In-Depth Movie Reviews & High Quality Trailers

Posts tagged “arizona

Fire in the Sky (1993)

Fire in the SkyIt’s unusual to review a movie of this sort.  Fire in the Sky is based on a true story of alien abduction.  I know there are skeptics out there about this sort of thing, understandably so, and my stance is that I’m willing to believe, same as with the paranormal.  I can’t apply the same approach to a film of this sort, talking about characters like they’re fictional creations, or how clever the story is conceived and executed.  This is about how well the reality of these peoples’ lives are conveyed on screen, and the quality in which these events are portrayed.  What we have here is a great, solid movie that I really should have watched a lot more over the years.  I first saw it as a VHS rental back in the late 1990s.  I owned the DVDs for probably five or six years before I actually watched it.  So, I can accurately say that for this review, I watched Fire in the Sky for the third time, ever.

Six men saw it.  One man became a prisoner inside it.  But who would believe them?  In 1975, logger Travis Walton (D.B. Sweeney) and his co-workers discovered a hovering UFO.  Walton’s pals fled, but Walton was not so fortunate.  Whisked aboard the strange craft, he was subjected to a painful, unearthly medical study.  This is the amazing tale of that ordeal, and of the contempt and ridicule endured by his co-workers as they try to explain Walton’s mysterious disappearance.  Skilled investigator Frank Watters (James Garner) suspects their story may be a murder cover-up, but these men, led by Travis’ best friend Mike Rogers (Robert Patrick), stand by the extraordinary events they recount.  When Walton is returned in a severe traumatic state, questions become even more fantastical with the answers being more disturbing than they could imagine.

This film is smartly structured starting out with the aftermath of the abduction, and then, having Rogers and the other loggers fill in the story with their own words.  Everything that is shown about Travis pre-abduction is done in lengthy flashback, and I feel that was the perfect way to start out the movie and present Travis – show him through the eyes of his best friend.  This also presents the idea of witness accounts showing us the story from a subjective point of view, and sets up the real life oppositions these men had to face from their fellow townsfolk.  Next to no one would believe such a wildly fantastical story, and the police would surely look for criminal motives for Travis’ disappearance.  They have to fight for every ounce of credibility they can get, and the film takes us on that journey while focusing very deeply on their emotional turmoil.

D.B. Sweeney does a wonderful job in these flashback scenes showcasing a very lively, fun, and enthusiastic young man full of aspirations.  He’s clearly the brightest personality amongst these men with the biggest heart.  Showing the audience these substantive glimpses into Travis makes the impact of his traumatic abduction all the more terrifying and disturbing.  The abduction scene itself is frightening, and still gave me choked up chills.  This is a credit to the realistic, grounded, and textured nature of the film.  Director Robert Lieberman makes the danger feel paralyzingly real, and gives the film honest, emotional weight.

The last time I watched Fire in the Sky I made a note reminding me of just how great of an actor Robert Patrick is.  He really is the lead for most of the movie holding the weight of emotion on his shoulders, and doing so in masterful fashion.  The absolute depth of pain and fear is soaked into every fiber of his performance with his eyes selling so much.  Patrick is both very sympathetic as well as full of conviction and fire.  As Mike Rogers, he is both a confident, passionate leader and a man dealing with his own internal fears and grief.  There is so much humanity and strength in what he does here that this should stand as one of Patrick’s best performances.  He genuinely made me feel every emotion that he poured out of his soul, and it was a very wide and complex range of humanity offered by him.  It is only a shame that the only accolades he was offered for this film was a Saturn Award nomination.  He clearly deserves a lot more notoriety for having this level of talent.

This film is also packed with a strong supporting cast.  James Garner puts in a very solid performance as the consummate investigator Frank Watters.  You can sense the fair and just manner of Watters from everything Garner does on-screen.  He never jumps to conclusions or to condemn these men.  Even at the end, he’s not convinced of what they all say is the truth as the evidence is simply not there for him to make a conclusion.  He’s simply willing to wait and see.  Peter Berg and Henry Thomas greatly portray two of Travis’ friends, David Whitlock and Greg Hayes, both with their shaken qualities.  Yet, both actors showcase strength where needed to show that these men were standing by their statements.  Craig Sheffer has a surprisingly excellent turn as Allan Dallis, one of the loggers who has a bad attitude and doesn’t get along with anyone.  I’ve only seen Sheffer in some really poor Dimension Films direct-to-video sequels, and has never impressed me before now.  I think he did a very solid job making Dallis a very strong element in this story as a sort of wild card in the mix.  Dallis almost went out of his way to make it known he didn’t like Travis, and Sheffer’s performance really brings that friction and tension to the forefront.  Lastly, Noble Willingham fits very comfortably into the role of the local Sheriff Blake Davis bringing a trusted, honest, firm quality.  Overall, every performance feels very authentic with both obvious and subtle depth throughout.

