Sci-Fi September: Runaway (1984)

Michael Crichton was, from my limited exposure to his work, quite a brilliant mind. As a writer, he developed stories around core ideas that would predate their implementation and/or development in our real world. In the world of sci-fi, I'd mark him out as being just as prescient as any other leading name that you could throw in to the hat. He may have been simply competent as a director, but I think that was more a case of the tech never really being up to the speed of his visionary imagination. As is the case with Runaway.

Tom Selleck is a cop in the near future who specialises in dealing with runaway robots. It's such a big problem, for example, that he's flown by helicopter just to deal with a runaway farming robot that is not doing anyone any immediate harm. Selleck inhabits a world in which his priorities are his son (Joey Cramer), his job, and the need to mention his vertigo in a way that allows viewers to figure out where the finale might head. He's just been given a new partner (Cynthia Rhodes) in time to deal with a disturbing case - there's a bad man (Gene Simmons) trying to fit all robots with implants that would allow them to break their programming and kill lots of people.

Slightly hampered by the special effects available at the time, and also the fact that it's often hard to get all excited about, Runaway remains a lot of fun, despite the obvious flaws. It has robo-spiders, bullets that can trace individual targets, and Tom Selleck being his usual, charming self.

A number of scenes feel a bit flat, with Crichton highlighting the fact that he's a solid, not great, director. He can't do enough to liven up the moments that surround the few set-pieces, with domestic situations and the standard police procedural stuff making up the majority of the runtime.

The cast do their best with their characters. Selleck gets by simply by being his usual Selleck-ness, which has been good enough in pretty much anything he's ever done. Rhodes is a decent partner for him, Cramer is an acceptable cinematic moppet, and Stan Shaw and G. W. Bailey lend decent support in the police station environment. Kirstie Alley also makes a good impression, as a potential victim that the police (well, Selleck and Rhodes) are trying to keep alive. Simmons, on the other hand, is pretty awful, but he's awful in such an entertaining, over the top, way that it works for a villainous performance.

Very much a product of its time, I'll always have a soft spot for Runaway because I saw it at a young age, an age when I thought tracker bullets and robo-spiders were the coolest things ever. Admittedly, I've not matured much beyond that stage, so that may explain my enduring affection for the film. Or it might just remain an enjoyable slice of robo-hokum. Watch and decide for yourself.

6/10

http://www.amazon.com/Runaway-Tom-Selleck/dp/B00004TX5G/ref=sr_1_1?s=movies-tv&ie=UTF8&qid=1411202107&sr=1-1&keywords=runaway

Sci-Fi September: Alien Abduction (2014)

A found footage, sci-fi horror movie about, funnily enough, alien abduction, this is a film with one or two decent touches, marred by poor execution and a reliance on jump scares. It's also another one of those found footage movies that just uses the real names of most of the cast, allowing them all to avoid actually remembering the character that they're playing. The fact that it pales in comparison to Alien Abduction: Incident In Lake County, a movie released over 15 years before this one, speaks volumes.

Riley Polanski plays young Riley, a boy who keeps a videocamera running at all times. He's autistic, with the constant recording helping him to deal with the world around him. And that's why he keeps recording throughout their vacation, even when his family (father, mother, older brother and sister) has a frighteningly close encounter with some aliens. The aliens pursue the family, and continue to do so for the rest of the movie.

Directed by Matty Beckerman, Alien Abduction had potential to be something impressively scary. The first encounter with the aliens is unnerving and disorientating, but every major encounter after that just becomes reliant on the same mix of loud noises and bright lights, with further disorientation caused by the jittery camerawork, as opposed to the craziness of the situation. Those who dislike shaky-cam should probably stay away from this.

The script, by Robert Lewis, is pretty weak. Characterisations are poor, the second half of the movie is far too repetitive, and some moments will make viewers roll their eyes so hard that they'll end up looking at the back of their own skull (yes, there's even a horrible scene that's reminiscent of the most famous moment in The Blair Witch Project).

If the direction and writing are both weak, at least both are consistent. The central performances are all over the place. Jeff Bowser is at least a fun addition to the cast when he appears, playing a local resident who ends up helping the family, and Jillian Clare does a decent enough job as Riley's older sister, but the performances from Katherine Sigismund and Corey Eid are pretty poor. Peter Holden, who plays the father, isn't that great either, although anyone seems better when placed in a scene beside the godawful Riley. I'm not going to go on and on about his awfulness, he's young and has time to get better if he wishes to continue a career in acting, but it's bad enough to bring the movie down a further notch or two.

This isn't a film I can recommend. The stupidity and irritations start to build up within the first few scenes, and continue to pile up until the end credits roll. You'd be better off watching the night sky for strange lights.

4/10

http://www.amazon.com/Alien-Abduction-Katie-Sigismund/dp/B00JGMKJH2/ref=sr_1_1?s=movies-tv&ie=UTF8&qid=undefined&sr=1-1&keywords=alien+abduction

Sci-Fi September: The Day The Earth Stood Still (1951)

One of my favourite sci-fi movies of all time, The Day The Earth Stood Still is a film that I have loved ever since discovering it when I was still a young boy. Watching it as an adult, it seems strange to me that I liked it so much in my youth. Not because the film is bad, oh no, but because it doesn't have the usual mix of easy distractions that would have appealed to the younger me. This is a film paced perfectly for people thinking about how they would react to the situation being depicted, yet it still manages to entertain while providing plenty of food for thought.

Michael Rennie plays Klaatu, a spaceman who pays a visit to Earth one day. Not a sneaky, undercover visit, but one that's hard to miss. He lands his spaceship, walks out with his trusty robot (Gort) beside him, and announces his plans to meet with the major leaders of the world. After some initial nervousness from the main people that he speaks to, Klaatu decides to go incognito for a while, getting himself lodgings while he sets out to find one of the more intelligent human beings on the planet (Professor Jacob Barnhardt, played by Sam Jaffe). And he also has to figure out how to make a statement to the world that will display some awesome power without being viewed as an act of aggression.

Directed by Robert Wise, a man responsible for a number of classic movies in a number of different genres, this remains both a prime example of standard sci-fi from the 1950s and also something quite unique. It has a flying saucer, a big robot, and even the essential "take me to your leader" request from the main alien. Yet it also has a main alien who is completely humanoid in appearance, and also coming to see us in peace, and there's a lack of any tension and/or sheer terror that would appear in so many other outings from this decade.

Michael Rennie may not be the most charismatic leading man, but he's pretty perfect for this role. Slightly cold, just a little bit stiff in his delivery, but completely non-threatening to anyone he encounters, he really anchors the whole movie. Patricia Neal is a pleasant female lead, and Billy Gray is lively and entertaining (in the role of her son, a young boy who helps Klaatu find his way around). Jaffe plays Professor Barnhardt exactly as a professor should be played, and is another highlight in a film packed full of them.

Based on a story by Harry Bates, the script by Edmund H. North allows everything to move along briskly without ever feeling as if it omits anything for the sake of patronising viewers. Of course, Gort has become a bit of an icon, a favoured creation among lovers of the genre, but he doesn't feel as if he's there JUST to widen the appeal of the material (although maybe that's exactly why he was there - I've not read the original short story so can't say).

Last, I just have to mention the great score by Bernard Herrmann (especially as I was guilty of forgetting to compliment the fantastic, electronic score in Forbidden Planet - by Louis and Bebe Barron). Herrmann makes some great use of theremins in his wonderful score, a unique instrument that seems designed particularly for use in sci-fi movies, and the whole thing is a treat for fans of great soundtracks.

All of these words written about one of my favourite movies when all I really should have said was: absolute classic.

