Zac is back.

“Me and Orson Welles” stars Zac Efron as Richard Samuels, a high-school student who is bored with school and longs to be doing something more exciting than studying. A chance encounter with Orson Welles (Christian McKay) changes his outlook on things. Welles is casting for his latest project, an updated version of “Caesar” and Richard is given the role as Lucius. Richard is thrust into the “glamorous” world of show business, and he learns the ropes from Sonja Jones (Claire Danes), who works at the theatre where “Caesar” will be performed. Sonja will do anything to get ahead and this leads to disappointment for Richard, who after a night of passion with Sonja, thinks he is in love with her.

In this movie, Orson Welles is portrayed as a shady, womanizing, slightly crazy genius. Sometimes he was like-able, most times he was not. Efron did a good job in his role (as always). Supporting cast included Ben Chaplin, who had a few solid scenes as George Coulouris and who played Mark Antony in “Caesar” and Kelly Reilly as superficial “shine the light on my face this way, not that way” Muriel Brassler, who played Portia in “Caesar”.

I wasn’t sure who exactly the target audience for this movie was. We have Zac Efron, teen heartthrob, in a movie about a producer/actor from the 30′s. I’m not sure if this movie was geared towards the teenage girls, or the older crowd.  I noticed that a lot of the older folks in the audience thought the movie was hilarious (maybe because they were around in the 30′s??).

The H-Bomb: The romance between Bella Swan (Kristen Stewart) and her androgynous, emo vampire boyfriend Edward (Robert Pattinson) has hit a snag. Meanwhile, she’s started to take a liking to her old Native American friend Jacob (Taylor Lautner), who has a secret or two of his own. Teenage fangirls, start your drooling…

Let me start off by saying that I am not a teenage girl and therefore “Twilight” just isn’t my thing. In fact, when I was asked to review this, I thought to myself, “Man, Rick Swift must really hate me!” I made a point of not watching the original, and now I’m being forced to see the sequel?! Father, why have you forsaken me?!

Oh well, bearing in mind that I am not the target audience for this movie, the second in the phenomenally (and bewilderingly) popular “Twilight” series, I went into it determined to be as open minded as possible, because every film deserves a fair shake from me, and hey, it does have vampires, which I generally dig.

The first thing I did when I was tasked with reviewing “New Moon”, was to go rent the original film, to familiarize myself with the “saga,” and I must say that it did not give me high hopes for the sequel. Aside from some nice direction and strong performances, I found the first “Twilight” to be about as exciting and interesting as watching a dog take a shit. To me the whole thing played out like a cheesy soap opera, complete with exceptionally lame dialogue, with some super natural elements mixed in. So I approached the sequel with pretty low expectations and… what do you know, I didn’t hate it at all.

Which is not to say that I loved it, or even really liked it, but again, taking into account that I am not part of the teeny-bopper demographic, I have to say this movie is not bad. It starts out with Bella the human and Edward the vampire still very much in love, with Edward endlessly stating how he’ll always be with her and how he’ll always protect her, so on and so forth. This is a good thing, because Victoria (Rachelle Lefevre), the redheaded female vampire, is out to kill Bella as revenge for the death of her mate at the hands of the Cullens. But after Bella is attacked by a member of the Cullen family, Edward realizes that the best way to protect her is to leave her, which he does, vowing to never see her again.

This throws Bella into a deep depression for several months. She becomes completely withdrawn, sitting around staring out the window all day, and having horrible nightmares that make her scream hysterically in the middle of the night. Ain’t love grand? This cycle of misery goes on until one night when Bella discovers that if she puts herself in perilous situations, Edward will appear to her as an apparition warning her of danger. So Bella figures that a ghost Edward is better than no Edward and decides to start taking up thrill seeking type hobbies like… motorcycle riding.

She purchases a couple of junked motorbikes and enlists the help of her newly hunky friend Jacob to help repair them. As they spend their afternoons together, they begin to realize that they’re attracted to each other. But all of the sudden, Jacob begins acting strangely, with a violent temper that seems to come out of nowhere. He also seems to know more about Edward than he’s letting on. All the while, people have reported seeing large wolf like creatures in the nearby forest…

This film basically has everything you’d expect from a “Twilight” movie; teen romance, teen love, teen anguish, teen angst, teen horniness, with some vampires and werewolves thrown into the crock pot for good measure. Director Chris Weitz (American Pie, The Golden Compass) takes over for Catherine Hardwicke, who directed the first film, but the change isn’t all that noticeable as the visual style and tone are pretty much the same. There is more action in this installment, but it’s nothing to write home about.

