Sarah Connor Returns in First Trailer for ‘Terminator: Dark Fate’

I know it has been a week since this first trailer for “Terminator: Dark Fate” was unleashed upon us, but it is still on my mind. Despite the tepid critical and commercial reception for both “Terminator Salvation” and “Terminator Genisys,” there is still a vested interest for some in continuing this franchise even if the thrill of it seems to have long since disappeared. But with this movie, which is meant to be a direct sequel to “Terminator 2: Judgement Day,” we get the return of James Cameron to the franchise, and this leaves me with hope we will get “The Terminator” cinematic experience we have been expecting for far too long.

Watching this trailer is a bit disorienting as it introduces us to characters who were not in the previous movies. There’s Dani Ramos (Natalia Reyes) who starts off by saying how she had an easy-going life until a few days ago, and now everything for her has gone to hell. Then we have Grace (“Tully’s” Mackenzie Davis), a tough warrior who eventually proves to be more than human. And of course, there is an especially advanced Terminator pursuing them called Rev- 9 (Gabriel Luna), and he can get from one place to another even when he’s behind the wheel of a big truck.

At this point, we can tell this is a “Terminator” movie, but then a familiar face pops up. But instead of Arnold Schwarzenegger, it is Linda Hamilton who returns as Sarah Connor, and it is great to see here playing this iconic character once again. What really surprised me about this trailer is how it makes Hamilton its biggest star instead of Schwarzenegger. In fact, we only see Schwarzenegger once, and it leaves me wondering if he is playing a terminator in this one or the man the T-800 was modeled after. Besides, he has facial hair this time around.

But having Hamilton here front and center was an inspired move, and she leads the cast of an action movie which looks to be dominated by female characters in the same way the “Halloween” reboot was. Is Hamilton too old to be playing Sarah Connor? Oh please, don’t even ask me such a silly question. All that matters is she’s back!

We do not, however, see John Connor in this trailer, but he is said to be in the movie and will be played by Jude Collie. Will John be in the background this time around? Will he be taken out early on? I cannot help but wonder.

I can’t say this trailer for “Terminator: Dark Fate” blew me away, but it does leave me hopeful that Cameron and “Deadpool” director Tim Miller can give us something on a par with the first two films in this series. Also, you have David Goyer as one of the screenwriters, and Junkie XL doing the film score. These are good omens, right?

Check out the trailer above. “Terminator: Dark Fate” will arrive in theaters on November 1, 2019.

Terminator Dark Fate teaser poster

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‘The Predator’ is This Franchise’s Best Installment Since the Original

The Predator movie poster version 3

Having Shane Black co-write and direct “The Predator” brings this franchise around full circle. Black appeared in John McTiernan’s “Predator” as Rich Hawkins, a member of the elite military rescue team led by Butch (Arnold Schwarzenegger), and he was the first of the group to get mercilessly slaughtered by the “ugly motherfucker.” Since then, Black has become a master screenwriter with “Lethal Weapon,” “The Last Boy Scout” and “The Long Kiss Goodnight” as well as a gifted director with “Kiss Kiss Bang Bang,” “The Nice Guys” and “Iron Man 3” on his resume. At the same time, the “Predator” franchise quickly became an unwieldy one as “Predator 2,” while it had its moments, suffered from too many clichés and stereotypical characters who were just asking to be killed. “Predators” was fun, but it didn’t quite jumpstart this series in the way its filmmakers intended it to. The less said about the “Alien vs. Predator” movies, the better.

With Black’s gift of turning various movie genres inside out through terrific dialogue and unforgettable characters, it feels like only he could helm this “Predator” installment. If this creature is going to continue to have a cinematic life, it needs a filmmaker willing to liven things up and twist things around in an effort to make this franchise vital again. Thanks to Black and co-writer Fred Dekker, “The Predator” is easily the best and most consistently entertaining installment since the 1987 original. While it may not have the same lethal menace of McTiernan’s sci-fi action classic, it certainly feels like a Shane Black movie, and that is more than enough.

“The Predator” begins as most “Predator” movies do, with something or someone falling from the sky onto a planet at alarming speed. As a spaceship makes its way to an inevitable crash landing on Earth, Army Ranger Quinn McKenna (Boyd Holbrook) is aiming to take out drug dealers who have hostages. The spaceship crashing foils this mission, but Quinn comes into contact with the alien’s hardware and a device which makes him nearly invisible. Knowing certain members of the military, particularly agent Will Traeger (Sterling K. Brown), will do anything to keep this alien encounter under wraps, Quinn mails the hardware to his home where it is discovered by his son Rory (Jacob Tremblay) who, thanks to the form of autism he has, is able to activate it to where several predators are alerted, and from there it is only a matter of time before all hell breaks loose.