In the latter third of the film, when Travis Walton does return, he’s in a terribly traumatized state with Sweeney putting in a great performance.  The lively young man that he once was has been entirely eviscerated leaving only a shell of a man behind.  This abduction experience forges a hard, deep wedge between Travis and Mike.  Travis is so traumatized that he resents Mike for running away from the scene of the abduction instead of helping him when he had the chance.  Unfortunately, this aspect is not given much screentime as the film shifts its focus deeply towards Travis’ struggles.  I certainly would’ve liked to have seen that strained friendship drama play out more to see how hard it truly hit Mike, and the process of how it damaged his life.  Fortunately, the film doesn’t forget about this as it is given its proper due by the end remembering that it is the people and their lives that mean the most here.

When we are finally shown what Travis Walton experienced during those five days, it is the most visceral and terrifying alien abduction sequence ever committed to film.  The production design is stunning like something out of your most dreadful nightmare with its surreal qualities and purely absorbing, grim reality.  It is something that would leave you scared out of your mind, and leave you never being the same person you once were, if you experienced it in reality.  This is a very elaborate and long sequence that will freak you out down to your very core.  This is possibly the most paralyzing sequence I’ve ever seen in a film.  Even after it ended, it took me a minute or so to ease myself out of it.  To even consider that this might have actually happened to another human being is unfathomable.  Industrial Light & Magic did an unspeakably remarkable job on this entire sequence.  The aliens themselves are so finely detailed and textured that you’d swear they were real, and this adds further to how visceral this all is on film.  It is stunning work down to the smallest nuanc.  So much so that this deserved special awards recognition at the time as well, but sadly, received none.  Of course, it’s very little in terms of visual effects as it is an overall collective work of production design, cinematography, physical effects, animatronics, sound design, and music that made this sequence so chillingly effective.

And of course, the cinematography is damn good all the way through.  Bill Pope and director Robert Lieberman clearly worked very hard to create a look for Fire in the Sky that was firmly grounded in reality.  There is such texture and weight to every shot to maintain that solid grip on the fact that this is based on a true story, and directly avoid injecting even the smallest sense of fantasy into this.  I know that sounds a little peculiar due to the alien abduction nature of the story, but even that feels shockingly real down to the grittiest of details.  This film is shot exceptionally well with wonderful angles and compositions which complement the dramatic scope of the story, both internal and external.  In all technical qualities, this is a superbly executed film made by a very solid crew of creative forces.

Now, the thing that tends to make films based off of true events different than fictional films is that there’s rarely a traditional conclusion to them.  The lives of these people continue on, and not everyone gains closure from what is documented in the movie.  So, there’s only so much of a complete story the film can offer.  Thus, Fire in the Sky is more focused on the people involved instead of a traditional three-act structured plot.  I’m sure there were a few tweaks to reality, such as the filmmakers reducing the number of loggers from seven to six for ease of storytelling, but I’m sure the human emotion of what happened remained very much intact and accurate.  Also, unlike many true stories, this one still requires the audience to believe in something they may not be inclined to believe in terms of extraterrestrial life.  However, even if you are not a believer, there is still a very strong, human story to experience in Fire in the Sky.

This is an amazingly effective and masterfully executed movie that brings more impactful reality to an alien abduction story than I’ve ever witnessed on film.  A viewing is highly worth it for two things  – Robert Patrick’s deeply emotional performance and the entire terrifying sequence aboard the alien spacecraft.  Even the film’s trailer is scary featuring only brief glimpses of that sequence along with a very foreboding voice over.  Ultimately, this is a hell of a great movie that is definitely worth your time, if this genre is your thing.  Again, I would’ve liked to have seen more of Mike Rogers in the aftermath of Travis’ traumatic return to give their reconciliation more pay-off, and to follow through on how this entire experience affected Mike, in detail.  Still, what we are given is solid, fascinating, and disturbing.  Fire in the Sky is a unique film that surely deserves more credit than time has seen fit to grant it, and I hope my words of praise here will help a little in that regard.