The writing is as gooey as it was last time, and gets very redundant, with characters constantly proclaiming their love for each other while bemoaning how they can never be together for one reason or another. There’s even an obvious reference to Romeo & Juliet in the first part of the film. The cast does perfectly fine, given the mushy material they have to work with, and the tween-age girls will have plenty of eye candy to feast upon in the form chiseled, naked male torsos.

While “Twilight” is not my cup of tea (sorry, just not that into gazing at chiseled, naked male torsos), I won’t partake in any fashionable bashing of it, either. Truth be told, I found it perfectly watchable. If the reaction of the young females in the audience I saw it with is any indicator, the movie’s fan base will eat this up and ask for more, which they will get, since the third one, “Eclipse”, is already in the can. So, while real horror fans like myself may be completely baffled and dismayed over this “Twilight” craze, the audience this film was made for will be more than satisfied. As for me, when it comes to vampire tales, I’ll take “Nosferatu” or “Near Dark” over this kid’s stuff any day.

“This is the way the world ends… this is the way the world ends… this is the way the worl-” Okay! Okay! For fuck’s sake, I got it already!!!”

H-Bomb: Richard Kelly’s scatter shot, schizophrenic apocalyptic tale has so many characters, themes, ideas, plots, twists, subplots, sub-subplots, and sub-sub-subplots that it weaves itself into a web of almost complete senselessness, nearly beating the viewer into intellectual submission. However, it does make for an inexplicably interesting watch…

(more…)

Ready for a hook up?

Swift shot: Classical contrasting cinematography makes for some visually compelling shots, and the story is interesting enough.  Some of the characters, ok, almost all of the characters come across as unbelievable – and where Seven was able to make the shocking seem tangible, Horsemen fails to ride convincingly into an evil sunset.  The evil is not interesting, because it is so over the top it comes across as fantastical.  Still, this one is chock full of gore and bondage, so it should satiate most S&M enthusiasts.

Dennis Quaid and Ziyi Zhang share the screen in this straight to DVD horror, suspense – made for Seven fans.  Though clumsy in a few places, the acting is solid and believable, but the actions of these characters just didn’t seem to fit with reality.  Granted, criminally insane people can get away with the most despicable of acts in Hollywood, the whole Hannibal series more than illustrates that point.  But, Hannibal was an evil genius, and when the veil is lifted in The Horsemen, you may find yourself going, what?  I don’t get it.

I blame Director Jonas Åkerland for that, because he had a good cast, a decent script, and he should have built up more around the why these evil acts were being committed.  In an evil mind, “just because” never cuts it with me.  There needs to be some driving motivation for the evil, or I just don’t care.  And when you learn that “We are the Nothings” is behind it, uhm, this story is a perverse, adult version of the Neverending Story, chock full with a son (Lou Taylor Pucci) who has lost his mother and is being raised by a dad that is clueless and aloof.

Bondage fans, suspension lovers and bleeders will eat this movie alive, as the fetish element is splashed in your face throughout.  Remember The Cell with Jennifer Lopez?  This literally ratchets up the suspension scenes with even more macabre elements of terror.  So, if you want Seven-lite and are into fetish violence, look no further than The Horsemen.

Surrogates, based upon the comic book series of the same name, is the sort of high-concept sci-fi fireball that draws you in with numerous compelling ideas and then does nothing particularly interesting with any of them.  They’re mere frilly stuffs adorning the real bottom line, which is noise, violence, and hyperkinetic urban pursuits.

The film is set in the year 2017, which an intertitle announces as “The Present.”  This comes after an opening informative montage that suggests a rich opportunity for satire that this fairly humorless film immediately begins squandering.  In the years leading up to “The Present,” technologies corporation VSI has mainstreamed “surrogates,” lifelike robots that essentially perfect the human experience: real people, like you and I, reside in pods that allow them to remotely inhabit and control their “surrogates,” providing all the traditional sensory stimuli associated with being human, with the additional benefit of being whoever they want to be and completely impervious to harm.  Furthermore, since surrogates have become the majority and replaced their human operators in daily life, violent crime has seen a 99% reduction (although the opening exposition fails to explain why).

