I have never been a fan of the Alien vs Predator franchise. Never saw any of the films I’ve only seen parts of the Predator movie. Besides me having a lack of knowledge of the series the game is looking promising and might be what some of you AVP fans have been waiting for….Trailer after the break

Gjithmone me eshte dukur i cuditshem ky njeri, mos valle eshte ufo?

Si ka mudesi qe ka hy hektare ball?

Mund te quhet ballist?

Mos valle ka shume tru aty brenda? (apo ngaqe eshte skizoFriend?)

Mos valle eshte alien?

Hace unos días salio un video donde nos explican un poco sobre el multiplayer de Alien vs Predator, y la verdad, se ve muy bueno y ha captado mi atención. Sobre todo por que al tener tres “razas” diferente por escoger cambia totalmente el gameplay y hace que las estrategias para vencer se multipliquen, al igual que la diversión. Disfruten del vídeo después del salto.

Sin duda hasta el momento se ve que Sega esta haciendo un buen trabajo, habrá que ver como queda el producto final.

You’re going to have to excuse the rather frightful poster if there ever was one. It is however entirely relevant to its morbidity, Pandorum definitely lives up to the hype of its horror, especially with a tagline such as ‘Don’t fear the end of the world. Fear what happens next.’ The German/American sci-fi horror was one of the better films I’ve had the pleasure of seeing within the last couple of months, and definitely worth a look at. But why?

Pandorum is one of those fist-clenching, mind-warping, jump inducing films where you are literally on the edge of your seat for a good minute at a time. Directed by newcomer Christian Alvart, whose only earlier works include ‘Curiosity & The Cat‘ and ‘Antibodies‘, but who will also be directing the upcoming ‘Case 39‘ featuring Renée Zellweger. Filming staff also includes Paul W. S. Anderson, director and writer of ‘Alien VS Predator‘, and Jeremy Bolt, both the producers of the ‘Resident Evil‘ trilogy. Stick AVP and Resident Evil in a blender and what do you get? Pandorum. Throw in a little sprinkle of ‘Sunshine‘, and you have the complete movie smoothie. However, was it a good idea to put all of their eggs in one basket? I’m afraid it wasn’t entirely. Many gamers are calling it a Dead Space wannabe.

The plot of Pandorum, a rather nice one at that for sci-fi fans, is set around the human race overpopulating the Earth. As a result, the first sleeper ship to head for Earth’s replacement, Tanis, holds 60,000 humans, except as the film opens up… You can’t see any of them. It is notably a unique blend of psychological thrills combined with action packed sequences filmed in classic, sci-fi grated-floor corridors. At times, Pandorum forces you question your OWN sanity, and explores some of the deep-rooted fears within its viewers. Specifically some of the more frightening fears which often take host, such as; a fear of the dark, loneliness, claustrophobia, lack of memory and it definitely plays upon those fears throughout the film. However whilst it was excellent in provoking thought, it was not exceptionally well constructed, despite the fact there was a plot (unlike most films these days!). This, alongside its lack of publicity, marketing and such may have been why it didn’t even make half of it’s $40 million budget.

A good film if you’re a sci-fi-aholic, or even if you enjoy video games, harnessing a strange familiarity to a first person shooter. However if you’re not that into chasing and racing in space, this isn’t the film for you. A possible DVD buy.

You’re going to have to excuse the rather frightful poster, if there ever was one. It is however entirely necessary in its morbidity, Pandorum definitely lives up to the hype of its horror, especially with a tagline such as ‘Don’t fear the end of the world. Fear what happens next.’ The German/American sci-fi horror was one of the better films I’ve had the pleasure of seeing within the last couple of months, and definitely worth a look at. But why?

Pandorum is one of those fist-clenching, mind-warping, jump inducing films where you are literally on the edge of your seat for a good minute at a time. Directed by newcomer Christian Alvart, whose only earlier works include ‘Curiosity & The Cat‘ and ‘Antibodies‘, but who will also be directing the upcoming ‘Case 39‘ featuring Renée Zellweger. Filming staff also includes Paul W. S. Anderson, director and writer of ‘Alien VS Predator‘, and Jeremy Bolt, both the producers of the ‘Resident Evil‘ trilogy. Stick AVP and Resident Evil in a blender and what do you get? Pandorum, throw in a little sprinkle of ‘Sunshine‘, and you have the complete movie smoothie. However, was it a good idea to put all of their eggs in one basket? I’m afraid it wasn’t entirely. Many gamers are calling it a Dead Space wannabe.

The plot of Pandorum, a rather nice one at that for sci-fi fans, is set around the human race overpopulating the Earth. As a result, the first sleeper ship to head for Earth’s replacement, Tanis, holds 60,000 humans, except as the film opens up… You can’t see any of them. It is notably a unique blend of psychological thrills, which at times forces you question your OWN sanity, combined with action packed sequences filmed in classic sci-fi hallways. Pandorum explores some of the deep-rooted fears within its viewers. Specifically some of the more frightening fears which often take host, such as; a fear of the dark, loneliness, claustrophobia, lack of memory and it certainly plays upon those fears throughout the film. However whilst it was excellent in provoking thought, it was not exceptionally well constructed, despite the fact there was a plot. This, alongside its lack of publicity, marketing and such may have been why it didn’t even make half of it’s $40 million budget.

