deft running gag about a weird alien car (which Julio has designed for a carnival but everyone re-interprets as evidence of invasion), deployed for the Julio’s redemptive act.



Comments

Popular posts from this blog

He’s probably paranoid, high-strung, doesn’t like daylight. You know, has a lot of crumbs in his beard, if he has a beard.

Godzilla vs. Kong (2021) (SPOILERS) I’d like to report I had a blast with Godzilla vs. Kong . It’s lighter on its oversized, city-stomping feet than its slog of a MonsterVerse predecessor, Godzilla: King of the Monsters , and there are flashes of visual inspiration along with several engaging core ideas (which, to be fair, the series had already laid the seeds for). But this sequel still stumbles in its chief task: assembling an engaging, lively story that successfully integrates both tiny humans and towering titans.

It's Dark Age, by Jupiter!

The Dig (2021) (SPOILERS) An account of the greatest archaeological find Britain would know until Professor Horner opened the barrow at Devil’s End. And should you scoff at such “ fiction ”, that’s nothing on this adaptation of John Preston’s 2007 novel concerning the Sutton Hoo excavations of the late 1930s. The Dig , as is the onus of any compelling fictional account, takes liberties with the source material, but the erring from the straight and narrow in this case is less an issue than the shift in focus from characters and elements successfully established during the first hour.

You stink, my friend.

Mulan (2020) (SPOILERS) Let that be a lesson to Disney. It’s a fool’s errand to try and beat the Chinese at their own game, no matter how painstakingly respectful – or rather, pandering – you are. Indeed, Mulan ’s abysmal $40m box office take in the country – where it did get a proper release, so no plandemic excuses can be cited – feels like a direct rebuke; don’t try and tell us how to suck eggs. There’s an additional explanation too, of course. That Mulan sucks.

Our "Bullshit!" team has unearthed spectacular new evidence, which suggests, that Jack the Ripper was, in fact, the Loch Ness Monster.

Amazon Women on the Moon (1987) Cheeseburger Film Sandwich . Apparently, that’s what the French call Amazon Women on the Moon . Except that it probably sounds a little more elegant, since they’d be saying it in French (I hope so, anyway). Given the title, it should be no surprise that it is regarded as a sequel to Kentucky Fried Movie . Which, in some respects, it is. John Landis originally planned to direct the whole of Amazon Women himself, but brought in other directors due to scheduling issues. The finished film is as much of a mess as Kentucky Fried Movie , arrayed with more miss sketches than hit ones, although it’s decidedly less crude and haphazard than the earlier picture. Some have attempted to reclaim Amazon Women as a dazzling satire on TV’s takeover of our lives, but that’s stretching it. There is a fair bit of satire in there, but the filmmakers were just trying to be funny; there’s no polemic or express commentary. But even on such moderate t

Roswell was a smokescreen, we've had a half a dozen better salvage operations.

The X-Files 1.24: The Erlenmeyer Flask The Erlenmeyer Flask makes for a fast-paced, tense and eventful ride, but does it make any sense? That less than mattered at the time, but revisiting the mythology arc (for probably the fourth or fifth time) reveals increasingly tenuous internal coherence as the various conspiracy elements begin to pile up and the situations become ever-more convoluted. This will become the Chris Carter’s signature: don’t examine the details too closely, go with the flow. Trust Chris implicitly.

Wow. Asteroids are made of farts. Okay. I got it.

Greenland (2020) (SPOILERS) Global terror porn for overpopulation adherents as Gerard Butler and his family do their darnedest to reach the safety of a bunker in the titular country in the face of an imminent comet impact. Basically, what if 2012 were played straight? These things come to test cinemas in cycles, of course. Sean Connery struggled with a duff rug and a stack of mud in Meteor , while Deep Impact plumbed for another dread comet and Armageddon an asteroid. The former, owing to the combined forces of Bruce Joel Rubin and Michael Tolkin, was a – relatively – more meditative fare. The latter was directed by Michael Bay. And then there’s Roland Emmerich, who having hoisted a big freeze on us in The Day After Tomorrow then wreaked a relatively original source of devastation in the form of 2012 ’s overheating Earth’s core. Greenland , meanwhile, is pretty much what you’d expect from the director of Angel Has Fallen .

UFO IN MOSSINGHAM?

A Shaun the Sheep Movie: Farmageddon (2020) (SPOILERS) One might reasonably suggest the recourse of the ailing or desperate franchise is to resort, seemingly out of nowhere, to space aliens. Even Police Academy didn’t go that far (to Moscow, yes, but not to space). Perhaps animators think kids have no skills of discernment and will swallow any old sugar-coated crap. Perhaps they don’t, and they will. Ice Age had been enjoying absurd success until Collision Course sent Scrat spinning into the cosmos and grosses tumbled. Shaun the Sheep has been around for a quarter of a century, but this is only his second movie outing and already he’s pulling an E.T. on us. Of course, this may all be part of the grand scheme, and Nick Park is simply doing his bit to familiarise the tots in time for Project Blue Beam.

Careful how much boat you’re eating.

Onward (2020) (SPOILERS) Pixar’s Bright , or thereabouts. The interesting thing – perhaps the only interesting thing – about Onward is that it’s almost indiscernible from a DreamWorks Animation effort, where once they cocked a snook at such cheap-seats fare, seeing themselves as better class of animation house altogether. Just about everything in Onward is shamelessly derivative, from the Harry Potter /fantasy genre cash-in to the use of the standard Pixar formula whereby any scenario remotely eccentric or exotic is buried beneath the banal signifiers of modern society: because anything you can imagine must be dragged down to tangible everyday reference points or kids won’t be able to assimilate it. And then there’s the choice of lead voices, in-Disney star-slaves Chris Pratt and Tom Holland.

By heaven, I’d thrash the life out of you… if I didn’t have to read the Nine O’Clock News.

The Green Man (1956) (SPOILERS) The Green movie from Launder and Gilliat starring Alastair Sim that isn’t Green for Danger. Which is to say, The Green Man can’t quite scale the heady heights of that decade-earlier murder mystery triumph, but neither is it any slouch. Sim is the antagonist this time – albeit a very affable, Sim-ish one – and his sometime protégée, a young George Cole, the hero. If the plot is entirely absurd, Robert Day’s movie wastes no time probing such insufficiencies, ensuring it is very funny, lively and beautifully performed.

Well, I’ll be damned. It’s the gentleman guppy.

Waterworld (1995) (SPOILERS) The production and budgetary woes of “ Kevin’s Gate ” will forever overshadow the movie’s content (and while it may have been the most expensive movie ever to that point – adjusted for inflation, it seems only Cleopatra came close – it has since turned a profit). However, should you somehow manage to avoid the distraction of those legendary problems, the real qualitative concerns are sure to come sailing over the cognitive horizon eventually; Waterworld is just so damned derivative. It’s a seafaring Mad Max. Peter Rader, who first came up with the idea in 1986, admitted as much. David Twohy, who later came aboard, also cited Mad Max 2 ; that kind of rip-off aspect – Jaws birthing Piranha – makes it unsurprising Waterworld was once under consideration by Roger Corman (he couldn’t cost it cheaply enough). Ultimately, there’s never a sufficient sense the movie has managed to become its own thing. Which is a bummer, because it’s frequently quite good fun.