Archive for the ‘UFO’s on Amazon UK’ Category
May 11th, 2010 | 
Author:
Amazon.co.uk Review
This 1956 pop adaptation of Shakespeare’s The Tempest is one of the best, most influential science fiction movies ever made. Its space explorers are the models for the crew of Star Trek‘s Enterprise, and the film’s robot is clearly the prototype for Robby in Lost in Space. Walter Pidgeon is the Prospero figure, presiding over a paradisiacal world with his lovely young daughter and their servile droid. When the crew of a spaceship lands on the planet, they become aware of a sinister invisible force that threatens to destroy them. Great special effects and a bizarre electronic score help make Forbidden Planet as fresh, imaginative and fun as it was when first released. Amazon.co.uk Review
Ahead of its time in many, many ways, Forbidden Planet has been cemented in its role as a science fiction classic over the past few decades, to the point where its 50th birthday is being marked with this special DVD release.
What’s more, the iconic film has never looked better. The print of Forbidden Planet has been buffed up to a terrific standard, and while it’s a cliché to report that it’s never looked better, we challenge anyone to disagree.
The film too is just as compelling. Set in the 23rd century, on a far and distant star Professor Morbius, his daughter and Robby the Robot are seemingly alone, until a space craft from Earth arrives. This sets events in motion that bring a real human core to a genre where such a factor, right to this day, is often lacking.
But it’s not just that which makes Forbidden Planet continually worthy of attention. The special effects, for instance, are astounding given the era in which the film was made, while the ideas and ambition that underpin the production are equally of merit. At heart, though, it was and is an utterly compelling movie, which has had a long and profound influence on the genre as a whole.
This 50th anniversary edition also comes armed with extra features, notably several documentaries. But after all these years, it’s still the film that’s the star, and you simply wouldn’t wager against it enduring for another 50 years after this. –Jon Foster
Posted in 
Tags: 
Amazon.co.uk Review
Despite super effects, a huge budget, and the cinematic pedigree of alien-happy Steven Spielberg, this take on H.G. Wells’s novel is basically a horror film packaged as a sci-fi thrill ride. Instead of a mad slasher, however, Spielberg (along with writers Josh Friedman & David Koepp) utilizes aliens hell-bent on quickly destroying humanity, and the terrifying results that prey upon adult fears, especially in the post-9/11 world. The realistic results could be a new genre, the grim popcorn thriller; often you feel like you’re watching Schindler’s List more than Spielberg’s other thrill-machine movies (such as Jaws or Jurassic Park). The film centers on Ray Ferrier, a divorced father (Tom Cruise, oh so comfortable) who witnesses one giant craft destroy his New Jersey town and soon is on the road with his teen son (Justin Chatwin) and preteen daughter (Dakota Fanning) in tow, trying to keep ahead of the invasion. The film is, of course, impeccably designed and produced by Spielberg’s usual crew of A-class talent. The aliens are genuinely scary, even when the film–like the novel–spends a good chunk of time in a basement. Readers of the book (or viewers of the deft 1953 adaptation) will note the variation of whom and how the aliens come to Earth, which poses some logistical problems. The film opens and closes with narration from the novel read by Morgan Freeman, but Spielberg could have adapted Orson Welles’s words from the famous Halloween Eve 1938 radio broadcast: “We couldn’t soap all your windows and steal all your garden gates by tomorrow night, so we did the best next thing: we annihilated the world.” –Doug Thomas, Amazon.com
Amazon.co.uk Review
A visual knockout, Titan A.E. is an ambitious animated feature that combines traditional animation, computer-generated imagery and special effects in the service of a science fiction adventure plotted with narrative conventions familiar from Star Wars and Star Trek. Credit directors Don Bluth (An American Tail, The Secret of NIMH, Anastasia) and Gary Goldman with crafting a vivid, convincing look to this deep space saga, which conjures some stunning images: a tense opening sequence climaxing in the destruction of Earth; a watery planet where delicate but deadly hydrogen trees float; joyriding in a starship while pursued by playful “space angels”; and a nerve-wracking journey through a lethal maze of massive ice crystals each qualify as mesmerising sequences in any film context.
What’s visually stunning proves intermittently stunted on the narrative front, however. Orphaned when the evil Drej atomise Earth, protagonist Cale (voiced by Matt Damon) must journey across space to unlock the mystery of his late father’s final project, the Titan spacecraft, in a test of faith and filial identity that echoes Star Wars. The Titan itself ultimately poses a cosmic potential familiar to admirers of Star Trek II: The Wrath of Khan. Comical sidekicks (Nathan Lane, Janeane Garofalo, John Leguizamo), a sultry love interest (Drew Barrymore) and a roguish mentor (Bill Pullman) all verge on the generic, narrowly redeemed by dialogue from a writing team including Buffy the Vampire Slayer-creator Joss Whedon.