A good film if you’re a sci-fi-aholic, or even if you enjoy video games, harnessing a strange familiarity to a first person shooter. However if you’re not that into chasing and racing in space, this isn’t the film for you. A possible DVD buy.

]]> http://therebelunderground.wordpress.com/2009/11/23/upcoming-games-alien-vs-predator-and-bioshock-2/ Mon, 23 Nov 2009 22:06:17 +0000 therebelunderground http://therebelunderground.wordpress.com/2009/11/23/upcoming-games-alien-vs-predator-and-bioshock-2/

I’ve been really into videogames lately. I’m a huge fan of the Aliens/Predator series, and I just found out about this a couple of days ago. This is the AVP game trailer.

Bioshock 2 looks like it will be as amazing as the first. This is a walkthrough.

Also, a big congratulations to the Alien saga on their 30th anniversary! The first two movies are so well done.

Made me think of this:

*Toke* *Toke*… the two badasses collide in this flick.  What a rush man.   Seeing Geiger classics come crashing across the screen is such good times man.  Must see if  your an Alien/Predator/Geiger fan!

THREE BONG TOKES

Data de lançamento: Fevereiro de 2010
Plataformas: PC, Playstation 3, Xbox 360
Concorrente: Left 4 Dead 2

O que é?

A Sega está financiando o novo projeto da Rebellion Studios. O estúdio foi responsável pelo primeiro Alien vs Predator, lançado em 1999 e ofuscado por grandes lançamentos da época, como Half-Life e Quake 3 Arena. A nova geração de Alien vs Predator vem para dar um importante gás no universo destes famosos personagens do cinema.

Por que ficar ligado?

Gráficos excelentes, jogabilidade inovadora e um multiplayer consistente, esses são os três principais pilares de Alien vs Predator. Em AvP você poderá jogar com um humano mariner na caça de aliens e predadores, poderá jogar com um alien e suas afiadas garrafas, e poderá jogar com um autêntico predador, invisível nas selvas africanas. Esse jogo promete, principalmente pelo currículo de respeito da Rebellion.

Fique com o vídeo abaixo:

Locked for a February 2010 release, Sega and Rebelion’s new title based on the epic sci-fi universe AvP is already making some controversial headlines with the latest being the game, apparentely, is so violent it might not even be released in Germany:

Publisher Sega announced that the forthcoming action game Aliens vs. Predator will not be released in Germany. According to the press release the game might not get a rating by the USK (German rating board) and Sega does not offer any games in Germany that don’t get a rating. It has also been announced that Aliens vs. Predator will not be adjusted for the German market because the game has been designed in coherence with the Alien and Predator brands – gameplay, graphics and story meet the mature theme. Sega also emphasizes the importance of cooperation with the rating boards and the responsibilities of a publisher of electronic entertainment products.

This development is unexpected but not surprising – given the amount of violence which is to be expected from the action game. If Aliens vs. Predator does not get an USK rating, the game can only be sold to a much smaller amount of people in Germany. This would also lower the possible revenue, when you take costs for translation and localization into account.

Well, this is a major setback for the german market, though it’s not the first time a mature game has trouble getting into that market as they are very strict when it comes to violence and gore in video games. At least, they can import it, right?

The Predator's pyramids from the Alien vs. Predator movie (from http://ancientcosmonauts.blogspot.com/2008/02/pyramids.html)

In the 2004 film Alien vs. Predator, the characters from two successful science fiction franchises face-off similarly as in the even worse film, Freddy vs. Jason. The concept of Alien vs. Predator was born out of the comic book series Aliens versus Predator from Dark Horse comics.  About eight minutes into the movie, what seems to be Mesoamerican pyramid is found 2,000 ft. below the ice of the Antarctica island of Bouvetøya. This is where the majority of the movie is set.  There are a lot of phony looking statues of Predators, artwork and hieroglyphics depicting Predators and Predators fighting Aliens that serve as the backdrop for a pretty weak story.  It is revealed later that the pyramid was constructed by the Predators for the purpose of incubating the Alien race in humans to create the ultimate prey (the Aliens) for the Predators to hunt.  Apparently, these ancient humans worshiped the Predators as gods who taught them how to construct the pyramids and being chosen for incubation was a great honor.  It is also implied that the Predators have used their small personal nuclear bombs in the past to leave no trace of their activities if the Aliens get too close to escaping from the prison-like Predator pyramids.

