Redux: Aliens.

Redux Review #574: Aliens.

Cast: 

Sigourney Weaver (Ellen Ripley), Michael Biehn (Dwayne Hicks), Paul Reiser (Carter J. Burke), Lance Henriksen (Bishop), Carrie Henn (Rebecca "Newt" Jorden), Bill Paxton (Private Hudson), William Hope (Lieutenant Gorman), Jenette Goldstein (Private Vasquez), Al Matthews (Sergeant Apone), Mark Rolston (Private Drake), Ricco Ross (Private Frost), Colette Hiller (Corporal Ferro), Daniel Kash (Private Spunkmeyer), Cynthia Dale Scott (Corporal Dietrich), Tip Tipping (Private Crowe), Trevor Steedman (Private Wierzbowski), and Paul Maxwell (Van Leuwen) Directed by James Cameron (#001 - Terminator 2: Judgement Day, #063 - The Terminator, #388 - Avatar)

Review: 

“What I remember about that night is not my reaction to the movie [Alien] but my reaction to the audience. I thought to myself, ‘If I can do that, if I can even come close to doing that,,," - James Cameron (1986)

You might remember that Alien (1979) was originally devised by Dan O'Bannon into subsequent collaboration with Ronald Shusett (pitched as "Jaws in space") that had further influence from David Giler and Walter Hill (it was they who came up with the android character of Ash) and, well, all the folks leading right down to Ridley Scott (and, well, maybe a little bit of positive executive influence, because they groused at Scott's original ending idea). Between the inspiration of films such as The Thing from Another World [1951] in O'Bannon and Shusett's screenplay, the creature design by H. R. Giger* to Scott's drive to make "The Texas Chain Saw Massacre of science fiction" resulted in a movie where terror inflicted the average Joes in space and, well, was pretty damn cool. After years of 20th Century Fox refusing to go along with actually making a sequel (which namely involved trying to screw over the producers in declaring the movie a financial loss), it eventually started development around 1983, and a search for writers led to curiosity over James Cameron's The Terminator script. Cameron (who once described the original as "almost the perfect movie") was hired to do a treatment that had advice from David Giler and Walter Hill that basically honed down to "Ripley and soldiers", which he submitted after three days of writing in the fall of 1983, although it didn't generate true interest (the studio thought it was just filled with horror) until after the release of The Terminator (in turn, Cameron, who didn't expect the movie to be a hit, had worked on an Alien script in his free time*²). Cameron, Giler, and Hill were each credited for the story.  The movie was released at 137 minutes due to an array of cuts that actually could've been a bit more substantial if Fox had gotten their way to make it barely over two hours. Nowadays, you can see the Director's Cut, which is 157 minutes long (with differences being noted here alongside cut scenes that aren't in either version). On July 18, 1986, the movie was released in theaters to tremendous success (plus, Scott seemed to have liked it). The movie was such a hit that 20th Century Fox was really interested in doing a third movie with no hesitation, although delays (namely in not being able to actually settle on a finished script*) resulted in it being released in 1992 that was thought to be considerably inferior to the previous two films and hated by its own director.

If the first film was akin to a fright house, the second film really does merit the comparison (made by Cameron) of aiming to be a roller-coaster ride, and yes, I did this re-review mainly to assert how damn great it is, mainly because the first time I reviewed it, I barely gave any type of insight the first time around in 2014, which basically saw wonderful interactions, a mood shift from "bravado to outright fear" and really good effects. But honestly, the obvious shining point of what basically became the be-all and end-all of the series is with Weaver. Cameron and company wanted Weaver from the jump, with no studio reluctance getting in the way (yes, the studio that was sued by producers into financing the development of the film thought saving money on a cheaper star was a good idea). The first film saw her slowly but surely take charge in the presence of all-encompassing terror that we all could see in ourselves. After confronting the terror of people breaking down in front of them (figuratively or literally) and being trapped in nothingness only to find a world colder than when she left it, Weaver proves up to the challenge of making this character a true wonder in take-charge charm with vulnerability that we still hold up as an icon that Weaver described as an "everyperson". She is trapped in the hell of what she experienced and the idea that of being right in the present of the worst possible thing: being on another crew considered expendable. With the director's cut reminding you of just what she lost the first time around (because again, you only see that photo in that version), it makes the journey back from isolation with Henn all the more rewarding. And then of course there is the wonderful interactions with such a confident supporting cast that view themselves as on the road to conquest with such gallantry only to find themselves in a mirroring of the Vietnam War. Sure, Biehn is tremendously entertaining (cast after James Remar backed out), but it really is the credit of Paxton and Goldstein* to really sell the journey through hell and back (to a point, anyway) with kickass enthusiasm. Rounding out as the odd-man is with Reiser, who actually does prove exquisite in showing that comedians really can play a scummy toad and make it look so easy. Doubly so for Henn and her brave performance filled with soulful qualities (incidentally, she became a teacher) and Henriksen as an android that really is just one of the guys (which he once said basically meant playing him as an innocent). Yes, the movie looks great with what is seen and what isn't seen from the miniatures/wires, and yes, the James Horner music is worthwhile to hear*, but it really does all come down to how much we end up loving to see these characters go through the ride with us (this can be as something as small as seeing Hope's pencil-neck character try to tell the squad to not use a particular weapon - that's an easy one to say "been there, done that") in chaos. If Alien strikes at the terror of being trapped in a place with little escape, Aliens strikes at the terror of actually having something to lose besides the soul. 