It’s likely that Titan‘s target audience of young males prompted the filmmakers to walk a tightrope between softer family features and more violent, hard-edged anime. Although it’s brief bloodshed and coy nudity stops short of more adult terrain, younger viewers might be unsettled by the violence. Young teens will find the proceedings tamer than the video games and anime fantasies that have influenced it. –Sam Sutherland, Amazon.com
Amazon.co.uk Review
The definitive American television series of the 1990s. The X-Files comes to the big screen with an anticlimactic whimper. And how could it be otherwise? Why should material so perfectly realised in one medium necessarily translate well into another? The series is crisply and thoughtfully executed in just about every detail, but the heart of its appeal lies in the elegant handling of complicated and evolving ongoing story lines, which is not something movies are especially good at. The big-screen drive for closure cramps the creative style, though it may also help nonfans get a grip on the proceedings. We do get some invigorating thrills and chills, however, and a more satisfying sense of the scale of an all-enveloping human-alien conspiracy than ever before, but there’s no more plot development here than in an average two-part season-ending. FBI black sheep Mulder and Scully have been temporarily transferred from the X-Files project to an anti-terrorist unit to investigate an Oklahoma City-style bombing. They uncover a new wrinkle in the Syndicate/Cancer Man conspiracy–basically an attempt to help one bunch of (benign?) aliens fight off another bunch who want to colonise Earth. A spectacular, ice-bound finale thrillingly staged by series-veteran director Rob Bowman offers Mulder (but not a conveniently unconscious Scully) his first clear look at a You Know What, which in some quarters qualifies as an epochal event. Martin Landau offers the agents some crucial clues, and several familiar TV faces (including the Lone Gunmen and Mitch Pileggi’s indispensable Assistant Director Skinner) turn up briefly to wink knowingly at faithful fans. –David Chute
Amazon.co.uk Review
When his absent-minded father gives young Billy Pelzer (Zach Galligan) a new pet, he warns him to abide by three rules. The rules get broken, of course, and the pet–a cute Mogwai named Gizmo–unwittingly gives birth to the vicious Gremlins who proceed to terrorise the town.
Although the long shadow of Producer Steven Spielberg hangs over Joe Dante’s 1984 comedy Gremlins almost as much as it did over Tobe Hooper’s Poltergeist (1982), Dante doesn’t allow it to overwhelm his own quirky style too much. Glimpses of Robbie the Robot and The Time Machine (which promptly disappears) at an inventors’ convention reveal his passion for old-movie references (which culminated with Matinee, 1993). Aided and abetted by Spielberg’s guidance and a script by Chris Columbus (who would go on to direct and produce the Home Alone franchise) and a music score by Jerry Goldsmith, Dante had all the help he needed to make the biggest hit of his career.
Much of the humour derives from Dante’s playful handling of the setting in Smallsville, USA, whose inhabitants are as much the target of his satire as they are of the Gremlins’ unwanted solicitations. The xenophobic neighbour who warns prophetically of “gremlins” in foreign cars and machinery provides a subtext for the attack on homely American values, as does showing Invasion of the Body Snatchers on TV while the wicked Gremlins hatch. The sight of the little tykes cavorting in a bar, getting drunk and even dancing in pink leggings looks suspiciously like a satirical dig at the whole 1980′s culture of selfishness: with their destructive impulses and overindulgences the Gremlins are the ultimate egotistical yuppies. As with many Spielberg projects, the bland hero saves the day for nostalgic, old-fashioned values, but there are plenty of laughs along the way–for example in the now-classic scene when the hero’s mother fights off Gremlins in the kitchen by stuffing them in the blender and microwave. Dante’s 1990 sequel is even more satirically pointed, and he effectively remade the original with Small Soldiers (1998), replacing Gremlins with toys.
On the DVD: Disappointingly, there are no extra features at all here, aside from subtitles and “interactive menus”–which simply means there is an onscreen menu and it works. –Mark Walker Amazon.co.uk Review
When his absent-minded father gives young Billy Pelzer (Zach Galligan) a new pet, he warns him to abide by three rules. The rules get broken, of course, and the pet–a cute Mogwai named Gizmo–unwittingly gives birth to the vicious Gremlins who proceed to terrorise the town.
Although the long shadow of Producer Steven Spielberg hangs over Joe Dante’s 1984 comedy Gremlins almost as much as it did over Tobe Hooper’s Poltergeist (1982), Dante doesn’t allow it to overwhelm his own quirky style too much. Glimpses of Robbie the Robot and The Time Machine (which promptly disappears) at an inventors’ convention reveal his passion for old-movie references (which culminated with Matinee, 1993). Aided and abetted by Spielberg’s guidance and a script by Chris Columbus (who would go on to direct and produce the Home Alone franchise) and a music score by Jerry Goldsmith, Dante had all the help he needed to make the biggest hit of his career.
Much of the humour derives from Dante’s playful handling of the setting in Smallsville, USA, whose inhabitants are as much the target of his satire as they are of the Gremlins’ unwanted solicitations. The xenophobic neighbour who warns prophetically of “gremlins” in foreign cars and machinery provides a subtext for the attack on homely American values, as does showing Invasion of the Body Snatchers on TV while the wicked Gremlins hatch. The sight of the little tykes cavorting in a bar, getting drunk and even dancing in pink leggings looks suspiciously like a satirical dig at the whole 1980′s culture of selfishness: with their destructive impulses and overindulgences the Gremlins are the ultimate egotistical yuppies. As with many Spielberg projects, the bland hero saves the day for nostalgic, old-fashioned values, but there are plenty of laughs along the way–for example in the now-classic scene when the hero’s mother fights off Gremlins in the kitchen by stuffing them in the blender and microwave. Dante’s 1990 sequel is even more satirically pointed, and he effectively remade the original with Small Soldiers (1998), replacing Gremlins with toys. –Mark Walker