Many of the ideas of Erich von Däniken are present in the story according to the creators of the comic book.  The handling of these borrowed ideas is almost as ridiculous as the actual concepts of ancient astronaut theory.  First, the physical evidence depicted in the film does not represent anything even close to anything found at Mesoamerican pyramids in reality.  There are no extraterrestrial inspired hieroglyphics, artwork or remains of any Predator or Alien creatures at Mesoamerican sites.  The writers of the movie hang a lantern by having a character mention the mini-nuke option to contain an outbreak… and the evidence.  That’s why none of the above has or will ever be found.  The Antarctic pyramid is thought to be the last and only place that can still serve its original function.  There is never an explanation of how Antarctica is related to Central or South America other than the mention that the continent has not always been covered by ice.

This movie is a disappointing vehicle for two classic sci-fi monsters and an even worse treatment of ancient astronaut theory.  There is little evidence mentioned to support that the Predators in this case have ever been involved with the ancient civilizations of Mesoamerica.  The film itself did more harm than good for the theory, maybe causing some to think that the components of ancient astronaut theory are as silly as the unholy Predalien combination creature that appears at the end of the movie to hint at the 2007 sequel Alien vs. Predator: Requiem.

References and Links (All on-line information retrieved November 8, 2009)

http://www.amazon.com/AVP-Alien-Vs-Predator-Widescreen/dp/B00005JMZK/ref=sr_1_1?ie=UTF8&s=dvd&qid=1257718141&sr=8-1

http://www.amazon.com/Freddy-vs-Jason-Line-Platinum/dp/B0000VCZMK/ref=sr_1_2?ie=UTF8&s=dvd&qid=1257718198&sr=1-2

http://en.wikipedia.org/wiki/Alien_%28franchise%29

http://en.wikipedia.org/wiki/Predator_%28film_series%29

http://en.wikipedia.org/wiki/Aliens_vs._Predator_%28comics%29

http://en.wikipedia.org/wiki/Bouvet_Island

http://en.wikipedia.org/wiki/Erich_von_D%C3%A4niken

http://en.wikipedia.org/wiki/Lampshade_hanging

http://www.predalien.com/

http://www.amazon.com/Aliens-vs-Predator-Requiem-Unrated/dp/B001451HX4/ref=sr_1_2?ie=UTF8&s=dvd&qid=1257720237&sr=8-2

La saga de películas “Alien” dio a luz una variedad considerable de diferentes aliens, y todos han tenido su versión en juguete. Aquí les presentamos algunos, de las colección McFarlane. Disponibles a la venta enJuguetes de Colección.

In honour of All Hallow’s eve which has finally come about this year, I thought a nice appropriate top 5 list was in order. Who knows, maybe there will be more to come this evening. Oh and remember kids, be careful out there.. You never know what monsters are lurking around.

1. Maskless Predator Pumpkin - In all honestly, I don’t think I’d want to venture to this guy’s house. The detail on this pumpkin is amazing, from the pupils of the eyes to the long hair like appendages on it’s head, you can’t really find fault here.

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2. Halo 3 Pumpkin – Someone plays homage to one of Xbox’ largest franchise by carving it into.. a pumpkin. I’m sure that the master chief will be overly thankful for the remembrance.

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3. The Shining - I have to say, this couldn’t have been excluded from my list, especially with all the amazing detail. It’s almost as if it’s a capture from the film itself. Oh hold on, I think someone is chopping at my door with an axe. Brb

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4. Master Yoda Pumpkin – This is a pretty darn good piece of carving if you ask me and I love how they even went through all the trouble to provide a clean and accurate carving rendition of a lightsaber in there too.

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5. Harry Potter Pumpkin Collection – You’ve got to be quite the fan to make one for EACH character. You should see the one they did for fluffy and the troll, seriously. They’re colossal.

Sega ha publicado nuevas imágenes y un video del modo de juego multiplayer de Alien Vs Predator, un título de acción en tercera persona en el que tendremos que controlar al peligrosísimo depredador en lo que será su terrible caza de humanos y aliens. Contaremos con visión térmica, nocturna, armas tecnológicas y habilidades acrobáticas que nos dejarán más que sorprendidos por su espectacularidad gráfica y su formato de intensa acción y aventura.

El lanzamiento de este juego está previsto para el próximo mes de febrero y lo encontraremos disponible en las consolas de nueva generación PS3, Xbox 360 y la plataforma PC.

La línea argumental en el juego permitirá a los participantes adentrarse en la historia desde la perspectiva de cada una de las tres especies, aún así las tres historias concluirán simultáneamente.

Tendremos la posibilidad de jugar la historia principal del “Modo Campaña” desde tres puntos de vista diferentes, de esta manera podremos vivir esta aventura desde la perspectiva de cada uno de los personajes protagonistas como Alien, Marine o Depredador.

El sistema de juego variará dependiendo de la especie que haya elegido el jugador, así como del momento del juego en el que éste se encuentre. Cada campaña nos proporcionará una gran variedad de entornos ofreciéndonos nuevas experiencias y un amplio abanico de nuevas oportunidades para el jugador.

© Post original creado por Juegos.tv

Ryan Dunlavey’s excellent comic strips mashups.

