Pandorum Movie Review

The movie Pandorum is a modern interpretation of the ancient Greek re-creation myth and updates the prophecy applied by the work of John’s scripture in Revelations. The movie explores the metaphorical end game, the re-creation of humanity and the primary characters for a struggle between good and evil. The first main protagonist is the Homeric “modern Prometheus” played by Ben Foster as Corporal Bower. He evolves through the narration into a contemporary of Oedipus the one, the savior. Bower is supported by few, other warriors, who combined to represent the magical 1,000 number, derived from the 100 Handers and the three Cyclopes.

The established Oedipus-ethan warriors symbolize the good characters and they are pursued by many monsters. In an allegorical depiction they are in fact hungry humans, now resorting to cannibalism to survive the harsh circumstances. When man eats man they become monsters, less human and more animal or demon. Zeus is played by “Dennis Quaid as Lt. Payton” which appears as successful in destroying the “rusted” Iron Age. In the movie Zeus exceeds in destroying the Iron Age but modern Prometheus, Bower was able to save 1215, this being the number given at the end of the movie.

First let us build off the story line as it appears to those unable to understand its true meaning or deep literary evolution. Than we shall explore the Greek myth of Pandora, the first woman and her magical box / jar. Lastly an attempt will be made to uncover the nature elements and actions, which metaphorically represent the underlining meaning. Exposing the overwhelming details in the Pandorum movie are keys to it clearly epitomizing the end game or re-end game, the same story told in every religion both Eastern and Western.

Pandorum is a 2009 science fiction/horror film written by Travis Milloy and directed by Christian Alvart. The film stars Dennis Quaid “Payton” and Ben Foster “Bower” as the two primary protagonists. They are two astronauts who awake to find themselves drifting through space some 500 million miles from Earth. Payton and Bower awake from hibernation and suffer from memory loss. Soon they discover they are the crew of a sleeper ship transporting 16,000 passengers in deep hibernation.

Exploring the spacecraft, Payton and Bower encounter several other crew members and the astronauts learn that the survival of the human race is in question. The other human crew members are hiding and running from monsters. Here Payton and Bower learn that some humans have mutated from a genetic enhancement designed to help them adapt to life on a new world; the planet of their destination, “Titus”.

Beyond the monsters, humans Payton and Bower also learn that some crew members are suffering from a psychosis, created from deep hibernation. This is a severe psychological condition diagnosed as Pandorum, brought about by being in deep-space for extended periods.

The Pandorum movie is a literary evolution of Pandora the “giver of all, the first woman the Eve of ancient Greek theology. As Hesiod related it, each god helped create Pandora by giving her one unique gift. Zeus ordered Hephaestus to mould her out of the Earth “Gaia” this being part of Prometheus punishment for stealing fire, now directed at mankind. All the gods of pathogen joined in offering this “beautiful evil” seductive gift to mankind.

Pandora’s other names, include Anesidora which might have a Roman origin. Considering that the Greek gods and stories also had Roman names and similar stories. Anesidora is inscribed as the name of Pandora figure in the British Museum, which means “she who sends up gifts,” and implying that “from below”, from within the earth.

According to the myth, Pandora opened a jar (pithos), in the more modern tale the jar is referred to as “Pandora’s box”. Some accounts have Pandora opening the container others it is suggested Epimetheus released the evils of mankind. Some of the particular evils include plagues and diseases, but were not specified in Hesiod’s detailed account. As the evils were escaping the jar / box hope remained locked inside. It is said she opened the jar out of simple curiosity and was not intended as a malicious act.

The myth of Pandora is ancient, and appears in several distinct Greek versions, and interpretations have found many literary evolutions; ending in a grand climax Pandorum. In the seventh century BC Hesiod scripture, in Theogony mention Pandora outright, line 570, without naming her. However, there is an older mention of jars or urns containing both evils and blessings upon mankind and it can be found in Homer’s Iliad.

In Homer’s Iliad on the floor of Zeus’ palace there stand two urns, the one filled with evil gifts and the other with good ones. He for whom Zeus the lord of thunder mixes the gifts he sends, will meet now with good and now with evil fortune; but he to whom Zeus sends none but evil gifts will be pointed at by the finger of scorn, the hand of famine will pursue him to the ends of the world, and he will go up and down the face of the earth, respected neither by gods nor men.

Since the basic story of Pandorum and the understanding of the Greek god Pandora has been constructed, now a deeper interpretation can be forged. Signs to uncover Pandorum as an interpretation of an end game, re-end game or an allegory to the prophecy in Revelations can be found. Some clues or keys come in the story theme; others are projected in the small but important details. .

Let us begin the deep analysis with the sound, in the Pandorum movie the continual roar of the ships reactor core represents and simulates earth’s natural thunder. Thunder is important because it alludes to the light, and lightning is what Zeus controls, in addition to the complete understanding of earth’s nature, environment and switching or re-creation cycles. In fact, Zues works to hide the understanding of earth’s climatic changes, for this is how he controls the spiritual and celestial heavens. The thunder sound is the first hint that the Pandorum story is not about man leaving earth but surviving the catastrophic environmental switches; as in a Noah story, as in the Adam and Eve account and in Exodus.

