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Predators (2010)

PredatorsFor whatever reason, the Predator film franchise lied dormant after the release of Predator 2 in 1990.  It wasn’t until 2004 that we got the highly anticipated Alien vs. Predator films.  The first one I hated, and I still consider it the worst overall movie I’ve ever seen theatrically.  The second film I did a rather positive review of as one of the last Forever Horror website reviews and one of the first Forever Cinematic reviews.  However, the general consensus of both movies was decidedly negative, and thus, someone thought it was time to bring the Predator franchise back into its own.  Such a person was producer Robert Rodriguez known best for making big scale action on tight budgets.  Thus, twenty years after Predator 2, we are given another proper sequel.  The question is, was it good enough to breathe life into a damaged franchise?

Awakening in freefall, a collection of strangers find themselves dropped into an unfamiliar land with danger awaiting them.  Royce (Adrien Brody) is a mercenary who reluctantly leads this group of elite warriors in a mysterious mission on an alien planet.  Except for a disgraced physician, they are all cold-blooded killers – mercenaries, mobsters, convicts and death squad members – human “predators.”  But when they begin to be systematically hunted and eliminated by a new Predator breed, it becomes clear that suddenly, they are the prey!

I will admit that I wasn’t sold on this film pre-release.  I thought the premise of Predators abducting humans from Earth and dropping them on another planet to be hunted was against the idea of what a big game hunter would do.  You don’t take a lion out of his natural environment and throw him in your backyard to hunt him.  However, a positive reaction from a strongly opinionated friend of mine motivated me to see it theatrically.  Indeed, I really liked Predators.  I would still rank it third in my list of favorites, but all three films are ranked very tightly together.  They are all extremely well made with their own unique ideas, visual styles, and approaches which all work superbly.

Much like with Predator 2, you must find it peculiar to cast Adrien Brody as the lead in an action movie.  This film will entirely change your perspective on that.  He delivers incredibly in this role.  Brody can play tough bad ass with the best of them.  He brings the charisma of a leader, but clearly shows Royce is a man of sketchy origins and doesn’t mind being a loner.  Royce is also very smart and perceptive.  He would be fine going at it solo, but he sees that even his own survival holds better odds sticking with them than without.  You also see that he’s not a cold-blooded man, but he can be a savage, hardened killer when he needs to be.  The film’s climax sells every awesome thing about Royce, and solidifies that I want to see more of him.

Brody has very touching and honest chemistry with Alice Braga, portraying the Israeli sniper Isabelle.  They surely butt heads in certain circumstances, but they connect on an emotional level that does resonate.  They build a mutual trust and respect as the film progresses.  The rest of these trained killers, including the Rodriguez obligatory Danny Trejo, certainly don’t measure up to Dutch’s elite team from the first film, but they are a mismatched group that are weary to trust one another.  My favorite, who has extremely little dialogue, is the Yakuza member Hanzo.  He creates a very intriguing mystique around him through some interesting actions, and demonstrates a unique sense of honor.  Topher Grace portrays the aforementioned disgraced physician Edwin, and surely, the film didn’t require the presence of this character.  He just adds an extra wild card element late in the game which may or may not be easy to spot early on.  I think I had this reveal spoiled for me before I initially saw the movie.  The concept behind Edwin is a clever one, but probably not executed nearly as smartly as it could have been.

Laurence Fishburne makes a wickedly cool appearance as Noland, a soldier whose been trapped and has survived this planet for several years.  The result of that is hat Noland’s gone quite crazy in a delusional, psychotic type of way.  He’s more than skillfully dangerous, he’s psychologically dangerous.  Fishburne is entertaining and awesome in this fairly brief, very off-kilter role.  More than anything, this character is designed to sell the futility of an escape from the planet, and the idea of two rival tribes of Predators hunting out there, making it all the more difficult to survive.

The film’s first act of sorts might seem a little drawn out to some.  I believe I felt that way upon first viewing.  The characters are exploring this world, trying to understand where they are, and even the first action sequence is not until more than twenty-five minutes in.  Strange alien animals are throw at these characters as a test first, and so, there is a prolonged wait before the first Predator is actually revealed.  However, once that occurs, the film settles into a very familiar feel and tone.  Rodriguez and director Nimrod Antal studied the first Predator in great detail to nail the vibe perfectly, and I think they got it just about dead-on while still adding to it.  Antal focuses on building the atmosphere and tension so that there is a pay-off with the action.