Pois é galera febril…
Com as placas que suportam DirectX 11 brotando pelos cantos, seria legal ter uma demonstração prática e em movimento do mesmo.
Então… Não é que a ATI e a Codemasters atenderam ao pedido?!
Finalmente liberaram um videozinho maroto demonstrando alguma das firulas gráficas que estarão disponíveis no novo DiRT 2.

Então, vamos ao que interessa nesse video, mas antes, quero adicionar um pequeno “porém”. DiRT 2 não utiliza todas as funções do DX11. A própria Codemasters confirmou que a maioria das funções disponiveis no DiRT2 são as mais faceis de serem notadas, mas parte das novas funções foram deixadas de lado. Creio eu que para “amadurecerem” um pouco mais e serem utilizadas futuramente no GRID 2 que está previsto para o ano que vem.

O foco deste video é a utilização do “Hardware Tessellator” que proporciona uma ampla lista de possibilidades de aplicação, como vocês podem ver nas fotos abaixo.

Simulação de física em tecidos (bandeiras) dando mais detalhes as bandeiras.

Simulação da platéia com mais detalhes.

Contagem de polígonos mais elevada proporcionando mais detalhamento.

Simulação de física de fluidos - detalhe para as ondas no canto direito da imagem.

Tessellator também é utilizado para simular a água.

Efeitos de luz e "post-processing" também recebem um "boost" através do tessellator.

Detalhes para os reflexos no carro e para o efeito de "Depth-of-field" mais ao fundo.

Pois é… Video curto, mas revelador na minha opinião.
A unica coisa que me deixa realmente triste é ver a lista de jogos que vão sair utilizando DX11 e o fato de eu ainda não ter uma HD5870 ainda.
Pra que não sabe quais jogos já estão quase prontos para serem lançados e vão utilizar DX11, aqui vai alguns:

Alien vs Predator – Primeiro trimestre 2010.
Battlefield: Bad Company 2 - Primeiro trimestre 2010.
BattleForge – Sem previsão.
Crysis 2 – Sem previsão.
Dirt 2 -Dezembro 2009.
F1 2010 – Sem previsão… talvez porque a temporada de 2010 ainda não chegou?!
Race Driver: Grid 2 – Ultimo trimestre de 2010.
S.T.A.L.K.E.R.: Call of Pripyat – Já a venda.

Pois é galerinha dobalacobaco, agora o jeito é juntar dinheiras dinheiro para uma HD58xx e DiRT2 ou qualquer um desses jogos acima.
Deixo com vocês o “teaser” do DiRT2 e mais algumas imagens.

Abraços a todos e não esqueçam de comentar/assinar meu feed RSS.

A Film Review

Copyright Dragan Antulov 2004

It is not easy being a fan of 1970s and 1980s science fiction films, especially these days. Too many times memory of great films is ruined by Hollywood’s uninspired and often unimaginably bad sequels, remakes or prequels. In some rare occassions a single title can offend more than one science fiction movie fandom. One of such examples is ALIEN VS. PREDATOR, 2004 film directed by Paul W.S. Anderson.

The film is prequel to two classic genre films that introduced memorable science fiction monsters – ALIEN and PREDATOR. Idea of a film that would combine those two was one of the more popular among science fiction fandom two decades ago. In 1990 first glimpses of those two films sharing the same fictional universe appeared as production design details in PREDATOR II. This was followed by popular video games and comic books. Many attempts to use this concept for a new feature film didn’t materialise until 2004.

2004 is the year when the plot begins. Satellite belonging to corporation owned by wealthy industrialist Charles Weyland (played by Lance Henriksen) discovers mysterious large pyramid-like object buried under the ice at Bouvet Island, 1000 miles north of Anctartica. Weyland quickly assembles team of mountaineers, archeologists and other experts to investigate. The expedition enters pyramid and discovers that it was built by ancient human civilisation worshipping strange creatures descending from heaven. The worship included human sacrifice in the form of victims being incubators for chest-bursting alien acid-bleding monsters or “serpents”, which are later hunted by alien hunters as some sort of their rite of passage.

ALIEN VS. PREDATOR was savaged by critics, and that shouldn’t have been much of surprise. Paul W. Anderson, director who was also credited with screenplay, built his film more on the video games than on previous great works of Ridley Scott, James Cameron and John McTiernan. Furthermore, decision to use PG-13 rating made ALIEN VS. PREDATOR look like less realistic and cheap version of previous films. But the worst problem is in script. Aliens and Predators are already established as characters in previous films. Unfortunately, the audience that expects their formiudable presence has to wait before they are properly revealed and instead has to deal with weak, underdeveloped characters whose ultimate fates – which are rather predictable – don’t attract much sympathy from audience.

The film is almost unbearable until the real showodown – between Aliens and Predators – begins. Anderson then uses some of his skills, as well as CGI, to make few interesting and spectacular fight scenes. Those scenes, however, end relatively quickly, just as the film, without making ALIEN VS. PREDATOR more than merely watchable. “Surprise” ending that points to a inevitable sequel, however, only completes the generally negative impression.