10/10

http://www.amazon.com/Day-Earth-Stood-Still/dp/B00005JKFR/ref=sr_1_1?s=movies-tv&ie=UTF8&qid=1410813998&sr=1-1&keywords=the+day+the+earth+stood+still+1951

Sci-Fi September: Riddick (2013)

Mixing the expanded ideas of the second movie with the smaller focus of the first movie, Riddick is a bit of a muddle film that doesn't seem to know exactly what it wants, leaving it as the weakest of the Riddick films so far.

Vin Diesel returns to play the main character, this time left for dead on a hostile planet after a series of events that are eventually explained in flashback. He needs to shake off the cloak of civility that he allowed himself to wear for too long, he needs to heal, and he needs to figure out a way off the planet. Inviting some bounty hunters along seems like a good idea. They'll want the price still on his head, affording him the opportunity to steal a ship and make good his escape.

Written and directed by David Twohy, who has worked closely with Diesel to keep this franchise on the right track from the very beginning, there are a lot of moments here that are fun for fans of the character. Seeing him wait for the bounty hunters to arrive, and watching his plan unfold, provides plenty of potential, but it's a shame that the movie then starts to seemingly wind down when it should be building towards some kind of impressive finale.

Diesel is great, once again, in the lead role. He loves the character, and always does well by him. Matt Nable does well with the most interesting supporting character, Jordi Molla is stuck with one cliche piled on top of another, Katee Sackhoff is in the mix to please her fans, Dave Bautista and Bokeem Woodbine both do solid work, and Karl Urban returns in a cameo role that allows the series to maintain a nice line of continuity.

The main problem lies with the script, which is repetitive, unmemorable, and overlong. It takes almost half an hour just to get to the more entertaining aspect of the plot, with the first quarter of the movie proving to be quite a chore to get through.

Then there are the special effects, which are a step down from the second movie. In fact, they also feel like a step down from the first movie. That's due to the fact that some of the insert shots are as unnecessary as they are unrealistic. It feels like a child showing off his new toy while everyone around him realises that Santa gave him the cheap, knock-off version of a popular brand.

Last, but not least, is the general issue with the pacing. I mentioned the first quarter being a chore, but the rest of the film also feels less entertaining than it could be, simply because so many moments are dragged out, or wedged in between other scenes that feel as if they should have been edited out completely.

We'll have to wait and see what lies in store next for Riddick, but I'll be very surprised if the next movie (if there IS a next movie) isn't an improvement on this one.

5/10

http://www.amazon.com/Riddick-Complete-Collection-Blu-ray-UltraViolet/dp/B00GHP8T1Y/ref=sr_1_5?s=movies-tv&ie=UTF8&qid=1410721344&sr=1-5&keywords=riddick

Sci-Fi September: Battle Beyond The Stars (1980)

It's hard to view Richard Thomas as anything other than the nice lad from The Waltons. He's had some other good roles, including a goodie in the beloved IT, but he's often simply noted for his niceness, which quickly becomes quite bland and ever-so-slightly irritating.

In this movie he's yet another nice guy, a young man sent out by his planet to recruit help after they have been threatened with destruction by big, bad Sador (John Saxon). Thomas picks up some allies, including a space cowboy (George Peppard), a cool loner (Robert Vaughn), and a bonkers Sybil Danning kinda gal (Sybil Danning), and then takes them home. There are seven ships altogether, ready to take on a much bigger selection of enemies.

Directed by Jimmy T. Murakami, and written by John Sayles, Battle Beyond The Stars is a sci-fi riff on Seven Samurai, the classic movie that inspired films as varied as The Magnificent Seven and A Bug's Life. Unfortunately, it misses out on the main element that all of those movies have. Despite a few plus points, Battle Beyond The Stars isn't ever as much fun as it should be. This is probably due to a disappointingly flat script by Sayles, and direction from Murakami that's workmanlike, at best. Some lively performances, and a good score by James Horner, help.

The first paragraph covers my thoughts of Thomas this time around. He's just not a great lead, especially when compared to the supporting cast. Vaughn is enjoyably cool, Peppard is a blast, and Danning puts in another wild performance that has made her a firm fan favourite through the years. Saxon hams it up as the villain, while Darlanne Fluegel is stuck with a character as bland and nice as the one played by Thomas. There are others onscreen, but they either barely register or are covered in prosthetics (Morgan Woodward) to make them pretty unrecognisable.

The pacing isn't too bad, and the special effects are okay for the time and budget (but don't expect them to have held up well over the years), so it manages to avoid being a bad movie. It's just a shame that it also manages to avoid being a very good one. During the many moments without Peppard, Vaughn or Danning, the whole thing just starts to sink when it should be easily soaring from one set-piece to the next.

I'm sure that people who saw this back in the early '80s will always have fond memories of it. We've all got films like that. But even those who have great affection for it will, I think, struggle to overlook all of the flaws when revisiting it today. They'll like it more than I did, but I doubt it will appear on any Top 10 lists.

6/10

http://www.amazon.com/Cormans-Classics-Anniversary-Special-Blu-ray/dp/B004VT9JJE/ref=tmm_blu_title_0?_encoding=UTF8&sr=8-1&qid=1410721618

Sci-Fi September: The Running Man (1987)

Based on a novella written by Stephen King (writing as Richard Bachman at the time), The Running Man may be a few sidesteps too far from the original material for literary purists, but it's a whole heap of fun, thanks to the fact that the premise was retooled into a star vehicle for action icon Arnold Schwarzenegger.

Directed by Paul Michael Glaser (who will, for many of us, always be Starsky from Starsky & Hutch), the plot concerns a wrongly-convicted Arnie (playing Ben Richards) being given the chance to appear on hit TV show, The Running Man. Of course, he's not really got any say in the matter. The host of the show (Damon Killian, played by Richard Dawson) will do anything for even higher ratings, and it soon becomes clear that the show has no winners, thanks to the way that footage is manipulated, contestants are smeared, and lies upon lies are spoonfed to the ever-hungry audience. Oh, and the aim of the show? Avoid death by avoiding the armed stalkers who are sent in after the contestants.

It may be lesser fare when compared to the other big sci-fi movies starring Arnie, but The Running Man has a lot to recommend it. The script, by Steven E. de. Souza, focuses on media manipulation and how it can be used to control society, but it's equally just about Arnie fighting big meanies and then throwing out his usual one-liners.

The direction from Glaser is fine, with the visuals accompanied by another great soundtrack by Harold Faltermeyer (the man best known for creating the Axel F theme for Beverly Hills Cop). He sets up everything briskly, and the visuals reflect the featured game show, with everything shiny and new on the surface, yet slightly grubby and cheap when the main characters see behind the scenes.

Arnie is still in his Arnold Prime phase here, and absolutely brilliant. Dawson, well-known as a popular TV host in America, does an excellent job of subverting his polished, showbiz persona. Maria Conchita Alonso is fine as a young woman who doesn't believe in the innocence of Ben Richards, until some things just don't add up, and there are supporting roles for names as varied as Yaphet Kotto, Kurt Fuller, Jesse Ventura, Marvin J. McIntyre, Jim Brown, Mick Fleetwood and Dweezil Zappa. Yes, you read those last two names correctly. They both have minor roles in this movie.

It feels slightly dated nowadays, and was never really built to hold up over the years as an enduring classic, but The Running Man also manages to overcome that aspect, thanks to both the sheer entertainment factor and the fact that the look at media manipulation is even more relevant than it was back in the late '80s. In a world stuffed full of Big Brother, Britain's Got Talent, and so many other "reality" shows, it's good to remember that it's all done with editing.