What struck me most about “The Predator” is how well-conceived its human characters are. While they may come across as your typical military movie characters, Black and Dekker invest them with pathos and a great deal of black humor. This is especially evident in the scene where Quinn is being interrogated by a military psychiatrist as it shows how he is quick to tell others they need to cut through the bullshit. Characters like Quinn know they are in over their heads to where they do not want others to lie outright to them. It has become far too easy to cast doubt on an individual than it is to believe one, and the military shows no mercy in doing the same to Quinn as they are quicker to put a bullet in his head instead of telling him, “Thank you for your service.”

Quinn gets thrown on a boss with a bunch of former soldiers who are on their way to the nearest loony bin as they are, at first glance, certifiably crazy. These fellow soldiers are played by Trevante Rhodes, Keegan-Michael Key, Thomas Jane, Alfie Allen and Augusto Aguilera. I really enjoyed how each actor made their character wonderfully unique in politically incorrect ways. Black and Dekker are not about to give us watered-down characters which would be easier for certain audience members to digest, and each actor clearly relishes the material they have been given. Their performances make these characters stand out in a way they would not in other sci-fi action movies, and that’s saying a lot.

Also starring in “The Predator” is the gorgeous Olivia Munn as Casey Brackett, a disgruntled scientist who is enlisted by the military to study the alien and its technology up close. Of course, once Casey learns more than the military would like, she becomes a target for assassination because, once again, people in power are eager for those they consider beneath them to remain silent, at times permanently so. But Munn makes Casey into anything other than an easy victim as she effectively intimidates these former military officers into making her a part of their team to take down this particular illegal alien. She is a blast to watch throughout, and I hope to see her again in a future sequel.

Holbrook left a strong impression on audiences in “Logan” as he made that movie’s antagonist more than the average bad guy, and he is perfectly cast here as an antihero who is not too different from Snake Plissken. In the real world, Quinn is not a guy you would be quick to hang out with on a regular basis, but Holbrook wastes no time in making you see he is the dude we need to save the day.

Tremblay, so good in “Room,” makes Rory into a unique movie child which I found very refreshing. Moreover, I admired how Tremblay was able to communicate so much while saying so little much of the time. But when he does get to speak, he is gifted with the uber clever dialogue of Shane Black. I also love how Rory is one of my favorite kind of kids in movies as he can see right through their parents’ bullshit to where he is very eager for them to cut the crap and tell him the truth. Furthermore, kudos to the filmmakers for making Rory’s form of autism something other than a disability. Certain things are only disabilities if you treat them as such.

I also got a big kick watching Sterling K. Brown as a military agent who is eager to exploit the predator’s technology before anyone else can. Unlike the character he plays on “This is Us,” here he portrays a man who is never quick to shed a tear, and this makes his performance all the more invigorating to take in.

“The Predator” does have its flaws as the narrative gets increasingly messy towards the movie’s furious conclusion, and certain action scenes are filmed frenetically in a Michael Bay-ish way to where it’s hard to make out all that is going on. Apparently, the last half of the movie had to be reshot as test audiences found it to be too dark. At least the filmmakers had the support of a major studio to do these reshoots. The same couldn’t be said for those working on the failed Stephen King adaptation “Cell” as that movie’s last half was far too dark for anyone to get a clear idea of what was ensuing.

It is important to note “The Predator” takes place after the events of “Predator” and “Predator 2,” but before those of “Predators.” Taking this into account, it is clear 20th Century Fox wants this installment to be the beginning of a trilogy as Hollywood is infinitely interested in franchises than they are in films not designed to have a follow up. Only time will tell if “The Predator” will get a sequel, but what I can tell you is I had a lot of fun watching it, and for my money it is the best “Predator” movie since the original. Even as I kept hoping Schwarzenegger’s character of Dutch would make an appearance (he does not), few things could keep me from enjoying this sequel to excellent effect. I had a blast watching it, and I hope you do too.

* * * ½ out of * * * *

Beyond Fest Returns with a Vengeance to Hollywood

Beyond Fest 2017 Poster Art JPG

The most popular genre film festival in the United States, Beyond Fest, is finally back in Hollywood, and movie fans could not be more excited. Starting on September 29th and going through October 10th, Beyond Fest will be reveling in cinematic madness at the Egyptian Theatre in Hollywood with screenings of classic movies and West Coast premieres of new ones, so you can expect a great 12 days of wonderful mayhem featuring special guests and restored versions of movies which were always meant to be seen on the silver screen. Co-produced by Shudder, the festival aims to raise funds for the non-profit American Cinematheque.