Basic premise of the script – inspired by the works by Erich von Däniken – was interesting, and opened more opportunities for film to be something more than cheap genre entertainment. Those opportunities was wasted, just like the cast that would have made wonders in different films. Sanaa Lathan tries very hard, but ultimately fails, to fill Sigourney Weaver’s shoes in role of tough female survivor. Others, like Lance Henriksen, Raoul Bouva and Ewen Bremner are tragically underused due to their characters being cliched and forgettable. Such disappointments, considering what Hollywood does to its legacy, weren’t so unexpected, so this is main reason why ALIEN VS. PREDATOR isn’t as bad as its critical reputation might indicate.

RATING: 3/10

Así es queridos buttoneros como el titulo lo menciona por fin Sega y Rebellion liberan el ultimo video que faltaba para cerrar el circulo de como se verán las tres clases Alíen, Predator y Marine, los dos últimos videos pueden encontrarlos aquí.

Este juego es publicado por Sega y desarrollado por Rebellión con una fecha estimada para febrero 2010, posiblemente el cual a mi ya me tiene con las manos pegadas al control con un aspecto grafico sublime como todo fan desearía de este genero de ciencia ficción en el cual se ve prácticamente igual a sus películas de estas criaturas.

Sin más que decir por parte de gametrailers les dejo este video excelente:

Señor Tienen parte del escuadron bajemos por ellos!!!

No… Ellos estan perdidos soldado…

Fuente: [GameTrailers]

This post hopes to justify the “M” variable in the acronym AVP:TM.  But first!

Updates in Franchisicide:

Adrien Brody to star in Predator sequel.  That’s right, Roman Polanski’s guy-Friday will be assuming the position of Arnold Schwarzenegger in what is sure to be an awkwardly heartfelt performance. I’m guessing immediately after agreeing to the project, Brody Googled “Predator” to find out what it was.

Followers of the AVP:TM project will recognize that casting such a gaunt chap runs the risk of mass disappointment by potentially violating the franchise’s sub-textual examination of competing male identities.  Duh, don’t film producers read my blog?  Perhaps it can work, but it’s a gamble.  What do you think?  Feel free to comment on why you think Brody was picked for Predators.

To clean the pallet of that news please enjoy:

Wikipedia vs. Predator a link care of Claire &
Alien Loves Predator a comic we can all be jealous of.

Why a Musical?

This question is a just one posed by AVP:TM supporter Ashley.  In an attempt at the answer, the following will bludgeon you with a number of winding non-sequiturs about Bertolt Brecht until you ultimately conceit to my flawed logic.  Enjoy!

Brecht pioneered throughout his career an approach to drama called “epic theatre.” To understand what epic theatre is  it helps to know that it was in part a reaction to the most dominant dramatic form of the time, “naturalism.”  Naturalism was popularly advocated for by the Russian actor and director Constantin Stanislavaski and held as its primary goal the seamless illusion of reality.  Under naturalism the acting, set design and writing of every production should strive for as authentic and accurate a portrayal of real life as possible. This is a noble enough artistic goal.  Sort of the theatrical equivalent of renaissance-era figure paintings.  However, the way in which naturalism captured European theatre at the time, establishing itself as a rubric for the success pushed this esthetic to a mandate.  A large problem with naturalism, for Brecht, was that it shows an audience a contained and compartmentalized bubble of life that can either be accepted as true or rejected as false.  You can say, “Yup that’s how it is, it might suck but there’s not much we can do about it,” or, “That woman was way too old to play his daughter.”  Bertolt didn’t like this. The main thrust of his criticism revolved around the conceit that the theatre of naturalism placed a limitation on the powerful quality of the stage to express ideas, initiate debate and ultimately inspire action.  Brecht saw the stage as a platform for communication where a play’s message could continue outside of the playhouse.  Yes, Bert was (as my father would say) a “pinko” but in 1930’s Germany being a commie meant that you weren’t a Nazi.  Brecht actually was a regularly placed a thorn in Hitler’s side before his own voluntary exile.

What epic theatre does to break the spell of naturalism is present elements that tell the audience that what they are watching is an intended imitation of life, and not life itself.  Strategies include addressing the audience, breaking the fourth wall, and a structure where each scene possesses a narrative sovereignty that neither suggests what came before or what will come after.  However, most important of all, sometimes people break into song!  Musicals!  I bet you thought I wasn’t going to get back to that, did you?  Also Brecht—Bobby Darin and Frank Sinatra fans will note—wrote “Mack the Knife” for his musical “The Threepenny Opera” (Just another reason Cyndi Lauper is better than Madonna, see also Goonies soundtrack).