8/10

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Sci-Fi September: Invasion Of The Body Snatchers (1978)

There are lots of people who love Invasion Of The Body Snatchers. They will tell you that it's one of the best remakes ever. I am not one of those people, although I DO really like the film.

Taking the classic plot, adapted from the book by Jack Finney, this interpretation of the material stars Brooke Adams and Donald Sutherland as the two main humans who stumble upon a subtle alien invasion. People are being copied, with bodies born and developed while the original human being sleeps, and the only indication that anything is majorly different comes from a lack of emotion. Can these two people, accompanied by some scared friends, inform the general public and put a stop to everything before it's too late? Or will they witness the development of a very different kind of i-Pod generation?

Directed by Philip Kaufman, there's no denying that this version of Invasion Of The Body Snatchers mixes the familiar elements of the plot with a number of touches that cement it firmly in the time it was made, the late '70s. Paranoia and cynicism were both running rife at this point. It was, in many ways, similar to the atmosphere of the '50s, which is probably why both versions work so well as two movies that are the same but different (if you know what I mean).

The screenplay by W. D. Richter doesn't waste much time, and builds everything beautifully towards a tense finale. Details are sprinkled liberally throughout every major scene that shows just how the invasion is supposed to move forward, and the science of the process feels much more scarily realistic, and visceral, than it did in the original movie. It's just a shame, however, that a lot seems to happen in such a short space of time, making the third act something of a foregone conclusion once viewers see the rapid exponential growth of the problem.

Adams and Sutherland are both excellent in their lead roles, with both offering believable performances as they stumble upon one oddity after another and eventually piece everything together. They're joined, for part of the movie, by Veronica Cartwright and Jeff Goldblum, who also do some great work. And then there's Leonard Nimoy, a suitable inclusion for two main reasons. One, he's a sci-fi icon. Two, he's best known for playing a character who doesn't show any emotion, making his role both ironic and nicely ambiguous (because it's hard to watch Nimoy onscreen and not still think of him as Spock, a character he will always be so thoroughly intertwined with). Art Hindle plays Adams' husband, and does solid work with his relatively small role.

While the special effects may not be up there with the likes of The Thing, The Fly and other great sci-fi horrors that would appear in the next decade, they're quite impressive. Used sparingly, the practical work is as life-like as it needs to be, without ever being given too much time in the spotlight. This isn't an FX showcase - they serve the story, and that's all (although, for those who have already seen it, there's one detail in the final half hour that remains one of the most enjoyably bizarre ever included in any version of the material).

There's so much to like here that I feel slightly guilty for not liking it quite as much as most sci-fi horror fans. Hell, the Kevin McCarthy cameo alone gives it a bonus point. Yet I just can't help yearning for the simpler, more streamlined execution of the story that we got with the original version. This film doesn't necessarily feel bloated, but the layering added throughout detracts slightly from the beautiful simplicity of the core premise.

Already enjoyed by so many, be sure to give this one a watch if you've missed it up until now. Or people may point at you and make strange noises.

8/10

http://www.amazon.com/Invasion-Snatchers-Collectors-Donald-Sutherland/dp/B000QQJ3Q0/ref=sr_1_3?s=movies-tv&ie=UTF8&qid=1410500929&sr=1-3&keywords=invasion+of+the+body+snatchers

Although anyone with multi-region capabilities should really go with the Arrow Bluray release.

You know what you can do if you liked this review, or any of the other reviews here at For It Is Man's Number? Yes, you can buy my e-book, that has almost every review I've written over the past 5 years. It's packed full of gems (the movies, not the actual writing - hey, I know my limits) and very reasonably priced for the sheer amount of content.

The UK version can be bought here - http://www.amazon.co.uk/TJs-Ramshackle-Movie-Guide-Reviews-ebook/dp/B00J9PLT6Q/ref=sr_1_3?s=digital-text&ie=UTF8&qid=1395945647&sr=1-3&keywords=movie+guide

And American folks can buy it here - http://www.amazon.com/TJs-Ramshackle-Movie-Guide-Reviews-ebook/dp/B00J9PLT6Q/ref=sr_1_fkmr0_1?ie=UTF8&qid=1395945752&sr=8-1-fkmr0&keywords=TJs+ramshackle+mov

As much as I love the rest of the world, I can't keep up with all of the different links in different territories, but trust me when I say that it should be there on your local Amazon.

Sci-Fi September: Enemy Mine (1985)

Some movies have production problems that lead to them never being completed. Some movies have production problems that lead to them being completed, leading to audiences often wishing that they hadn't been completed. And some, although it's a very small amount, have production problems and come out the other end as a great film that more people should have some fondness for. Enemy Mine falls into the last category.

Dennis Quaid and, a pretty unrecognisable, Louis Gosset Jr. star as, respectively, a human named Willis Davidge and an alien named Jeriba. The two crash land on a planet after chasing one another through space in a dogfight. Because they're enemies, you see. Hence the name.

Using the sci-fi trappings to tell a story steeped in familiarity - adversaries having to work together to survive - Enemy Mine could have easily been transformed into a Western, a crime movie, or any other number of genre choices. There's certainly enough here to make it a great movie, but I'm not sure if those wanting more tech and shiny sci-fi gubbins will come away without at least a small amount of disappointment.

Wolfgang Petersen is the man who ended up in the director's chair, after Richard Loncraine was fired, and he does his usual good work. The film may move at a rather sedate pace, after the narration setting up the universe, and the opening scenes, there's about an hour just focusing on Davidge and Jeriba, but that's no bad thing when the characterisations are so good.

The rapport between Quaid and Gossett Jr. is fantastic, lifting the film to much greater heights than expected. The film is a two-hander, for the most part, and both men make it work perfectly. When others do pop up, even the mighty Brion James, they don't make much of an impression, simply because viewers want to enjoy more time with either of the two leads.

Based on a story by Barry Longyear, the script by Edward Khmara does what needs to be done before revelling in the fun stuff - the bickering between the two main characters. There isn't THAT much depth to either character, yet that's an easy flaw to overlook while enjoying the rest of the film.

Unsurprisingly, considering the troubled production that sent the budget up and up, and the fact that it was deemed "a hard sell", Enemy Mine didn't fare well at the box office when it was released. On the one hand, that's a great shame because it deserved to find a receptive audience. On the other hand, that's not the worst thing to happen because it's now one of those films that people who really like can claim for themselves. I know that's how I view it now, and I'm happy whenever I find other fans of the film praising it (either online or off).

8/10

http://www.amazon.com/Alien-Nation-Enemy-Double-Feature/dp/B000KGGIV4/ref=sr_1_3?ie=UTF8&qid=1410125034&sr=8-3&keywords=enemy+mine

Sci-Fi September: Transcendence (2014)

Most people will tell you that Transcendence stinks like a sweaty gym bag that has been dumped in a closet and not cleaned out for months. It's drawn comparisons to The Lawnmower Man (okay, I made that comparison, but I think others also did it) and Max Headroom, and most of those comparisons haven't been too kind. But I enjoyed it. I didn't love it, but it was certainly better than I was expecting.

The plot is pretty simple. Johnny Depp plays master computer egghead Will Caster. When Will is hospitalised, and diagnosed to be dying, he decides that the time has come to overcome the problem of developing computers with self-awareness by inputting himself into the system. When his body dies, he will live on. His wife (Evelyn, played by Rebecca Hall) is very happy with this, but a couple of colleagues (Morgan Freeman and Paul Bettany) are highly disturbed. And perhaps they should be. Because Will in computer form may not actually be Will, but rather a facsimile of him to cover for a computer that can take over the world.