FBI Agent Greer (Bruce Willis) finds it pretty striking, then, to learn that when a pair of surrogates turns up destroyed, their human operators are later found just as dead, with their brains “melted from the inside out.”  Greer and his partner, Peters (Rahda Mitchell), begin investigating the origin of the mysterious weapon responsible for this anomaly and learn that one of the victims was the son of the former head of VSI (James Cromwell, in what feels very much like a cameo).  Meanwhile, the weapon finds its way into “Dread Territory,” which consists of government-protected humans-only safe havens, not unlike Indian reservations, for those who refuse to surrender to the surrogacy lifestyle.  The denizens of these surrogate-free zones are impoverished survivalists led by The Prophet, played by Ving Rhames, whose origins and motives become hazier as the film progresses.

The film is densely, albeit not convolutedly, plotted, for its 88-minute running time.  The nature of the surrogates allows for an interesting brand of violence in which the bodily harm is more grievous (Greer’s brutal assault on a surrogate who cuckolds him recalls the face-destruction-via-fire-extinguisher from Irreversible), but the stakes are lower, as the surrogates are really just tangible video game sprites.  Consequently, when flesh-and-blood Greer is in physical danger among the surrogates, the danger is more deeply felt.

Director Jonathan Mostow stages his action scenes with more aplomb than can be found, say, in the unwatchably rapid-fire slideshows of things happening in the recent Terminator Salvation, and the film does have a clean look, but where Mostow excels in action he fails just about everywhere else.  If the film looks clean, it also looks too slick—when some unnecessary oblique angle isn’t being used, the camera is constantly moving.  Such over-direction of the film’s visual aspects smacks of narrative insecurity, and in the case of Surrogates, such insecurity is well-founded, as the film’s handling of dramatic situations—specifically, the cornball domestic drama between Greer and his wife, and the grief of Cromwell’s character over his son’s death—is tone-deaf, limp, and about as inorganic as the surrogates themselves.  Reaction shots reveal screen test-caliber mugging, clichés such as “Give me your badge and your gun” aren’t mitigated by any kind of creative license, and key lines of dramatic dialogue (“Oh my God.  If it was me they were after, I’m responsible for my son’s death”) sound like they belong in speech bubbles.

The look of the surrogates themselves is unsettling, as they resemble something like a cross between the animated characters from The Polar Express and department store mannequins.  Greer’s surrogate looks like a Madame Tussaud’s version of Bruce Willis circa Moonlighting.  When Greer’s “meatbag” human self is out and about, he hobbles, hunches, and generally has difficulty moving around.  For once, and refreshingly, Willis looks his age.  He’s not fit.  In fact, when we first see Greer’s human form at rest in his pod, we don’t even recognize him as Bruce Willis; a portly, bald middle-aged victim from a few scenes prior is seen in the same general setup as Willis, therefore homogenizing the two.

Such notions about being free from the confines of infirmity, old age, gender, disability, etc, by way of cerebral cortex “jacking in” technology have been explored before, however, and more compellingly in films like Until the End of the World, Strange Days, and eXistenZ, all made over a decade ago (although all by filmmakers with greater aims than Mostow).  Surrogates, then, feels a little conceptually dated in light of its having nothing new—or much anything at all—to say about its conceits. Furthermore, more recent works in this genre such as Children of Men and District 9 illustrate that a sci-fi actioner can retain the integrity of its ideas, emotional resonance, and even satire without compromising the punch of its action.  Bruce Willis’ presence and his dual selves, too, elicited fond thoughts of 12 Monkeys, another film by which Surrogates suffers in comparison.  And at fourteen years of age, it’s considerably less dated than Surrogates, which is stale right out of the package.

The opening visuals are entrancing and even border on spellbinding, two hands sewing the finishing stitches on a creature made to carry on this post-apocalyptic worlds life. A world where machines and humans have collided, a world we are far too familiar with in Hollywood from Terminator to The Matrix and now to Tim Burton’s producing credit 9. The sad thing about this cgi-sci-fi flick is that Hollywood seems to think dialogue is not important when there is action scene after action scene to compensate. The screenplay is plagued with command after command line , it never tackles the complex themes it aspires to actually cover. 9 asks the question we always ask “why are we here”, but it never even tries to answer it allowing it’s nevertheless amazing visuals to stomp all over it.