 

It's interesting to compare this film to say, the "crowd-pleaser" aim from the most modern film of the series with Alien: Romulus (2024), which aimed to go for "wonder and terror" feel in being set between the two great movies that mostly reminded me of how hard it is to really make a worthwhile ride that isn't merely derivative (to say nothing of one particular reference from Aliens that comes out in Romulus). Jokingly or not, I said that Aliens was better than Alien by a "Xenomorph egg". I have to believe in my heart of hearts that this statement holds water today, but I do admit that I have made it a habit to watch Alien each night of May 25. It's interesting that both movies basically end in the same manner: expelling the final creature into space before Ripley enters stasis for a return to Earth. At any rate, Alien, Aliens, you can't go wrong with the entertainment presented in the terrors of beasts that comes from dark corridors, beasts of acid, and the showing of what it really means to be alive. It was timeless before being a 40-year-old movie, that much is for sure. It is self-contained show of excellence from Cameron and company that stands on its own. 

Overall, I give it 10 out of 10 stars.

Theme of the day

*I should give full credit to the list of people who won the Academy Award for Best Visual Effects for Alien: H. R. Giger, Carlo Rambaldi, Brian Johnson, Nick Allder, and Dennis Ayling. There are further inspirations listed that would clog up the opening paragraph: Planet of the Vampires (1965) - specifically the giant skeleton, It! The Terror from Beyond Space (1958), Clifford D. Simak's short story "Junkyard", Star Wars (1977) specifically in Scott's aim to be its "antithesis", the aesthetic of illustrator Moebius and possibly even H. P. Lovecraft (Giger found the initial storyline to be in the vein of the famed writer and listed him as one of his greatest sources of inspiration.). By the way, did you know that Scott...wanted Ridley to die at the end of Alien? No, really.

*² It should be noted that Cameron had done a spec script in 1980 (as seen with the link here: The Risk Always Lives: Words to Live by On the Set of James Cameron’s ‘Aliens’ • Cinephilia & Beyond) that dealt with trying to keep a young creature alive that dealt with a mother queen type creature and a climax with a power-loader. Incidentally, Cameron wrote a draft for Rambo: First Blood Part II around the same time as the Alien II script.

*See, I should see Alien 3 again, mainly to bring up that Fox and company went through a litany of ideas such as: a two-part story where Biehn would be the protagonist for the third film before an epic battle for a fourth movie (no chance of getting Ridley Scott, he was busy), a William Gibson script that he once jokingly described as "Space commies hijack alien eggs—big problem in Mallworld" (this was later adapted into an audio drama), a "wooden planet" with all-male monks...before settling on a cobbled together script that wasn't even finished when filming started. Don't get me started on what happens in the introductory scene of Alien 3. What the fuck? Game over, man! Game over! Yes, even in a notes section, I managed to get that reference in.

  

*Is it really good acting if you don't recognize that Goldstein isn't actually Mexican? (enjoy an interview detailing experiences making the film - Interview with Jenette Goldstein, 1987 | Strange Shapes). Incidentally, she actually owns a bra chain store company.

*Sure, the James Horner soundtrack has a few parts that sound like, say, his stuff from Star Trek II. But who cares? Incidentally, an un-used part of the soundtrack was later used in the climax of Die Hard.

Avatar: The Way of Water.

Review #1942: Avatar: The Way of Water.

Cast: 

Sam Worthington (Jake Sully), Zoe Saldana (Neytiri), Sigourney Weaver (Kiri / Dr. Grace Augustine), Stephen Lang (Colonel Miles Quaritch), Kate Winslet (Ronal), Cliff Curtis (Tonowari), Joel David Moore (Norm), CCH Pounder (Mo'at), Edie Falco (General Ardmore), Brendan Cowell (Scoresby), Jemaine Clement (Dr. Garvin), Jamie Flatters (Neteyam), Britain Dalton (Lo'ak), Trinity Jo-Li Bliss (Tuk), Jack Champion (Spider), Bailey Bass (Tsireya), Filip Geljo (Aonung), Duane Evans Jr. (Rotxo), and Giovanni Ribisi (Selfridge) Directed by James Cameron (#001 - Terminator 2: Judgement Day, #063 - The Terminator, #388 - Avatar, #574 - Aliens, #606 - True Lies, #1515 - Titanic)

Review: 

 "It will be a natural extension of all the themes, and the characters, and the spiritual undercurrents. Basically, if you loved the first movie, you're gonna love these movies, and if you hated it, you're probably gonna hate these. If you loved it at the time, and you said later you hated it, you're probably gonna love these."

