Category Archives: Sigourney Weaver

2008 Films, Dennis Quaid, Édgar Ramírez, Forest Whitaker, Holt McCallany, Matthew Fox, Political Thriller, Sigourney Weaver, Thriller, William Hurt, Zoe Saldaña

Vantage Point-2008

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Vantage Point-2008

Director Pete Travis

Starring Matthew Fox, Dennis Quaid, Forest Whitaker

Scott’s Review #1,271

Reviewed June 25, 2022

Grade: B-

The premise of Vantage Point (2008) is clever and hook-laden stirring up the feeling of intrigue. After all, the idea of several ‘vantage points’ to one perilous event, in this case, an assassination in a European country, exudes promise, and excitement.

An imagined fun game of whodunit or what happened to whom and when and from whose perspective prompted me to want to see this film.

The trailer looked good.

The film doesn’t satisfy and feels like a muddled mess with little character development and surprisingly mediocre acting given its A-list cast. The dialogue is forever repetitious with characters yelling out the same expletives in frustration that soon results in the incredible, teetering on laughably bad.

It plays too much like a carbon copy of the popular and exceptional television series ’24’ which ran on FOX during the 2000s when Vantage Point was made.

The inspiration, Vantage Point borrows heavily from the political thriller theme setup and the day-in-the-life concept popular during this decade. The editing is rapid-fire quick.

I was able to struggle to find a couple of redeeming values in the otherwise forgettable film.

Usually, seeing a film on the big screen in a slick, air-conditioned movie theater is a treat and increases my enjoyment of it, and that matters here.

In the case of Vantage Point, this raised its final grade from a mediocre C+ to a not much improved and generous B- score.

A stellar company of actors including Dennis Quaid, Sigourney Weaver, Forest Whitaker, William Hurt, and others joins Matthew Fox, hot at the time for his lead role in the massively successful ABC television series, Lost.

Did these actors read the script before signing on?

Witnesses with different points of view try to unravel an assassination attempt on U.S. President Henry Ashton (Hurt) while he is giving an important speech in Salamanca, Spain.

Special Agents Thomas Barnes (Quaid) and Kent Taylor (Fox) are assigned to protect Ashton during the summit on the war on terror. Television producer, Rex Brooks (Weaver), directs news coverage while American tourist Howard Lewis (Whitaker) films the audience.

After the leader’s arrival, shots ring out, and Ashton is down. In the resulting chaos, Howard comes forward with his camcorder, which he believes contains an image of the shooter.

Everyone attempts to solve the mystery by giving different accounts of what transpired.

Vantage Point is fantastic for about the first thirty minutes until it quickly runs out of gas. The setups are rapid with Rex, Howard, Barnes, and Taylor experiencing different perspectives and the film moves around in the timeline from pre-shooting to post-shooting well.

The novelty wears thin once the perspectives are revised repeatedly and the plot becomes unnecessarily complicated and downright convoluted.

This makes a normally fast running time of one hour and twenty-nine minutes feel like a lifetime commitment.

Comparisons that I’ve heard to a 1950 Japanese film called Rashomon which unfortunately I have never seen are laughable.

My hunch is that the art film is worlds away from the slickly Americanized Vantage Point and a slow build in the former is superior to the quickly edited mainstream latter.

Vantage Point (2008) is not a well-remembered film nor should it be. There is no reason to watch it a second time. A better choice is to watch the series 24 again instead.

It’s nearly the same with one being superior.

1982 Films, Australian, Drama, Linda Hunt, Mel Gibson, Peter Weir, Political Drama, Romantic Drama, Sigourney Weaver

The Year of Living Dangerously-1982

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The Year of Living Dangerously-1982

Director Peter Weir

Starring Mel Gibson, Sigourney Weaver, Linda Hunt

Scott’s Review #1,266

Reviewed June 16, 2022

Grade: B+

The Year of Living Dangerously (1982) is a solid political drama with enough intrigue, romance, and superior cinematography by Russell Boyd, to recommend it. It’s not an American film but Australian which gives it an authentic flavor even though events are primarily set in Indonesia.