9 stars Elijah Wood as the youngest and most intelligent “creature” (which reminded me much of the creatures from Sony’s Little Big Planet) always defying authority, and making dangerous, action packed decisions.  The authority, voiced by Christopher Plummer is #1, who seems to think that keeping to themselves will save them from total extinction and annihilation. Jennifer Connely voices #7, a pretty bad ass creature that is introduced via a visually appetizing decapitation. If you wanna see a movie this year that is visually exciting, has astounding cinematic photography, and leads to absolutely no where, this is your ticket. And although this flick isn’t directed at pre-teens or children alike, it does drum on the same kind of silly underwritten dialogue that hangs way beneath its visual caliber.

“ . . . about as creative as the average stomach flu.”

The Storyline

A teen’s premonition of a deadly car crash helps save the lives of his friends—except—death sets out to collect those who missed the escalator to their final destination.   Dun, dun, da-dunnnn….   *insert load power heave here.

First, before you race out to see this humdinger, watch the original(s); they’ve been running it/them for the past two/three weekends on many of the networks. It was shot in the late 90s and finally made it out of the can in 2000; since there’s been two others to crawl out of Canada. The original was made when the Gods were highlighting Seann William Scott after his first major success (American Pie, Stifler character – he’s been in a thousand films since, but on imdb.com they actually credit him playing himself in Pie!!! – too funny!)  After you watch the first one, you can better judge this remake. The story and characters are different . . . but not by much.

The Cast and Crew

Lindsey Hayes Kroeger and David Rapaport deserve open-ended, black-card credit for their casting on this one. Bobby Campo, Shantel VanSanten, Nick Zano, Haley Webb, Mykelti Williamson, Krista Allen, Andrew Fiscella and Justin Welborn—just to name a few—pulled off one hell of a performance. What I like about this cast is the energy everyone brought, but when you’re in your young 20s and you don’t bring it—go home. You suck and must die! But first we’ll harvest your organs, defile your corpse, then send you to District 9, so the talking shrimp have something to eat. A prawn can only eat so much f’ng purina, ya know?

Hats off to David Ellis, Director, for having a blockbuster on his hands. Pull this guy up and you’ll find he’s been a stunt coordinator for most of his career. This looks to be his debut on the ol’ director’s chair –well done, David!  Eric Bress (WGA Writer, Kyle XY) and Jeffery Reddick (WGA, Final Destination 2&3 – out of Canada) scribed out a real thriller here. Wasn’t too impressed with the dialogue, but this flick was aimed to make big money from horror seekers not dazzle them with brilliant subtlety. With the first three raking in close to half a billion, I don’t see this pup falling short.

Brian Tyler (Fast & Furious) composed the music. *He’s a big dog in the film world as a composer. At first when I was looking at the budget (est. $40M), I couldn’t figure out where all the money went. You can have a huge CG (computer graphics) tab; huge cast tab (but these guys are pretty cheap) and stunts, etc., but where you spend your money is with who you choose to manage the various departments or compose original music. Another clue is see who is listed within the first seven – ten credits on IMDB – Brian is right there, and he’s worth every penny. In a great sound environment, your ears will ring like your first Motley Crue concert, OH SHUTUP, District 9 people! Everyone knows about your secret stash of Crue posters you have stashed in the garage under all that crap your mom – notice I didn’t say wife – wants you to toss!

Cinematographer, Glen MacPherson (Rambo and a gazillion other films he shot) needs to be mentioned; beautiful shots, Glen. The entire piece was easy on the eyes.  Also, Scott Plauche, Art Director (Ray) set the scenery up for great shots to be captured – way to prep bro!

The Good, Bad and Indifferent

Just for the record, I did NOT like this movie. First, go get some original material. Is Wollywood truly out of ideas!? Have the balls been removed from everyone in Tinseltown?!! Man… If so, here’s to defib’ing Wollywood’s ol’ heart. A film critic, we’ll name him “ck” for good measure, grabs his hand scribbled notebooks, tosses ‘em into his trusty ’82 civic and roars out to the land of opportunity and an occasional drive-by shooting – Los Angles. Hey, the scored pot sucked, so I had to do something; when in Rome do as the…whatever, right? Anyhoo, when he arrives he waltzes right through the front doors of WB, hitches a ride up to the top floor and to the first suit he finds he pitches this gem, “Think District 9 meets Fast and the Furious!  The shrimp dudes are stuck here! Like really, stuck here – on Earth.” *Suits are so stupid they usually don’t even know what planet they live on, so it helps to remind them (visuals work nicely too – you are here, dumbass).  “The one dude that got away started a new colony and completely forgot about everyone back here. fuck ’em, right? Anyhoo, Nascar has been sitting in the number one spot now for nine years, so we’re going that angle.