The overall feel is great with some rich color schemes which still evoke a dark, ominous feeling.  The cinematography gives this film scale and scope while still maintaining the isolated feeling.  The night scenes look great with a more subdued color palette, but with an excellent use of light and shadow for a beautiful moody vibe.  This really is a remarkably well shot movie with an abundance of artistic merit and dramatic visual weight.

The way the action plays out is very intelligent focusing on tension and imminent danger.  There’s plenty of intense gunplay, but it’s definitely used in conjunction with smart tactics and strategies by these characters.  The ominous feeling of being stalked and hunted is executed with great skill.  It’s a whole package of the visual style, stellar editing, and a music score that stays true to Alan Silvestri’s work.  This film definitely takes the filmmaking style and techniques from John McTiernan’s movie, and gives it a little more polish.  Nimrod Antal definitely puts his own stamp on the film, but was able to make this feel cohesive with the rest of the main Predator franchise.  The action scenes definitely reflect this as there’s really none of that modern shaky cam mayhem.  It’s well plotted, shot, and cut together for an extremely coherent and effective experience.  Beyond anything else, this film enhances the ferocity and frightening quality of the Predators.  They feel even more merciless and relentless than before, if you could even imagine such a thing.

I can’t help but love two fight scenes in Predators.  The first has Hanzo squaring off with his katana against the Predator.  This is beautifully setup, and is shot so gorgeously with a lot of wide angles and a wonderful overhead shot showing the wind blowing through the high grass.  It’s a graceful work of art.  What trumps it on the bad assery scale is when the New Predator battles the Classic Predator, which is portrayed by Derek Mears.  While I didn’t care for the remake of Friday The 13th, Mears was an awesome Jason Voorhees, and he makes for an awesome Predator.  Two Predators ripping and tearing at one another is pure gold, and the scene doesn’t disappoint at all.  This is savage, gory, and everything you’d hope it to be.

And indeed, the creature effects are excellent.  Oddly, neither Stan Winston Studios or Amalgamated Dynamics, Inc. – who were responsible for all of the previous Predator effects – returned to work on this film.  Instead, the impeccable talents of KNB EFX were tapped, and they delivered on an amazing level.  There are some familiar designs with the Classic Predator, but the newer, larger Predators are even more impressive.  They do feel like a different breed, but are given a much better approach than what we saw in Alien vs. Predator.  And of course, the gore returns in abundance, and no one better to also fill that task than KNB EFX.  They’ve been the standard bearers for physical effects, especially those in the horror genre, for the last twenty years, and that quality is vastly on display here.

Predators does a great job of taking cues from the first movie, and adding its own flavor and ideas to them.  The climax is a great example as Royce uses some of the same tactics as Dutch with the mud, but uses it in a different context.  Instead of giving the Predator nothing to lock on to, he overloads the senses, and takes him on full boar while retreading some of Arnold’s quotable dialogue.  It all really works greatly while delivering the graphic violence quota that fans crave from this franchise.  The film ends on an excellent note that left me wanting to see where yet another sequel could go.

And thus, I do believe that Predators was indeed good enough to potentially breathe life back into this franchise.  Everyone involved steered it back in the right direction where exciting new stories could be told, and even on its own, this is a very solid and satisfying science fiction action movie.  However, with the same budget as Aliens vs. Predator: Requiem, it pulled in just about the same amount at the box office, but the reviews and reactions to this film were substantially higher.  Predators set a good foundation for the franchise to build upon, but three years later, no news of a sequel has surfaced from Twentieth Century Fox.  That is quite unfortunate, but I think there is a great deal of potential to tap with this series which is evident here.  Nimrod Antal and Robert Rodriguez did an excellent job bringing everything back to its roots, and while they chose not to acknowledge Predator 2, they did nothing to contradict it either.  Again, I’d love to see more of Adrien Brody as Royce.  He’s flat out awesome.  While I’m sure some will view the film as leaning a little too heavily on the first movie, I really believe that what it takes from that movie was largely to its benefit, and the filmmakers still injected their own ideas and creativity to allow the franchise to move forward.  They expanded the universe and possibilities in a lot of very good and intriguing ways.  I do really like Predators, and I give it a strong recommendation.  If this film has slipped under your radar for the last three years, definitely give it your attention.  This is a franchise that deserves to live and thrive again under the watch of some really sharp and talented creative individuals.