A first time in the director's seat for Wally Pfister (probably best known for his cinematography in the movies of Christopher Nolan) and a first time getting script to screen for Jack Paglen, it would be easy to put the failings of Transcendence down to the fact that the two men didn't have the right experience in their relevant fields. Yet, that just doesn't seem to be the case. The script is far from the best, but it tries to keep things on point while weaving through the plot developments. This is not a film about cool sci-fi stuff and supercomputers. Well, it IS that, but it's more concerned with the moral responsibility that comes with that potential ability to access anywhere, and anything, in the entire world. Pfister may let down anyone who comes looking for a decent set-piece of two, although he doesn't do too badly at all in the big chair.

Depp is okay in the main role, I guess, even if he seems to be phoning it in (no pun intended). It's the rest of the cast who carry the film, which is probably as it should be. Hall is very good as a loving wife adjusting to a new way of life, Freeman does the same kind of thing that he's been doing for a good few years now, and Bettany is able to remind viewers that he's always worth watching, even when not voicing robo-butlers in Marvel movies. Clifton Collins Jr. does well in a relatively small role, Kate Mara is alright as a main player in a group opposed to the growth of modern technology, Cillian Murphy is sadly underused as a cop, and Cole Hauser pops in during the final third to be his usual bundle of awesomeness.

More a mix of Eagle Eye and Lucy than either of the two films mentioned in the opening paragraph, Transcendence may not be to everyone's liking but it at least sticks to its main remit for the duration - which is about two hours. It's serious fare handled with a lightness of touch, although it's also a pretty humour-free experience, and should find one or two extra fans now that it's away from the cinemas and in the home entertainment market.

Never a film for those seeking big thrills or explosions, this focuses on one or two big ideas. Not anything new or perfect, by any means, but I'd tentatively recommend it as something worth watching once. You may hate it. You may end up liking it more than I did.

6/10

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Sci-Fi September: The Chronicles Of Riddick (2004)

After the small acorn that was Pitch Black, this sequel, in what would become the Riddick franchise, quickly lets viewers see that they're being given a mighty oak this time around. The first few scenes are grandiose, in terms of both visual style and the setting up of a premise that will allow people to learn more about the universe that vicious anti-hero Riddick (Vin Diesel) inhabits, and writer-director David Twohy clearly wants to go in a different direction from the enjoyably down 'n' dirty first film.

Starting off with narration that explains the Necromongers, a ruthless race who have been moving throughout the universe, killing or converting everyone on the planets that they conquer. We then move on to a man being chased by bounty hunters. That man is Riddick, and the bounty has been placed on his head to get him back to Helion Prime, the world next to be targeted by the Necromongers. It's not Riddick's fight, so he wants no part of the whole thing, but details eventually surface that make him reconsider. Details that also reveal more about his background and his feral nature.

With everything being so much bigger this time around, it was almost inevitable that The Chronicles Of Riddick would disappoint many people. It didn't set alight the box office, and it probably knocked a few people sideways who hoped for something more in line with the first film. Thankfully, people eventually warmed to the film, and the whole franchise idea, when they had the luxury of viewing the movie in their own home, and with a better idea of what they were getting into.

Diesel is, once again, the rock at the centre of the whole thing. He's effortlessly cool and intimidating as Riddick, embodying one of the great anti-heroes in modern cinema and loving every minute of it. Keith David reprises his role from Pitch Black, while Alexa Davalos takes over the role of another survivor from the first film, now going by the name Kyra. David is okay, mainly used for exposition and to set wheels in motion, but Davalos has the better role, and does well with it. Dame Judi Dench is an unexpected, though pleasing, addition to the cast, playing an ethereal character named Aereon, and the main villains are portrayed by Colm Feore, Karl Urban, Linus Roache and Thandie Newton. Urban and Roache both do good work, with the former being an actor who I've never seen give a bad performance, but Newton is sadly flat in a role that many actresses would have really had fun with. Feore, however, proves even more disappointing. He's the Lord Marshal, the big bad, and should be able to emanate power and menace whenever he's onscreen. He doesn't, which affects the film on a number of different occasions.

The script and direction from Twohy is solid, if sprinkled liberally with minor failings, such as the relatively weak villains. The special effects and visual design elements are impressive, despite a few key creations already showing their age compared to what can be done now, one decade on. The action set-pieces are sometimes fumbled, with some unfortunate over-editing making it hard to keep track of who is where onscreen, but the film continues to impress whenever the camera moves back, taking in grand landscapes, star systems, and giant spaceships. The fact that the focus remains on the expansive, as opposed to intimate, moments is what saves the film and makes it such an enjoyable sci-fi viewing.

The director and leading man may make mistakes on the way to getting their movie finished, but they always do right by Riddick and his universe. And that, for me, makes up for a hell of a lot.

7/10

http://www.amazon.com/Riddick-Complete-Collection-Blu-ray-UltraViolet/dp/B00GHP8T1Y/ref=sr_1_1?s=movies-tv&ie=UTF8&qid=1410092573&sr=1-1&keywords=riddick+box+set

Sci-Fi September: Close Encounters Of The Third Kind (1977)

If you've already seen Close Encounters Of The Third Kind then you may think that it's not a film worth revisiting every few years. I'd argue that it is. The sound and light show that makes up the final half hour will remind you of how great cinema can be when providing spectacle that comes after a steady build-up. If you haven't already seen it then do yourself a favour and get to it ASAP.

Bashing Steven Spielberg is pretty popular among many film fans nowadays, and has probably been popular for some time. Looking at even some of his best movies, and this is one of them, it's easy to see why people can pick apart his style, his flaws, that schmaltziness that he's so fond of. Close Encounters Of The Third Kind has all of his usual tricks, but it also has such a fantastic ambiguity to the whole thing, and such a big heart, that it's still able to sit astride the sci-fi genre like, well, a giant mothership overlooking many other shining lights.

Richard Dreyfuss, Cary Guffey, and a few other people all find their lives greatly changed when they witness some UFO activity. It is, unbeknownst to them, only a small sample of something that has been happening in a number of different locations. The increased activity seems to be building up to something big, something that the U.S. government needs to keep hidden from most of the public. But many of those who have already observed the extra-terrestrial visitors have an obsessive need to see them again. Where will that need take them? And are the aliens coming in peace?

Yes, you get a lot of times when the camera starts off close to a character and then pulls away as they look somewhere offscreen in amazement. You also get plenty of the lens flares that one day collided together and gave birth to J. J. Abrams. And the cinematography, by Vilmos Zsigmond, often places people in the way of extremely bright lights - either spotlights, UFO lights, or just dazzling sunlight. All of these things are Spielberg 101. There's also a rousing score by John Williams, a cute kid (Guffey) in the middle of the action, and plenty of reverence for cinematic classics of the past.

None of these things take away from how great the movie is. With so many to choose from, saying this score is one of the best from Williams is high praise indeed, and I stand by that compliment (mainly for that brilliant 5-note motif and the audio experience of the grand finale). It's also worth noting that the subject matter lends itself perfectly to all of these Spielbergian tricks.

The performances are pretty perfect from everyone involved. Guffey doesn't say much, but he's a great child actor and reacts well to what's supposed to be happening around him. Dreyfuss is brilliant, making the most of yet another great role handed to him by Spielberg. Whether he's sculpting mashed potatoes or struggling to communicate to his wife (Teri Garr) just what he's going through, his display of conflicting emotions conveys so much more than the majority of the script. Melinda Dillon goes through a similar range, as the mother of Guffey, and her few scenes with Dreyfuss make for some of the best scenes in the film. Well, the best scenes not featuring UFOs. Francois Truffaut moves from his usual directorial role to act as Claude Lacombe, an expert in UFO activity who hopes to soon be able to prove that one or two of his theories are correct. He's a great presence whenever onscreen, quiet, graceful and intelligent, and it's easy to see why Spielberg persuaded him to take on the role. Last, but not least, Bob Balaban rounds out the core group of main players, spending a lot of time alongside Truffaut, playing a translator. He may not have as much to do, but he's a worthy addition to the cast.

