Heaven Is for Real
Faith-based film tries reaching past its audience, but falls back on preaching to its own choir way too much.
* This filmography is not intended to be a comprehensive list of this artist’s work. Instead it reflects the films this person has been involved with that have been reviewed on this site.
At their big D23 Expo event, Disney unleashed some stars and a lot of tantalizing info about live action films.
The visceral impact that Ridley Scott's "Alien" had in 1979 can never quite be recaptured, partly because so many movies have adapted elements of its premise, design and effects over the last three decades -- from John Carpenter's remake of "The Thing" (1982) to David Cronenberg's remake of "The Fly" (1986) to "Species" (1998) and "Splice" (2009). No movie had ever looked like this. And it still works tremendously -- but let me tell you, in 1979 a major studio science-fiction/horror film that hinted darkly of interspecies rape and impregnation was unspeakably disturbing. (It got under my skin and has stayed there. We have a symbiotic relationship, this burrowing movie parasite and I. We nourish each other. I don't think Ridley Scott has even come close to birthing as subversive and compelling a creation since.)
The thing is, the filmmakers actually took out the grisly details involving just what that H.R. Giger " xenomorph" did to and with human bodies (the sequels got more graphic), but in some ways that made the horror all the more unsettling. You knew, but you didn't know. It wasn't explicitly articulated. Dallas (Tom Skerrit) just disappears from the movie. The deleted "cocoon" scene (with the haunting moan, "Kill me...") appeared later on a LaserDisc version of the film, and then was incorporated into the 2003 theatrical re-release for the first time. The deleted footage:
"The number of people blogging television online -- it's ridiculous. They don't know what we're building. And by the way, that's true for the people who say we're great. They don't know. It doesn't matter whether they love it or they hate it. It doesn't mean anything until there's a beginning, middle and an end. [...]
I do have a certain amused contempt for the number of people who walk sideways into the thing and act like they were there all along. It's selling more DVDs now than when it was on the air. But I'm indifferent to who thinks Omar is really cool now, or that this is the best scene or this is the best season. It was conceived of as a whole, and we did it as a whole. For people to be picking it apart now like it's a deck of cards or like they were there the whole time or they understood it the whole time -- it's wearying. Because no one was there in the beginning, or the middle, or even at the end. Our numbers continued to decline from Season 2 on.* -- David Simon, creator of "The Wire," "Generation Kill," "Treme"
I've heard some very good film critics make this argument before, too. Of course, a movie has a beginning, a middle and an end (although, as Jean-Luc Godard reminded us, not necessarily in that order). That's the fabled "three-act structure" all the screenplay manuals talk about. Wim Wenders and other great directors have observed that they always make at least two movies: the one they set out to make and the one they discover while they're trying to make the first one. Same goes for watching a movie or TV series: there's always the show you watch when its destination is unknown, and the one you reconsider after you know how it ended up.
Marie writes: The local Circle Craft Co-operative features the work of hundreds of craftspeople from across British Columbia and each year, a Christmas Market is held downtown at the Vancouver Convention Centre to help sell and promote the work they produce. My friend and I recently attended the 37th Christmas Market and where I spotted these utterly delightful handmade fabric monsters by Diane Perry of "Monster Lab" - one of the artist studios located on Salt Spring Island near Washington State...it's the eyes... they follow you. :-)
(click to enlarge)