If Mad Max (1979) didn’t make Mel Gibson a full-fledged pinup star The Year of Living Dangerously certainly did because it made him a romantic ladies’ man in addition to a rugged action star. He has a ton of good looks and charisma at this point in his career and arguably has never looked better.

One could say (okay, I flat out will) that Gibson is upstaged, unintentionally so, by stage actress Linda Hunt who gets the role of her life as a highly intelligent Chinese-Australian man suffering from dwarfism and key to the entire plot.

Hunt won the Academy Award for flipping gender norms on its head and making the film more progressive and memorable than it deserves to be. Her performance is timeless and rich in character flavor.

If not for Hunt and Gibson as the standouts the film is lost in the shuffle amongst the myriad of similar political dramas to emerge in the 1980s.

Missing (1982) starring Jack Lemmon and Sissy Spacek and Victory (1981) starring Sylvester Stallone are the films that The Year of Living Dangerously reminds me of.

Blow Out (1981) and No Way Out (1987) are two of the best political drama films to come out of the decade and all are assuredly influenced by All the President’s Men (1976) which is one of the best from the genre.

There are so many others that The Year of Living Dangerously feels forgotten and too similar to a standard formula to stand out. It also suffers at times from being either a romantic drama or a political thriller and it struggles to mesh the two satisfyingly.

After journalist Guy Hamilton (Gibson) arrives in Jakarta, Indonesia, he forms a friendship with dwarf photographer Billy Kwan (Hunt), through whom he meets British diplomat Jill Bryant (Sigourney Weaver).

Bryant falls in love with Hamilton, and she gives him key information about an approaching Communist uprising. As the city becomes more dangerous, Hamilton stays to pursue the story. However, he faces more threats as he gets closer to the government putting him and others passionate about the political turmoil, in great peril.

The romance between Guy and Jill is not bad but Weaver has had so many better roles than this one that it feels throwaway. She’s a smart lady who falls madly in love with Guy so easily that the formulaic context is obvious.

The movie poster makes the pair look like Rhett and Scarlett in Gone with the Wind (1939), unintentionally providing humor and ambiguity about what the film is going for.

It does best when it sticks to the political message.

The film is laden with foreign mystique and intrigue largely due to the exotic locale of Indonesia (the film was shot in the Phillippines which is a good double).

The plot is absorbing for what it is and the peril the journalists face is exciting. This parlays well with the real-life situation in which the film is based. In 1965, Indonesia was a hotbed of corruption and danger, and director, Peter Weir, managed to pull these sequences together well.

The main flaw is Weir doesn’t seem to know if he is crafting a political thriller or a romantic drama.

Back to the astounding Linda Hunt, the best scene of the film occurs when her character dies in Guy’s arms. Forget Weaver, the emotional core of the film belongs to Gibson and Hunt who have tremendous chemistry. The ambiguity of Billy, mostly because we know the gender of Hunt, is delicious.

In the end, the conclusion is mostly a happy one albeit predictable and the storyline feels unsatisfying.

A nice effort and relevant in 1982, The Year of Living Dangerously has energy and polish. It just feels too familiar and similar to other genre films to stand out, save for Linda Hunt and Mel Gibson.

Oscar Nominations: 1 win-Best Supporting Actress-Linda Hunt (won)

2011 Films, Bradley Whitford, Chris Hemsworth, Drew Goddard, Horror, Horror-Comedy, Kristen Connolly, Richard Jenkins, Science Fiction, Sigourney Weaver

The Cabin in the Woods-2011

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The Cabin in the Woods-2011

Director Drew Goddard

Starring Kristen Connolly, Chris Hemsworth

Scott’s Review #1,221

Reviewed January 17, 2022

Grade: A-

The Cabin in the Woods (2011) is a very clever film with tremendous writing and acting. It takes a standard horror film premise and spins it into something new and inventive. I wouldn’t dare spoil the twist reveal at the end of the film but suffice it to say it’s a doozy.

It’s not your typical or expected slasher film.

Created by Drew Goddard (he wrote Cloverfield-2008) in his directorial debut he also co-wrote the screenplay with Joss Whedon. Besides horror, there is dark comedy and science fiction incorporated making it cross-genre entertainment and enjoyment.