If this had been made today then I think it would be a perfect film. There are hints of darkness here and there, but nowhere near the darkness that Spielberg would be able to handle so expertly in the 21st century. The special effects hold up well, for the most part, but it's hard to not see the crudity of some moments, especially in the first half of the film. And there's just too much lens flare. Yet it remains an effective, moving piece of work. It's a cinematic experience unrivalled by 95% of films released in the past three decades, and that's why I still rank it as highly as I do. As do many others.

9/10

http://www.amazon.com/Close-Encounters-Third-Kind-Blu-ray/dp/B004HZY8OS/ref=sr_1_2?s=movies-tv&ie=UTF8&qid=1409952353&sr=1-2&keywords=close+encounters+of+the+third+kind

Sci-Fi September: Clockstoppers (2002)

Clockstoppers has such a great idea that it's hard to imagine it failing, which makes the fact that it DOES fail so disappointing. Director Jonathan Frakes (still best known to many as Commander Riker from Star Trek: TNG) had shown such potential with his work at the helm of a couple of Star Trek movies, including one of the best in the series, but shows here that he's not quite as comfortable when away from the comfort zone of the USS Enterprise.

A scientist (French Stewart) has invented a device that can send people into "hypertime". It may seem like the rest of the world has suddenly frozen, but that's not the case. Everything else just moves really, REALLY slowly in comparison. Some others want to get their hands on this technology, of course, but that isn't something that young Zak Gibbs (Jesse Bradford) is aware of. He just finds himself with a watch that can almost stop time, and he starts to have some fun with it. While he's impressing the new girl at school (Paula Garces) and helping out his mate, Meeker (Garikayi Mutambirwa), Zak is also putting them all in potential danger.

The potential fun of this movie is twofold. First of all, bringing time to such a grinding near-halt is something that we'd all like to do. Secondly, anyone moving at such high speed then becomes invisible to those still running on normal time. Unfortunately, the writers - Rob Hedden, J. David Stem and David N. Weiss - take the premise and stretch it way beyond breaking point, breaking the basic rules of the time trickery in almost every scene, which makes suspension of disbelief pretty impossible.

Thankfully, there's still fun to be had, but it's a much more basic kind of fun. Some of the special effects are great, especially in the first few scenes showing Zak discovering hypertime, and a few pranks raise a smile, but most of the film is standard teens in peril stuff that could be pulled from 101 other films.

Bradford, Garces and Mutambirwa all do well enough, and Stewart does much better with his role here than he's done in other family films, but the one actor raising everything up a point is Michael Biehn, playing the main villain who wants to get his hands on the technology at any cost.

The good and bad aspects of the movie balance out to provide viewers with an experience that's distinctly average. The sad fact is that everyone involved, from the cast, to the writers, to Frakes in the director's chair, could have done a bit better. It wouldn't have taken too much effort either, which makes this flat end result all the more frustrating.

4/10

http://www.amazon.com/Clockstoppers-Jesse-Bradford/dp/B00005JKZM/ref=sr_1_2?s=movies-tv&ie=UTF8&qid=1409931905&sr=1-2&keywords=clockstoppers

Sci-Fi September: Galaxina (1980)

As has happened so many times before, and undoubtedly will again, I found myself smiling as a movie ended, yet also worried by the fact that I knew I was overlooking a lot of major flaws. But sometimes movies grab you like that. Critics can write all the words they like about what they view as good or bad in various movies, and I tend to stick to that approach whenever possible, but sometimes you react to things in a more basic, slightly irrational, way.

The basic story concerns a spaceship charged with keeping peace and order in a section of space. It's basically a big, floating police station, complete with prisoners being held in cells, and things look set to get more dangerous for the crew when they're charged with recovering a mysterious gem, known as the Blue Star. Thankfully, they can use the lifelike robot, Galaxina (Dorothy Stratten), for some of the more perilous obstacles that might be in their way.

Written and directed by William Sachs, this is a sci-fi comedy that feels very much like a mix of Dark Star and Red Dwarf. It's a low budget film, and does very little to hide that fact. In fact, it almost revels in its cheapness, without ever seeming lazy or completely inept. And I know that people will be rushing to tell me that I'm wrong, that the film is almost completely inept, but I'll still refute that charge. It works. It works for me, and that's all that I need sometimes.

Dorothy Stratten is the real star here, although her character seems to start off as a very minor player in the grand scheme of things, and she does fine with her role. She's not asked to stretch herself too far, no innuendo intended, but she does end up in most of the scenes that make up the second half of the movie. Stephen Macht is the secondary character, a man who may or may not fall for Galaxina's charms. J.D. Hinton and Avery Schreiber play other main characters, and both make a good impression, more thanks to the material than their performances.

There are also crude, cheap, alien creatures, some sexual tension and innuendo that wouldn't be out of place in any Carry On . . .  movie, and some weird interludes that feel like they've been spliced in from Hair outtakes. Am I selling this to you yet? Probably not. But this is not the type of movie that I'm going to try to sell. It is, instead, the type of movie that I simply love without reason. Any sci-fi comedy that's cheeky enough to include "Also Sprach Zarathustra" while having a budget that wouldn't cover the catering budget for 2001: A Space Odyssey at least deserves a few brownie points. The fact that it then goes on to reference so many other works that it really shouldn't be reminding you of just made it all the more endearing to me.

Do not take my word for it. Seriously. This is a film that most people will probably end up hating. But I liked it. I REALLY liked it. At this point, a better writer might be able to make the case for this movie in a more convincing manner. I am not that writer. But give it a watch anyway. At least you'll have someone to blame if you end up feeling like you just completely wasted 90 minutes.

7/10

Galaxina is one of many sci-fi delights in this great boxset - http://www.amazon.com/Sci-Fi-Invasion-50-Movie-Set/dp/B004ZJ9VXY/ref=sr_1_5?s=movies-tv&ie=UTF8&qid=1409932059&sr=1-5&keywords=galaxina

You can help me justify my OCD by either using all links here to visit Amazon and buy whatever takes your fancy or, better yet, popping along to pick up my Movie Guide in e-book form.

The UK version can be bought here - http://www.amazon.co.uk/TJs-Ramshackle-Movie-Guide-Reviews-ebook/dp/B00J9PLT6Q/ref=sr_1_3?s=digital-text&ie=UTF8&qid=1395945647&sr=1-3&keywords=movie+guide

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As much as I love the rest of the world, I can't keep up with all of the different links in different territories, but trust me when I say that it should be there on your local Amazon.

Sci-Fi September: Zathura (2005)

A sci-fi journey through ground already covered by Jumanji (which isn't surprising, they're both adapted from books by the same author), Zathura is, I think it's fair to say nowadays, the better of the two films. The fact that it's often forgotten about, or even dismissed, is a great shame, and I hope that maybe this review will spur one or two people to revisit it.

The book of Zathura may have been a direct sequel to the book of Jumanji, but don't worry if you haven't seen the latter before checking this out. The movies both work on their own, even if people who have seen both can observe the obvious similarities.

Let me get to the plot. Two brothers (Walter, the older sibling, played by Josh Hutcherson, and Danny, played by Jonah Bobo) are forced to spend some time together, waiting for their mother to come and pick them up from their father's house. Dad has to head off for something work-related, so he leaves the older sister (Kristen Stewart) in charge. Danny ends up finding a board game, Zathura, and starts playing it. He wants his brother to join in, which becomes pretty essential when it becomes clear that the board game isn't your usual piece of kit. Everything that happens in the game also happens in reality, making for some hair-raising moments.