Other elements that denote Zues’ control of lightning / thunder come from the Homeric mission engineered into the Pandorm story. Modern Prometheus” played by Corporal Bower clearly is involved in a mission to steal fire. In the original Prometheus story, he steals fire and is punished by Zues for his deeds. Prometheus never stole fire, the fire element is represented metaphorically as the power of lightning, the energy that empowers Zues. Bower who is an engineer attempts to restart the ships reactor core, this is the power of lightning now contained by man, not the gods. This major storyline follows the ancient Prometheus account of his actions of stealing fire.

At the point when Bower’s character asks Lt. Payton “Dennis Quaid” for directions to the reactor core, here is the first sign presented that Payton is actually representing Zeus. In turn Payton provides no assistance when earlier Payton was completely able to rapidly extrapolate navigation through the earth ship, the maze or Labyrinth. At this point Payton is shown locked to the control panel as Zeus suffering from psychosis.

Payton representing Zeus appears now to be a psychotic character bent on destroying the “rusted” Iron Age and as the story plays out succeeds in this genocide. When Corporal Bower finally restarts the reactor core Lt. Payton is suddenly illustrated as Zeus and a brief image is provided of lightning bolts shooting from his head. Modernizing the Prometheus story, Payton now fully represents the homicidal Zeus, awaken to the fact that Bower now fully epitomizes Prometheus and has stole fire from the gods.

Corporal Bower is referred to as the boy scout from here on out, which is a way to bring in the legend of Oedipus. The Oedipus connection is extrapolated by Bower being an unlikely hero, savior or sacrifice, not physically or mentally able to overcome against all odds. It is possible that a riddle was weaves into the movie similar to the 3.14 Pi Oedipus riddle but additional screening would be required to locate this key.

In the movie the monsters are represented as eating humans, when in fact they embody the portion of the human population, which survives or subsists through a climate switch by cannibalizing its own population. The time when man shall eat man, told in the Greek stories of creation, carried through into Linear Western Religion and finally vomited to attention in the Pandorum movie.

Bower carries a non lethal weapon because he does not want to kill the represented humans and certainly not their children. Bower or Prometheus is not homicidal, unlike Zeus which appears bent on destroying humanity and nearly all biological life. Zeus should be considered, the god of extermination and suffering, evil to the core and beyond.

The classic Four Horsemen materialize as Ben Foster playing Bower, Antje Traue as Nadia, Cung Le performing as Manh and finally Eddie Rouse portraying Leland. Nadia is denoted as Pandora, when Manh embodies the connection between the western and Asian religion. This is demonstrated by Manh presences or appearance but he speaks no English. So the connection between western and Asian religion exists but the connection cannot be easily made in Pandora ’s Box but Manh clearly demonstrate a 100 Hander.

Eddie Rouse portraying Leland clearly demonstrates an ancient Greek Cyclopes in body and actions. Cyclopes live in a cave or an underworld, hell to the Greeks and eat humans. Leland plays the role of a Cyclopes where he lives in a cave, a trap and survives off humans. Leland is only convinced to help and join the party of three as the fourth member when he is told, the end is near. The final clue to Leland representing a Cyclopes is provided at the end when Dennis Quaid stabs him in the eye. This ending is his punishment for surviving off humans as a cannibal.

Zues the high god is represented as having a dual persona at the point when Cam Gigandet playing the Gallo character merges physically with Lt. Payton. It is unclear where this literary evolution comes from but seems to be an important element of the prophecy. The duality might symbolize a psychological struggle within Zeus between being both good and evil. Although, when combined it appears Zeus is utterly empowered by wickedness.

As it turns out, Bower the modern Prometheus is not threatened by Zeus but the human population which is brutal, and lacks understanding, compassion and moral direction. Most of the humans are represented as a modern interpretation of Zombies in appearance and achievements, only capable of barely surviving through self consumption. It could be thought that when man eats man they become horrible monsters and this is why they appear in this fashion. In the end Payton / Zeus reveals to Bower the location of the spaceship which is Zeus, now illuminating to his environmental knowledge. This event takes place when Zeus opens the earth ship cockpit shields.

The environmental knowledge disclosed by Zeus turns out to be that the ship is in fact not in space but in an ocean, on a planet very similar to earth. In metaphor the ship never left earth but it is a vehicle to survive the biblical climate switch. Bower and Payton struggle for control, as in a battle between Zeus and Prometheus. During this struggle between good and evil a cockpit window is damaged. The crack now in the virtual window, to the brave new world brings forth a “Noah” flood into the cockpit and water runs forth like wine. Bower now assumes the role of Adam and Nadia is thrust into the role of Eve, as in the Garden of Eden account. Together they escape in a hibernation pod.

Before moving on to the end take one more look at the hibernation pod because meaning can be extracted in its physical appearance. Gaze into the window of life, the eye of the world and see the escape pod porthole, it is in the shape of a religious cross. The Christian cross now represents that here a prophecy is made and can be followed through western scripture. The hibernation pod physical represents Pandora’s Box or jar in its original reference. The escape pod is now represented as a tool used to continue humanity.