Predator (1987)

PredatorI think it goes without me saying that Predator is one of the best action films, ever.  More importantly, this is my favorite Schwarzenegger movie.  Smartly directed by John McTiernan, who would helm Die Hard the following year, this is an excellently plotted and cleverly devised concept utilizing a stellar cast to great effect.  With an alien hunter designed by the masterful Stan Winston, and backed by some of the best visual effects of the time, Predator was an instant classic that truly solidified Schwarzenegger’s career as a blockbuster action star.

Recruited by the CIA to rescue hostages held by guerrilla fighters in a Central American country, Major Dutch (Arnold Schwarzenegger) and his elite team encounter an enemy unimaginably more deadly than any on Earth – because the Predator is not of this Earth.

The film starts out wasting no time by keeping the exposition succinct, and allowing for this team to progress to their objective quickly while still relating these characters to us.  No one’s explored in depth, but you get a clear, personality rich snapshot of each man.  Blain’s a hard ass, Hawkins is kind of a joker, Billy’s the stoic warrior, and so on.  The entire first act sets up who these guys are, and what they are capable of.  We see this is an expertly efficient team able to wipe out a legion of about thirty Central American soldiers within a few minutes.  They are tactically sound striking hard and fast using the element of surprise.  When Dutch’s team is referred to as “the best” early on in the briefing scene, we see that is not at all an exaggerated statement.  They prove they are the elite, but even then, you can see these guys are spooked by this jungle.  “Makes Cambodia look like Kansas,” sets the tone for how unnerved they are by its terrain and ominous feeling.  Encountering the previous team’s skinned corpses surely rattles them a bit, but they never lose their wits.  In fact, it practically heightens them for the more lethal danger that is stalking them.

Schwarzenegger shines here as Dutch.  In addition to everyone else, this is possibly his most quotable movie.  Arnold’s got that charisma going here with energy and authority.  I love that Dutch is a soldier with a code of ethics for his men.  He states straight out that his men are not assassins, merely an elite rescue team, and we see that conviction arise when he learns of Dillion’s deception.  Schwarzenegger shows Dutch to be an honorable and sharply intelligent soldier commanding his men with precision.  He proves himself to be a cunning warrior gradually picking up on the Predator’s methods, and adapting to them in order to survive.  He’s perceptive and level headed, which is undoubtedly the sign of a great soldier.  I think this definitely one of Schwarzenegger’s finest performances demonstrating the ability to realize a very authentic, dimensional, and smart character.  Not to mention, I don’t think he’s looked so awesome on-screen without delving into a cheesy or campy tone.

Bill Duke especially does a touchingly effective job.  Early on, he is a hardened soldier, but after Blain is lost, you see the grief and turmoil wash over him.  Carl Weathers is great here as well portraying a man who was once a trusted friend of Dutch’s that has been corrupted by the “everyone’s expendable” mentality of a pencil pushing desk jockey.  He’s lost sight of the qualities of a soldier and the value of life.  However, we see him turning the corner as he rushes into his final battle, and I really like seeing that small character arc.  Overall, this is a rock solid cast flexing both their acting muscles and their real ones in pure 80’s action movie bad assery.  They all exhibit distinct personality that are vibrant, memorable, and straight up killer.

What it is that we lose with CGI monsters as opposed to a real life performer is exquisitely evident here.  Kevin Peter Hall inhabited that beautifully textured and crafted Stan Winston suit, and created a character to live and breathe through it.  Compare it to the personality deprived CGI creatures from Cowboys & Aliens.  They were, as I said in that review, “just creatures designed to fill up the plot, and serve as a physical enemy to combat.”  They had no distinct characteristics that made them any better than the Imperial Stormtroopers in Star Wars.  The Predator has nuanced qualities that reflect an intelligence and cunning behavior.  He’s a unique individual amongst a unique race.  How he moves, reacts, and assesses a situation bring a subtle and intriguing depth created by Kevin Peter Hall’s amazing performance.  It has all the traits of a talented performer crafting a character, and I am so tremendously glad that this franchise has never abandoned the performer in the suit approach.

