Between the Seats 2.0

New life, new purpose.

The old Between the Seats is probably never coming back. Random reviews of older films or new theatrical releases, marathons, those were very fun to write and publish but there’s a reason why they came to an end in early January of 2013. Other obligations have eaten far too much of my time to update this blog with the traditional content readers have come to expect on a movie blog. I already do that kind of stuff elsewhere, so I won’t be doing it here as well, notwithstanding some pretty exceptional circumstances.

The Final Chapter

Hello fellow readers and bloggers!

Some of you who occasionally visit the blog may be wondering why is it that no updates have been provided since last summer. That is indeed a very long stretch of time without any news and worthy information. For that I humbly apologize. Work, social life as well as the energy invested to be the best movie commenter I can possibly be for Sound on Sight have taken up the majority of my time, much of which used to be for writing fun articles for this little blog here. Between the Seats operated on a consistent basis for four years, from September 2008 to September 2012, delivering the best content feasible given my capacity for heading out to the multiplex, attending festivals and delving into an extensive DVD and Blu-Ray shelf to explore the gems of cinema's past.

Sam Raimi marathon: The Evil Dead

The Evil Dead (1982)

The story of how director Sam Raimi got his start in the filmmaking business is, understandably, well known amongst his own fan base, and is common knowledge even with the more casual fans. With less 400,000 dollars, himself, some friends and close colleagues, one of which was Bruce Campbell, who has been a consistent collaborator ever since even with regards to the Raimi films in which he has not starred, the upstart director headed down from Detroit to Tennessee to create what became known as The Evil Dead. Mixing classic horror tropes with some unexpected ingenuity, the film impressed many. Raimi's journey as a filmmaker experienced a tremendous upswing from that point onwards and things have never been the same.

Sam Raimi marathon: Darkman

 Darkman (1990, Sam Raimi)

American director Sam Raimi, having made a solid name for himself for the better part of 30 years, is really something of an entrepreneur, a go-getter who makes his films happen despite either scepticism or lack of genuine funds. Despite his numerous successes, it seems as though his name shall never resonate among the wider movie going public or cinefile circles as strongly as, say, Steven Soderberg or Steven Spielberg. No, it unfortunately safe to assume that apart from his fanbase and well versed film buffs, his name is not one that shall be remembered vividly in cinema history. Yet considering his exploits as a filmmaker, it is mighty tempting to believe it should be otherwise. One need only look to his 1990 action movie Darkman, an endeavour resulting from his failed attempt at bringing a recognizable comic book property to the big screen (a feat he would accomplish some 12 years later). What would a creative mind opt for in the aftermath after such a bump in the road? Why, create his own super hero of course.

Definitive Alien marathon: 'Prometheus' , an appreciation

With the general review for the film currently under the microscope having the received sufficient praise for the efforts of the production designers and visual artists, it seems fitting that this supplemental article should concentrate more closely on the plot as well as the general ideas, thematic and character driven, which drive the film's core.

Definitive Alien marathon: 'Prometheus', general review

Prometheus (2012, Ridley Scott)

Significant stretches of absence between instalments in a franchise can be a curse or a blessing. It may provide writers, directors, studios executives and all others involved in the creative process to sit back and digest what they have accomplished as well as what they still set out to do. Sometimes the decisions, despite plenty of time for a meditative process, dot not evolve into what audiences were hoping for. Ask the many embittered movies goers who waited anxiously for Kingdom of the Crystal Skull and Live Free or Die Hard. Science-fiction is a little bit different given that its very nature allows for some slightly loopier logic than in most other genres, therefore allowing the creators a wider canvas to take a series in different directions. The Alien franchise, as of the mid 00s, had devolved into a stale, pitiless shell of its former self. The AVP spinoffs virtually spelled doom and gloom for the once revered series which gave both sci-fi and horror a serious boost. Along came Ridley Scott and screenwriters Damon Lindelof and Jon Spaihts in an attempt to revitalize it in ways fans were least expecting.

Definitive Alien marathon: 'Alien Resurrection' , further reflection

It was written in the general review for the film how disappointing it was for the character of Ripley to return not as her true self, but as some of sort clone variation. It always seemed to me that 20^th Century Fox, in wanting desperately to make another Alien film, were caught between a rock and a hard place.