As the escape pod is ejected from the earth ship it now represents the ancient Greek Pandora Jar full of both good and evil. The good and evil has always been a human reflection but here in conclusion hope is now released; after being contained since the beginning of time. To survive the journey to the surface Bower gives Traue the oxygen mask. Since Traue character is representing Pandora the giver of all, the first woman she can die from human conditions.

Pandora is now Anesidora as in the figure described in the British Museum, “she who sends up gifts,” and implying that she immerges “from below”, from within the earth. Bower who now fully represents the Greek god, the modern Prometheus is not human anymore and cannot be killed from human circumstances and freely provides Traue the mask of Oxygen, in this act he saves humanity.

It is undetermined if Zeus dies or leaves Payton’s body in spirit before a flood of water appears to overcoming him. Payton played by Dennis Quaid assumes a crash position. This is the position demonstrated as used to survive a plane crash. Since Zeus often is represented as an eagle here the pilot and navigator Payton seems to intentionally fall on his sword. Since a god cannot kill a god, it appears here Zeus finds himself internally as unstable, psychotic, homicidal and genocidal, in a final triumph of the rule of Zeus, he executes his own death and commits himself to the underworld.

An additional interpretation can be made with Zeus forcing his own death. It is possible to allude to the fact that Zeus can not destroy Prometheus because he continues to exist and live on in humanity as hope, or the embodiment of hope. Since Zeus cannot out right destroy Prometheus he attempts to destroy himself, and as such is the key to destroying Prometheus. As Zeus attempts to kill both himself and Prometheus Pandora chooses which god should live and together they escape the underworld, the deep ocean.

After the pod reaches the surface, Bower and Traue are alone and in a vast untamed Garden of Eden, recreating the ancient creation myth stories. This event simulates the account of Prometheus where he gives birth to humanity. Bower’s action of breaking the window ejects the remaining escape pods. Suddenly, as in a virgin “Gaia” type birth other escape pods begin to pop out of the ocean and Bower and Traue playing Adam and Eve, find they are not alone anymore. They along with the others are floating in their personal arks replicating the Noah story.

In the movie, the number 1215 survivors is provided, this number might have multiple significance. The number 12 clearly represents the gods both in Greek mythology and was followed into the Christian religion with the 12 disciples of Jesus Christ. Demonstrating that there are 1215 survivors is communicating the ancient re-creation myth with the number 12, representing the survivors, the new gods of earth.

The number 15 must represent something equally important. Jim Morison of the Doors sings a song with the lines “5 to 1, baby 1 and 5, no one here gets out alive”. Where Jim Morison generated this number from its biblical origins is not completely clear. Jim Morison’s 5 to 1 number might have origins in the Temple of Solomon, referenced as the base of the right triangle that solves the square of the circle with a length of 5.83333. The Pythagorean Theorem of (a ² + b² = c²) will produce (5.83333 ² + 35² = c²) where c is the hypotenuse and equal to 35.48278088. Half of “c” is 17.74139044 that can be squared physically, squaring the 20 diameter great circle with an area of 314.7569347 (Pi x 100).

It would be interesting to know if Jim Morison understood the significance of the prophecy he was either continuing or generating. Although Jim Morison sang about the destruction of mankind, he probably did not know fully what he was doing. Jim’s father was a ranking military intelligence officer and might have understanding of the prophecy in Revelations. Most likely he provided Jim with the lyrics to sing. It is even possible that Jim was strong armed into sing these songs or sold out for fame and fortune, to propel and propagate the divination.

Finally here the discovery of the modern 1215 survivors can be extrapolated from the modern metaphors implied in the Pandorum movie. The 1215 number must also embody the 100 Handers, the humans and three Cyclopes that align themselves with the modern Titian Prometheus. This being the case, the 1215 survivors now materialize on a new world, the same world but absent of the controlling gods. Here at the end a new name is given to this brave new world and it is Titus, controlled now, by the Titian Prometheus. So here the death of the 12 Olympians is foretold and it comes with a re-birth of the Titans from deep within the earth well, well demonstrated in the Pandorum movie.

Lear’s Fool had it right.  I woke to rain this morning – again – and thought fearfully of our friends in Cockermouth with their baby twins, and my family driving to work across the flood plains of Gloucester.  I love rain usually, but our bedroom is starting to smell of mould and the puddles on the pavements are permanent and getting bigger…

Difficult not to get all apocalyptic…and why oh why have our TV channels been baton-passing The Day After Tomorrow from schedule to schedule recently?  If I see Dennis Quaid looking resolute one more time I’m going to start building an Ark.

Prospettive di un delitto è un thriller politico statunitense del 2008 diretto da Pete Travis. La sceneggiatura di Barry L. Levy si concentra su un tentativo di assassio al Presidente degli Stati Uniti, in cinque diversi punti di vista.