As I’ve said in many previous reviews, the work of Stan Winston is legendary, and stands the test of time.  He clearly revolutionized the creature effects industry with his artistic craftsmanship and captivating imagination.  The Predator is an astonishing creation in all facets.  The original creature the filmmakers put together for this film was ridiculous and was quickly jettisoned after only a few days of filming.  Winston was called in, and with a little input about mandibles from James Cameron, this iconic, ferocious, and frightening creature was born.  Beyond that, this is a very graphic and brutal film showing you skinned human bodies, spinal cords ripped from carcasses, and a disemboweled Jesse Ventura.  Everything feels so grisly and textured for a greatly realistic feeling.  This is some of the best gore effects I’ve ever seen.

And these visual effects essentially still hold up to this day.  Certainly, the sequels have shown how digital effects can be used to improve and enhance them, but this is impressive work that hardly feels dated.  This is mainly between the Predator’s cloaking technology where he appears as transparent ripples, and the laser sighting and discharges from his plasma cannon.  There are some especially impressive shots featuring the cloak with more dynamic camera angles and motion where you get the real three dimensional quality of it.  You see it’s not some animated effect, but a real optical composite of a real performer.  These are all excellent visual effects.

This all blends perfectly with the gritty, sometimes smoky atmosphere of the film’s look.  I think John McTiernan’s great eye for composition, interesting angles, and well constructed action shines through.  In this jungle, we get the feel of the dangerous terrain and mysterious qualities of the dense foliage.  The grit grounds this science fiction premise in a visceral reality where consequences are severely violent and lethal.  Great camera movements and stylish, dramatic imagery highlight the artist merit of the cinematography, and it is all expertly edited together for a tight film which propels itself forward from the get go. .

Alan Silvestri put together one amazing score for Predator that has endured for the whole franchise.  He incredibly blends a militaristic march and drive with a primal tribal, jungle beat.  He builds a sense of ominous foreboding reflecting the reality that there is something out there stalking these men.  For the majority of the climax, there is next to no dialogue of any sort.  It is carried along by the action, the visuals, and the exhilarating score which enhances all of the tension, apprehension, and danger that is unfolding.  It is perfect, superb work.

The action hits you at a regular clip, and the first main sequence is majorly explosive.  It sets the bar high for the remaining runtime, and McTiernan is able to meet that challenge.  It’s the mix of tension, the unknown, and the sheer scale of this rapid fire, big gun toting, grenade launching explosiveness that makes that possible.  Yet, McTiernan knows how to build it up, and work the subtle strings of an audience’s anticipation.  The danger escalates, and the peril becomes more immediate as the Predator moves in closer and closer to its prey.  He starts out attacking from a distance, but gradually engages his ultimate trophy – Dutch – in close combat because the Predator views him as a highly worthy adversary

And that entire third act where it’s just down to Dutch and the Predator is a masterpiece.  The strategy and makeshift tactics that Dutch puts together play out brilliantly.  He uses the Predator’s own method of invisibility and striking from a distance to his advantage.  However, it all elevates when the two finally meet face-to-face in a straight physical confrontation.  Everyone knows that Arnold is a BIG guy, but next to this hulking seven foot tall alien beast, he looks small and nearly ineffectual.  It’s only by his smarts and wits is he able to survive.

Predator is filled with chest pounding action and excitement wrapped in a smart concept and script.  Backed up by an excellent action director, and a vibrant, colorful cast lead by Arnold Schwarzenegger, it was a surefire formula for success.  This is why I love Predator.  It never lags anywhere as the pacing is tight and the rhythm is consistent throughout right from the start.  It’s really a near brilliant structure which constantly keeps you invested and intrigued by what’s developing here.  You also can’t not quote the living hell out of this movie.  It’s sharp, witty, but never betraying the serious tone of danger and lethality it sets from the beginning.  It’s an absolute success that holds up incredibly well over time.  I entirely intend to give you reviews on both Predator 2 and Predators sooner than later.  Until then, revisit this classic.


Aliens (1986)

It was an ambitious prospect to develop a sequel to Ridley Scott’s 1979 science fiction horror classic Alien.  However, Twentieth Century Fox was highly pleased with what burgeoning filmmaker James Cameron was putting to paper that they waited until he finished production on The Terminator to have him complete that script.  It became a huge blockbuster hit in the summer of 1986, and earned several nominations and awards.  Unfortunately, for me, there has always been something about this film I never quite liked, something that made it nowhere near as great as people made it out to be.  Add to that the disdain I’ve developed in recent years for James Cameron.  I don’t think he makes films as good as he thinks he does, he has a huge unwarranted ego, and his pioneering of 3D digital technology really burns me.  I hate the trend, and I hate Cameron for igniting it.  I will truly brush these feelings aside, and critique this film as it is to pinpoint my issues with it.  There’s plenty for me to deconstruct here.