Honestly, I hadn't thought of Avatar (2009) too much since I saw it the one time in 2013. Aside for the countless jokes about it being a blue version of Dances with Wolves or being like Ferngully: The Last Rainforest, I didn't really anticipate a sequel coming out that would elevate what I felt was pretty average fare. It can be granted that it was a movie that succeeded on the goals of presenting an old-fashioned jungle adventure with some sort of environmental conscience that basically took inspiration from countless adventure and science fiction books that made a basic setup in order to show some really pretty special effects (if you saw it in 3D, well, that probably went double). Cameron initially stated that the success of Avatar would guarantee two sequels. In 2016 (two years after Cameron had stated there would be sequels released in 2014 and 2015), Cameron stated that there would be four sequels, all shot simultaneously (with this film being done for a budget over $350 million), for which the sequels would have sperate stories that "have an overall arc inclusive of the first film." Here is a fun writing listing: the story was done by Cameron, Rick Jaffa, and Amanda Silver, while the screenplay was done by Cameron, Jaffa, Silver, and Josh Friedman and Shane Salerno. Nine of the original cast members from the first film return for this film, which had started shooting in 2017. Trying to do performance capture underwater ended up taking over a year to do because a whole process had to be invented for it (keep in mind, actors had to undergo training to be able to breathe longer than what you might expect, and a record for longest breath held during filming of an underwater scene was set...at seven minutes).

I will give this much credit: the best way to see the film is the way all films should be seen...in a theater. Granted, as much as I don't particularly care for 3D, it was a pretty interesting experience to immerse oneself. So yes, if you want a film that has turned Avatar into a generational family saga that happens to dabble with themes of environmentalism and colonization with a runtime of 192 minutes, here you are. Would you be surprised to know that the movie is a great visual experience but only just an average epic besides that element? It manages to be both diverting and amusing in all of the weird ways that I had anticipated, one that plays off many interesting viewing moments to go along with dialogue that is either family cliche or flat-out odd cliche (hearing "cuz", for example). Yes, a movie made in 2022 looks pretty, big shock. It is pretty good, although I would hope for more when it comes to the next film. It lingers on said imagery at times, whether that involves certain moments of higher frame rate or images from the sea or...you get the idea. 192 minutes means one viewing will either prove fair for the theater experience or daunting. Eh, it was fine. Oh, right, there is acting in the film. Worthington technically does fine in the morph to "family man", albeit with voiceover lines that basically states the obvious. Saldana is the other side of the family coin of, well, doing things. Technically this is a case of the story moving over to the offspring, but I surely remember her having more to do in the first film. Lang is the highlight for me, one who is abrasive as ever but still engaging enough to see where one could at least see how people would rally behind him. Besides, him playing the exposition of just how he returns is at least interesting when coming from him (and yay, he gets to come back for more, so I can only hope he gets to do more cartoonish things - maybe he'll shoot a space whale and make it dignified). Winslet and Curtis make fairly decent new people to do the schtick of "welcome to the sea, fellow blue-ish people". I admire Weaver taking a role where she has to play a blue teenager - granted it is a decent performance, but hey, I guess it needed to be Weaver when acting with actual teens playing blue teenagers. Of course, Champion is meant to stick out like a sore thumb as the wild child among blue people, but yea, he did start to get on my nerves after time.

By the first hour, the film has established the change from pursuit of "unobtanium" to basically trying to make a new Earth for the humans while the on-screen "Na'vi Family Robinson" makes their trip to the sea (look, I know they are called "Na'vi", but forgive me if I end up saying blue people). At least you get to see the return of Lang as the villain, if only because nobody wants to see a whole trip to the deep blue sea without some sort of weirdo new blue villain. The middle hour is pretty eventful: you get to see Avatar's version of whales with the "tulkun", the spiritual blood brothers that was reminding me to wonder just how familiar it might be to something like Free Willy (1993). So yes, space whales. Take a guess what happens with the space whales when there is one outcast among them. At any rate, don't forget about the weird conflicts between the reef people (i.e. green people) and the blue folks. I'll be honest, I did find it amusingly tiresome to remember that there are three siblings to this Na'vi family alongside two adoptees. When it finally labors itself past the 120-minute mark, now you get to see a battle to save the space whales from having their stuff sucked out for anti-aging serum (yes) and being drawn out by the villain. At least the crab-mecha thing (the time for getting proper names for things is long past) is fun, because god knows the action in the last act is probably the most interesting the film gets beyond showing images in the water. At any rate, by the time you finish this mix of school movies, animal flicks, and possibly The Poseidon Adventure, you probably will be interested in just what the hell James Cameron wants to do in this "family saga", where it will continue to push the elements of where special effects can go to go alongside wondering just how self-serious this story will go. I dug the movie, but any good movie has clear elements that could have gone down with the ship with lesser hands, and this is most evident here. This was a movie about family being everything along with the message that the environment (specifically water) will kick your ass if you try to mess with it...I think. Will there be material present in the further sequels that make this even more of a true epic, or will it be something that you could lightly make fun of it (probably while doing certain substances beforehand) while looking at the pretty images? Time will tell for the third film, set for release in the late 2020s...

Overall, I give it 8 out of 10 stars.

Redux: Terminator 2: Judgement Day.

Redux Review #001: Terminator 2: Judgement Day.