The shrimps are taking over everything – even NASCAR—oh, HELL NO, belts Will Ferrell in the trailer we’ll shoot—already have the financing from Taco Bell for it too. They’re fly’n around all the big tracks, Brick Yard 400, Indy 500, even Bob’s put-put and go-cart frenzy, grabbing the checkered flags! They’ve won the hearts of many Americans now. One is dating a movie star. Another is riding on the special float in a gay pride parade. The last is dating a muppet! Yes. Miss piggy. After all, she was dating a frog. Kermit finally got nailed trying to cross the road—poor soul… ”

BUT ENOUGH IS ENOUGH bellows Tom Cruise; have him looking at the script as we speak, seems very interested. “Now, Bobby-Boo (Cruise) will jump back in the saddle to race against the shrimps! But along the way falls in love with their lead driver!!! Miss. Sexy Shrimp (haven’t worked out a name yet, but Katie is favorable). Will he be able to keep focused and take back all the championships one by one or run off to have little sea monkeys…? Real nail bitter if you ask me!”  The execs will say, too edgy, we need to appeal to the kids – but I like the cut of your jib son!

Back to Reality—The Final Destination was well made. Its story is weak, but action and thrilling scenes keep your attention all the way through. The music plants your ass back in the sweat stained seat from the previous ass of Johnny no-socks fresh from a Walmart buffet, and the graphics make you wanna keep your eyes shut. All good. But the “shocker scenes” have already been done in many, many other films, so this film lacks originality in every sense – even comparing to their own franchise.

The Bottom Line

If you’re jonez’n for a thriller/horror you can’t go wrong. But if you’re looking for something original you’ll be disappointed.

I’m one of the few (closeted) horror fanboys out there who didn’t hate Rob Zombie‘s gritty, grimy, foul mouthed remake of John Carpenter‘s classic “Halloween”. I didn’t love it, but I actually thought the first half of the movie, that showed Michael Myer’s messed up childhood, was pretty strong. However, in the second half, where it basically became a summarized version of Carpenter’s original, it just completely went down the shitter.

So, I approached Zombie’s sequel to his remake (which is not a remake of the original sequel), with an open mind. I thought now that Mr. Zombie had freed himself of the shackles of the original movie’s story, he could really go out there with this sequel and completely blow my mind, which he did unexpectedly with his awesomely intense “The Devil’s Rejects”. Sadly though, he didn’t. With the exception of a few scenes, “Halloween II” basically passed in front of me with little effect at all. I neither liked it nor disliked it. For the most part, it left me feeling indifferent.

Picking up right where the previous one ended, we find out that Michael Myers (the ever physically imposing Tyler Mane) somehow survived having a .357 unloaded into his face as he escapes from the ambulance taking him to the morgue. Cut to a year later, Michael’s little sister Laurie Strode (Scout Taylor-Compton) is on the verge of becoming a complete basket case. She’s adopted a sort of punk/emo/whatever-the-fuck-they-call-it-now look, complete with metal band t-shirts and tattoos. She works in an indie music store, swears like a sailor, and has recurring nightmares of Michael coming to get her.

Dr. Sam Loomis (Malcolm McDowell), survived his injuries from the previous film (if you saw the Director’s Cut DVD), and is now on a tour promoting his new book about Myers. As for Michael himself, he moved into the nearby woods, laid low for the past year, grew himself a lumberjack beard, and now that it’s his favorite time of year again, he’s come back to pay his kid sister another visit. He also has strange visions of his mother (Sheri Moon Zombie), himself as a kid (Chase Vanek), and a white horse (I shit you not).

That leads me to something I truly disliked about this movie, the ghostly visions of Mom and the dream sequences. I know Zombie was trying to probe deeper into the psyches of Michael and Laurie, that he was trying to add another layer to it all by establishing some kind of psychic link between them. But for me, it didn’t work. The ghostly visions of Mom are contrived, silly, and only exist to give Rob Zombie’s wife a role in the movie (dude’s gotta get laid somehow, I guess). The dream sequences look as though they were shot and edited by a pretentious first year film student bucking to be the next David Lynch. They look like they belong in another movie, and they do.