Among the most anticipated events this year will be Dario Argento’s “Suspiria” which will be presented in both its 4K restoration and its 35mm Italian cut. Argento will be making an appearance for this along with Udo Kier and Barbara Magnolfi. Arnold Schwarzenegger will also be on hand for the 30th anniversary of two of his most famous films, “Predator” and “The Running Man.” Two of horror’s greatest directors who passed away this year, George Romero and Tobe Hooper, will be honored with screenings of their most famous movies, “Night of the Living Dead” and “The Texas Chainsaw Massacre.”

As for those new movies making their premiere at the festival, they include “Brawl in Cell Block 99” directed by S. Craig Zahler and starring Vince Vaughn, “The Killing of a Sacred Deer” which is Yorgos Lanthimos’ follow-up to “The Lobster,” and the first couple of episodes of the Amazon Prime series “Jean-Claude Van Johnson” which, of course, stars Jean-Claude Van Damme, the Muscles from Brussels.

Tickets are now available through American Cinematheque and Fandango, and you can keep up with the festival’s latest developments on Facebook, Twitter, and their website.

Here are the movies being shown at Beyond Fest 2017:

BABY DRIVER

Director: Edgar Wright

Country: USA

Runtime: 102 min.

Year: 2017

GUESTS: Edgar Wright & Walter Hill in Person

 

BAD BLACK (free screening)

West Coast Premiere

Director: Isaac Nawibana

Country: Uganda

Runtime: 60 minutes / Year: 2016

 

BATMAN: MASK OF THE PHANTASM

Directors: Bruce Timm, Eric Radomski

Country: USA

Runtime: 76 min.

Year: 1993

GUESTS: Andrea Romano plus voice actors TBA in Person

 

BEST F(R)IENDS

World Premiere

Director: Justin MacGregor

Country: USA

Runtime: 95 min.

Year: 2017

GUESTS: Tommy Wiseau, Greg Sestero and Justin Macgregor in Person

 

BRAWL IN CELL BLOCK 99

West Coast Premiere

Director: S. Craig Zahler

Country: USA

Runtime: 132 min.

Year: 2017

GUESTS: S. Craig Zahler, Vince Vaughn and Udo Kier in Person

 

DOUBLE IMPACT

Director: Sheldon Lettich

Country: USA

Runtime: 110 min.

Year: 1991 / 35mm

GUEST: Jean-Claude Van Damme and Sheldon Lettich in Person

 

THE DRIVER

Director: Walter Hill

Country: USA

Runtime: 90 min.

Year: 1978 / 35mm

GUESTS: Edgar Wright & Walter Hill in Person

 

HELLRAISER

Co-presented with Death Waltz Records + Friday Night Frights

Director: Clive Barker

Country: USA

Runtime: 94 min.

Year: 1987 / 35mm

 

ICHI THE KILLER – Digital Restoration

West Coast Premiere

Director: Takashi Miike

Country: Japan

Runtime: 129 min.

Year: 2001

 

HOWARD THE DUCK – 70mm

Director: Willard Huyck

Country: USA

Runtime: 110 min.

Year: 1986

GUESTS: Lea Thompson in Person

 

JEAN-CLAUDE VAN JOHNSON – Episodes 1 & 2

Presented by Amazon

World Premiere

Director: Peter Atencio

Country: USA

Runtime: 60 min.

Year: 2016

GUESTS: Jean-Claude Van Damme, Peter Atencio, Dave Callaham, Kat Foster, Moises Arias.

 

THE KILLING OF A SACRED DEER

West Coast Premiere

Director: Yorgos Lanthimos

Country: UK, Ireland

Runtime: 109 min.

Year: 2017

 

MAYHEM

West Coast Premiere

Director: Joe Lynch

Country: USA

Runtime: 86 min.

Year: 2017

GUESTS: Joe Lynch and cast in person

 

NAPOLEON DYNAMITE – THE BOOTLEGGED EDITION

Theatrical Premiere

Director: Jared Hess

Country: USA

Runtime: 96 min.

Year: 2004

GUESTS: Cast and crew in person

 

NIGHT OF THE LIVING DEAD – 4K Restoration

West Coast Premiere

Director: George A. Romero

Country: USA

Runtime: 96 min.