Cast:
Arnold Schwarzenegger (The Terminator), Linda Hamilton (Sarah Connor), Edward Furlong (John Connor), Robert Patrick (T-1000), Earl Boen (Dr. Silberman), Joe Morton (Miles Dyson), S. Epatha Merkerson (Tarissa Dyson), Castulo Guerra (Enrique Salceda), Danny Cooksey (Tim), Jenette Goldstein (Janelle Voight), and Xander Berkeley (Todd Voight) Produced and Directed by James Cameron.

Review: 

A long time ago, I got the idea to review movies and write about them. I was fourteen and a pretty average viewer of action movies. The reviews weren't particularly good, but they generally still reflect my opinions on movies even after twelve years. In fact, I had originally planned to go back to the beginning and re-review this film way back in 2017. December 20, 2010 actually had eleven published reviews when I originally did them on a website called Star Pirates, which went like this: Terminator 2: Judgement Day, RoboCop, Rocky, RoboCop 2, Get Shorty, RoboCop 3, Looney Tunes: Back in Action, X-Men, Star Trek (2009), X2, and Fantastic Four. Four of those eleven actually have Redux Reviews already published, but I figured the best way to commemorate the 12-year anniversary of Movie Night is to make a loop from one James Cameron film to another. Enjoy.

From December 20, 2010:

Well, this film is a nice piece of work at 2 and a half hours long, and the Science Fiction is really put in first, along with the drama. The cast does an excellent job, especially Schwarzenegger and Patrick. This film has good use of CGI and great scenes that make you laugh and cry, as it qualifies for one of the best sci-fi films of all time. This film is probably the best sequel of any film as it does a great job.

"Even if we win the fight for our existence against the rise of machines, how do we define ourselves? Now it’s a real thing and a real concern and a real philosophical, existential question for the human race." - James Cameron

The Terminator (1984) is one of the best science fiction action films of its time. You already know that. Sure, Hemdale and Orion Pictures probably screwed up in promoting the film beyond what it clearly was: a classic in various genres. Of course, James Cameron became a prime name in directing because of the film, which he came up with the initial idea that eventually became fleshed out into what you saw. However, he did not actually feel that a sequel was particularly warranted - he went on to do films such as Aliens (1986) and The Abyss (1989), while the main star of the Terminator film in Arnold Schwarzenegger was always interested in making a sequel while continuing to become a film star on films such as Total Recall (1990). That film was funded by Carolco Pictures, and Schwarzenegger got the owners of the studio to try and negotiate with Hemsdale to buy the rights (they had half of the rights, while Gale Anne Hurd had the other half, since Cameron sold it to her for $1 as part of the deal for Hurd to advocate for Cameron). In 1990, Cameron agreed to join in, complete with asking William Wisher to help write the screenplay with him, for which they tasked to write it in six to seven weeks (because the release date was already set - July 1991). In the long run, it was one of the most expensive films of its time, made for roughly $94 million to $102 million. Interestingly, the idea of a liquid metal Terminator had actually been considered for the first film, as the original film had planned to have two Terminators sent by Skynet. Of course, trying to do a clay-animation Terminator in 1984 did not strike Cameron as effectively possible. It should be mentioned that this idea of two Terminators would find one key change: it wouldn't be a fight between two Terminators that happened to look just like Schwarzenegger (because Wisher thought it sounded like a boring idea). The idea of a Terminator that could take any shape it wants and strike from nowhere was originally intended in the first film, as you already might know. The fact that computer generated imagery (CGI) had managed to come along enough to actually be part of a film for longer than a few seconds surely helped this scenario (as evidenced by Cameron's previous effort in The Abyss). As such, the effects were done in various segments: Industrial Light and Magic (with Dennis Muren as supervisor) for the CGI effects, Stan Winston Studio for prosthetics and animatronics, Fantasy II Film Effects for miniatures and optical effects, and 4-Ward Productions and Pacific Data Images and Video Image for additional elements (such as a nuclear explosion effect). Muren has been quoted as saying that getting a convincing shot of a walking character that looks like it was made of chrome that had weight to it took months. Keep in mind, Cameron had to make sure the live-action shots matched with the effects that were being done by ILM, which meant plenty of takes needed to get the actors to hit their mark, and the final shots involving molten steel came down to the wire in getting them to render properly to reach the intended release date. In the end, the movie was a massive hit, receiving accolades for several members of its crew (such as Winston and Muren winning an Academy Award alongside Gene Warren Jr and Robert Skotak to go with wins for the makeup, sound and sound effects editing crew).

Sure, it is a sci-fi action film just like its predecessor from seven years ago, but it is a successor that hits every mark that you would expect from a film of its kind, sequel or not. It isn't executed in the style of a slasher film as before, instead reaching for new heights of thrills in action and drama that shows both a profound sense of entertainment along with profound sense of humanity. Cameron has called the relationship between the characters of John Connor and the T-800 as the heart of the film, equating it to the Wizard of Oz with the Tin Man getting a heart. If the first film was considered to be bleak within its depiction of a cyborg that would stop at nothing to strike at one of the future keys of humanity, there is a strike of hope within this film, where the progressive humanity shown by the T-800 alongside the resurgence of humanity with Sarah Connor is what drives everything together. Cameron has called it as the "world's most violent anti-war movie", and he does have a pretty good point there, if only because he has made a diverting movie that shows just how far one could possibly go with the basic urge of violence without becoming a movie simply for the thrill hounds (not that there's anything wrong with that, unless you are a pedantic critic – hell, did they not see how violent the first film was?). 