Leggi altre notizie su: | Drammatico | Azione | Thriller | Pete Travis | Dennis Quaid | Matthew Fox | Forest Whitaker | William Hurt

one of the quieter moments in the movie...

PG-13

Channing Tatum, Dennis Quaid, Sienna Miller, Marlon Wayans, Rachel Nichols, Christopher Eccleston

Duke: What about you?
Scarlett: He doesn’t speak.
Duke: Why?
Breaker: He doesn’t say.

A group of specially trained soldiers, with high tech weaponry at their disposal, attempt to recover a case of nano-technology warheads from the evil Cobra organization.  Lots of things explode in the process.

I suppose I knew what I was getting into when I sat down to watch this one, but I was hoping it would be more tolerable than it was.   I thought it would at least be fun to see the toys I played with as a kid on display.  Unfortunately, most of the machinery in the movie doesn’t resemble anything I had as a kid, plus it’s all so obviously computer animated that I may as well have been watching a cartoon.

The movie is simultaneously more and less realistic than it needs to be.  More realistic in the sense that they use more real jeeps, tanks, helicopters, and planes than they should – as opposed to the ones featured in the line of toys.  Less realistic in the sense that the other technology is so advanced that it almost seems like you’re watching Star Trek at times.  Plus, as I mentioned, there’s way too much computer animated stuff.  I felt like I had accidentally popped in an X-Men DVD by mistake.  Everybody jumps around like they’re superheros.

That stuff could probably be somewhat overlooked if it weren’t for the fact that the characters are just deadly dull.  Their story lines are unoriginal, the dialogue is stiff, and the acting is uninspired.  Basically, the movie was made so that they could slap the title G.I. JOE on it.

Way to go Hollywood, yet another blown opportunity to make an enjoyable movie out of a nice childhood memory.  Instead we’re stuck with one more hyper-edited, over-loud, heartless display of special effects.  Just what we all needed…

The G.I. Joe soldiers are apparently SO good and unbeatable that they’re only called in when the regular army fails.  ‘Cause, ya know, you wouldn’t want to use them from the get-go and preserve the lives of those other regular soldiers…

10 – 2.1 for boring characters and acting – 1 for not using enough of the toys in the movie – 1.2 for being overlong and over loud – 1 for too much computer animation = 4.7

A little snippet of a creepy old lady from the Angels at war film, Legion. It stars Paul Bettany, Dennis Quaid, Tyrese Gibson and Doug Jones amongst others.

Out on 22 January 2010.

Does it actually take 8 different point of views to see who assassinated the president?

Moments after he arrives in Spain for a landmark anti terrorism summit, U.S. President Ashton is shot. The 15 minutes leading up to the shooting are rehashed — Rashomon-style — from the perspective of various onlookers: two Secret Service agents (Dennis Quaid and Matthew Fox), a TV reporter (Sigourney Weaver) and a tourist (Forest Whitaker).

I’m not going to lie but the premise is actually quite intriguing. I was looking forward to actually seeing this movie, but it collapsed into car crashes, shoot-outs, and utterly implausible plot developments.

The one thing I liked about the film was its style. It revealed something new at just about every vantage point, and sometimes things we didn’t understand the first time, we understand somehow later on.

Then, after awhile the flashbacks really start to be annoying. I felt like I was watching Groundhog Day by the 5th flashback, cause to be truly honest, this film has way too much plot and not enough action to let us have fun with. Instead we always have to think about whats going on at that exact moment.

The one big twist to the whole film is that the president that gets shot isn’t really the real president. Yes, it’s one of those dumb look alike twists. I found this completely stupid and just put in to give William Hurt some lines to work with. Also, the cliches come out almost every step of the way. You have lines like “but you gave me your word”, and I’m thinking how could they give you their word, their terrorists!!!

The cast is well-picked but not the best acted. William Hurt does an OK job as the president, Forrest Whittaker probably gives the best performance as a lovable camera man. Dennis Quaid and Matthew Fox probably play some of the dumbest security guards ever who ditch out lines so bad that I won’t even try to restate them.

Consensus: Though with an intriguing premise, Vantage Point turns into a loud, dumb, and stiffly acted gimmick of a film.

3/10=SomeOleBullShittt!!!!!!!

Pandorum.DVDRip.XviD-DoNE

Plot: A pair of crew members aboard a spaceship wake up with no knowledge of their mission or their identities.

Genre: Horror | Sci-Fi | Thriller

Rating: ********** 7.1/10

Google keyword Search : Pandorum.DVDRip.XviD-DoNE

Num futuro distante os planetas estão em guerra. As guerras tem que continuar já que não faz sentido trava-las dentro de um único mundo. A tantos a explorar. Mas algumas coisas são imutáveis. Mesmo que cheguemos algum dia a coabitar com formas alternativas de vida. Tanto faz que o universo infinito deixe de ser mapeado por astrônomos e o conheçamos tão facilmente como uma lista de endereços.