When five college friends (Kristen Connolly, Chris Hemsworth, Anna Hutchison, Fran Kranz, Jesse Williams) arrive at a remote forest cabin for relaxation and quiet, odd horrors await them. A group of backwoods zombies wreaks havoc on the group and they are systematically killed one by one in a gruesome fashion.

From an unknown location, two scientists (Richard Jenkins, and Bradley Whitford) are manipulating the events, but there are even more sinister machinations going on somewhere else.

The story on the surface is pretty basic and Goddard and Company delightfully add parodies of standard horror elements. Most who see The Cabin in the Woods will be fans of the horror genre.

Anytime five college kids head for a weekend alone in a secluded cabin it’s a recipe for disaster.

I immediately compared the film to Friday the 13th (1980) meets The Evil Dead (1981).

The group even has nicknames that coincide with traditional horror/slasher film character trademarks: ‘The Virgin’, ‘The Athlete’, ‘The Whore’, ‘The Fool’, and ‘The Scholar’.

This is a pure treat for fans.

Goddard, or the scientists manipulating the action, gleefully fills the students with intoxicants making their libidos flare and their curiosities piqued. A mysterious diary and other weird objects are found by the group in the cabin basement.

Ordinarily smart, the students are unable to provide rational thinking or proper reasoning. Naturally, they are unable to escape the remote area either.

The scientists cackle and make bets on which zombie will appear next. The audience enjoys this immensely because what horror film viewer doesn’t predict who gets killed when how and who will be the last one standing?

The Cabin in the Woods is incredibly enjoyable.

In joyous form, two of the group have animalistic sex outside and one is decapitated.

Then things get strange.

The audience knows of the scientists, but wait there’s more! When the scientists are called by a mysterious ‘director’ who tells them that Marty (Hemsworth) has not been killed and is attempting to rescue Dana (Connolly), something has gone amiss.

The reasoning and understanding of the big reveal are very implausible but shocking nonetheless. It’s scary because it’s unexpected and that’s why the film is so creative and successful.

The Cabin in the Woods (2011) turns the traditional horror formula upside down and is a pure delight for fans of the genre. Instead of mocking, it embraces the methods and offers intelligence and humor that I truly appreciate.

2002 Films, Bebe Neuwirth, Comedy, Independent, Independent Comedy, Independent Romantic Comedy, John Ritter, Kate Mara, Romantic Comedy, Sigourney Weaver

Tadpole-2002

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Tadpole-2002

Director Gary Winick

Starring Sigourney Weaver, Aaron Stanford, John Ritter

Scott’s Review #1,125

Reviewed March 23, 2021

Grade: B

Tadpole (2002) is an enjoyable coming-of-age effort that carefully, or too carefully, toes the line between being cute and exploring some morally questionable material.

The film gets away with the naughty subject matter because there exists a wholesomeness that lands somewhere between fresh and a commodity.

It’s a fun romp but nothing memorable either, borrowing from better films.

Aaron Stanford, the lead actor, makes the film better than it might have been and seamlessly matches wits and comic timing with heavyweight actors like Sigourney Weaver, John Ritter, and Bebe Neuwirth. He is charming just like his character and carries the film.

As Oscar Grubman (what a name!) he is compassionate and sophisticated, reciting Voltaire and speaking fluent French.

When he arrives home for Thanksgiving weekend it is revealed that he has a major crush on his stepmother, Eve (Weaver). She and Oscar’s father, Stanley (Ritter) share a ritzy Manhattan apartment and entertain a girl they think would be perfect for Oscar but he only has eyes for Eve and rebuffs the poor girl.

Despondent at not having a chance with his stepmom but desiring her, Oscar visits a local bar and runs into Eve’s best friend, Diane (Neuwirth). He gets drunk and she takes him home winding up in bed together! Oscar is filled with remorse.

Oscar’s and Diane’s tryst is the caveat for the rest of the antics of the film. Oscar is terrified that Diane will tell his father and Eve especially as she is on the guestlist for dinner the next night!  An amusing game of footsie under the table ensues between Oscar and Diane.

Diane is a Mrs. Robinson-type character to Oscar’s Benjamin if we want to draw comparisons to The Graduate (1967) and how could we not? Eve is like Elaine, Mrs. Robinson’s daughter.