Directed by Jon Favreau, which makes this a perfect transition between the family fun of Elf and sci-fi/superhero action of Iron Man, this is everything that you want from a family sci-fi movie. It's got a great concept, a wonderful mix of impressive practical FX work and impressive CGI, some nice lessons that are illustrated in an obvious, although non-irritating, way, and Kristen Stewart being cryogenically frozen for a few scenes (allowing viewers to make jokes about her being more lifelike and expressive than usual).

Hutcherson and Bobo both do well as the young brothers trying to survive the game. Stewart is, joking aside, just fine in her role, even if she's the least of the main characters onscreen, and Dax Shepard comes in at just the right time, playing a stranded astronaut rescued by the kids as part of the game. Even the father, a character moved out of the picture for the majority of the runtime, is played by Tim Robbins, making his few scenes all the better, thanks to him being Tim Robbins.

The script by David Koepp and John Kamps really helps to keep things ticking over nicely. Yes, this is a film in which some kids face up to one or two main issues, but it's not the kind of film to drag everything to a screeching halt while that happens. That's not to say that anything feels rushed. On the contrary, this is pitched perfectly towards the children and parents who make up the target audience demographic. The retro stylings of the sci-fi elements will certainly appeal to anyone who has fond memories of classics from the '50s and '60s, for example, while younger viewers will always enjoy the idea of a board game that leads to very real consequences.

Whether more people end up agreeing with me or not, this will always be the best movie about a dangerous board game causing real-life consequences as far as I'm concerned. I hope more people either check it out, or give it a rewatch at some point.

8/10

http://www.amazon.com/Zathura-Special-Josh-Hutcherson/dp/B000DBHX4M/ref=sr_1_2?s=movies-tv&ie=UTF8&qid=1409729884&sr=1-2&keywords=zathura

Sci-Fi September: Space Truckers (1996)

Ahem, any fans of Stuart Gordon may also like to check out this lengthy interview HERE.

From the wonderfully demented mind of Stuart Gordon comes this wonderfully demented sci-fi film, boosted by a great cast and a few fun ideas that help to overcome the relatively low budget and occasional-not-so-special effects. The emphasis here is on entertainment rather than any final polishing, and that's just fine with me.

Dennis Hopper plays John Canyon, a space trucker with a fairly reliable, albeit slow, rig. He's a bit behind schedule when he drops off a load of square pigs (for your square meals) and ends up arguing over his fee due to him from company man Keller (George Wendt). One fight later, John ends up having to get away in a hurry. He's joined by the lovely Cindy (Debi Mazar) and a lad who has just passed his test for the trucking life, Mike Pucci (Stephen Dorff). He also has a new cargo, which is supposed to be a whole load of sex dolls . . . . . . . . . . but that's highly doubtful, considering the built-in security protecting it. And did I mention that Charles Dance plays a semi-cyborg psychopath?

Written by Ted Mann, adapting a story that he and director Gordon came up with, Space Truckers is a loving mix of old sci-fi romps - the kind of stuff with bright colours and killer robots - and the blue collar approach to a life spent in space that came along in the 1970s (most notably, I guess, in Alien).

Hopper is great in the lead role, grumpy and set in his ways but not without the sense to see what's right under his nose at times, while Dorff is enjoyable wide-eyed and innocent, and Mazar is tough and cute. Dance is a semi-cyborg psychopath, which I may have already mentioned, and I'll be damned if I didn't love seeing every minute of his over the top performance. Other names in the cast include Sandra Dickinson, Vernon Wells, and Mr. Wendt. Everyone seems to be having a blast, which transfers to the audience.

Gordon directs with his usual steady hand. I'm a fan of the man, having seen how he can make the most of every dollar on every movie that he makes, and this is even more interesting to watch when placed in amongst his filmography. In a way, it seems far removed from most of his other movies (although he has, of course, done relatively straight sci-fi with Fortress and Robot Jox), but it's also absolutely in line with the sensibilities shown in almost everything that he's done. There are some dark moments, there's plenty of humour, and Barbara Crampton graces the film with her lovely presence, in a brief cameo role. There are deadly robo-aliens and other trappings of the genre, of course, but it's almost impressive to see just how far Gordon can shape the material to his own ends.

I'm not sure if others will enjoy this movie as much as I did, but I hope that some people at least give it a viewing. It's certainly not dull, even if you only decide to watch it for that Charles Dance performance.

7/10

Price-wise, Region 2 is the way to go - http://www.amazon.co.uk/Space-Truckers-DVD-Dennis-Hopper/dp/B00030ERYC/ref=sr_1_1?s=dvd&ie=UTF8&qid=1409730107&sr=1-1&keywords=space+truckers

Sci-Fi September: Pitch Black (2000)

Derivative of a whole heap of sci-fi movies, Pitch Black takes all of its separate parts and mixes them together into something cool and highly entertaining. The casting of Vin Diesel in the central role of anti-hero Riddick is vital to that, but let's not take anything away from the script or direction.

A spaceship crash lands on a planet that seems permanently hot and sunny. Thankfully, it's due to have a major eclipse. Not so thankfully, it also happens to be inhabited by some dangerous creatures that can only come out in the dark. The passengers will all have to work together to stay alive, which may be a bit of a problem when one of them is a psychotic killer, Riddick, who probably cares for his freedom more than the safety of anyone around him.

Directed by David Twohy, who had already been brought to the attention of some movie fans with two previous sci-fi movies (Timescape AKA Disaster In Time AKA Grand Tour: Disaster In Time and The Arrival), this is a film that makes the most of budget, cast and premise to create a real treat for movie fans. The myriad of influences are nice to spot, the script - by Jim and Ken Wheat, as well as Twohy - is spot on, with almost every line of dialogue, or action, revealing something about the characters struggling to survive until the end of the movie.

Vin Diesel is the rock at the centre of the film. He's cool, likable, and also believably dangerous. Riddick is a great anti-hero, one that both Twohy and Diesel care a hell of a lot for, as evidenced by the work that has subsequently gone in to creating a full background and mythos for the character. Radha Mitchell does well enough as someone who tries to take charge of the situation, and she's someone I always enjoy seeing appear in movies anyway. As is Mr. Cole Hauser, here having fun once again as a man who wants nothing more than a way off the planet with Riddick still in his custody. Elsewhere, the cast is fleshed out by Claudia Black, Keith David, Rhiana Griffith, and one or two others. Nobody does a bad job, with everyone feeling like a real person instead of just a cardboard cut-out awaiting possible death from the impressive, vicious creatures.

The special effects are pretty solid throughout, with the practical work holding up better than some of the CGI, and everything onscreen is for the benefit of the story, from each piece of extra characterisation, to the lighting (of course), to the sound design, to the dry, rocky terrain, full of holes, that makes up the landscape of the planet.

Everyone pitches in (no pun intended), but I think it's fair to say that the majority of the praise can be heaped upon Twohy and Diesel for their efforts to give audiences such a memorable sci-fi character, dropped into such an entertaining first adventure.

8/10

http://www.amazon.com/Riddick-Complete-Collection-Blu-ray-UltraViolet/dp/B00GHP8T1Y/ref=sr_1_1?s=movies-tv&ie=UTF8&qid=1409556532&sr=1-1&keywords=riddick+complete+collection

Sci-Fi September: Forbidden Planet (1956)

If you're a fan of classic sci-fi then you'll be a fan of Forbidden Planet. If you're a fan of "The Tempest" then you'll be a fan of Forbidden Planet. If you're a fan of cinema then you'll be a fan of Forbidden Planet. Basically, I think everyone will (or should) be a fan of Forbidden Planet.

