Now In Full Color, with a Happier Ending

Predators (2010) (SPOILERS) By the time this belated Predator 3 arrived, anything that treated either of Fox’s monster franchises with a modicum of decorum was to be embraced, so Predators , overly indebted to John McTiernan’s original as it is, is not exactly a breath of fresh air but nevertheless agreeably serviceable. You might have hoped for something more innovative after 23 years in the standalone wilderness, but at least you didn’t get Alien vs. Predator: Reheated . Of course, this is essentially Robert Rodriguez’ 1994 screenplay spruced up a slightly, and as such displays the kind of slipshod approach to narrative that has served the writer-director-producer-auteur-in-his-own-bedroom’s cottage industry reasonably well over the past couple of decades .We’re mercifully fortunate he didn’t choose to make it himself (it’s only recently, with Alita: Battle Angel and the Escape from New York remake, that he appears to have been lured back to studio fare, and perh

Swiss Army Man (2016) (SPOILERS) Sometimes I’ll finish watching a movie entirely bewildered by the praise it somehow merited. Spring Breakers was one notable case. Swiss Army Man is another. I’ll readily admit that music video turned feature directors Daniel Scheinert and Daniel Kwan are incredibly inventive and talented – as writers not so much – and that Daniel Radcliffe’s performance as a corpse shows range I never knew he had (I mean that both ironically and seriously).   Otherwise, the experience felt like being harangued by a blowhard hipster for 90 minutes, one who thinks he has something desperately, insightfully deep to say but is actually running on empty after five. It isn’t even all that appealing if you love fart jokes: any given Austin Powers is far more flatulently fulfilling. I was tempted to label Swiss Army Man a one-joke movie, so impressed with its own single-plane weirdness that it irons itself out into something not really very weird or compelli

Rock the Kasbah (2015) (SPOILERS) The chances of making a genuinely insightful, acutely satirical Hollywood movie relating to US interventions abroad, political and military, seem minimal these days, so you might as well go back 25 years to the flawed Wrong is Right . What we have seen most recently appears acknowledge this: desperate attempts to make feel good hay from loosely factual material (“ inspired by ”), to disastrous effect, both creatively and commercially. 2015 saw Our Brand is Crisis and Rock the Kasbah , both based on documentaries, both plotting uplifting, redemptive tales of self-realisation for their jaded, cynical protagonists when they’re confronted by the realities fostered on other nations by their home one. Although, reality couldn’t be further from Rock the Kasbah ’s Afghanistan (filmed in Morrocco), which has about as much legitimacy as The Men Who Stare at Goats ’ Iraq (there at least, the heightened sense was part of the point). Taking 2009 d

Alien vs. Predator: Requiem (2007) (SPOILERS) The brutal evidence, if any were needed, that Fox had no interest in the quality of its franchise(s), let alone admiring their purity. There’s almost (I stress almost ) something beserkly admirable about Alien vs. Predator: Requiem ’s flagrant disregard for anything and everything that set the primary series apart or made it distinctive. You might, at a stretch, argue this is a not bad Predator movie, in that it gives Wolf (not the Gladiator, alas; informally named after the Pulp Fiction character Harvey Keitel has since trodden into the dirt and repeatedly stamped on in a series of whorish adverts) motivation and everything, but that’s really doing it too much credit: AVPR is simply a bad movie. I hadn’t seen this since its release, when I was marginally more charitable to its appetite for transgressive behaviour. And, to give it its backhanded due, in the establishing sections, the marriage of never-destined-to-meet g

AVP: Alien vs. Predator (2004) (SPOILERS) I suppose it made sound financial sense for Fox to greenlight Alien vs. Predator (or AVP: Alien vs. Predator ), but that was about all it made. Perhaps they saw it as a toss-up. A once prestigious, feted series that had been gradually diminished by troubled productions and iffy creative choices, all the while to escalating costs and diminishing returns. This one would come in relatively cheaply, with no star overheads and a safe-pair-of-hands director. Against that, what price the damage to the franchise, which would now be rendered, as James Cameron put it, on a level with Frankenstein meets Werewolf ? Approving the pitch of the blandest writer-director auteur going, Paul WS Anderson, was bound to be seen to creatively bankrupt a series that had at very least nourished the illusion of leading with character and concept. Obviously, going with the quick buck won. While I’m disappointed that we haven’t seen (and I suspect won’t,