If Alien vs. Predator is about the issues and conflicts that I believe it is, it must be presented like epic theatre. Film, more often than not, is preoccupied with the same ideas of plausibility as naturalism. By making something into a film you ride on the subliminal presupposition that this can happen, and the movie’s structure is almost completely occupied in convincing you that the movie you’re watching could take place in the real world. Robots from space that turn into semi-trucks really could wage an intergalactic battle on Earth.  Nicolas Cage really could find treasure in Washington’s nose on Mount Rushmore.  The Garbage Pail Kids really could be runway fashion savants.

Not to mention how a 30ft Queen Alien puppet on a screen looks big and scary, but to really understand what 30ft  is to see it on stage.  Nothing breaks that bubble of naturalism like having an alien scurry down the aisle next to you, or a predator swoop in from the rafters.  And let’s not forget that two films have already failed to express the project’s understated complexity.  A third movie now would be box office poison.

How do I know all of this?  What’d you think I was born with these student loans?  Site me in your term paper.  No really, I don’t mind talking to the grad TA that teaches your class, I’m not afraid.

Comme j’adore le mois d’Octobre, l’Halloween et les films d’horreur, j’ai décidé de faire le premier Horreur-o-thon des Bipolaires! En effet, j’écouterai un film de peur par jour jusqu’au 31, alors revenez lire mes critiques quotidiennes…si vous en avez le courage! MOUAHAHAHAAA!

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J’avais envie de donner une deuxième chance au chapitre final de la série Alien (si on ne compte pas les terribles Alien VS Predator) puisque ce film a souvent la réputation d’être le moins bon des quatre.  Par contre, après ce visionnement, je dois dire que c’était meilleur que ce dont je me souvenais.  En effet, j’irais même jusqu’à dire qu’il est meilleur qu’Alien-au-cube. Toutefois, la série Alien est très difficile à comparer puisque chaque film a été fait par un réalisateur différent, donnant tous un genre particulier à leur entrée.  Ainsi, le premier (Ridley Scott) est un film d’horreur; le deuxième (James Cameron), un film d’action; le troisième (David Fincher) un drame et le dernier (Jean-Pierre Jeunet) un film de science-fiction complet.

En effet, avec ses thèmes de clonages, d’expériences génétiques et de robots créés par d’autres robots, le dernier film a une atmosphère très futuristique et glauque.  La cinématographie est superbe et les décors claustrophobes, comme tout bon vaisseau spatial.  Scripté par un de mes idoles Joss Whedon (Buffy, Firefly, Angel, Dollhouse, Dr. Horrible), le film aborde les thèmes de l’identité, alors que Ripley doit affronter la vie en tant que nouveau clône et “mère” de la nouvelle race d’alien.  (Le thème de la maternité est une constante dans la série.)  Ainsi, le scénario est un peu plus poussé que Alien3, qui consistait en “des prisonniers se battent contre une bébitte).

Par contre, Winona Ryder ne fitte vraiment pas dans le film et plusieurs scènes montrent un humour semi-burlesque qui clash avec l’atmosphère sombre.  Malgré que la scène sous l’eau soit très réussie, le film ne parvient pas à garder ce niveau de suspense et ça ne lève pas.  Malgré tout, le film est meilleur qu’on le croit, si on fait l’effort d’accepter la nouvelle vision empruntée par Whedon et Jeunet.

Note finale: 7/10

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Meilleure citation: “I’m not the mechanic here, Ironsides! I mostly just hurt people!” (Ron Perlman est toujours apprécié!)

Meilleure mort: Le garde qui se fait congeler par un alien (oui oui) et qui se fend comme le T-1000.

Y’as-tu des tits?!: La poitrine d’un clône raté de Sigourney Weaver, ça vous excite? Vous serez servis!

Saviez-vous que…?: Sigourney Weaver a été payée 11 million pour faire le film, soit plus que le budget total du film original.

Im Weltall nicht Neues.

Lange Zeit machte man sich in Hollywood ausführlich über diejenigen Kapitalzuschüsse lustig, die ein findiger Spaßvogel dereinst auf den wenig rühmlichen Namen „Stupid German Money“ taufte. Dahinter verbargen sich Gelder aus zahlreichen seidenen bis halbseidenen Medienfonds, mit denen sich trefflich Steuern sparen ließ – bis der Gesetzgeber sich hierzulande als Spielverderber erwies und dem Fiskus mit der Abschaffung des Modells ein paar müde Euro rettete. Vorbei war es mit den schnell zusammengezimmerten Abfallprodukten, die produziert werden mussten, um den Investoren einen Beleg für ihre Zahlungen zu liefern. Uwe Boll etwa gehörte jahrelang zu den fleißigsten Profiteuren der Fondsfinanzierung und bereicherte die Filmgeschichte mit ihrer Hilfe um Titel wie „Bloodrayne“, „House of the Dead“ oder „Alone in the Dark“ (einer der seltenen Fällen, in denen Tara Reid ausnahmsweise nicht das schlimmste Element war). Nun muss man Boll immerhin zugute halten, dass er die Finanzierung jederzeit mit seinen eigenen Kommanditgesellschaften gesichert hat, und sich damit merklich von all denen unterscheidet, die lediglich die Hand aufhielten, wenn irgendwo Fondsgelder zu verteilen waren. Das Modell ist mittlerweile in gewissem Sinne verstaatlicht und heißt nun DFFF. Und während man sich auf Initiatorenseite zufrieden auf die Schulter klopft ob der großen Erfolge und ausländischen Produktionen (etwa „Antichrist“ oder „Inglourious Basterds“), die das neue Modell seit Einführung ins Land geholt hat (und denen man dankbar mehrstellige Millionensummen hinterherschmiss) beweisen die Amerikaner, dass sie es nicht verlernt haben, sich auch ihre ABM-Projekte vom deutschen Steuerzahler mitfinanzieren zu lassen. Früher indirekt durch die Medienfonds, jetzt direkt mithilfe des DFFF und anderer Förderinstanzen. Ein schulbuchmäßiges Beispiel dafür ist „Pandorum“ – ein millionenschwerer B-Film, der seinen eigenen Dilettantismus so uneingeschränkt zur Schau stellt, dass selbst Uwe Boll neidisch werden müsste.