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Cowboys & Aliens (2011)

Unlike many, I wasn’t anticipating this film for a long time.  It was only when I saw the trailer before Transformers: Dark of the Moon that I became interested and excited for it.  It seemed like a very original film in style and concept populated by a fine cast, and helmed by a proven director in Jon Favreau (Iron Man).  The film does have merit with some fine performances and entertainment value.  However, I was disappointed that the concept was not realized to its fullest extent.

In 1873, Arizona Territory, a mysterious loner (Daniel Craig) wakes up in the middle of the desert with no memory of who he is, where he came from, or how the high tech device got latched onto his forearm.  After dispatching of some ill meaning folk, he proceeds to the small town of Absolution where is tended to by a local preacher, but soon makes trouble for the unruly Percy Dolarhyde (Paul Dano).  Things go further awry when the local law enforcement recognize him as Jake Lonergan, a wanted criminal.  Percy’s rich cattleman father, Woodrow Dolarhyde (Harrison Ford), comes to collect his son, and Jake for stealing his gold.  However, the stand-off is cut short when the town is mysteriously attacked by alien flying crafts.  The device on Lonergan’s forearm starts beeping and flashing.  The ships abduct various townspeople, but not before the device helps Lonergan blast one out of the sky.  This sets Dolarhyde, Lonergan, and several other townsfolk on a mission to recover their lost loved ones.  Taking a particular interest in Jake is Ella (Olivia Wilde), who has some secrets of her own that she needs Lonergan’s help in resolving.  They all set out on this adventure of danger together for different reasons, but towards the very same goal.

The positives of this film start with Daniel Craig.  He has great presence like the western anti-heroes of old who doesn’t need to speak much to impact a scene.  Lonergan is a man of action, and those actions speak quite clearly for him.  Of course, he is also intelligent and cunning, but not without a dash of charm and compassion.  Craig is a perfect lead handling all that befalls his character with perfect reactions, and acting like a hero you can take stock in.  Another highlight is Clancy Brown appearing as Meacham, the town’s preacher.  The character has a very refreshing philosophy on his religion.  Things such as you have to earn God’s presence.  You have to make the effort to do good deeds, to improve yourself before he’ll grace you with good fortune.  Meacham seems to believe God is more of a guiding force that helps you along the journey instead of laying it out for you to walk without question.

Harrison Ford stars here as a former Colonel named Dolarhyde who pretty much runs things around these parts.  Ford’s had an amazing career playing so many versatile roles, but I have not seen him in anything much since The Fugitive.  Here, Ford is crusty, hardened, and mean-spirited.  To a certain point, that works for the character, but Ford barely deviates from that characterization to show us what the script is trying to do with the ex-Colonel.  In concept, Dolarhyde is meant to win over an audience by showing that he’s not as bad of a man as we think, it’s just history and circumstances that have jaded him.  That’s the intention, but Ford’s performance doesn’t show that depth.  He speaks the words, but there’s no variation of emotion when he does to convey a sense of a dimensional character.  He just exists in the film.  Ford handles the action of the piece well with guns, horses, and so forth.

Olivia Wilde is about what you expect from her.  It’s no breakout performance, and it might not be everything that it should be.  However, it’s not bad.  Things in the film tend to range from mediocre to great.  Of course, too much languishes on the lower end of that spectrum.  Wilde services the role decently enough making for an all right female lead, but next to Craig, she falters.  His is such a strong character and performance that she doesn’t stand out as well as him.  The character has a nice arc, and secrets of her own to reveal.  However, like much in this film, it’s played too safe.

The supporting cast is a little mixed.  Walton Goggins is his always entertaining and memorable self as a member of Lonergan’s former band of thieves.  Paul Dano is very entertaining and a nice fit for the immature, unruly, and troublemaking Percy Dolarhyde.  He’s mostly a comic foil to contrast Craig’s harder edged character in their few scenes together, and plays it perfectly.  However, Adam Beach comes off far too flatly.  It’s clear that, by the end, we’re supposed to have some emotional resonance with the character, but there’s nothing within Beach’s performance to grasp onto.  He seems like a plain supporting cast member.  Attempts are made throughout the film to have him bond with Ford’s Dolarhyde character, but as I said, Ford doesn’t give much to help his character be anything of anything.  Sam Rockwell portrays the local bartender who has tried to make a new beginning for him and his wife here, but faces trouble every step of the way.  He’s a man facing circumstances he doesn’t have the courage or confidence to overcome.  To me, he seemed like the guy that gets dragged along on the journey even though he has nothing to contribute.  So, they slap some clichéd story arc on him of a man that’s never handled a weapon, never fired a gun, and finally comes through at the end to save someone’s life by firing a shot.  It’s terribly by the numbers.