Based loosely on the aforementioned Shakespeare play, this is a movie about the crew of a spaceship landing on the planet of Altair IV. They're investigating what has happened to the last people who were aiming to visit the planet, and soon find that the only people alive are Dr. Morbius (Walter Pidgeon) and his lovely daughter, Altaira (Anne Francis). That's not to say that they're the only inhabitants of the planet. There's also plenty of wildlife, Robby The Robot, and . . . . . . . . . something else. Can the crew stay safe while the go about their mission? Can Commander Adams (Leslie Nielsen) maintain his professionalism while in the company of Altaira? And how does it all actually tie in to "The Tempest"? All will be revealed before the end credits.

Directed by Fred M. Wilcox, Forbidden Planet has everything that you could ask for from a '50s sci-fi flick. The colour cinematography is lush, the soundtrack is funky and futuristic (for the time), the sillier moments are surrounded by a great mix of smarts and fun, and the production design, from Robby The Robot to the remnants of the older civilization who once called Altair IV their home, is pretty damn great.

Leslie Nielsen may seem hard to take seriously for modern audiences, but he's fine as a solid leading man this time around. He's not the focus, however, as viewers are constantly encouraged to view Pidgeon and Francis with some suspicion, especially as things take a turn for the dangerous. Both actors do a very good job of playing their roles in a fairly ambiguous manner, allowing for a number of possibilities en route to the satisfying finale of the movie.

Cyril Hume is the main man credited with the writing of the script, and he does a great job in sketching out the main characters, perfectly pacing the movie, and allowing things to build up to a few fantastic set-pieces. The presence of Robby is a great addition, allowing for some comic relief, especially in his scenes with a cook (Earl Holliman) who yearns for a replenishment of his limited supply of alcohol, and also making it easy to cover up any potential plot holes/hurdles.

If you've not managed to see Forbidden Planet yet, then do please bump it further up your list of prioritised viewings. As influential as it is downright entertaining, you won't be disappointed.

10/10

http://www.amazon.com/Forbidden-Planet-Blu-ray-Walter-Pidgeon/dp/B0019NB9A2/ref=sr_1_2?s=movies-tv&ie=UTF8&qid=1409556374&sr=1-2&keywords=forbidden+planet

Sci-Fi September: Phase IV (1974)

Not a film for those who can't stand insects, Phase IV is all about ants that can kill. They're not oversized ants. They're not out to attack everyone who crosses their path. They're intelligent, and it's up to scientists to figure out what their grand plan is.

Everything starts off with a cosmic event, some mysterious phenomenon that may or may not affect life on our planet. It turns out that nothing much changes, or so it seems. One man notices that different species of ants have stopped fighting one another, and have instead started to work together. A scientist (Nigel Davenport) asks for permission to head out to the main area in which this behaviour has been observed, hoping to find out what will happen next, and what can be done about it. He takes along a fellow scientist (Michael Murphy) he thinks may best be able to help him, and then starts to provoke a reaction from the ants. Which may not be such a good idea.

The one and only feature film directed by Saul Bass (the man best known for some of the best title sequences in cinema history), Phase IV was sadly given short shrift when initially released. It received some good reviews, but didn't do well at the box office at all. It's only the passage of time that has allowed the film to grow a small, but loyal, fanbase. I consider myself one of those fans, always have been and always will.

It is, however, quite easy to see why this didn't do any great business back in 1974. It's a movie that's hard to sell to people. Anyone who loved killer ant movies could see some more impressive moments in films such as Empire Of The Ants, The Naked Jungle, and Ants! AKA It Happened At Lakewood Manor. And any fans of intelligent sci-fi had an even greater pool to fish selections from. Not all of these films mentioned were released in 1974, with two of those ant movies coming along a few years after this one, but they're representative of the various movies that could cater for more traditional tastes in this particular subgenre.

The script, by Mayo Simon, is very low-key and minimalistic, in terms of spoken dialogue, but it sketches out each section of the movie without taking time out to patronise viewers. The tech is explained, even if it's only a brief explanation, and tensions arise between Davenport and Murphy, but most of the film is devoted to the actions of the protagonists, be they human or ants. One scene showing how the insects determine to overcome a particularly dangerous poison remainins a stunning highlight, thanks mainly to the close-up photography of Ken Middleham.

Davenport is a bit over the top, but his performance is tempered by the quieter turn from Murphy, making the two men good company throughout the movie. Lynne Frederick also joins them, portraying a scared woman who used to live in the area, and she does just fine, veering between moments of near-hysteria and calm acceptance of the situation.

Bass directs with an impressive lack of haste (in terms of how events unfold). He shows faith in the material, faith in the audience (which, sadly, wasn't repaid back in 1974), and faith in his own abilities. The ending may have been changed, thanks to studio interference (watch the original ending here), but what remains is still an interesting, thought-provoking, atypical final sequence that lingers in the mind long after the end credits have finished. It may be his only feature, but it's a damn fine one to have on the CV.

I encourage fans of smart sci-fi to check out Phase IV whenever they can. And I hope that one day it receives the treatment it deserves on a home cinema format.

9/10

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Sci-Fi September: Total Recall (2012)

A lot of people love Total Recall, the 1990 movie directed by Paul Verhoeven that provided Arnold Schwarzenegger with another hit at the box office. I am one of those people. Which makes me one of the many people who groaned when they heard news of a remake. To be directed by Len Wiseman. Now, I actually quite like Wiseman's work. He makes glossy entertainment, and I think now that people have seen the godawful A Good Day To Die Hard we can all agree that the fourth movie doesn't actually seem THAT bad. Okay, I might still be on my own there, but the point I am making is that I was willing to give this one a go.

Colin Farrell stars as Douglas Quaid, a factory worker who starts to have strange dreams involving fighting, escape attempts, and a beautiful woman (Jessica Biel). He doesn't seem satisfied with his life, which is a bit strange considering that he's married to Kate bloody Beckinsale. It must be to do with the fact that he lives in The Colony, while all of the better opportunities go to the people from the United Federation of Britain. These are the only two living spaces left on Earth, after a period of chemical warfare, and The Colony is packed with citizens viewed as the lower/working class. Quaid decides to visit Rekall, a company that can insert memories into your brain, and opts for a memory that will give him an exciting adventure as a secret agent. Unfortunately, things don't go according to plan. It turns out that Quaid may already have some false memories creating a conflict within him.

Total Recall starts off quite well. The world displayed onscreen is nicely realised and textured, Farrell, Beckinsale and Biel are all good enough for their main roles, and there are fleeting glimpses of some great actors who you just know will appear later on in the film (Bryan Cranston, and Bill Nighy). The action is solid, there's an interesting layer to the movie that focuses on class and societal manipulation, and I started to consider that this was starting to prove itself as a decent remake. A retread of material - both movies are based on "We Can Remember It For You Wholesale" by Philip K. Dick - that was able to offer up more than just a reprise of what we already enjoyed years ago.

But then it starts to lose steam. Not a major problem, at first, but after the first hour has gone by and the movie settles into a dull cycle of action-chase-paranoia-repeat then it becomes tiresome. In fact, by the time both Nighy and Cranston eventually appear it's too late. Neither man gets to make a decent impression because viewers are too busy concentrating on trying to stay awake. This kind of material shouldn't be so unexciting.

A lot of people had a hand in the writing of the movie, with Kurt Wimmer and Mark Bomback credited as the main writers, but that's not reflected in the final product. The exposition is fine, and needs to be with such ideas about identity and paranoia, but everything else is found lacking, from the lines uttered in the thick of any action to the ineffective characterisations. This is a film populated by decent actors as opposed to any good characters.

