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Alien 3 Revisited

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In 1979 Ridley Scott crafted a high concept “creature feature”, Alien, with the tagline, “In space no one can hear you scream”. This would go on to spawn a successful movie franchise. Today is #Alienday and I thought it would be great to look back on the underrated installment; Alien 3.  One of the darkest and depressing summer blockbusters ever.

Alien3 had a tough act to follow, going through a legendary period of “development hell” and was a whole six years after Aliens.  At the time expectations were promising “On earth, everyone can hear you scream” audiences began to imagine their own ultimate version of this movie.  Alien 3 never fared well in North American but thrived in Europe where it was better appreciated.  In recent years, Alien 3 has received a critical reassessment, and with good reason.

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This 2003 ‘Assembly Cut’, which contains different scenes that affect the narrative, fill in blanks for the theatrical cut.  From the very beginning, Alien 3 sets off on a dark note by cutting off the 20th Century Fox fanfare and picks up from the uplifting ending of Aliens. The surviving crew is unaware that an alien has been wreaking havoc aboard the ship. The emergency escape pod crash lands on a maximum-security prison planet, Fury 161. Inhabited by an all-male group of monk-like inmates. The sole human survivor is Ripley (Sigourney Weaver), but when the body count starts to rack up the inmates assume an alien came with her.  Ripley must make a “last” stand with the beast.

If the Alien franchise is seen as a trilogy, Alien 3 is a fitting entry and a natural evolution of the subtexts in the narrative’s life cycle. Alien, is the birth, Aliens, is life at its peak and Alien 3 is coming to terms with death. Director David Fincher is going for that certain sense of closure. It is easy to understand why people were disappointed compared to the first two films with their hopes heightened.

A big cinematic reminder of death is a hard face-hugger-tube to swallow. My first viewing left me with a punched gut feeling. But much like the alien itself, something else was spawned by this curious underdog; my appreciation for the film. As a standalone film, Alien 3 is impressive in its own right. Here a vicious universe has stripped away all warmth and optimism leaving the film bare and beautifully tortured.

This ruined wreck of a penal facility provides another dangerously sharp and isolated environment. A sense of looming menace not only from the beast but from the population adding a new level of peril for Ripley to navigate through with no real glimmer of optimism on the horizon. Even “Help” on its way is another adversary bearing down on the characters in the form of the company Weyland-Yutani, who want the alien for military applications at-all-costs.

“When they first heard about this thing, it was crew expendable. The next time they sent in marines; they were expendable too. What makes you think they’re gonna care about a bunch of lifers who found God at the ass-end of space? You really think they’re going to let you interfere with their plans for this thing? They think we’re crud, and they don’t give a fuck about one friend of yours that’s died. Not one.”–Ripley

Artist H. R. Giger’s sleek, sexy, biomechanical beast is still the best – still dangerous and frightening, blending completely with the hellish setting. But it is a huge shame that we couldn’t see Giger’s original Alien3 design on the screen. Pushing the alien design into a different and new direction.

“In his mind was a kind of puma, or a… a beast like that, that was difficult, when finally I did it, it came out like a lion something, and that was not exactly that what he wanted. He wanted to have a… an erotic alien also, so I made my… erm… lips and a chin, with this part, you can make a… an erotic lady. You don’t need more than that, this part.” – H. R. Giger (The Making Of Alien 3, xeno-erotic)

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The problems with Alien3 are at the script level, although it was heavily edited from the original script, written by Vincent Ward, who created a concept for a wooden planet inhabited by monks.  Ripley would crash-land on the planet bringing the alien with her. As usual, the studio got cold feet about the weird concept and took Ward off the project with sets already being built. Producers Walter Hill and David Giler took over writing duties, melding aspects of the Ward script with a prison planet screenplay by David Twohy to create the basis of the final film but shooting started without a finished script. It’s both amazing and crazy that they pulled it off at all.

The canonical logic set up in the first two films, and is very important to fans, made plot holes such as a violation that hurt the overall picture.  A few drops of acid blood cause a whole ship to malfunction? When did the alien queen lay an egg in the Sulaco at the end of Aliens? If a face hugger dies after one impregnation, how did it manage to lay his seed twice? It was a  queen face hugger in the original version and it could lay two. But this is the problem, no time is given to figure out the ideas in the screenplay.

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The core character of the film is Ripley (Weaver); this is truly her film. With few exceptions, the focus is solely on her and dealing with her mortality. Ripley knows this “demon” will always follow her until her final days and that in order for the nightmare to end, she must kill it. Sigourney Weaver gives her best turn as Ripley with a great sense of confidence and understanding of how to convey character’s emotions. Weaver is a great actress, who is not afraid to take risks, and it shows in this role.