Unsuspecting and slightly naive. It’s fun to reminisce about the classic film that director Gary Winick borrows from.

Speaking of Winick, he has a knack for creating coming-of-age stories featuring teenage characters with light angst and he commonly releases independent films. My hunch is that if Tadpole was a big-budget mainstream affair even more concessions might have been made for the brewing May/December romance.

The “dinner scene” is the best part of Tadpole and provides good physical comedy and a hilarious setup. It’s a stretch in plausibility and borrows from many slapstick comedies but somehow the scene works well and stands out.

The subject matter of a woman three times the age of Oscar is not as harsh as it sounds and is largely played for laughs and misunderstandings. This is where the film misses the mark and stays firmly in the safe lane.

Imagine the juicy possibilities that would occur if Eve reciprocated Oscar’s advances. Now that is an interesting concept!

I shudder to think that if Oscar were a fifteen-year-old girl and Eve a forty-something-year-old man this film would never have been made.

The double standard gnawed at me.

The ending is wholesome and predictable making the film satisfying for the character yet limiting for the viewer. Oscar more or less “snaps out of it” and realizes that girls his age are okay after all.

I half-wondered if the film would be revealed to have all been Oscar’s dream.

The cougar-esque subject matter provides light entertainment never daring to go as far as it could have, or should have. In the end, we understand a young, pubescent boy’s dreams and desires and may fondly recall when we were his age and all the troublesome sexual feelings that bubbled under the surface.

Tadpole (2002) is a watchable independent comedy providing enough to digest thanks to the worthy actors among its cast.

1997 Films, Allison Janney, Ang Lee, Christina Ricci, Drama, Elijah Wood, Independent, Independent Drama, Joan Allen, Jonathan Freeman, Katie Holmes, Kevin Kline, Sigourney Weaver, Tobey Maguire

The Ice Storm-1997

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The Ice Storm-1997

Director Ang Lee

Starring Kevin Kline, Joan Allen, Sigourney Weaver

Scott’s Review #850

Reviewed January 1, 2019

Grade: A

The Ice Storm (1997) is a brilliant film directed by Ang Lee of Crouching Tiger, Hidden Dragon (2000), and Brokeback Mountain (2005) fame.

The film is based on a 1994 novel of the same name, written by Rick Moody.

The brilliance lies in the rich way the characters are written with coldness, repression, and loneliness being central themes. The film is astonishingly genuine and fresh with an authenticity rarely felt so wholly in adult family dramas.

The period is 1973 and the events take place in New Canaan, Connecticut, a wealthy suburban town.

Two dysfunctional families, the Hoods and the Carvers co-exist during the Thanksgiving weekend as each deals with repression and escapism amid alcohol and sexual experimentation.

Both the adults and the children’s lives are prominently featured in the story. Ben and Elena Hood (Kevin Kline and Joan Allen) and Jim and Janey Carver (Jamey Sheridan and Sigourney Weaver) head the families.

While Ben and Janey carry on a secret affair, Elena lives an unfulfilled existence, craving more from life but not knowing how to get more and reduced to consulting self-help books for support.

Wendy Hood (Christina Ricci) enjoys sexual escapades with multiple boys while Paul Hood (Tobey Maguire), home from boarding school, takes the train into New York City to see a rich classmate Libbets Casey (Katie Holmes).

The most wonderful aspect of the film is that the story is a slice of life but with clever nuances. Since the families are rich why should the viewer feel sympathy for any of the characters let alone root for them?

Ben and Janey lounge in bed after sex, he is chatty about nonsense, and she is bored and depressed. During a holiday neighborhood gathering a kinky “key party” develops, where participants swap spouses for the night, resulting in titillation and excitement.

The bold and controversial writing is exactly why The Ice Storm scores so many points. The characters are cold and frozen, unlikable and selfish, but might that be the point? All seem unhappy and tired of their dull, small-town existence and craving what little excitement they can muster.

Written similarly to American Beauty (1999) the films could be watched in tandem for evenings of Gothic and macabre story-telling.

My favorite character is Elena as she has the most sensibility. She is lonely and ignored by her husband dutifully going about her day with little emotion. She feels temporarily excited when she develops a romantic crush on a neighbor only to quickly realize the most she can ever hope for with this man is a fling.