Wiseman does his usual solid job in the director's chair, revelling in the effects and showing off when he gets the chance. There's a one-shot fight sequence that manages to impress, although it doesn't make up for the lack of energy elsewhere. If only he could have maintained the quality of that first 40 minutes, this could have been a very pleasant surprise. Alas, it wasn't to be.

Beckinsale steals the show, her husband (Wiseman) knows how to utilise her well in movies, and the movie moves up a notch whenever she's onscreen. Farrell is solid in his role, putting himself across as a capable everyman with an undercurrent of Jason Bourne. Jessica Biel is, unfortunately, the worst person in the movie. It's not her fault, and I love seeing Biel in anything, but her character is horribly underdeveloped and neglected. It's almost as if she was added as an afterthought. She may be a worthy companion during the fights, but any other interactions she has with Farrell could be consigned to the rubbish bin with very little impact on the movie. Bokeem Woodbine does alright with his small role, John Cho sports a fun, blonde hairdo, and I've already mentioned the main problems for Nighy and Cranston, although the former also struggles with an American accent.

There are worse movies you could pick when you fancy a bit of sci-fi action. There are also many better ones, including the original film that this is based on.

4/10

http://www.amazon.com/Total-Recall-Blu-ray-Colin-Farrell/dp/B0092QITO2/ref=sr_1_3?s=movies-tv&ie=UTF8&qid=1409479079&sr=1-3&keywords=total+recall

Bonus Review: The Inbetweeners 2 (2014)

The more I think about The Inbetweeners Movie the more I think that I should have appreciated it just a little bit more. It made the transition from TV to the big screen quite successfully, never losing the spirit of the series while providing viewers with a few cracking set-pieces. This sequel is almost as good, although the set-pieces aren't as funny this time around.

Will (Simon Bird), Simon (Joe Thomas) and Neil (Blake Harrison) decide to head to Australia to visit their friend, Jay (James Buckley). Jay has been living a grand old life since they last saw him. He's always making out with beautiful women, he's a superstar DJ, and his mansion will almost certainly accommodate them all during their holiday. Of course, anyone who knows Jay knows that he's also a massive liar. Which is why the boys all end up in a reality far removed from the picture they had in their heads. Luckily for Will, he bumps into an old flame (Katie, played by Emily Berrington), which means that he starts to plan his activities around whatever she's going to be doing. Simon is dealing with his girlfriend from hell (Lucy, played by Tamla Kari - reprising her role, albeit with a change of character, from the first movie) over Skype, Neil is dealing with his IBS, and Jay is dealing with some feelings that he's never dealt with before.

Directed by the men responsible for writing the TV episodes, and also the first movie, this may not change the landscape of TV-to-cinema transitions, but it doesn't have to. Instead, Iain Morris and Damon Beesley give fans plenty of familiar fun, with the only main difference being the setting. Which is all completely fine when the main characters are always able to raise laughs in their different ways. It's only when the film goes for the gross-out gags that it really stumbles, in my opinion, with one sequence featuring a water park and that aforementioned IBS proving to be the low point of the movie.

Bird, Thomas, Harrison and Buckley all know exactly what they're doing, and all do it very well. They've been perfectly cast since the first TV episode, so it's no surprise to find that they can slip back into their characters with the greatest of ease. Berrington is fine as Katie, and Kari provides more amusement as an extremely jealous, aggressive girlfriend. Freddie Stroma plays someone who finds himself competing for the affections of Berrington, apparently, and David Field does alright as the foul-mouthed uncle of Buckley's character.

All in all, this is a film perfectly tailored for the fans. It's not up there with the finest comedies ever made, it's not even up there with the best of this year, but it's a fun time for just over 90 minutes, and one that doesn't try to disguise itself as anything else. Sometimes that's all you need.

6/10

While waiting to pick up the movie, grab the TV episodes here - http://www.amazon.com/Inbetweeners-Complete-Simon-Bird/dp/B0074JOD8U/ref=sr_1_2?s=movies-tv&ie=UTF8&qid=1409498292&sr=1-2&keywords=the+inbetweeners

Sci-Fi September: Under The Skin (2013)

Like many movies, Under The Skin is based on a book (this one by William Faber) that I haven't read. Unlike many movies, it's an uncomfortable, horrifying experience that also comes damn close to being a masterpiece.

Director Jonathan Glazer, who also adapted the book to screen with the help of Walter Campbell, excels at this kind of thing, although this may remain his finest hour for some time to come. Sexy Beast had moments to make you wriggle in your seat, and Birth was also difficult to watch at times, but neither of those will prepare you for the experience of this sci-fi horror.

Scarlett Johansson stars as a woman who drives around Glasgow and picks up various men. Once she gets them back to her place, alone and expecting a good time, she closes the trap that she has in place. Yet, as this cycle continues, she starts to find herself conflicted, especially when meeting someone (Adam Pearson) who seems sweeter than most.

Under The Skin is stunning. There's no other word I want to use to describe it. Some sections are a bit repetitive, which is why it falls just short of perfection, but the movie is haunting, thoughtful, and uniquely beautiful in a way that lets it stand out from almost any other sci-fi movie that I can think of from the past few decades.

All of the performances are solid, with a number of the males on camera actually being people unwittingly entering the world of the film (secret cameras were used at some points, and everything was explained and cleared after scenes had been filmed), but Johansson deserves a hell of a lot of praise for a performance that always shows her to be slightly out of alignment with the world around her. Just watch her charming men one minute, all smiles and attentiveness, and then letting her face return to a prone state when her interest wanes. She's never less than mesmerising, and this film sits atop of a filmography that currently posits her as the most interesting American actress of recent years. Hell, this even made me forgive her for Lucy (a film I disliked, although she was the best thing about it).

The performances are essential to the film, no doubt about that, but it would be remiss not to heap an equal amount of praise upon Glazer, who seems to have created an atmosphere of trust and intimacy offscreen that allows the onscreen events to play out in such an effective, and affecting, way. The script may have minimal dialogue, and often poses more questions than answers, but it makes enough available to the viewer to allow anyone to keep up. Sort of.

The visuals are another major bonus. The film starts off with some small, impressive moments before moving from one memorable set-piece to the next. This is the stuff of sci-fi nightmares, with disturbing imagery appearing in almost every main sequence.

Slow, ambiguous, terrifying, this is a film that most will either love or hate. I absolutely loved it. I hope that, however you end up feeling about it, you at least give it some of your time. It may just get under your skin, appropriately enough, as it did with me.

9/10

http://www.amazon.com/Under-Skin-Blu-ray-Scarlett-Johansson/dp/B00K0MM4AM/ref=sr_1_2?s=movies-tv&ie=UTF8&qid=1408891449&sr=1-2&keywords=under+the+skin

Got enough movie reviews to read? Of course you have. Everyone's a critic, and that's never been more correct than in this interwebby-tastic age. But a few pounds/dollars spent on my book allows me to keep my movie schedule packed, and subsequently throw at least one main review down on this here blog.

The UK version can be bought here - http://www.amazon.co.uk/TJs-Ramshackle-Movie-Guide-Reviews-ebook/dp/B00J9PLT6Q/ref=sr_1_3?s=digital-text&ie=UTF8&qid=1395945647&sr=1-3&keywords=movie+guide

And American folks can buy it here - http://www.amazon.com/TJs-Ramshackle-Movie-Guide-Reviews-ebook/dp/B00J9PLT6Q/ref=sr_1_fkmr0_1?ie=UTF8&qid=1395945752&sr=8-1-fkmr0&keywords=TJs+ramshackle+mov

As much as I love the rest of the world, I can't keep up with all of the different links in different territories, but trust me when I say that it should be there on your local Amazon.