Eine Zukunftsvision vom Reißbrett: Die Ressourcenknappheit auf der Erde zwingt die Menschheit, das Sonnensystem nach geeigneten Umsiedlungsmöglichkeiten abzusuchen. Auf einer solchen Erkundungsmission befindet sich die Elysium, ein riesiger Raumgleiter, auf dem offenbar einiges schiefgelaufen ist. Zwei Besatzungsmitglieder erwachen ziemlich unsanft aus dem Hyperschlaf, ohne sich zunächst an Details ihrer Reise erinnern zu können. Schnell wird ersichtlich, dass die Situation an Bord ganz gehörig aus dem Ruder gelaufen ist. Die Lage spitzt sich zu, als sich herausstellt, dass die versorgenden Energiesysteme in Kürze versagen werden. Um das zu verhindern und den verursachenden Fehler zu beheben, muss einer der beiden über ein enges Netz aus Luftschächten und labyrinthartigen Tunnelsystemen zum Antriebsreaktor vordringen. Doch was ihn unterwegs erwartet, lässt seine schlimmsten Alpträume wahr werden. Grausam zugerichtete Leichen, feindlich gesinnte Überlebende und eine Horde blutrünstiger Kreaturen (Aliens?) auf Menschenjagd machen die Tour zum Himmelfahrtskommando.

Welche einschlägigen Genre-Vorbilder hier am Werk waren, braucht man kaum explizit aufzulisten. Vom Set-Design bis zur Motivation einzelner Kerncharaktere steht dieser Film unübersehbar in der Tradition der vergleichsweise großen Anzahl von „Alien“- Plagiaten. Ein bisschen „Predator“ hier, ein bisschen „Resident Evil“ da, und insgesamt jede Menge „Event Horizon“ – das muss niemanden wundern, denn zu den Produzenten von „Pandorum“ gehört mit Paul W. S. Anderson eben jener Initiator der beiden letztgenannten Filme, der bislang zweiteiligen „Alien vs Predator“-Reihe, sowie anderer artverwandter Beiträge (etwa das Kurt-Russell-Vehikel „Soldier“). Anderson hat seine Nische als moderner Roger Corman (mit größeren Budgets) gefunden, und er bedient sie verlässlich.

Dagegen ist nun zunächst einmal nichts einzuwenden. Was Anderson produziert, ist weder sonderlich originell, noch gar in irgendeiner Weise anspruchsvoll, bietet aber handwerklich solides Genre-Kino, das die Wartezeit bis zum Start des nächsten echten Großereignisses (etwa James Camerons ungeduldig herbeigesehnter „Avatar“) leichter ertragen hilft. Warum genau das bei „Pandorum“ wenn überhaupt, dann nur äußerst eingeschränkt funktioniert, lässt sich an wenigen Punkten ziemlich exakt festmachen. In erster Linie aber hätte diesem Film vor allem ein Funken Selbstironie gut getan, denn während die Charaktere an manchen Stellen unfassbar dummes Zeug von sich geben, nimmt sich das teils arg abstruse Handlungsgefüge so bierernst, dass einem selbst der Spaß an den durchweg gut gelungenen Effekten und leidlich ansehnlichen Interieurs vergehen kann.

Zu Beginn ist die ganze Sache äußerst vielversprechend. Die ersten Einstellungen wecken Hoffnungen, die der Film unmöglich erfüllen kann. Außenaufnahmen des Raumgleiters, die so plastisch wirken, dass man meinen könnte, hier sei ursprünglich eine 3D-Version in Planung gewesen (das holt die eingespielte Produktionstruppe Anderson / Constantin dafür demnächst mit „Resident Evil: Afterlife“ nach), Traumvisionen in gleißend weißem Licht, und schließlich eine bemerkenswert überzeugende Variante des allzu oft gesehenen Hyperschlaf-Prinzips: Wenn die beiden Astronauten vom Bordcomputer ins Leben zurückgerufen werden, dann ist das kein sanftes Erwachen, wie man es sonst zu sehen bekommt. Schmerzen, tiefsitzende Übelkeit, Gedächtinisverlust – die Figuren winden sich heftig, bis sie wieder einigermaßen zu sich kommen. Damit ist der Realismus dieses Films aber dann auch bereits erledigt. Wie überraschend der Auftakt gerät, so sehr verliert sich der Rest in gähnend langweilige bis enervierend ärgerliche Klischees.