Charles Dutton (Dillon) delivers an amazing performance with a strong presence and identity. He is the leader of the group and adds a level of character to the whole dark piece. He delivers some epic and awesome speeches;  “Quick easy and painless!”

“We’re all gonna die, the only question is when. This is as good a place as any to take your first steps to heaven. The only question is how you check out. Do you wanna go on your feet? Or on your fucking knees, begging? I ain’t much for begging! Nobody ever gave me nothin! So I say fuck that thing! Let’s fight it!”

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First-time director David Fincher does a superb job considering the issues he had to deal with battling on-the-fly rewrites and interference from the studio. The whole experience was a nightmare for Fincher and although such a failure could cut down a lesser director, he would bounce back with the dark nightmare, SEVEN, and a style that would earn him acclaim.  Fincher paints with a gloomy palette of rust-orange in the color scheme to completely realize the landscape of the forsaken planet. Gorgeous with used futuristic sets and designs give Alien 3 an apocalyptic gothic tone that pushes the pessimism of his narrative.

Fincher’s background was in high profile music videos, using an array of techniques including image superimpositions, effective fades, slow motion and close-ups, which set a visual style that he would carry with him.  His technical skills are imposing and firmly wedded to his bleak tale.

A strong point of Alien 3 is the underrated experimental music. Elliot Goldenthal, working closely with Fincher, crafted an atmospheric score that is organic to the dark rusted world the characters navigate.  Fincher seems to really want to upset viewers with this film (actually all of his films) and he succeeds.

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Closing thoughts on Alien 3

Alien 3 is a truly profound, sinister tale, underrated and unfairly loathed; it takes risks and does not play it safe by any means. Which is a strong point, It’s daring and uncompromising in its somber and unwelcoming approach. The Assembly Cut improved things a lot but Alien 3 was always going to be judged against the first two films. The film spectator is left to make the ultimate decision on good or bad. If you’re looking for feel-good navigate elsewhere gentle viewer. Alien 3 is about mortality, bold and haunting, and leaves you with an emotional aftertaste. The aura is depressing and in no way a crowd-pleaser. However, with Weaver’s strong, captivating performance alongside the sharp, dark direction all blended with the deep, thought-provoking, grim and nihilistic atmosphere are great!  It’s a fantastically clunky and inspired installment to an amazing franchise. I love it!

 

 Alien 3 https://www.google.ca/url?sa=i&rct=j&q=&esrc=s&source=images&cd=&cad=rja&uact=8&ved=0ahUKEwiy19DgzsLTAhUl3YMKHRCdBmwQjB0IBg&url=http%3A%2F%2Fwww.funnyjunk.com%2FDeadpool%2Ffunny-pictures%2F5989200%2F&psig=AFQjCNFGUWN-Pg_eT63VT5zV8h8zMGIncA&ust=1493310176885442

 

 

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New Poster Reveal For Nicolas Cage’s Survival Creature Feature ‘Arcadian’ [Trailer]

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Nicolas Cage Arcadian

In the latest cinematic venture featuring Nicolas Cage, Arcadian emerges as a compelling creature feature, teeming with suspense, horror, and emotional depth. RLJE Films has recently released a series of new images and a captivating poster, offering audiences a glimpse into the eerie and thrilling world of “Arcadian”. Scheduled to hit theaters on April 12, 2024, the film will later be available on Shudder and AMC+, ensuring a wide audience can experience its gripping narrative.

Arcadian Movie Trailer

The Motion Picture Association (MPA) has given this film an “R” rating for its “bloody images,” hinting at the visceral and intense experience awaiting viewers. The film draws inspiration from acclaimed horror benchmarks like “A Quiet Place,” weaving a post-apocalyptic tale of a father and his two sons navigating a desolate world. Following a catastrophic event that depopulates the planet, the family faces the dual challenge of surviving their dystopian environment and eluding mysterious nocturnal creatures.

Joining Nicolas Cage in this harrowing journey are Jaeden Martell, known for his role in “IT” (2017), Maxwell Jenkins from “Lost in Space,” and Sadie Soverall, featured in “Fate: The Winx Saga.” Directed by Ben Brewer (“The Trust”) and penned by Mike Nilon (“Braven”), “Arcadian” promises a unique blend of poignant storytelling and electrifying survival horror.