Definitive Alien marathon: 'Alien Resurrection' , general review

Alien Resurrection (1997, Jean-Pierre Jeunet)

There is a threshold for everything, even plausibility. When discussing science-fiction and horror, it goes without saying that those two genres are far more permissive of out of the ordinary happenings. The sense of disbelief amongst the audience will sway towards acceptability and embrace the typically implausible, even logically impossible events that unfold. Even in those realms, some things are difficult to digest, especially when their purpose reeks of nefarious studio interference. The practice of implausibly making things happen for the sake of script and possible increase in profit at the box office can and is felt most particularly in franchises. The main thrust of a story, the smoking gun for the overall plot, can easily lose credibility in the eyes of many it it poorly masks a studio's attempt to cash in on a widely recognized property. While unique French director Jean-Pierre Jeunet brings some unexpected flavours to the fold in the fourth instalment of the series currently under review, Alien Resurrection, there are some egregious missteps.

Definitive Alien marathon: 'Alien 3', an appreciation

In the documentary about the making of Alien 3 in the blu-ray set (also available on the second disc of the Alien 3 special edition DVD for those interested), many cast and crew members who, while they cannot speak entirely for David Fincher, expressed the feeling that the up and coming director did his best to provide the picture with his own unique stamp, his own signature, much like his two predecessors had done with their respective efforts. This is, in all likelihood and with the benefit of hindsight provided by the man’s career since then, probably true. Fincher is not one to make movies quite like anybody else operating within the traditional Hollywood system. His films do not necessarily make bags upon bags money, even though most turn in modest profits, but the studios, big studios at that, continuously provide him the funds necessary to make the best movie he can. The man is a filmmaker in the artistic sense of the term, not merely in the commercial sense. For that reason, some of the decisions made with regards to the Alien 3 script may be better understood. That being said, it should also be noted that the script, or what can be described as a script, lived in a constant state of flux before and even during the film’s production. 

Definitive Alien marathon: 'Alien 3', general review

Alien 3 (1992, David Fincher)

Excellence can continue for only so long. A new government is elected into office having made lofty promises during a brilliant campaign, only to lose the very next election. A sports team wins a few consecutive championships before finally meeting its match. A business will show profit during multiple quarters before forces either from within or without and beyond its control negatively affect output and revenue. A movie franchise can certainly deliver a few good entries but at some point, the law of diminishing returns will establish itself. All good things have an expiration date. Having not been a serious movie fan 20 years ago in 1992, it is difficult to fully comprehend how meaningfully that notion resonated in May of that year when Alien 3 (or Alien 'cubed' as some call it) was released to fans worldwide...to incredulous disappointment. Suffice to say, the reception was a cold one. Much time has elapsed since then, and while Fincher's effort has not become a favourite, many take a kinder look to it now then upon its initial theatrical release.

Definitive Alien marathon: 'Aliens', an appreciation

Definitive Alien marathon: 'Aliens' general review

Aliens (1986, James Cameron)

Arguably one of the most notable, quotable lines lines from James Cameron's high-octance sequel to Ridley Scott's quiet, brooding and claustrophobic horror film is not even a line spoken by a character in the film itself. Rather, it is Aliens' tag line which has since been remembered fondly by fans of the film and the franchise. 'This time it's war.' Not one phrase could possibly describe the nature of this incredibly popular sequel more accurately nor more succinctly. Whereas Cameron's predecessor preferred to construct and augment tension slowly and carefully, rarely, if ever, resorting to flamboyant outbursts, the Canadian-born director opted for something a little different. Who are we kidding, he blew the roof off of the Nostromo and the Sulaco is what he did.

Definitive Alien marathon: 'Alien', an appreciation

This is but a supplement to the Alien review posted earlier this week. Whereas the previous article offered an overview of the film and highlighted its strengths and weaknesses, today's article will dig into the finite details of Ridley Scott's horror masterpiece. We hope you enjoy reading and find the same giddy pleasure in the film's details as we did.