„Pandorum“ weist alle Symptome von Produktionsbedingungen auf, bei denen mit spitzem Bleistift kalkuliert wurde. Gedreht in den Babelsberger Studios, hat man offenbar frühzeitig dafür gesorgt, dass der einzige Name mit international leidlich verwertbarer Reputation, Dennis Quaid also (nach „G.I. Joe – Geheimauftrag Cobra“ noch eine Chargenleistung), möglichst wenig Drehtage bekommt, damit bezahlbar bleibt und trotzdem präsent genug ist, um noch mit einigem Goodwill als Hauptdarsteller durchgehen zu können (auch wenn das der unbekanntere und deshalb wesentlich budgetfreundlichere Ben Foster ist). Seine Figur bleibt im Wesentlichen auf ein einziges Set beschränkt, die Kommandozentrale des Raumgleiters. Von dort aus wird er zwar immer mal wieder zwischenmontiert, seine Funktion beschränkt sich aber lange Zeit fast ausschließlich darauf, mit dem zweiten Protagonisten in Funkkontakt zu bleiben (und als dieser abbricht, muss er trotzdem permanent nachfragen, ob sein Astronautenkollege ihn noch hört). Erst im letzten Drittel ändert sich die Lage, und Quaids Figur bekommt noch einen zweiten, ebenso haarsträubenden wie leicht durchschaubaren Handlungsstrang ins Nest gelegt.

Set-Design, Look und Kreaturen (aus den Stan-Winston-Studios – kriegt man in Deutschland also anscheinend nicht hin) können sich sehen lassen, doch das hilft wenig bei einem Drehbuch, das aus der vielversprechenden Grundidee mit einer Ausgangslage, die bereits in Produktionen mit weitaus geringerem Budget Überraschendes zutage förderte („Cube“ oder „Saw“ etwa nutzen das Potential des Amnesie-Motivs wirksam aus), nicht besonders viel anzufangen weiss. Die Charaktere sind allesamt eher eindimensional gestrickt. Psychologische Tiefe wird ihnen lediglich unterstellt, den Beweis bleiben Buch, Darsteller und Regie jedoch schuldig. Für echte Identifikation reicht das kaum, und so kann einem auch ziemlich egal sein, was mit den einzelnen Figuren passiert.

Ob Regisseur Christian Alvart zudem mit der Inszenierung von Actionsequenzen entweder sichtbar überfordert war oder dem Rohmaterial erst am Schneidetisch der Todesstoß versetzt wurde, lässt sich zwar nicht endgültig entscheiden, das Ergebnis fällt aber in jedem Fall katastrophal aus. Wer bisher geglaubt hat, man könne Zweikämpfe und Verfolgungsjagden nicht unübersichtlicher inszenieren als Michael Bay, darf sich hier gerne eines Besseren belehren lassen. Über weite Strecken wird es unmöglich, dem wie mit Willkür montierten Geschehen auf der Leinwand zu folgen. Wer wen gerade angreift, niederstreckt oder attackiert, lässt sich vielfach auch beim besten Willen nicht sagen. Das ist vor allem deshalb bedauerlich, weil es auf diese Weise fast unmöglich wird, einen genaueren Blick auf die Kreaturen zu werfen, die zumindest vom Schauwert her einiges zu bieten haben (und ganz offensichtlich im engeren Verwandtschaftsverhältnis zu den Humanoiden aus „The Descent“ stehen).

„Pandorum“ ist der archetypische Fall eines Films, der unter anderen Bedingungen direkt auf DVD gelandet wäre und dort im Grunde auch hingehört. Und das ist noch nicht einmal negativ gemeint. Das Kinoformat an sich setzt nun einmal per se höhere Erwartungen frei als eine Produktion wie diese sie erfüllen kann. Man darf mit einiger Sicherheit davon ausgehen, dass die Zweitverwertung per Silberscheibe gut funktioniert, an den US-Kinokassen spielte das Genre-Vehikel jedoch bei geschätzten 40 Millionen Dollar Produktionskosten lediglich laue 4,4 Millionen um. Geplant ist laut Alvart eine Trilogie. Ob es dazu tatsächlich kommt, steht derzeit jedoch eher in den Sternen. Und dass dort nicht alles zum Besten bestellt ist, genau das belegt der (vermeintlich?) erste Teil immerhin perfekt.

Artikel © 2009 Thomas Lenz. Alle Rechte vorbehalten.
Filmplakat / Fotos: Constantin Film Verleih GmbH

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