Homem e alienígena são obrigados a conviver juntos em um planeta estranho a ambos – eu ainda teria de chamar o alienígena assim ?. Por si só isto revela o quanto relações humanas (?) tem uma densidade toda própria. Numa existência cercada por possibilidades de fuga, lenitivos e alívios de toda espécie, o que ou quem realmente somos num estado de completo isolamento ? Ou de isolamento com apenas outra forma-de-vida ainda que hostil ?

Esta brilhante ficção-científica de Wolfgang Petersen (quem será este diretor ?!) deixa no chão qualquer tentativa de dar dignidade a reality-shows.

This weekend the popular kids show Yo Gabba Gabba opened up their new on-stage show with some serious star power. Celebrity parents came out in full force to see “There’s A Party In My City” live this weekend in Los Angeles.

Christina Aguilera partied with her son Max on day one along with Jason Bateman, Dennis Quaid, Marissa Jaret Winokur, Sarah Silverman and Busy Philipps.

Snoop Dogg not only brought his kiddies, but performed on stage during day two, where Travis Barker and Taylor Hanson enjoyed the show with their families. Other celebrities in attendance were Monet Mazur, Biz Markie, Jon Heder Amber Valletta and actress Poppy Montgomery.

If you missed the show in LA, there are still a bunch of shows left!

The 3 shows in NYC next weekend are sold out, but the 2 cities below still have tickets.

• Dallas, TX @ Dr. Pepper Arena Saturday, Nov. 28, 2009 11AM, 3PM
• Chicago, IL @ Rosemont Theatre Saturday, December 5, 2009 11AM, 3PM

Curioseando en la red he encontrado esto, sordido a mas no poder.

¿Que pasaria si dios se rebotara de nuevo con la humanidad?

¿Y si en vez de provocar una catastrofe, como es habitual en las profecias, decidiera enviar directamente a sus chicos para acabar con la raza humana?

¿Que pasaria si el heraldo de la muerte, el arcangel Miguel, se negara a cumplir las ordenes y se enfrentara a dios?

¿Y si la clave de todo estuviera en el hijo aún no nacido de una camarera de bar de carretera, que jamas conoció varón?

No os pregunteis mas, aqui esta el trailer

Tambien aqui: http://www.youtube.com/watch?v=PqHwOU2Yen0&feature=related

Se estrena el 22 de enero del año que viene y tiene pinta de ser una vuelta de tuerca mas al mito de Terminator pasado por el tamiz de Stephen King y los hermanos Watchovsky, solo que esta vez a lo bestia, ni John Connor ni leches, directamente el mesias.

Pero quien sabe, lo del angel renegado me ha gustado.

Habrá que verla.

What’s better than watching your favorite TV show from the comforts of your own living room? How about seeing your favorite TV show live!

Teagan has been a fan of Yo Gabba Gabba since she was one! She’s been lucky enough to meet Toodie, Brobee and DJ Lance Rock at various events. We also have a nice assortment of YGG toys and DVDs. Getting a chance to see them live is the ultimate experience for her and any YGG fan.

Yo Gabba Gabba! Live! “There’s a party In My City” is in L.A. at The Shrine Auditorium this weekend for 4 shows. We were lucky enough to attend the premier show. There were many Gabba fans big and small dressed in store bought and homemade YGG attire eagerly awaiting Muno, Foofa, Brobee, Plex and Toodie.

The concert felt like we were part of an episode hanging with the gang in Gabbaland! They sang favorites such as “Name Game”, “Get the Sillies Out” and for the feature, “Party in My Tummy”. Dancing cheese, chicken, juice box and other treats danced along with the whole Gabba gang.

The Super Music Friends Show sequence on TV has featured different bands such as The Roots, MGMT, and The Shins. For today’s live show we were treated to a performance by the wacky the Aqua Bats.  They sang about  “a pool party for the cool kids at my school”.  We were those cool kids today!

Toodie was waving to us!

The coolest treat was Biz Markie’s bit. At first he came on the large TV screen and wondered if he could make it to the show.  When he came bursting out the screen onto the stage the Shrine went wild. You can tell that most parents are from our generation by the huge response from the audience. Biz does a segment called “Biz’s Beat of The Day”.  He beat boxes simple rhythms and tries to get you to beat along.  Another highlight from Biz was when he ran out into the crowd for some audience participation. It was cute to hear all the little ones try to copy Biz’s beat into his microphone.

There were a good number of celebrities in attendance with their families like Dennis Quaid, Sarah Chalke, Garcelle Beauvais, Busy Phillips and even “Weird” Al Yankovic.  My husband even got to meet singer Josh Homme from Queens of The Stoneage.

Our only wish was that Jack Black was the “Dancey Dance” guest. He was featured in his own episode presented one of the best episodes so far.  I don’t know who the three guys were that led the dance but they were a little goofy and that made it fun to watch.

The live show was the perfect length considering that it ended right around naptime.  The show ended with a bittersweet sing-along version of the “Goodbye Song”.

What do we love about the TV show? The messages the episodes explore like sharing, family, eating, and feelings. We’ve been able to transfer lessons into our household like Plex’s “brushing your teeth” lesson or Muno’s “don’t bite your friends” lesson. The music is also a big sell for us. The show’s creators are from our generation and the music that is chosen for the show is by various indie and electro bands that we definitely relate to musically.  Most of the music has a pseudo 80’s synth rock video game feel. My favorite song is Bedtime Lullaby by Mark Kozelek. I wound up searching for the song after I heard it on a YGG episode and bought it on iTunes.