Hamilton clearly was ready for the assignment of playing a character now ravaged by post traumatic stress, which means a role that requires great timing in aggressive behavior and wavering humanity. Her paranoia is our paranoia, and it makes for a lean and effective evolution from her vulnerability all those years ago. Schwarzenegger says quite a few more sentences as before, but it is the progressive humanity seen through his scenes with Furlong that make the movie work as well it does when it isn't just about the action, and he shows his habit for making the audience smile in his expressions without needing to strain credibility. Furlong had never acted in a film before this film. He is the surly key in finalizing this offbeat, fractured family that we see for the film. It is natural honesty that never seems to grate on one's nerves in false notes. His scenes with Schwarzenegger when it comes to bonding with each other, whether that involves promising not to kill (instead going around throwing folks or kneecapping them) or trying to teach him to smile or their last scene together in the mill, which is definitely the most striking. Did you know that Cameron had Billy Idol in mind for the villain role? Well, his "look and presence" made him a brief favorite, but a motorcycle accident ended up opening the door for a mostly unknown actor. Interestingly enough, the one chosen to do the film after successful auditions was Robert Patrick, who had acted in a couple of Roger Corman movies (and even did his own stunts). He basically honed his performance in the film on what he did in the audition from what the casting directors were telling him, which basically was "You’re sense-aware. You’re tracking.” In fact, it was his idea to have the character run around with his fingers outstretched, which goes well with his physicality that reminds one of a snake, one who slithers through the film with worthy distinction. You would think the fact that Schwarzenegger is present during the film would make it distracting for Patrick to be a worthy title threat for the sequel, but he manages to hold his own, and this is in a movie where a good chunk of screen time has him away from the action, but he always makes his impression count. Morton is the one key supporting presence needed, playing an accidental Dr. Frankenstein with shock that makes a useful impression to sell the tragic part of this modern sort of fable when it comes to seeing where one's curiosity with machines can lead, regardless of the intent.

Brad Fiedel returns to do the musical score, which is quite fantastic in its usage of several sounds (organic and acoustic) that he had done through recently available technology, whether that means real air moving in a room in order to generate a sound. Any appreciator of the synth sound of the original will be satisfied with how Fiedel has managed to elevate his sound here. It is a great looking movie, one that is expertly edited (by three people) along with being expertly handled in its effects that have managed to still look quite effective in the art of being cutting-edge without seeming in-organic. It set the stage for future visual blockbusters such as Jurassic Park, that is a testament to the staying power of this film, There are two alternate versions of the film. The original version of the movie runs at 137 minutes long. The "Special Edition" is fifteen minutes longer and includes several scenes not used in the original cut, such as a sequence with Kyle Reese (Cameron prefers the theatrical releases while calling the extended versions just opportunities to see depth restored that couldn't be done with the current runtime). There also exists an "Extended Cut" that includes a scene of the T-1000 inspecting a room along with an alternate ending where an elderly Sarah Connor is watching her grown-up son, now a United States Senator. I ended up watching the Special Edition, primarily because of my memory being with that particular Reese scene (since who doesn’t love to see a little more Michael Biehn), but I imagine that the original cut will be just fine regardless of that fact. There are plenty of scenes one could highlight, but it always ends up being the fact that the movie has multiple potential climaxes (building explosion, the nitrogen chase, and the steel mill), which it handles with precision to where nothing seems dragged beyond comprehension. 

As a whole, Terminator 2: Judgement Day is a prime example of how to hone one’s craft in elevated storytelling, weaving a sci-fi action parable of humanity with expert filmmaking that has endured as a key moment for both effects work and for its time after over three decades since its release. The debate over which Terminator film ends up with the same result: you can't go wrong with either classic to pick.

Overall, I give it 10 out of 10 stars.

Redux: The Terminator.

Redux #063: The Terminator.

Cast: 

Arnold Schwarzenegger (the Terminator), Michael Biehn (Kyle Reese), Linda Hamilton (Sarah Connor), Paul Winfield (Ed Traxler), Lance Henriksen (Vukovich), Bess Motta (Ginger), Rick Rossovich (Matt), Earl Boen (Dr. Silberman), Shawn Schepps (Nancy), and Dick Miller (Clerk) Directed by James Cameron.

Review: 

From my review on July 30, 2011:

This film is in a word a classic. It has good acting for the most part, a good film noir, (which will be referred to as TechNoir) and a great plot. Good effects especially at the end. Good action and also good direction with a young Cameron at the wheel.