Lieutenant Ellen Ripley (Sigourney Weaver), the sole survivor of the alien attack on the mining ship Nostromo, is awakened by a salvage ship after drifting through space in cryo-sleep for fifty-seven years in her escape pod.  After her rescue, officials at the Weyland-Yutani Corporation (regularly referred to as “The Company”) give her a cold reception by revoking her flight license.  Much to her horror, they reveal that planet LV-426, where her crew discovered the alien, has since been colonized without incident.  However, when communication with the colony is lost, Ripley initially refuses to help, but her recurring nightmares and coxing by a representative of the Company, Carter Burke (Paul Reiser), convince her to accompany a group of Colonial Marines to investigate the situation.  What awaits them all is a swarm of Xenomorphs that have infested the colony, the likes of which these marines are not prepared for, but Ripley will ultimately not be deterred from confronting and destroying the horror that haunts her.

I hate to start off on a bad note because there are highly admirable qualities to credit in this film, but this is an exploration of me understanding what I haven’t like about this film for so long.  Only now, by way of actually analyzing the film, can I pinpoint those reasons.  However, that doesn’t mean I have all bad things to say of it, but let me get the nagging issues out of the way first.

I feel Aliens is downgraded by its aesthetics.  Part of that problem was the choice of film stock used in the Kodak Eastman type that was only in use for a very brief period of time.  The reasons for that begin with excessive grain and ends with a difficulty in processing blue screen effects.  Aliens is a very grainy film, and in addition to that, has very bleached out colors.  The color palette is very flat.  Blacks aren’t black, and with a film of this sort, creating light and shadow contrast is very important.  This creates a rather visually bland presentation that fails to match the highly atmospheric quality of Ridley Scott’s 1979 original.  I believe that some of these problems have been rectified on the Blu Ray release which Cameron himself supervised.  I wish I could view that version so that, maybe, some of my gripes with the film would evaporate.  However, that’s not all, but I will cover those later when I address the visual effects.

I have to take issue with some of the characterizations in this film.  Sigourney Weaver, Paul Reiser, Lance Henriksen, & Michael Biehn are all excellent, and inhabit their roles well.  Their roles are also well written and well conceived.  Them, I have no issues with.  It’s the arrogant, chest pounding, and sometime weak-willed Colonial Marines.  Yes, they are big, colorful characters that are memorable and quotable.  That doesn’t mean they’re well conceived characters.  For example, let’s compare these marines to the elite team from Predator.  A group that is memorable, quotable, full of personality, but also, not a bunch of guys you’d ever want to cross.  They are not arrogant, just confident, but know how to respect a dangerous situation when they enter it.  They operate like a cohesive unit, follow orders, have great respect for one another, and keep their mission objective clearly in view.  They get the job done, and never flex any ego.  The marines from Aliens do nothing but talk tough and act as if they’re invincible bad asses.  I understand the intent of showing them as if they believe themselves to be so great that nothing can best them, and then, get dropped into a situation of a cold, hard reality check.  The same thing happens in Predator, and I think it’s done better in that film because you see how realistically capable these soldiers are.  They’re the real deal, and when you see that these seriously experienced, professional soldiers are afraid of what’s out there, it sells the situation even more.  As for that reality check shocking the marines down to size?  You still have Bill Paxton’s Hudson acting like a buffoon all the way through the film.  Someone of this weak will and lack of backbone would never make it into any military organization today, and Hudson does more to sell the incompetence of this team than anything else.  These marines also don’t follow orders when they’re given, and instead, subscribe to foolish, egotistical behavior to satisfy their own ignorant bravado.  It’s the character I have issue with, not Paxton.  I believe Bill Paxton to be a very good actor that eventually was given to chance to break out of this buffoonish stereotype, and that was a very thankful turns of events.