The best thing about seeing YGG this morning for Mommy and Daddy? It was seeing Teagan’s smiling face. My husband and I can’t help to get a little chocked up when we see her truly enjoying herself. We share her love of the show because SHE LOVES IT. She loves the characters, and has learned the songs. Isn’t it great when you can do a “Dancey Dance” and “go crazy” with your two year old?



Efter mänsklighetens mångåriga exploatering av jordens tillgångar börjar här moder jord slå tillbaka. Den globala uppvärmningen leder till tornados, flodvågor, översvämningar och superstormar med extremt kyla som leder till skapandet av en ny istid. Vi får i filmen följa en forskare (Dennis Quaid) vars utskrattade teori blir verklighet, men inte ens han hade kunnat förespå förloppets hastighet. Samtidigt som norra delen av jordens befolkning fryser ihjäl befinner sig hans son (Jake Gyllenhaal) i New York tillsammans med några kamrater. Isolerade på biblioteket gör de sitt bästa för att hålla sig varma och försöker hålla sig vid liv till räddningen förhoppningsvis når fram.

Roland Emmerich är inte känd för att spara på krutet i sina filmer och här har effektmakarna fått jobba hårt för att iscensätta diverse katastrofer. Det är onekligen snyggt gjort även om det idag kommer så mycket liknande scener att man blir snudd på blasé. Handlingen är inte direkt trovärdig och definitivt inte de strapatser huvudrollskaraktärerna företar sig och lyckas överleva. Här handlar det främst om att göra en blockbuster och där använder man miljön som medel, snarare än att man försöker upplysa och utbilda. Det är häftig action och helt klart en underhållande storfilm, men samtidigt störs jag på att medan halva jordens befolkning dör väljer man att ensidigt fokusera på endast en handfull amerikaner.

Betyg: 3

PANDORUM (Estados Unidos – Alemania 2.009, 108 Minutos, Ciencia Ficción – Thriller – Terror)
Dirección: Christian Alvart.
Guión: Travis Milloy; sobre un argumento de Travis Milloy y Christian Alvart.
Reparto: Dennis Quaid, Ben Foster, Cam Gigandet, Cung Le, Antje Traue, Eddie Rouse, Norman Reedus, Friederike Kempter, Niels-Bruno Schmidt.
Fotografía: Wedigo Von Schultzendorff.
Música: Michl Britsch.

Valoración: 6/10

Sinopsis: Dos hombres despiertan tras una larga criogenización abordo de una nave espacial. Ignoran su misión, el lugar en el que se encuentran y el porqué del estado de la nave. Todo parece haber sido abandonado tiempo atrás y ellos son incapaces de recordar nada. Guiado por su compañero, el cabo Bower intenta restablecer contacto con el alto mando de la nave, mientras desentraña los misterios de su misión y hace frente a unas extrañas y mortíferas criaturas que parecen haberse apropiado del lugar mientras dormía.

Crítica: De no existir Alien, Horizonte, Final, Odisea en el Espacio o The Descent, Pandorum sería mejor película. Pero para desgracia de Alvart, Anderson y el resto de responsables de la cinta, estas existen. Es más, han sido claves a la hora de inspirar esta cinta. Pandorum podría ser descrita como una mezcla entre Horizonte Final y The Descent, sin el impacto de la primera ni la descarnada ferocidad de la segunda. Aunque podría parecerlo, el resultado no es catastrófico, sino un cumplidor híbrido entre géneros, que une con esfuerzo una ambientación claustrofóbica propia de la ciencia ficción espacial, una premisa de thriller y un desarrollo típico del cine de terror. Individuos desubicados y perdidos, que caminan hacia lo desconocido compartiendo con el espectador esa ignorancia, mientras son hostigados por un terror carnívoro al que combaten en equipo, sí, pero en clara desventaja, a la vez que avanzan por varios niveles hasta alcanzar el objetivo que buscan, que puede ser generador nuclear averiado, palanca de autodestrucción o módulo de salvamento, elijan. Pandorum es el resultado de esta premisa, desgastada ya del uso y el abuso. Un filme con un final mágico (o eso intenta), precedido por una trama tópica, una narración atropellada y algún histrionismo en su reparto, que encabeza con soltura el a veces infravalorado, otras sobrevalorado Ben Foster, uno de esos actores que sigue buscando su lugar a pesar de los envenenados consejos de quienes, a veces, le elijen los papeles. Un conjunto que no destaca ni maravilla, pero que proporciona entretenimiento sin pretensiones mesiánicas, y en el que el poderoso escote de Antje Traue, émula de una Lara Croft hiperviolenta y sustituta germánica, neumática y malencarada de la Jovovich en el filme, se convierte en un protagonista más, con sus propios planos y que, a falta de diálogos, logra hablar por sí mismo. A pesar de sus notables taras y su falta de osadía, Pandorum funciona como diversión ligera, aunque eso sí, sólo con la colaboración del espectador. Para disfrutarla este debe hacerlo por la noche, apagar las luces, cerrar las persianas, aislarse y dejarse llevar sin hacer demasiadas preguntas.

