Close Encounters of the Third Kind review

Number 582 on the top 1000 films of all time is Steven Spielberg’s science-fiction drama ‘Close Encounters of the Third Kind.’

Close Encounters tells the story of two characters: electrical linesman and family man, Roy Neary (Richard Dreyfuss) and single mother Jillian (Melinda Dillon) as their lives change forever after encounters with UFOs and aliens.

Spielberg is one of the most famous film directors in history. From The Colour Purple, to Jurassic Park, to Lincoln, Schindler’s List, he has done everything from period piece to tragedy to biopic. In the seventies, he is credited to kicking off the summer blockbuster trend with the iconic Jaws. I was expecting big things from Close Encounters of the Third Kind, but I was left disappointed. I would definitely say it was one of Spielberg’s weaker efforts. The key reason was its pace. It was just slow.

It lacked the same narrative tension that Jaws or Jurassic Park contained. Far from being an edge-of-your seat thriller, I found myself sinking back into my sofa. The suspense was lacking. That’s because I didn’t really care for the characters. Richard Dreyfuss maybe best known for his role Matt Hooper in Jaws, where he was a far more interesting character. Spielberg demanded that Roy be an every-man character instead of a copper or a man in uniform and that’s where this character failed. In anything, he was too normal. There wasn’t too much to distinguish him from any other character. Dreyfuss wasn’t particularly memorable.

His wife Ronnie (Teri Garr) was equally annoying, but I think that was more down to how her character was written. After Roy encounters the aliens, he starts becoming obsessed with them. Ronnie initially indulges his fantasies before she loses his patience with him. She functions as an antagonist stopping Roy from achieving his goals. It was a necessary role, I guess, but not a likeable one. And it did slow up the story. I really didn’t care about Roy’s failing relationship with his family.

The actual interesting part of the story lay with the single mother Jillian whose three-year-old son Barry is abducted by the aliens. This is preceded by a particularly scary sequence where the aliens set off every appliance in Jillian’s home, as she desperately tries to stop Barry from walking toward the light. This was probably one of the best-executed scenes in the film: if the rest of Close Encounters was like this, it would have been more interesting to watch.

However, one aspect of Spielberg’s films that can never be criticised is John William’s film score. Similar to Jaws, he composed a simple five-tone motif that the aliens use to communicate with humans. And just like Jaws, this motif has become iconic throughout the film world.

I wouldn’t go so far as to call Close Encounters of the Third Kind a bad film. It isn’t bad, but in comparison to some of Spielberg’s most popular hits, it definitely struggles to leave the ground.

Invasion of the Body Snatchers (1956) Review

 Number 454 on the top 1000 films of all time is the science-fiction horror film 'Invasion of the Body Snatchers.'

Miles Bennell (Kevin McCarthy) is a doctor in LA who soon starts to be convinced that everybody around him has been replaced by copies. This includes everybody except for his girlfriend Becky (Dana Wynter.) However, as things start to become more serious, Miles struggles in getting anybody else to believe him. He endeavours to prove the truth no matter the cost.

I think it can be all too easy to dismiss films like these as just another science-fiction flick capitalising on the Red-Scare panic of the 1950's. And while Don Siegel certainly captured the paranoia of McCarthy's America, this film is certainly more than your average B-movie sci-fi film.

Although it was initially forgotten by critics, it has since grown into one of the pre-eminent science fiction/horror films and for good reason. Despite having a minimal $400,000 budget and a paltry 80 minute runtime, it grossed over seven times that. Probably due to the small budget, it was simple, but incredibly effective. Siegel did well to really convey a fearful atmosphere. 

Perhaps that's because he deliberately under-played things. Despite hearing throughout about the pod people who have replaced the town, we only see glimpses of the pods themselves and never anything of the actual aliens. Instead, they these people look like the average person on the street, again showing the paranoia that was rampant at the time. It was the simplicity that, I think, made this film stand out against some of its contemporaries like Forbidden Planet.

Kevin McCarthy - no relation to Joseph McCarthy who gave his name to the anti-communist policies that dominated the 60's - was very good as the lead Miles Bennell. He brought an everyman quality as we see Bennell trying desperately to expose the truth while not falling to hysteria. And, best of all, unlike most science fiction, Bennell was actually an interesting character that you want to root for.

If I were to criticise the film for anything, it might have been the overly-optimistic ending. It was far more hopeful than I would have expected for a film as bleak as this. Although Miles' and Diana's relationship was every bit as a cheesy as I would expect for a film like this.

I enjoyed Invasion of the Body Snatchers. Although it was low-budget, this by no far impacted it quality. And it was certainly more than your average 1950's sci-film which exploited the McCarthyismesque paranoia of the time.

The Day the Earth Stood still review

Number 437 on the top 1000 films of all time is the 1956 science-fiction film – The Day the Earth Stood Still.

One fateful day in 1951 Washington DC, a mysterious UFO sets down. Out comes an alien called Kantu (Michael Rennie) along with his robot protector Gort. The alien has an important message to tell the people of Earth, but will they listen? Patricia Neal co-starred.

It is safe to say that ‘The Day the Earth Stood Still’ was a sleeper hit. Neal herself thought the film would just be another of these generic flying saucer films that were so popular during the 1950’s. She could barely stop herself from laughing while reading the supposedly clunky dialogue. I’m glad that Neal was wrong, as the Day the Earth Stood Still was a terrific film.