As I said, the premise and concepts of Cowboys & Aliens should’ve been pushed further for a more fantastical experience, but that never happens.  I just felt like everything was held back.  That they had a fertile idea here that never went beyond the basics of cowboys clashing with aliens.  While meshing western and science fiction genres is not a new thing, I have not seen this particular premise played out before.  The closest would be Joss Whedon’s Firefly, which married the two concepts well in a futuristic setting.  It meshed the ideals and themes of a western into a futuristic science fiction setting, and maybe that’s where the strength of the idea lies.  Aliens abducting people from old west towns seemed cool at the beginning of the film, but the premise falters a little when you find out why the aliens are even here at all.  It was ridiculous to me that all they wanted was to mine for one natural resource because it’s valuable to them.  It’s not like it’s a fuel they need to power their machines, or a precious resource they need to sustain their species.  They just want it because it has monetary value.  That comes off as a very weak idea that someone thought up in two seconds, and never decided to evolve further.  The aliens create their own problems by coming out and abducting people.  Had they just stayed hidden in the mountains, no one would have ever known they were around.  Had they been discovered, and were almost fighting back in defense of themselves, that would be something.  Unfortunately, the aliens just come off as foolish through and through.  Their motives and methods really have no rationale or logic behind them.  Humans posed no threat to them until they unnecessarily revealed their presence, and started abducting them for the sole purpose of the learning the weaknesses of a enemy that knew nothing of their existence.

I’m also rather tired of the personality deprived alien concept.  Predator got it right by making the alien silent, but also having it demonstrate a great deal of character and personality.  That is birthed mainly from having the right person inside the suit along with someone brilliant like Stan Winston behind the design of it.  CGI has robbed us of a performer’s nuanced quality when it comes to creatures like this.  One comes off no different than another, and that is just from a lack of creativity.  They are just creatures designed to fill up the plot, and serve as a physical enemy to combat.

The visual effects are about mid-grade.  They are generally okay, but they won’t win any awards.  They service the story, and that’s about it.  They are better in some instances than others, depending on the setting and what the effect actually is, but yeah, there’s not much to really say about them all.  They definitely could be far better to improve the overall quality of the film, but that’s hardly the only shortcoming of this movie.

Another thing that I felt kept the film from reaching its full potential is a lack of atmosphere with the visuals.  The sound design and score are really solid.  I love the meshing of musical styles in the score, and I think that achieved more than the film itself did in combining western and sci-fi themes.  However, with the marketing campaign as it was, showcasing a lot of colorful, shadowy, and moody visuals, I had hoped there would be more of it than we got.  Those such scenes are handled excellently.  They are lit and shot in a very effective way as something conceptually evocative of Ridley Scott’s Alien.  However, much of the film unfolds in broad daylight scenes which offer no stylized vibe to them.  Yes, it suits the western side of things fine, but again, if this is a meshing of genres, the lines should be blurred between them.  It should be that the two styles mix to create something unique and consistent instead of switching from one look and tone to another as it shifts from the western plot elements to science fiction ones.  The film is rarely ever both a western and a science fiction film.  It’s either a western, or it’s a science fiction movie.  It doesn’t really deliver on the potential of the premise by meshing them both together in smart, clever ways.  Generally, this is a film where style and substance should have reigned in abundance, and they skimped on both.

Favreau does handle the action scenes very well.  They are compelling sequences filled with suspense, tension, and excitement.  The initial nighttime abduction scene is stellar all around with the sharp visuals, beautiful colors, and exciting tone.  Later, when everyone is hiding in a ravaged and upside down river boat, and a lone alien comes stalking, all is handled with style and horror movie level tension.  Favreau’s skill in this matter does help build up the intimidation level with the aliens.  I only wish they did make them more than just monsters to fight.

Again, Cowboys & Aliens has its bright points with Craig in the lead role, and a few of the supporting roles.  Now, the movie doesn’t become outright bad.  It’s just underdeveloped by the filmmakers, or underplayed by certain actors.  What felt like it should have been a rather memorable and remarkable genre-bending film really never takes off at any point.  Nothing is delivered on to its fullest extent, and the ending feels a little short on emotional impact for the characters.  It is an enjoyable and generally entertaining film that is worth some of your time, but expectations need to be wrangled back before watching it.