"The Terminator themes had been important to me since high school. Those apocalyptic visions, ideas about our love/hate relationship with technology, our tendency as a species to move in a direction that might ultimately destroy us, and a central faith in the resourcefulness of humanity." - James Cameron

In 1981, James Cameron was trying to become a feature film director when he was hired to do Piranha II: The Spawning, rising from special effects director to the main job due to creative differences with the producer (Cameron had become interested in films due to reading about special effects while in school, if you remember). The movie was not a pleasant experience for him (namely because he got fired days into the film), but it was during a moment spent in Rome after being fired that proved important for Cameron. One night, wracked with a fever, he had a fever dream of a metallic man with knives that dragged itself from an explosion. Taking inspiration from John Carpenter (once described by Cameron as his idol) and how he made Halloween for less than $100,000 as a stylish horror film, it helped serve as a launching pad for what became the initial script of The Terminator. Cameron did have help in the script, for the most part. William Wisher, Jr helped turn Cameron's draft into a script, such as writing scenes involving the police or early scenes with Sarah Connor (he got an "additional dialogue" credit); Gale Anne Hurd, who suggested edits to the scripts, was given screenwriting credit to go along with serving as producer, as both Hurd and Cameron had worked under Roger Corman at New World Pictures (Orion Pictures, who distributed the film, had two ex-Corman associates on staff). Cameron even did concept art for trying to sell the idea to prospective filmmakers (such as Hemdale Film Corporation), to the point where Lance Henriksen was the likeness for the drawing along with being brought in to spook the staff in boots and leather, which worked out well in a deal with Hemdale and Cameron. Admittedly, any mention of The Terminator (1984) might bring a reminder that Harlan Ellison is listed with an acknowledgement in the credits. He loved the movie, but he thought it seemed familiar to his script for "Soldier", written for the TV program The Outer Limits in the 1960s. The filmmakers decided to settle and give him a credit in later prints of the film, much to the chagrin of Cameron.

Roger Corman has one hell of a filmmaking tree when it comes to people he employed who ended up becoming directors, and James Cameron essentially had his first major film success come with a production that he treated like a Corman film, complete with filming at night with guerilla-style shots done on a small(ish) budget; the fact that the film runs at 107 minutes is a testament to making a lean but effective piece of entertainment without any sort of element that seems unnecessary. I know I have said the movie is a classic, but the movie has only gotten better with age and further viewings, in my view. Every so often you have to remember that this is basically a slasher movie when you consider the body count. Aside from failing to take his main target, the Terminator takes down over two dozen folks, probably doing so with more efficiency than slasher villains of the time ever did. Hell, Biehn and Schwarzenegger have only one moment together where they are even in the same frame, consider that. Stan Winston and his studio had the task of doing a "flesh-covered endoskeleton", i.e., not just a man in a robot suit. They clearly made a great result, one that menaces the screen and achieves the art of seeming quite real to the audience without distraction. A creature that can't be reasoned with that manages to come after you even when it is shed of its humanoid skin, that is one hell of a concoction for a film that veers into horror, science-fiction, and yes, even noir territory.

Schwarzenegger had one key film credit to his name with Conan the Barbarian (1982), and it should be noted that he actually speaks less lines in this film than the prior movie. The funny thing is that he was actually thought by Orion for the film not as the title character but for the Reese character. This was contrary to Cameron's expectations of using low-key actors to do a cheap film, since he figured that he would have Henriksen play the Terminator, since it was meant to be a character that could blend in a crowd (go figure, Orion had O. J. Simpson in mind for the title role). A meeting between the two made it apparent to Cameron and Schwarzenegger that he would probably be better suited for the Terminator role, which clearly was the right decision. He sells the role in ways that one could only dream they could do in a role with little to say beyond having to act like a machine. Aside from a few television appearances, Hamilton had one prominent film credit before this film: Children of the Corn (1984), which was released a few months before this film. Hamilton is given the task of playing both relative innocence and hidden strength in a variation of the "Final Girl" trope in horror, which she handles expertly. Her terror at the situation she is thrust into becomes one we feel is thrust onto us. Biehn was actually cast because of his role in The Fan (1981), a movie that Cameron saw where Biehn plays a nice-looking guy who ends up being a killer stalker. For a good part of the film (at least for those who haven't seen it once), Biehn is effective in that mindset before he enters the picture as the would-be protector, which he handles quite well without having to strain to make the dialogue (consisting mostly of reacting to the Terminator or to Hamilton) work as well as it does. Henriksen may not have a big role, but the fact that he was effective in helping the film gain some interest with the whole "dressing up like the Terminator" stunt makes him an unforgettable part of how The Terminator became what it was. Winfield is the other part of the supporting cast that is basically cosigned to police beat elements, which works out pretty well for what is needed. It really is a lean movie, one that wraps itself quite tightly in efficient storytelling that shows just enough of the future landscape in perspective to make the drama occurring back in the present seem even more thrilling, particularly when it comes to the last sequence within a factory setting, where a machine stripped to its core is still on the chase and even still a menace with diminished legs. The synthesizer soundtrack by Brad Fiedel only adds to the level of terror in ways I hadn't really appreciated until listening to it once again, one that doesn't come off as dated (not to say that synthesizer music is dated, just that the use of it can have consequences in lesser hands). 