Definitive Alien marathon: 'Alien' general review

Alien (1979, Ridley Scott)

Ridley Scott's career as a filmmaker has been filled with incredible successes. Despite what proud accomplishments he can call his own, there have been some bruises along the way. It seems that for every Ridley Scott fan there is a Ridley Scott detractor, and for every film used as an argument in support of the Englishmen, somebody can present a solid case against him. One says Gladiator, another says Robin Hood. One says Thelma and Louise, another says G.I. Jane. People say American Gangster and both the supporters and the detractors claim that as a case supporting their respective opinions. Alien, the 1979 film, originally from the mind of UCLA science-fiction fanatic Dan O'Bannon, is not one such film to stir controversy. Granted, it may have its handful of naysayers and those people may very well have their reasons, yet for the most part the picture is considered a classic and a milestone in science-fiction horror, principally because that meshing of the two genres had never been done as effectively as when Alien spooked the living daylights out of people back in the summer of '79.

Fast Men, Faster Cars: Senna

Senna (2010, Asif Kapadia)

Anyone familiar with the Formula 1 racing championship and its history is aware of the name Ayrton Senna. Ayrton is today considered a legend, fondly remembered by fans of sport and former drivers alike. During his all too briefly illustrious career, Senna was quite the controversial figure, with his detractors equally vocal as his supporters, especially his closest rivals during the races themselves. Documentary filmmaker Asif Kapadia offers a relatively insightful glimpse into this unique figure, delivering a film constructed exclusively out of archival footage and family home videos, with the occasional voice over courtesy of past interviews.

Fast Men, Faster Cars: Grand Prix

Grand Prix (1966, John Frankenheimer)

Director John Frankenheimer is one of those people working within Hollywood one could always trust in producing solid, well made, engaging pieces of entertainment. This talented director was very much along the lines of Robert Wise or today's Steven Soderbegh, in that he could tackle a great many genres and one could practically guarantee the results were to be positive. Earlier in the marathon was published a review for the Steve McQueen picture Le Mans, which impressed for its technical skills, all of which brought the thrill of the race to life for audiences. The downside was everything else (story, characters and all), which fell terribly flat. Frankenheimer's Grand Prix is, interestingly enough, a film McQueen could have starred in, were it not for creative differences.

review: The Avengers

The Avengers (2012, Joss Whedon)

And so it has come to this, the epic result of 3 summers worth of films for individual Avengers characters, each a perfectly singular adventure, but also building the links towards what is the first summer blockbuster of 2012. (the first weekend of May seems a little early to call it 'summer', but Hollywood claims it is now summer, so we'll go with that). Writer-director Joss Whedon is a demi-god in the eyes of many a television and film fan, having been the principle creative force behind a list of phenomenally successful series, the most popular being Buffy the Vampire Slayer, which is basically the only reason people know who Sarah Michelle Gellar is. The comic book fan and Whedon fan communities erupted in unified jubilation when, a couple of years ago, it was announced that he would helm this massive undertaking. Now it has opened in theatres pretty much everywhere on the planet. Is it any good?

Fast Men, Faster Cars: The Fast and the Furious

The Fast and the Furious (2001, Rob Cohen)

Director Rob Cohen and actors Vin Diesel and Paul Walker. How many people get excited upon hearing those three names, or at the very least one of them? The question is unfair given that most people who come visit blogs such as this, people who, by the way, would for the most part emphatically answer 'Not me, so sir!' to the question posed above, have particular tastes and ways of appreciating the art of film. They are in the minority, however badly they may wish it were the other way around. The honest answer is 'An entire legion of movie goers', the same legion that made 2001's The Fast and the Furious a rousing box office success despite the film receiving, at best, a lukewarm critical reception. The same people, in fact, who made the second, third, fourth, and yes, last spring's fifth instalment equally if not even more successful, commercially speaking.

Fast Men, Faster Cars: Le Mans

Le Mans (1971, Lee H. Katzin)

Steve McQueen, one of the true great Hollywood screen legends, was known to be an avid driver. Small wonder that in one of his most popular films, Bullitt, the greatest action scene, perhaps the only genuine action scene, is a phenomenal car chase through the streets of San Francisco. A racing film per say would, therefore, feel like the most perfect fit of all. The famous actor had in fact attempted to create what he wanted to be viewed as the ultimate racing film, but the rights to the material that had caught is eye went to someone else, who then had John Frankenheimer direct said movie, titled Grand Prix (another entry in this very marathon in fact). It was therefore towards the legendary Le Mans 24 hour race that McQueen turned his attention to.

Blog update: Milestone (!) and other trivialities

Hello readers,

How is it going? Well, I presume, I think, I hope.