I also didn’t like what Zombie did with the Dr. Loomis character. Not only is Loomis’s story thread, for the most part, completely detached from everything else that’s happening in the movie, but he’s also an arrogant, opportunistic prick in this one. In the original series, Loomis was the hero, albeit a slightly unhinged one. Here, he’s a complete asshole. Boo on that!

On the positive side of things, I found Taylor-Compton, as Laurie, to be far less annoying than she was in the previous film. Last time, I was actively rooting for her death. This time, I actually found myself at times compelled by her performance… although she does have some questionable moments, like where she tearfully proclaims “I miss my parents so much!” The couple sitting near me actually laughed out loud at that moment. There’s also a sequence where Michael goes on a rampage in a strip club (the one his Mom used to work at), that was bloody impressive. Much of the final third of the movie is actually intense and exciting, minus the Mom hallucinations. And the final scene I thought was pretty killer, and despite this being the “conclusion” of Zombie’s “Halloween” films, it does leave things open for a sequel… if the box office warrants it.

Overall, Rob Zombie’s “Halloween II” is a passable if pretty unspectacular slasher flick. There’s a ton of blood letting, some nicely brutal killings, and even some T&A… enough to keep gorehounds satisfied. But none of it is particularly memorable. Zombie keeps the same “white trash” aesthetic that he established in his remake; the photography is handheld and dirty, and most of the characters are unlikable and spout the F-word like it’s going out of style. Zombie also finds bit parts for old genre actors, and he even makes room for a gratuitous Weird Al Yankovich cameo.

Bottom line, if you liked Zombie’s “re-imagining of a horror classic” from 2007, then you might like his sequel to his re-imaging. But if you hated his remake (as many did), then you would be wise to avoid this one like the plague.

Aliens – go home!

Storyline

An extraterrestrial race is forced to live within “the projects” (Yo, homie !) located in central Africa, striving to meek out their existence in hopes of returning to their home planet which they’ve been away from now for oh,…twenty f’n years! A spirited government agent who is exposed to their unique biotechnology may be their final hope or pull their air all together. Think: “Going Postal” meets “E.T.” . . . on crack.

The Cast and Crew

Hats off to Neill Blomkamp for not writing and directing what seems to be his first flick, but convincing folks to lend him tens of millions to make a sci-fi movie which appears written during some serious whippit sessions; which I’m sure he thought, “it’ll knock those tasty Reese’s Pieces right outta cute little E.T.’s, glow-stick hand” – Dum, dum, ta’daa… Oh, so sorry Neill, with two “ls” for good measure, but you’ve just lost in…Let’s Make a Movie! But turn that frown upside down you freaky little Spielberg leg-humper ‘cause we’re sending you away with: A YEAR’S SUPPLY OF CO2 CANISTERS ….to help with your next train wreck.

I wasn’t crazy about any of the cast members. A couple of the military guys were okay, but the rest could just have been wallpaper as far as I care – give me the aliens; I am your leader! I’ll tell you who needs a big, hats off is the art department, visual and special effects girls and boys. Yo, Michael Bay, learn a thing or two here for your next Transform-lamers. Michael, did you have to run your name twice within the first 20 lines of credits?! What a looser… Poser.

Good, Bad and Indifferent

The first 40 minutes – look out. If your have narcolepsy make sure your buddy/husband/wife/elicit lover has a cattle prod next to ya at all times. Once those minutes are over though, you’re in for a treat; great visuals and somewhat ethical think-age you may experience, so pop a vitamin before hand, okay. The story becomes quick and really refreshing after those long forty.

There’s a real spin in this story and beautiful character arcs when I look back. Also, just when you think you’ve seen it all regarding blood and guts being sprayed about and even on ya, District 9, gives us a little more. Think, 300 – Blomkamp made this flick in that vain. Made you feel right in the mix; however, the documentary style approach in the first 40 severely clashed with the “authentic” approach (as if you are there) during the remainder of the movie – no balance and amateurish. Left some room for a sequel though. Good call, Blom. Who knows? Maybe. Just maybe.

Loved the take on aliens and humans living on the same planet with the ethical dilemmas unleashed here; really fresh, if you cut the first forty I’d gladly bump you up a star or two.

Bottom Line

If you’re into sci-fi you really can’t go wrong – a truly unique storyline; however, wait until that rainy day and catch it at home – and fast forward the first forty, in case I forgot to mention that.