Year: 1968

GUESTS: Mick Garris & Masters of Horror in Person

 

OPERA (aka TERROR AT THE OPERA)

Director: Dario Argento

Country: Italy

Runtime: 100 min.

Year: 1987

GUESTS: Dario Argento in Person

 

PHANTOM OF THE PARADISE

Co-presented with Creature Features

Director: Brian De Palma

Country: USA

Runtime: 92 min.

Year: 1974

GUESTS: Paul Williams in Person

 

PREDATOR

Director: John McTiernan

Country: USA

Runtime: 107 min.

Year: 1987 / 35mm

GUESTS: Arnold Schwarzenegger in Person

 

RAWHEAD REX 4K Restoration

Co presented with Cinematic Void and Friday Night Frights

West Coast Premiere

Director: George Pavlou

Country: USA

Runtime: 89 min.

Year: 1986

 

THE ROOM

Director: Tommy Wiseau

Country: USA

Runtime: 99 min.

Year: 2003

GUESTS: Tommy Wiseau, Greg Sestero and Guests in Person

 

THE RUNNING MAN

Director: Paul Michael Glaser

Country: USA

Runtime: 101 min.

Year: 1987 / 35mm

GUESTS: Arnold Schwarzenegger in Person

 

SUSPIRIA – 4K Restoration

Los Angeles Premiere

Director: Dario Argento

Country: Italy

Runtime: 100 min.

Year: 1977

GUESTS: Dario Argento, Udo Kier, Barbara Magnolfi in Person

 

SUSPIRIA – 35mm Italian Cut

Los Angeles Premiere

Director: Dario Argento

Country: Italy

Runtime: 98 min.

Year: 1977

GUESTS: Dario Argento and Barbara Magnolfi in Person

 

THE TEXAS CHAINSAW MASSACRE

Director: Tobe Hooper

Country: USA

Runtime: 83 min.

Year: 1974

35mm

GUESTS: Mick Garris & Masters of Horror in Person

 

SHUDDER THEATRE (at Egyptian Theatre)

78/52 (Free Screening)

West Coast Premiere

Director: Alexandre O. Philippe

Country: USA

Runtime: 91 min.

Year: 2017

 

BEFORE WE VANISH (Free Screening)

West Coast Premiere

Director: Kiyoshi Kurosawa

Country: Japan

Runtime: 129 min.

Year: 2017

 

BETTER WATCH OUT (Free Screening)

West Coast Premiere

Director: Chris Peckover

Country: Australia, USA

Runtime: 85 min.

Year: 2016

 

COLD HELL (Free Screening)

West Coast Premiere

Director: Stefan Ruzowitzky

Country: Austria

Runtime: 92 min.

Year: 2017

 

THE GRAPES OF DEATH AKA Les Raisins de La Mort (Free Screening)

Director: Jean Rollin

Country: France

Runtime: 90 min.

Year: 1978

 

HAUNTERS: THE ART OF THE SCARE (Free Screening)

West Coast Premiere

Director: Jon Schnitzer

Country: USA

Runtime: 88 min.

Year: 2017

 

JAILBREAK (Free Screening)

West Coast Premiere

Director: Jimmy Henderson

Country: Cambodia

Runtime: 92 min.

Year: 2017

 

LES AFFAMES (Free Screening)

West Coast Premiere

Director: Robin Aubert

Country: Canada

Runtime: 100 min.

Year: 2017

 

MOHAWK (Free Screening)

West Coast Premiere

Director: Ted Geoghegan

Country: USA

Runtime: 91 min.

Year: 2017

 

MY FRIEND DAHMER (Free Screening)

West Coast Premiere

Director: Marc Meyers

Country: USA

Runtime: 107 min.

Year: 2017

 

REVENGE (Free Screening)

West Coast Premiere

Director:  Coralie Fargeat

Country:   France

Runtime:  108 min

Year:  2017

 

SEQUENCE BREAK (Free Screening)

West Coast Premiere

Director:  Graham Skipper

Country:   USA

Runtime:  108 min

Year:  2017

GUESTS: Graham Skipper, Cast and Crew in Person

 

THE SLUMBER PARTY MASSACRE (Free Screening)

Co-presented by Etheria and Cinematic Void

Director: Amy Holden Jones

Country: USA

Runtime: 77 min.

Year: 1982

GUESTS: Amy Holden Jones in Person

Double Feature with SLUMBER PARTY MASSACRE II

 

THE SLUMBER PARTY MASSACRE II

Co-presented by Etheria and Cinematic Void

Director: Deborah Brock

Country: USA

Runtime: 77 min.