What really downgrade the quality of this film, for me, are the visual effects.  Keep in mind that James Cameron comes from a visual effects background as I point out these issues.  Firstly, and briefly, the use of rear screen projection backgrounds come off as low grade.  Even George Lucas tried using this in Star Wars, but when he saw how bad it looked, he swore it off never to be attempted again.  Cameron uses it here instead of blue screen effects, likely, because of the aforementioned crappy film stock he chose to use.  Again, this is from a filmmaker who started in visual effects.  Next up, the miniature vehicle photography is not convincing.  Miniatures are small and lightweight, but the photography of them is meant to fool you into perceiving them as full-sized versions that weigh, sometimes, thousands of pounds.  Filmmakers tend to shoot them at a higher frame rate that when transferred to 24 frames per second, create a slower moving object with a lot of mass to it to sell their realism.  Here, all the vehicles and ships move about with no realistic weight.  They fly around or drive across the planet’s surface with no gravity or mass about them.  The drop ship banks, lands, and takes off like a radio controlled toy.  The armored personnel carrier throttles around and bangs into corridors like a go-cart.  Something with a lot of mass, like these vehicles should have, would maneuver slower with bigger, wider movements.  More mass means more power is needed to propel them.  Think of how an eighteen wheeler, a humvee, or a helicopter move.  They maneuver slower than lighter weight vehicles, but that is not translated into this film.  I also have had this exact same problem with the future war sequences in Cameron’s Terminator films.  SkyNet’s huge Hunter-Killer gun ships flying through the air and making hair-point turns always looked incredibly awkward and unrealistic to me.

An extension of all this is the lack of visual atmosphere used to hide the limitations of sets, miniatures, and visual effects. Ridley Scott and his team achieved this visual disguise greatly with Alien using light, shadow, and smoke to disguise any budgetary limitations, or to blend miniatures, live action, and visual effects into a seamless whole. Clearly, something Scott continued on with in Blade Runner. The bonus of this in Alien is that it created a rock solid mysterious horror atmosphere that intensifies the overall unsettling nature of the movie.  Here, you can see the lack of depth and scope in the shot where you know it’s a soundstage set when it’s supposed to be a convincing alien planet landscape.  I’d expect that from an old episode of Star Trek that didn’t have the budget or technical knowledge to disguise these production shortcomings.  I would not expect that from a film that had an even BIGGER budget than Ridley Scott’s film which achieved better results on a smaller budget.  Again, James Cameron comes from a background of visual effects where he should know how to blur those lines, but what is displayed here would not at all reflect that experience.

James Horner’s score is somewhat mixed for me.  The cues he uses for the marines early on are very thin and weak.  His snare drum track sounds like a demo recording done in someone’s garage.  Again, I have to refer to Predator as Alan Silvestri really brought a powerful, meaty militaristic theme to that film.  Since Aliens really is more of a science fiction action picture than a horror genre creation, I can’t critique a lack of suspenseful cues, but it could’ve helped.  The score services the big action moments well, but despite what praise it has been given in decades past, I never found it all that compelling or exceptional.

Sigourney Weaver surely earned the respect and praise she received from her performance in this film.  The evolution of Ellen Ripley here is entirely on the mark.  Being the sole survivor of such a horrific experience, she would be a haunted woman waking up in the middle of the night in a cold sweat, and be determined to see this species wiped out of existence.  She’s traumatized, but is able to battle through that.  She takes her fear, and uses it to focus her eventual leadership skills.  You constantly see her battle against her intense fear in order to see her real world nightmare end.  Weaver also projects a warm, motherly sensibility while caring for the equally traumatized Newt.  The makeshift family they create with Hicks is rather brilliant.

Speaking of which, Michael Biehn brings his great, natural humanity to Corporal Hicks.  He shows the character to be a natural leader with confidence, decisiveness, and intelligence.  Hicks is definitely the guy that will have your back all the way.  Just as he was in The Terminator, Biehn shines through as a wonderfully dynamic and emotionally powerful actor.  His warmth and chemistry with Sigourney strikes the right, soft chord.  They work extremely well together with a mutual respect that penetrates through the screen.  I’m not sure that the original casting choice of James Remar would’ve embodied those qualities so strongly or naturally.  Michael Biehn was an amazing, fortunate happenstance in this instance.

Paul Reiser had some nice breakout roles in the 1980s including his appearances in the first two Beverly Hills Cop movies.  Here, I love his performance!  Burke is the textbook company man working his public relations angle with a compassionate façade while hiding a smarmy corporate mentality.  Reiser plays both ends of that spectrum well, and he allows them to mesh into a cowardly weasel who always seems a slight bit suspicious.  At first, he comes off as a genuinely decent fellow, but as the story unfolds, Reiser gradually peels that back as Burke gets closer to his goal.  It’s a nicely subtle piece of acting that rides a fine line,, but it surely is effective.