Sure, you could argue that it isn’t the most original or novel especially by modern-day standards. However, in the 1950’s, paranoia and suspicion were rife, as was our wonder for life beyond the stars. We were in the midst of the cold war where there was distrust all around the world. Screenwriter Edmund H North capitalised on these ideas in this low-spectacle, but thoroughly interesting film.

It helped that you had the relatively-unknown Michael Rennie in the lead role. He was deliberately picked because of his low profile at the time. Director Robert Wise didn’t want a recognisable actor as Kantu, because it would have been too distracting. It was a good call, as Rennie gave a calm and measured performance as the alien.

The Day the Earth Stood still also succeeded where most science-fiction films, as it told an interesting story alongside exploring interesting ideas. Plus, at ninety minutes, it was well-paced with nothing feeling rushed or stretched. Kantu wishes to reveal his important message only to the whole world as once. Yet the logistical difficulties of this felt all too painfully real. How do you get the whole world to agree to something? I’m not sure this would be any easier now than it would have been in the 1950’s.

*spoilers*

Kantu finally reveals his message to a select group of scientists. He implores humanity to do what his race has done and employ a group of omnipotent robots to police them. Disobeying the robots would result in instant obliteration. This has led to an obliteration of all lawlessness on his world.

 Kantu finishes by saying that if humanity doesn’t choose this path, then we will lead ourselves into our own extinction. He leaves saying that he waits for humanity’s response. Judging by the state of our world now, I’m doubtful we will be renouncing our evil ways anytime soon.

Dark City (1998) review

 Number 514 on the top 1000 films of all time is the neo-noir science-fiction film 'Dark City.'

Dark City is set in a dystopic future where the Earth is being secretly controlled by an alien race called the Strangers, who have telekinetic powers. It follows an amnesiac John Murdoch (Rufus Sewell) being framed for a murder he can't remember committing. Nor can he remember being married to his wife - nightclub singer Emma (Jennifer Connelly.) Murdoch must figure out the truth while he is being pursued by police-inspector Frank Bumstead (William Hurt.)

Dark City fell victim of one of the classic traps of science-fiction, and noir for that matter, - overly-clever writers who in their rush to show off how clever they are by writing a complicated and convoluted script that they forget to include memorable characters. When writing this review, I had to look up the character's names, as I struggled to remember any of them. I only remember how weird and confusing the film was.

It's entirely possible that I just wasn't smart enough to understand the film. Studio executives were afraid that "stupid" viewers like myself wouldn't get the film, so they insisted that an expository voice-over was added to the beginning. That helped me find my feet, but I soon lost them again.

It didn't help that I had no characters to ground me. William Hurt was bland as the police detective and Kiefer Sutherland was over-the-top as the "mad scientist," Dr Schreber. I say OTT, he was positively camp. Even the future Oscar-winning Jennifer Connelly brought little to the screen. Rufus Sewell was positively fine as John Murdoch, but nothing more than that.

Reportedly, Dark City was one of the Wachowksi sisters' biggest inspirations when it came to making the Matrix - another film that isn't for the stupid like me. But that isn't where the comparisons stop. Both films share the cyber-punk, techno-dystopia housing people who are unknowingly living a lie. Like Neo, John Murdoch becomes the one and escapes the Matrix. Oh my God. I can actually remember the film's plot.

I'm sure there are fans who loved Dark City. It probably has a cult following somewhere or another. But it won't be a cult I will be joining anytime soon.

The Abyss review

 Number 709 on the top 1000 films of all time is James Cameron's science-fiction drama 'The Abyss.'

Virgil "Bud" Brigman (Ed Harris) is the foreman of the Deepcore oil rig. Joined by his estranged wife Dr. Lindsay Brigman (Mary Elizabeth Mastrantonio,) they and their crew are tasked with the task of salvaging a US navy submarine that inexplicably lost power and sank to the bottom of the ocean. There they find a group of alien creatures.

Intense, claustrophobic and unrelenting, the Abyss was as difficult to watch as it was to make. Shot on a gruelling schedule in awful conditions with an authoritarian dictator in James Cameron, it is no surprise that Ed Harris almost drowned and later had a nervous breakdown. On another occasion, having been pushed too far by Cameron, Mastrantonio) stormed off set. Both actors have since distanced themselves from the film. And few, if any, of the cast and crew have worked with Cameron again.

It is a shame that they were pushed so hard, because they both gave excellent performances. Their chemistry helped give this film some much-needed heart, as we watched the pair re-discover their love for each other. I just don't think they needed Cameron's tyranny to bring out the best in them.

I couldn't help but compare this film to Das Boot. It had that same claustrophobic feel from the tight camera-angles to the cramped set and dim lighting. I couldn't help but feel a little trapped myself. And, as for the scene where the divers are exploring the lost submarine, that is a hard no from me. Sure, it was intense and well-shot, but not something I would ever want to do.

The other comparison would be Cameron's Aliens. Again that is a science-fiction drama taking place in a suffocating setting. But the obvious difference is the actual aliens. In the Abyss, they are friendly, plus they looked visually gorgeous. The visuals were stunning throughout.

I have read so many horror stories about the making of the Abyss, least of all about Cameron's dictatorial direction, that I'm surprised it was made at all. He pushed his actors to their absolute limit, but was that a really necessary thing to do?