As a whole, the real crime is that the film was not even more successful. Sure, it did strike well with audiences, but Orion did not have as much faith for such a great movie as one would expect, doing little promotion (owing to wanting to elevate some of its other features of the time, such as Amadeus, the eventual Academy Award winner for Best Picture that year). At any rate, Schwarzenegger was clearly interested in making a sequel more so than Cameron, but a sequel wasn't commissioned until the film right were purchased back from Hemdale and Hurd. At any rate, with a story idea cribbed from the first film and a bigger budget, Terminator 2: Judgement Day was released in 1991. Four sequels would follow in the next three decades, with varying reception made worse by the fact that T2 is generally thought to be one of the greatest sequels ever made. At any rate, The Terminator is the film that made James Cameron a name to be reckoned with as a filmmaker and Arnold Schwarzenegger a true star, and it is a grand achievement for all involved as a science fiction action masterpiece.

Overall, I give it 10 out of 10 stars.

Titanic (1997).

Review #1515: Titanic.

Cast: 
Leonardo DiCaprio (Jack Dawson), Kate Winslet (Rose Dewitt Bukater), Billy Zane (Cal Hockley), Kathy Bates (Molly Brown), Frances Fisher (Ruth Dewitt Bukater), Gloria Stuart (Old Rose), Bill Paxton (Brock Lovett), Bernard Hill (Captain Smith), David Warner (Spicer Lovejoy), Victor Garber (Thomas Andrews), Jonathan Hyde (J. Bruce Ismay), Suzy Amis (Lizzy Calvert), Lewis Abernathy (Lewis Bodine), Nicholas Cascone (Bobby Buell), and Anatoly M. Sagalevitch (Anatoly Milkailavich) Written and Directed by James Cameron (#001 - Terminator 2: Judgement Day, #063 - The Terminator, #388 - Avatar, #574 - Aliens, and #606 - True Lies)

Review:
"People call me a perfectionist, but I'm not. I'm a rightist. I do something until it's right, and then I move on to the next thing."

Having particular interests and a particular way of wanting to do them can prove for a resilient director, and James Cameron certainly has proved one of the more memorably resilient directors in ambition. While growing up in Chippewa, Cameron had an interest in building things and in art, although he later expressed interest in doing 8mm home movies after seeing 2001: A Space Odyssey (1968). He had an interest in building and physics in his brief time in Fullerton College, but he moved on to small-time jobs such as truck driving with writing on the side. However, he decided to get himself into films because of the excitement of seeing Star Wars (1977). The following year, he raised funds to do a short film in Xenogenesis (1978). Over the next few years, he worked on a few films in effects and assistant work (such as Battle Beyond the Stars and Galaxy of Terror) before being hired to direct for the first time with Piranha II: The Spawning (1982). Although it was a flop, his next film brought him into prominence within science fiction entertainment with The Terminator (1984). Cameron has ventured beyond filmmaking in subsequent years, such as sea exploring and documentary filmmaking alongside activist work.

What can one expect from a film that is actually longer than the sinking of the ship the film is named after? Director/writer/co-producer/co-editor Cameron spent a great deal of time in research while pitching it as "Romeo & Juliet on the Titanic" to 20th Century Fox, with Cameron taking numerous diving trips with a miniature remotely operated vessels to view the wreckage of the Titanic. The film was a tremendous financial venture, with 20th Century Fox handling the international rights while Paramount Pictures handled the North America distribution for a total $200 million budget upon release...and you know the rest. What's there to say that isn't already known or stated already by someone else? It certainly handles itself well in spectacle and trappings of the period in detail. Once it gets to the wreck, you can't stop the freight train of chaos. Of course the film also quibbles itself with a mediocre love story that bloats itself in woodenness that will either inspire fluster in its audience or snickers at just being a slightly-better version of The Poseidon Adventure (1972) while somehow not being as rewarding as Cameron's previous works. One can make two billion dollars with a movie and still come out of it feeling like they only got 80 cents on the dollar, I suppose.

There proves to be an interesting mix of acting, trying their best in a period drama that also has to not become lost within effects and occasional stilted moments. DiCaprio certainly has an instinctive everyman quality to him, certainly proving idea in resonating charm out of simple things, whether that means first seeing the ship for the first time or his high society dinner act with others. Winslet proves just as resounding, wrapped with resourceful grace that makes the star-crossed romance come across without too many obstacles. They click well and likely prove enough in interest to make the inevitability all the more bittersweet to see play out in a climax effects ride. Zane proves quite enjoyable as the default adversary of the film, surprisingly enough. He is quite hammy in the right places needed when it comes to arrogance and anti-chemistry with Winslet that chews scenery quite handily, and the only quibble I have is that his fate is told to us rather than being shown, because one does need one more hammy last moments with Zane, honestly. Bates proves ready in small moments when it comes to clear-cut contrast with stuffier companions. Fisher comes and goes with inevitable parental conflict over romance that is decent for those fleeting moments needed. Stuart and Paxton bridge the beginning and end with proper fitting in clear perspectives when it comes to the ship and the story that is weaved from it.