Esta película sí que ha puesto a prueba mi buena voluntad. Lo único que puedo salvar es la sorpresa del final, ¡pero el resto es malo con ganas!

Lo podría describir como una mezcla de ciencia ficción a lo Alien, el octavo pasajero con las típicas historias de zombies. Todo comienza con dos tripulantes que despiertan de su hibernación en una nave gigantesca y tétrica, habitada por miles de humanos también hibernados, camino de un nuevo planeta similar a la Tierra. Pronto descubren que algo ha ido muy mal en la nave, no saben dónde están, ni cuánto tiempo ha pasado, y unas terribles criaturas campan a sus anchas zampandose a los humanos que encuentran. Por si eso fuera poco, tienen que cuidarse para que no les afecte el Pandorum, un sindrome que pueden sufrir los humanos cuando se enfrentan a la soledad e inmensidad del espacio y que puede volverles locos.

NOTA : 6

Download subtitrare Pandorum

Trailer Pandorum :

Amb matissos que recorden a “Alien, el octavo pasajero”, se’ns presenta aquesta pel·lícula de ciència-ficció/terror ambientada en un futur que nosaltres no veurem. La Terra pateix una superpoblació exagerada i els recursos naturals estan a punt de desaparèixer. Això fa que es construeixi una meganau espacial on alguns habitants de la terra, protegits i vigilats per soldats, viatgen en busca de nous móns aptes per ser habitats. Durant el viatge , es someten a un hiperson que els manté adormits durant tot el trajecte.

El tinent Payton es desperta del seu hiperson junt amb el soldat Bower. Aviat descobreixen que a la nau ha ocorregut alguna cosa horrible que ha transformat a alguns dels habitants de la Terra en éssers fastigosos i temibles, amb fam insaciable i caníbal.

L’argument, des d’aquest punt de vista, no és gaire complex; però a mida que va avançant el film, es va tornant més estrany i paranoic. Potser es el punt negatiu de la pel·lícula per a mi, ja que no he acabat d’entendre-la. Bé perquè és massa complicada, bé perquè em fa la sensació que no s’explica gaire bé allò que passa, bé perquè l’he vist online amb qualitat molt millorable (sobretot de so). Els monstres mutants no són res de l’altre món i tampoc se sap molt bé com arriben a ser com són. No es pot qualificar de pel·lícula d’acció, perquè no hi ha molta, a diferència de la mateixa “Alien, el octavo pasajero” o altres pel·lícules de terror amb estranyes criatures com “Resident Evil”.

El que m’agrada és l’ambient de claustrofòbia i tensió que genera, com a bona pel·lícula de terror. El gir argumental del final, en el qual s’explica tot i s’arriba a entendre una mica l’argument, és força sorprenent i fa que oblidis que no has entés res durant la pel·lícula. Senzillament acceptes el final i prou.

Tot plegat una bona pel·lícula pel sofà dels diumenges, amb moments de tensió i pocs efectes especials (sorprenent en una pel·lícula de ciència-ficció, no creieu?)

I just woke up and had a cigarette, and during my ciggie break a girl walks by who looked like Zhang Zi Yi and I thought to myself, I ought to sock you in the face for misleading me into watching The Horsemen. Which is one of the movies which I had no idea how I came to it, had never heard of it before, and actually thought that a thriller with Dennis Quaid as the main lead and Zhang Zi Yi as a psycho killer would be anything short of mediocrity. Alright, let me save the readers some time by a brief overview of the film, Dennis Quaid plays a detective whose wife died 3 odd years ago and his 2 sons hates his fucking guts because he’s too committed to his job, Zhang Zi Yi plays an adopted 17 year old of a white family (while she’s close to 30). She kills the mother and cuts out her unborn “sister” gives it to Dennis Quaid in a zip lock bag, arrests her and BOOM. I sledgehammered the fucking TV off….nah just kidding my roommate would kill me, but yeah i shut it off because I cannot bare to watch the remaining flowing excrement (what some people think is a movie) spooling out of my TV onto my living room floor and crawling towards me, oh wait…that’s from a better fucking movie. Fuck you Jonas Åkerlund. Then i realized that my cigarette was crushed in my hand and close to burning my skin out. But on a better note tommorrow’s Friday!

Jakoś przypadkiem o uszy obił mi się tytuł „Pandorum”. Do wczoraj myślałem, że to jakaś azjatycka produkcja z duchami i panienkami płaczącymi łzami o kolorze krwii… Jakże się zdziwiłem, gdy moim oczom ukazało się klimatyczne i zarazem enigmatyczne wprowadzenie w tematykę tego filmu. Pierwsze skojarzenia? „Event Horizon”, „Dead Space”, „Alien” i pewnie nie tylko, natomiast każdy kto widział te tytuły zauważy pewną wspólną, bardzo zimną, zielonkawo-niebieską specyfikę, pokrytą kablami, żelastwem i tawotem do smarowania plazmowych rdzeni, gdzie coś czai się w ciemności.