At this point in time, Lance Henriksen was making an impact with some unique, standout performances.  Bishop is a career highlight, indeed.  “Artificial person” so fits the description of him.  He has human qualities, but they are slightly off.  Again, subtlety enters the approach with an air of eerie creepiness to the droid Bishop.  Not in a malevolent way like Ian Holm’s Ash from the previous film, but as something just uneasy, unsettling about him.  At first, he doesn’t appear to be anything but human.  However, the more time an audience spends with him, the more these peculiar aspects nag your attention.  Because of Ripley’s own unease around a droid, an audience can also gain an uncertainty about him, but it’s great how the relationship between Ellen and Bishop builds towards a place of trust.

Now, James Cameron bringing in Stan Winston and his team was a brilliant, logic move.  You would need someone of Winston’s caliber to put together something impressive like the Alien Queen.  The improved designs of the egg, facehugger, and chesterburster are excellent bringing more articulation and realism to them all.  Now, I don’t have a preference between the original “smooth head” Alien from Ridley Scott’s film or the more “ridged head” Aliens featured here.  I think they both work fantastically, and surely suit the demands and lighting aesthetics for their respective films well.  Here, the more detailed and ridged craniums give the drones more character with a few little highlights here and there to make them standout more against the darker environments.   Stan Winston was a legend in this field, and his contributions made the industry what it is today.  He will be missed beyond words due to his passion, personality, skill, and artistry.  He left behind a legacy of respect and admiration.

I have zero problems with the story in Aliens.  It is a great progression and a smart direction for a sequel.  Following Ripley through this journey from a troubled woman trying to avoid her trauma to one who confronts it head on to defeat it with intense courage is a powerful story.  She finds her strength through the new emotional bonds she forges with Newt and Hicks.  The more action oriented approach is something I don’t have much of an issue with, but a little more suspense and terror could’ve gone a long way here.  There are those moments, but they’re more “jump out and scare you” bits instead of finely crafted suspense.  Aliens has some exciting sequences that are well conceived.  The climax has become a cinematic classic with Ripley squaring off with the Alien Queen in the powerloader.  It was a very original, massive crowd pleaser that put Ripley into a great, forceful position.

I’ve only ever watched the Special Edition of Aliens as it is James Cameron’s preferred version of the movie, and while it has all the substantive character depth and proper storytelling elements, it does feel too long at just over two and a half hours.  Cameron seems intent on making overly long films that lack the rhythm and pacing he so excellently captured in The Terminator.  Once he got a big budget, he started over-bloating his scripts and cutting down on storytelling innovations.  Sometimes, the restrictions of a smaller budget and limited resources force a filmmaker into creating a better, tighter product than when they are given access to all the tools with free rein to use them how they wish.  I feel that is the case with Jim Cameron.  As time went on, he seemed less interested in making compelling stories and more interested in flexing his budgetary ego.  I respect the innovations he has motivated in the realm of digital visual effects, but great special effects alone do not make for a great film.  However, all he seems interested in is pushing technology forward at the expense of quality storytelling.

All of this began here with Aliens.  He still was creating a quality story backed by a few strong, solid actors, but he surely could’ve tightened it up in areas during scripting.  Still, what irritates me when watching this film are many of the technical issues with visual effects, rear screen projection, the photography of the miniatures, and the poor choice of film stock.  Furthermore, the poorly conceived Colonial Marines, aside from Hicks, are cartoonish buffoons that like to stroke their own egos instead of getting serious in a serious situation.  These are all elements that make a substantial negative impact upon the film for me.  It has plenty of good qualities to it from the strong lead performances and practical creature effects, but with a film so long, the negatives inevitably linger to repeatedly damage my enjoyment of the movie.  Maybe, one day, I will watch the theatrical version and feel differently about that shorter cut, but if I was to judge this the way I intended, it had to be the director’s preferred version.  This is an off occasion where I didn’t review the film for the sake of opening people’s eyes or rousing anyone’s interest.  It really was just so I could deconstruct what always bothered me about this movie, and see the shortcomings that have prevented my full fledged enjoyment of it.  I’m sure many would not perceive these same issues, but if everyone had the same point of view on everything, it would be a very uninteresting world.