Her character is fleshed out as she yearns for more than she has. The other characters are largely selfish and pampered.

The film’s conclusion, however, is monumental as it changes the perceptions of some characters and softens them. A tragic death brings characters together in a powerful way.

Again, the writing in The Ice Storm is the most interesting and compelling appeal. The acting among the entire cast is professional, heartfelt, and brazen, but the written dialogue and interesting situations make this film rise above others of a similar genre.

Lee’s direction is brilliant as the blustery winter atmosphere is central to the story- in more ways than we might originally think. The frozen power lines and slick windy country roads elicit a cozy feeling nestled between harboring family secrets and scandals.

The bitter yet beautiful ambiance is a soothing and compelling aspect of the entire film and Lee portrays these elements with precision.

Of the independent drama genre, The Ice Storm has a low budget and big-name stars. The film could easily be performed as a play, but the cinematic elements and fantastic writing make it a memorable and storied piece of film-making.

Ang Lee frequently incorporates astounding character development in his works and The Ice Storm (1997) has all the qualities to be considered a masterpiece.

1988 Films, Alec Baldwin, Comedy, Harrison Ford, Joan Cusack, Kevin Spacey, Melanie Griffith, Mike Nichols, Oliver Platt, Olympia Dukakis, Ricki Lake, Romantic Comedy, Sigourney Weaver

Working Girl-1988

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Working Girl-1988

Director Mike Nichols

Starring Melanie Griffith, Harrison Ford, Sigourney Weaver

Scott’s Review #748

Reviewed April 26, 2018

Grade: B+

Released during a decade known for excess, fun, and light comedy films, especially during the latter half, 1988’s Working Girl was a blockbuster hit at the time, and in modern times is perfectly nestled as an identifier of the decade itself.

This can be both good and bad with both a dated feel and also a whimsical, basic good girl versus a bad approach that is appealing.

The film is romantic comedy fluff but is entertaining and features lovely views of New York City- one of my very favorite locales.

The film is directed by Mike Nichols, known more for the heavier subject matter (1966’s Who’s Afraid of Virginia Woolf and 1967’s The Graduate). His leading of the picture, as well as all-star casting, surely made this film better than it ought to have been.

Tess McGill (Melanie Griffith) commutes via the Staten Island Ferry each morning into vast Manhattan where she holds a secretarial job at a Wall Street investment bank.  When she has a bad experience with one of the brokers, she is reassigned to a female boss, the assertive Katharine Parker (Sigourney Weaver).

After Katharine steals Tess’s business idea and passes it off as her own to get in good with handsome Jack Trainer (Harrison Ford), Tess is determined to reveal the truth as a triangle develops between the three individuals.

In tow are Tess’s best friend Cynthia (Joan Cusack) and her cheating boyfriend, Mick (Alec Baldwin) in supporting roles.

Working Girl feels overwhelmingly like a “1980s film” and while relevant at the time and kindly nostalgic, the film does not hold up well in modern times, rather seeming to be suited for a time capsule, unlocked from time to time for kicks.

The most garish example is the hideous hairdos that Nichols has Tess and Cynthia don- frizzed out and caked with aqua net hairspray is over-the-top even for the 1980s.

Then there are the inevitable tacky outfits complete with bright colors and shoulder pads as the girls hustle to their dull jobs. With these costume tidbits in addition to the filming style the tone just screams the 1980’s.

The casting of the three leads is very good- Griffith, Ford, and Weaver all share nice chemistry and the clear rooting value is for Tess and Jack to live happily ever after- with Katharine as the obvious foil.

The conclusion of the film is of little surprise, but as a romantic comedy, this is standard fare. The point is that the relationships are dynamic and the ride is fun. Griffith is quite breathy and seductive in her role- a clear homage to the talents of Marilyn Monroe in her 1950s-era films.

Never known for great acting, Tess is the role of a lifetime for Griffith. Weaver sinks her teeth into an against-type villainous role and Ford is dashing and charismatic as the leading man.

My favorite parts of Working Girl, and the strongest aspects of the film, leaving an indelible impression even after all of these years, are the sweeping camera sequences of New York City featured throughout the film.