Year: 1987

GUESTS: Deborah Brock in Person

Double Feature with SLUMBER PARTY MASSACRE

Paul Verhoeven and Company Revisit ‘Total Recall’ in Hollywood

Total Recall movie poster

On Friday, August 24, 2012, Dutch filmmaker Paul Verhoeven dropped by the Egyptian Theatre in Hollywood where American Cinematheque screened a 70mm print of his 1990 movie “Total Recall.” Joining Verhoeven for a Q&A after the movie was two of its screenwriters, Ronald Shusett and Gary Goldman. They discussed the rigors of making the movie, and of how the script eventually made its way out of development hell.

As we all know by now, “Total Recall” is loosely based on the Philip K. Dick short story “We Can Remember It for You Wholesale.” Shusett said he and the late Dan O’Bannon, writer of “Dark Star” and “Alien,” bought the rights to the story back in 1974, and they completed their first draft in 1981. From there it was set to be made into a movie, but the project kept falling apart time and time again. Filmmakers like Bruce Beresford and David Cronenberg had worked on it for a long time but eventually pulled out due to creative differences or studios canceling the project because of its enormous budget.

“Everything kept falling through over and over again,” Shusett said. “Sets were built, but then the project kept getting canceled because it was too expensive. Back in 1990, this was considered to be the most expensive movie ever made. I wanted to keep all those sets that were built from being torn down, and I asked one studio executive how I could save them. He responded that I should change the movie’s name to ‘Partial Recall.’”

Verhoeven got involved in “Total Recall” because Arnold Schwarzenegger had picked him to direct after seeing “Robocop.” Schwarzenegger had actually been interested in doing the movie for a long time and had encouraged Carolco Pictures producer Mario Kassar to buy the rights to it from Dino De Laurentis whose film company had gone into bankruptcy. The movie had already gone through many drafts, and it took one specific scene to pique Verhoeven’s interest:

“I came to the scene where Dr. Edgemar (played by Roy Brocksmith) visits Arnold’s character on Mars and tells him that he’s not really here,” Verhoeven said. “In that moment you are not sure if what you’re seeing is real or a dream, and that got me really excited because none of the movies I had made in Europe ever had a scene like that. What Edgemar tells Arnold is that what he is experiencing is not true, so we had to prove it wasn’t true again.”

Working with Carolco Pictures on “Total Recall” was “paradise,” Verhoeven said, as they never forced anything on the filmmaker other than actors they hand-picked to star in their movies. He also said the beauty of Carolco is that they never subjected him or the movie to test screenings. Verhoeven went on to make “Basic Instinct” and “Showgirls” for Carolco, and then the gigantic flop that was “Cutthroat Island” ended up forcing the company into bankruptcy.

Schwarzenegger was set to be the star of “Total Recall” no matter who directed it, and Verhoeven said he was perfectly fine with that. Changes in the story had to be made though as his character was originally an accountant. Verhoeven and the screenwriters ended up changing his profession to that of a construction worker as they all agreed you could not go around Arnold.

Verhoeven also pointed out how having Schwarzenegger in “Total Recall” made the movie “very light” which was great because, as put it, “the straight way of telling the story would not have worked.” This has been further proved by Len Wiseman’s remake of the movie which even Verhoeven admitted “wasn’t good.”

The main problem with adapting any Philip K. Dick story to the silver screen is that they are basically told in two acts, and finding a third act proved to be very difficult.

“I got really scared because there had already been forty drafts written, and we could never seem to figure the third act out,” Verhoeven said. “It eventually came down to Hauser (Schwarzenegger’s secret agent character) always being the bad guy as it gave us somewhere to go.”

One audience member asked Verhoeven how Sharon Stone got cast in “Total Recall:”

“Sharon came in the first day of casting, and after a half hour I was convinced she would be perfect as Lori,” Verhoeven said. “Once we were filming the movie, however, I came to realize what she could do as an actress. After one fight scene where she almost kills Rachel Ticotin’s character and Arnold aims a gun right at her, she quickly changes moods in what seemed like a heartbeat. It was Sharon’s final scene before her character was shot that made me want to choose her for ‘Basic Instinct.’”

Goldman told the audience movies like “The Matrix” and “Inception” wouldn’t have happened without Verhoeven’s pushing the idea of the dream in “Total Recall.” The audience applauded this sentiment loudly, and the movie still holds up well more than twenty years after its release. It’s a shame the producers of the recent remake failed to realize what made the original so good as one of them described Verhoeven’s movie as being “kitsch.” That producer is now eating their own words in the wake of the remake’s critical and commercial disappointment.