„Pandorum” można rozumieć dwojako, jako termin określający chorobę wywołaną przedłużonym czasem hibernowania objawiającą się paranoją, tendencjami maniakalno-depresyjnymi, skłonnościami samobójczymi, halucynacjami, drgawkami i innymi fajnymi symptomami bez których obejść się w kosmicznej próżni nie można. „Pandorum” to również twór niemiecko-armerykańskiej współpracy filmowej, dodać należy że w mojej opinii bardzo dobry twór. Scenariusz napisali wspólnymi siłami Travis Milloy i Christian Alvart, których w zasadzie nie kojarzę z żadnego tytułu, zatem debiut komercyjny można powiedzieć że jest mocny niczym czarna kawa z Peru.
Jako główne mordy przewijają nam się Denis Quaid (który jakieś doświadczenie w s-f już ma: Frequency, Innerspace, The Day After Tommorow), oraz Ben Foster (znałem go wcześniej tylko z negatywnej roli w 3:10 to Yuma i Punishera). Jak się sprawdzają? Bardzo dobrze, inne role niż te dotychczas znane, autentyczne, pozbawione kretyńskich skryptów i poważne w tym co robią.
A co i gdzie robią jest tutaj jak najbardziej na miejscu. Pierwszy bohater, którego mamy okazję poznać (nie licząc tych z wprowadzenia) to kapral Bower. Facet budzi się właśnie z hibernacji nie wiadomo jak po długim czasie, trzęsie się, nie wie gdzie jest, nie bardzo pamięta jak się obsługuje tutejsze urządzenia, jest głodny i sam-a reszta śpi w kosmicznym letargu.
Już pierwsze sceny obrazują statek Elysium jako miejsce potężne, samotne i pogrążone w czymś nieznanym i niebezpiecznym. Do Bowera dołącza przed chwilą zbudzony z hibernacji Payton i razem starają się rozwikłać tajemnicę statku widmo na którego pokładzie się znaleźli. Prowadząc dialog przypominają sobie coraz więcej, a układanka zaczyna tworzyć coraz wyraźniejsze kształty. Dowiadujemy się, że Bower należy do grupy inżynierów i pewne rzeczy w temacie mechaniki okrętu po prostu wie, a mostek jest miejscem do którego powinni się udać. Obaj uświadamiają sobie równie, że powinni zostać zbudzeni z hibernacji przez grupę 4 (należą do 5) na swoją 2 letnią wachtę, jednak po grupie czwartej śladów żadnych nie ma. By było ciekawiej okazuje się, że statek ma rozregulowany generator energii i potrzebny jest restart systemu nim wszystko rozleci się na kawałki. Brak narzędzi i broni, oraz konieczność skradania się szybami wentylacyjnymi nie jest ostatecznie najgorszą z możliwości o ile jest bezpiecznie. Tutaj oczywiście sprawa się komplikuje, a Bower już po chwili znajduje pierwsze ciała- jedne już nadkruszone przez czas, pewnie ofiary podobnej podróży do reaktora, inne świeże- lekko żywe, podwieszone pod sufitem na kablach… W tym momencie już pewne jest, że statek skrywa mroczną tajemnicę, pewne jest że z załogą stało się coś złego, pewne jest że pozostanie w takim miejscu gwarantuje jedynie objęcia lodowatych dłoni Kosmicznego Żniwiarza i pewne jest że w tej podróży poszło coś nie tak. Poznajemy historię smutną, straszną i w zasadzie całkiem świeżą, a film stanowi zastrzyk adrenaliny w już lekko zestarzałym i opuszczonym gatunku space-horrorów. Pomyślcie, że w locie który ma trwać ponad 100 lat coś idzie nie tak, a bohaterowie budzą się w miejscu w którym za pancerną szybą nie ma gwiazd, tylko ciemność. W miejscu z którego nie ma już jak wrócić, a towarzysze wiją się w amoku pandorum, bądź śpią snem z którego nie można ich zbudzić. Nie chce pisać zbyt wiele, zdradzać fabuły, która jest świetnie prowadzona i karmi nas okruszkami przesmacznego pieczywa w którym ukryta jest śliwka. To jest tytuł, który podobnie jak polecane poprzednio przeze mnie filmy albo się kocha, albo nienawidzi. Jest coraz bardziej otulające bohaterów szaleństwo, samotność, zagrożenie i statek kosmiczny. Tutaj boimy się nie tylko potworów z mackami, czy pełzających po ścianach xenomorfów, ale nas samych. Ludzi którzy utonęli w obłędzie podczas za długiej podróży przez wszechświat, samotnych, niepoczytalnych i zaadaptowanych w nowych warunkach bytu.
Inaczej mówiąc: świetne role, kapitalny klimat, dobra fabuła i pomysł, rezurekcja gatunku, oraz zaskakujący finał.
Uth poleca!

 

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