For all the expense spared in making one feel like they really are on the Titanic, there are still little details that inevitably spring up. Was it really so hard to depict a mix of fictional and real-life characters without tarnishing reputation? What is the point of perpetuating the myth and lie that J. Bruce Ismay was a coward? While he had his part in the reduction of lifeboats on the ship (which could have had sixty but had barely a third of that), he most certainly did not force the ship to go faster. Perceptions can be everything, and press coverage of Ismay was extremely negative to the point that subsequent film adaptations (including the famed A Night to Remember (1958), which the film apparently shares a few moments of similarity with in terms of arrangement) included this in their portrayals of him (this can be said in a different light about Captain Smith in regards to how history recorded him and his actions before going down with the ship). One depiction was controversial enough to literally inspire an apology to the relatives of William Murdoch (first officer), who is depicted shooting two people before dying himself (the circumstances of his death are disputed, and his body was never found). The enjoyment comes from the obvious for me: the great and wonderfully re-created ship that makes one really experience this ship and the time that comes from it with finesse - and then of course the splitting of said ship that goes from growing waters to panicky escape attempts. This was a pure technical winner for those involved, with Academy Awards ranging from cinematography to visual effects to costume design to other awards like music (score and song) while Cameron would win three Academy Awards. Perhaps this really is just a film that people just love because they love the emotions it can inspire, particularly in crying. If one really wants to judge movies on how well they make you cry, all power to you, but crying at something isn't exactly my thing, and the idea of crying at this almost seems hysterical. To some, it is a great experience, capable of inspiring tears and quotable moments, while others might find it as pure pablum. I recognize its scope and semi-effective touch as enough to win me over on a casual level, where I may roll my eyes at some of its moments while knowing full well it still ranks as good enough to be worth it.

Overall, I give it 8 out of 10 stars.

Movie Night: True Lies.

Review #606: True Lies.

Cast
Arnold Schwarzenegger (Harry Tasker), Jamie Lee Curtis (Helen Tasker), Tom Arnold (Albert Gibson), Bill Paxton (Simon), Tia Carrere (Juno Skinner), Art Malik (Salim Abu Aziz), Eliza Dushku (Dana Tasker), Grant Heslov (Faisal), and Charlton Heston (Spencer Trilby) Directed by James Cameron (#001 - Terminator 2: Judgement Day, #063 - The Terminator, #388 - Avatar, and #574 - Aliens)

Review
It figures we end the month on Schwarzenegger, and it's no coincidence that in two weeks this movie will celebrate its 20th anniversary. True Lies is a good action film, but also a decent comedy film, and part of the fun delivered is from Schwarzenegger, who as always is effective at delivering one-liners, and he is generally fun to watch. This is actually a remake of a French film, named La Totale!, but I haven't seen it, so it barely matters in context. Curtis is enjoyable, she doesn't have a bad scene in the whole movie, and it's fun watching her, along with Schwarzenegger. It's sort of strange watching Tom Arnold in this movie (whether you've watched Roseanne or not), and he does provide some hilarity, so he's alright, though it still doesn't make me want to watch The Stupids. Paxton is noteworthy, and amusing as a faux spy. The villain isn't really anything special, but Malik does at least try to make something out of it, and him trying to deliver a speech as the camera battery runs out is mildly hilarious. The action is fun, it's enjoyable and certainly satisfying. Cameron knows what he's doing with this film, trying to balance the action with some drama/comedy, and it works just right. Tomorrow, we begin July off with Canada.

Overall, I give it 9 out of 10 stars.

Movie Night: Avatar (2009).

Review #388: Avatar.

Cast
Sam Worthington (Jake Sully), Zoe Saldaña (Neytiri), Stephen Lang (Miles Quaritch), Sigourney Weaver (Dr. Grace Augustine), Michelle Rodriguez (Trudy Chacón), Giovanni Ribisi (Parker Selfridge), Joel David Moore (Norm Spellman), and Dileep Rao (Max Patel) Directed by James Cameron (#001 - Terminator 2: Judgement Day, #063 - The Terminator)

Review
When this film was about to come out, I had never heard so much hype before. And keep in mind, it has been four years since the film was released, and I barely just got to reviewing this. So, after all this hype, does it live up to in a satisfactory way? Sort of. It does have good effects at points, which do work to its advantage, but effects aren't everything. The characters...aren't are as good as the effects. The flaw I think is evident in this film is the way the characters are portrayed, which is easily summed up like this: "The hero with a "unknown" secret" to "unlikable brute". There are of course scientists, but the film somewhat follows the Scientist Rule, which means that if you have a scientist in your film, he/she will either be ignored by a important character which proves to be important. While the characters may not have that much depth to them, the actors at least are alright. Maybe it's just me, but my favorite actress in this film is Sigourney Weaver, doing another good job in a film reviewed here. Someone once described this film as "Dances with Smurfs", and after seeing this, I can't argue against that. The film has spectacle, but this film sometimes hammers its message too much, the character sometimes feel a bit generic. Does it have anything good? Sure, but this is not a great film by any means. It's not Star Wars (1977), more of a Star Wars Episode III: Revenge of the Sith.

Overall, I give it 7 out of 10 stars.