Lots of scenes were shot in neighboring Staten Island, but the best shots of all are the luminous skylines of Manhattan that encompass the opening sequence and later, viewpoints from the corporate offices.

There we see Tess on the Ferry heading across the Hudson River all with the wonderful soundtrack song by Carly Simon, Let the River Run, playing in the background. The soothing tune and the approaching mammoth city set a nice tone.

The story itself is a sort of rags to riches, Cinderella-style experience from the point of view of Tess. Taking night classes to better herself and clearly, a blue-collar type battling the giants of the corporate world and the more sophisticated Katherine (she speaks fluent French!) is an enormous draw of the film to sustain mainstream audiences.

Corporate greed versus the little guy is an adept comparison here. Almost borderline fairy tale, the fact that Tess gets the dashing Jack (in real life he would undoubtedly be with Katharine) makes the film good, escapist fare.

The working-class Staten Island versus the sophisticated Manhattan is another theme worth mentioning.

Thirty years beyond its original release. 1988’s Working Girl now seems dated, dusty, and of its time like many similar style films, but does still contain some of the enjoyment undoubtedly beholden to it at the time of release.

A film that is fine to take out of the vault, dust off, and enjoy for some good escapist cinema and a predictable story of good overcoming bad.

Oscar Nominations: 1 win-Best Picture, Best Director-Mike Nichols, Best Actress-Melanie Griffith, Best Supporting Actress-Joan Cusack, Sigourney Weaver, Best Original Song-“Let the River Run” (won)

2009 Films, CCH Pounder, Fantasy, Giovanni Ribisi, James Cameron, Michelle Rodriguez, Sam Worthington, Science Fiction, Sigourney Weaver, Zoe Saldaña

Avatar-2009

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Avatar-2009

Director James Cameron

Starring Sam Worthington, Zoe Saldana

Scott’s Review #572

Reviewed December 29, 2016

Grade: A

Acclaimed director James Cameron has done it again- similar to Titanic, he has created a masterpiece, but, oddly in one facet of the film, not the entire ball of wax.

Avatar (2009) has two main factors to evaluate- the story and the visual aspect. Both are crucial, but the visual experience is immeasurable, so much so that the story is nearly irrelevant.

Futuristic in the timeline and set in the Twenty-second century, human beings begin to colonize Pandora, a lush planet, filled with lavish forests and creatures who flutter about.

Planet Earth has become depleted of resources, causing scientists to utilize Pandora for their gain. Poisonous to humans, visitors must wear protection.

Sam Worthington portrays Jake Scully, a paraplegic former Marine, who visits Pandora and falls in love with Neytiri, a native creature of the planet.

From a story perspective, Avatar is very ordinary and nothing separates the story from others that have come before it.

At the center is a love story and a rather predictable one in nature, but this is not the reason to view Avatar. Jake and Neytiri are sweet together, but I had much more fun watching the film than caring what happened between the pair.

Visually, Avatar is one of the most amazing films I have ever seen. The intricate style and the attention to detail are astounding- this is my favorite aspect of Avatar and why I feel that the story is not the reason to see the film.

Everything, from the art direction to the background pieces is perfectly made. Natives of Pandora are all CGI- blue/green in color and are gorgeous, peaceful, and moving.

Avatar will likely go down in history as a groundbreaking film- it is a visual feast.

The anti-war slant is also impressive to me, but the creative, and technical achievements set this film over the top.

James Cameron creates a magical, absorbing film that must be cherished.

Oscar Nominations: 3 wins-Best Picture, Best Director-James Cameron, Best Original Score, Best Sound Editing, Best Sound Mixing, Best Art Direction (won), Best Cinematography (won), Best Film Editing, Best Visual Effects (won)

2010 Films, Andy Fickman, Betty White, Catherine Bach, Cloris Leachman, Comedy, Daryl Hall, Dwayne Johnson, Jamie Lee Curtis, John Oates, Kristen Bell, Kristin Chenoweth, Sigourney Weaver

You Again-2010

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You Again-2010

Director Alan Fickman

Starring Kristen Bell, Jamie Lee Curtis, Sigourney Weaver

Scott’s Review #510

70127239

Reviewed November 4, 2016

Grade: C

If not for the cast (Jamie Lee Curtis, Betty White, and Sigourney Weaver) You Again (2010) would have been a bad experience and a dimwitted, by-the-numbers comedy, but the talent involved has helped matters greatly.

