Postmortem: The Thing (2011)

With John Carpenter’s The Thing–based on Christian Nyby’s 1951 movie The Thing From Another World and the original John Campbell short novel, Who Goes There?–we got to see a director at the peak of his powers.  Carpenter was able to combine Rob Bottin’s extraordinary creature effects with a taut story of an otherworldly threat that had the ability to mimic whomever it killed.

So you can imagine that when Universal Pictures decided to do a sequel in 2011–without Carpenter’s input–that fans would probably not be too keen on it.

And that’s a bit of an understatement, with many–myself included–hating the movie on general principal.

Having recently re-watched Matthijs van Heijningen’s prequel, it’s actually pretty good.  And while I wished that it had more in the way of practical effects–though as far as I can tell the CGI is based on designs from Alec Gillis and Bob Woodruff (who are credited) and while it’s not as innovative as the practical special effects of Rob Bottin, They’re okay.

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Harbinger Down – Review

Harbinger Down movie poster

Harbinger Down isn’t a bad movie, though it mimics a much better one.”

Alec Gillis, besides being the director of Harbinger Down, runs StudioADI along with Tom Woodruff, so it goes without saying that practical special effects are in his blood.

And indisputably the greatest practical effect-based horror film is John Carpenter’s The Thing, so it’s logical that Gillis would use it as inspiration for his feature debut.

The problem is that Harbinger Down so slavishly mimics Carpenter’s movie that it only serves to show how Gillis would have probably been better served by a more original story, though even that would have not even been too big a hurdle for me to enjoy this movie if it were better written and cast because a lot of the dialog doesn’t ring particularly true, and isn’t helped when many characters pivotal to the plot are almost Asylum-quality (Lance Henriksen is an exception; though at least initially the editor of the movie seemed reluctant to let scenes breathe, which would have went a long way to help flesh characters out.  It’s also worth mentioning that the movie plays better the second time around).

And I know that I already mentioned that Harbinger Down apes Carpenter’s movie, though the opening is from Carpenter’s movie, which is a bit much (it’s actually not, but so close that the difference is almost negligible).

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X-File A Day – “Ice”

X-Files Opening LogoI should mention that the episode order is going to be a little off for a bit because the idea came to me when I was already into re-watching the series, which I started doing because my memories of it are pretty favorable.

“Ice” is the eighth episode of the First season.  It revolves a of group researchers at an Arctic research station.  The FBI is brought into the case because the last transmission from the station was very unusual (though why Scully and Mulder received the assignment – when at this point there’s little that shows that they actually had the necessary expertise – is not made clear).

They’re accompanied by three other scientists, Drs. Murphy, Da Silva and Hodge.  The most interesting of the three is Dr. Hodge (Xander Berkeley) who seems oddly authoritative, massively douchy and has serious trust issues when it comes to the FBI in general, and government in particular.

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‘The Thing’ Teaser Poster

I don’t think that that “The Thing” will be the final title of the film, though it’s accurate in the sense that’s it’s a prequel to John Carpenter’s 1982 cult classic, one can easily mistake it as a ‘reboot,’ which are very popular these days.

The teaser poster is OK, though I think the tagline “It’s Not Human.  Yet.” is masterfully done.  What it does well is evoke a scene  from John Carpenter’s film (itself a remake of “The Thing From Another World,” directed by Christian Nyby–though some in the film community say that Howard Hawks actually did the film), though I don’t think that he has anything to do with it.

George Romero, the writer/director of The ‘Dead’ Films managed to get an Executive Producer credit in a well-done remake of his own film (Breck Eisner’s “The Crazies”), and while John Carpenter has as well with 2005’s “The Fog,” directed by Rupert Wainwright, it was not nearly as entertaining.