Maxwell Jenkins, Nicolas Cage, and Jaeden Martell 

Critics have already begun to praise “Arcadian” for its imaginative monster designs and exhilarating action sequences, with one review from Bloody Disgusting highlighting the film’s balance between emotional coming-of-age elements and heart-pounding horror. Despite sharing thematic elements with similar genre films, “Arcadian” sets itself apart through its creative approach and action-driven plot, promising a cinematic experience filled with mystery, suspense, and relentless thrills.

Arcadian Official Movie Poster

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‘Winnie the Pooh: Blood and Honey 3’ Is a Go with Enhanced Budget and New Characters

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Winnie the Pooh 3

Wow, they’re churning things out fast! The upcoming sequel “Winnie the Pooh: Blood and Honey 3” is officially moving forward, promising an expanded narrative with a larger budget and the introduction of beloved characters from A.A. Milne’s original tales. As confirmed by Variety, the third installment in the horror franchise will welcome Rabbit, the heffalumps, and the woozles into its dark and twisted narrative.

This sequel is a part of an ambitious cinematic universe that reimagines children’s stories as horror tales. Alongside “Winnie the Pooh: Blood and Honey” and its first sequel, the universe includes films such as “Peter Pan’s Neverland Nightmare”, “Bambi: The Reckoning,” and “Pinocchio Unstrung”. These movies are set to converge in the crossover event “Poohniverse: Monsters Assemble,” slated for a 2025 release.

Winnie the Pooh Poohniverse

The creation of these films was made possible when A.A. Milne’s 1926 children’s book “Winnie-the-Pooh” entered the public domain last year, allowing filmmakers to explore these cherished characters in unprecedented ways. Director Rhys Frake-Waterfield and producer Scott Jeffrey Chambers, of Jagged Edge Productions, have led the charge in this innovative endeavor.

The inclusion of Rabbit, heffalumps, and woozles in the upcoming sequel introduces a new layer to the franchise. In Milne’s original stories, heffalumps are imagined creatures resembling elephants, while woozles are known for their weasel-like characteristics and a penchant for stealing honey. Their roles in the narrative remain to be seen, but their addition promises to enrich the horror universe with deeper connections to the source material.

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How to Watch ‘Late Night with the Devil’ from Home: Dates and Platforms

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Late Night With The Devil

For fans eager to dive into one of this year’s most talked-about horror films from the comfort of their own home, “Late Night with the Devil” will be available for streaming exclusively on Shudder starting April 19, 2024. This announcement has been highly anticipated following the film’s successful theatrical release by IFC Films, which saw it earning rave reviews and a record-breaking opening weekend for the distributor.

“Late Night with the Devil” emerges as a standout horror film, captivating audiences and critics alike, with Stephen King himself offering high praise for the 1977-set film. Starring David Dastmalchian, the movie unfolds on Halloween night during a live late-night talk show broadcast that disastrously unleashes evil across the nation. This found footage-style film not only delivers scares but also authentically captures the aesthetic of the 1970s, drawing viewers into its nightmarish scenario.

David Dastmalchian in Late Night with the Devil

The film’s initial box office success, opening to $2.8 million in 1,034 theaters, underscores its wide appeal and marks the highest opening weekend for an IFC Films release. Critically acclaimed, “Late Night with the Devil” boasts a 96% positive rating on Rotten Tomatoes from 135 reviews, with the consensus praising it for rejuvenating the possession horror genre and showcasing David Dastmalchian’s exceptional performance.

Rotten Tomatoes score as of 3/28/2024

Simon Rother of iHorror.com encapsulates the film’s allure, emphasizing its immersive quality that transports viewers back to the 1970s, making them feel as if they are part of the eerie “Night Owls” Halloween broadcast. Rother lauds the film for its meticulously crafted script and the emotional and shocking journey it takes viewers on, stating, “This whole experience will have viewers of the Cairnes brothers’ film glued to their screen… The script, from beginning to end, is neatly sewn together with an ending that’ll have jaws on the floor.” You can read the full review here.

Rother further encourages audiences to watch the film, highlighting its multifaceted appeal: “Whenever it is made available to you, you must attempt to view the Cairnes Brothers’ latest project as it will make you laugh, it will creep you out, it will amaze you, and it might even strike an emotional cord.”

Set to stream on Shudder on April 19, 2024, “Late Night with the Devil” offers a compelling blend of horror, history, and heart. This film is not just a must-watch for horror aficionados but for anyone looking to be thoroughly entertained and moved by a cinematic experience that redefines the boundaries of its genre.

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