This is not meant to parlay much credit to the film.

As it is, it is not a great film, and quite silly and dumb, but the cast successfully turns it into a light, fun, dumb movie instead of solely drivel- with a less likable cast this would have undoubtedly been the case.

Bell is not my favorite actress, but alas she seems to be currently receiving star turns in these types of films.

The premise is basic and tried and true- A twenty-eight-year-old “beautiful” woman (Kristen Bell) who was an ugly duckling in high school, returns to her hometown for her brother’s wedding and his fiancé turns out to be her high school nemesis.

It is a standard Hollywood comedy cliched with typical gags, and a “we have seen this before” story.

A gripe- Kristen Bell is a cute, sort of all-American, girl next door, but I would be remiss if I did not point out she is not the beauty they make her out to be.

Thanks to the aforementioned cast, and the wit that Curtis and Weaver bring to their rivalry (as mothers of the respective fiancé and Bell’s character- they were high school rivals a generation before), You Again (2010) does get some meager credit.

Not much, but some.

1979 Films, Harry Dean Stanton, Horror, Ridley Scott, Science Fiction, Sigourney Weaver, Veronica Cartwright

Alien-1979

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Alien-1979

Director Ridley Scott

Starring Sigourney Weaver

Scott’s Review #94

60029356

Reviewed July 5, 2014

Grade: A-

Alien is a science-fiction success from 1979 that began a long-running franchise and made Sigourney Weaver a household name.

It has the brilliant direction of Ridley Scott, who sets up the atmosphere and camera angles perfectly.

Arguably in the horror genre as well as science-fiction, the film is riveting from start to finish.

Weaver stars as Warrant Officer Ellen Ripley, a member of a spaceship returning to Earth. The ship picks up a distress signal and is ordered to investigate. They discover an alien existence.

From this point, the film certainly has a horror element to it as the members of the doomed spacecraft are knocked off one by one in pure horror fashion, but the brilliant part is you do not know when or how and many of the deaths come out of nowhere.

The captivating visual effects in this film take it to another level and the narrow spacecraft tunnels and hallways are stunning.

The villain of the film, the alien, is masterful as it is mysterious to the audience. The fact that it is only sporadically seen only adds to the tension.

Alien (1979) is a memorable classic that is high up there on the sci-fi genre list of excellent films.

Oscar Nominations: 1 win-Best Art Direction, Best Visual Effects (won)

1986 Films, Bill Paxton, Horror, James Cameron, Paul Reiser, Science Fiction, Sigourney Weaver

Aliens-1986

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Aliens-1986

Director James Cameron

Starring Sigourney Weaver

Scott’s Review #80

60029358

Reviewed June 29, 2014

Grade: B+

Aliens (1986) takes away the rawness of the original Alien (1979) and infuses a glossier, slick look to the film franchise.

The film was made eight years later, but story-wise, it is set fifty-seven years into the future when Ripley, played to perfection by Sigourney Weaver, awakens.

To her horror, she discovers that the aliens have colonized and she is forced to return to prevent havoc. The militia is in tow, adding a helping of masculinity that supports the film throughout.

This scenario perfectly sets up what is to become an excellent sci-fi adventure story.

There are wonderful special effects that were quite extraordinary when the film was shot-1986. The tunnels and spacecraft are perfectly lit and designed, giving it a bright and fun setting and the audience knows that doom is lurking.

The actual aliens are visually frightening and, compared to the original, are more plentiful.

Sigourney Weaver takes center stage and leads this film successfully.

I’m not sure many other actresses could pull off her level of authentic toughness and give no sex appeal in the process and successfully get away with it.

The only detraction to the film is it seems a bit dated in a purely 1980s film way. It has an 80’s look to it and that’s not a positive.

Not on par with the excellent original Alien, but otherwise, a well-made, supernatural, thrill ride.

Oscar Nominations: 2 wins-Best Actress-Sigourney Weaver, Best Original Score, Best Sound Effects Editing (won), Best Sound, Best Art Direction, Best Film Editing, Best Visual Effects (won)