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I frst saw this film on its first run on CBS. I was in junior high and a hard core sci-fi fan. I was hooked from the first scene. Written by the late great Rod Serling based on the novel by Pierre Boulle, the story is very engaging. After we are introduced to an ANSA Mission Commander named Colonel Taylor, we are treated to a roller-coaster type sequence as we see the re-entry and crash of Taylor's ship subjectively; as if we were aboard her. The abandon ship scenes are still impressive even by today's standards. It's very easy to believe we are seeing a real spacecraft crashed in the water. The next sequence basically establishes Taylor's personality. To be blunt, he is an arrogant jerk. He mentions hoping to find something better than Man. In a literal casr of "Be careful what you wish for", he spends the rest of the film trying to prove the opposite. After he and his two crew members encounter a tribe of wild, mute humans, the sci-fi element takes on a horror flavor as a terrifying horn sounds. We are then introduced to the higher lifeforms of the planet which happen to be apes. The hunting sequences are both exciting and disturbing. As we are familiarized with the film's antagonists, we get a bit of comedy relief as we hear Julius, the zoo-keeper say "Human see, human do" The simian characters are all wonderfully written and acted. I had heard many times about the ending, but actually seeing Miss Liberty half buried and weathered like that was still a shock. CBS edited Heston's agonized reaction to merely "DAMN YOU!!". I didn't hear the uncut version until I rented it on VHS about 2 decades later when I got my first VCR. The new Apes films are well made but I will always prefer this one. I highly recommend it if you haven't seen it. I'm a seeker, too. But my dreams aren't like yours. I can't help thinking that somewhere in the universe there has to be something better than man. Has to be.
Planet of the Apes is directed by Franklin J. Schaffner and adapted to screenplay by Michael Wilson and Rod Serling from the 1963 Pierre Boulle novel La planete des singes. It stars Charlton Heston, Roddy McDowall, Kim Hunter, Maurice Evans, James Whitmore, James Daly and Linda Harrison. Music is scored by Jerry Goldsmith and Leon Shamroy is the cinematographer.
3978 A.D. and a spaceship and its crew crash down on a distant planet. Three astronauts survive the crash, they appear to be on a planet not unlike their own, Earth. But soon they come to learn that this planet is ruled by intelligent apes, the human being is the lesser species, mute and of basic intelligence..
It was a tough sell to studios back in the 1960s, not only was the premise that formed Pierre Boulle's novel a tricky one, but the technical aspects, cost and quality of, also had the men in suits backing away from producer Arthur P. Jacobs and beefcake actor Charlton Heston. Eventually Dick Zanuck over at Fox nervously agreed to make it as long as significant tests ensured that farce would not follow. Stumping up $50,000 for John Chambers to develop the ape make up and masks, and a successful test run acted out by Edward G. Robinson as Dr Zaius opposite Heston, Planet of the Apes was given the green light. The script went through a number of changes as Serling and Wilson tossed around ideas to improve on Boulle's page turner, while Heston himself felt that the novel as written was unfilmable. Elsewhere, when director Schaffner came on board, he himself went for a more primitive ape world as opposed to the one under consideration that featured futuristic high rises and super advanced technology. What came out at the end of it all thankfully is one of the greatest sci-fi movies of all time.
What would follow the success of the film is well known, a number of inferior sequels, a TV series, a remake and even a prequel in 2011. Then of course there was the toys, models, comics, cartoons and T shirts - it at times felt in the 70s that there really was a Planet of the Apes, only this one was driven by commerce. The aftermath of the original film has not done it any favours, the lines have become blurred, with so much muck and tack about, it often gets forgotten just how clinically great Schaffner's movie is. If ever there was a film that deserves to be a standalone, this is the one. Follow Heston's brawny Taylor from the pitiful planting of the stars and stripes at the beginning, to that monumental ending, and then leave it at that, do not pass go, do not venture further into any sort of monkey business. No sequel necessary, for Planet of the Apes to truly hit you with maximum impact, it all needs to end right there on that shoreline. As the great Rod Serling intended in fact.
Thematically the picture is acknowledged as being caustically strong, a sociological allegory, with pinches of racial animus just for flavouring. It might be under the guise of a sci-fi movie, but the makers aren't trying to hide it. Whilst the narrative twitches with comment, whoosh was that an aside to the Scopes trial? Film is also full of visceral thrills, pop-culture references and unnerving (alienation like) photographic beauty. The former comes with the hunt sequence, where we first meet gorilla's on horses, with guns and attitude, the latter with Shamroy's Panavision/De Luxe colour lensing of the California and Arizona locations. All enhanced by Goldsmith's aural pinging percussive led score. And while we continue to remember some of those famous bits of dialogue, we also pick up on each revisit to the film those little slices of humour slotted into the story - human see, human do indeed and the visual cheek of hear no evil, see no evil, speak no evil...
Film of course hinges on Heston's central human performance, of which he delivers athletic guts and subtle nuances in equal measure. Taylor's character arc demands repeat viewings to fully appreciate what Heston brings to the role. Take in the cynical Taylor who wanders through the Forbidden Zone in the first quarter, then marry it up to the Taylor fighting for his life in the middle, and finally to the Taylor at the denouement, it's a three pronged acting turn of some undervalued distinction. Not all muscular "presence" actors are/were able to be credible, Heston was. Around him in the monkey suits are true professionals, Hunter, McDowall, Evans (coming in for Robinson who feared for is health in the suit) and Whitmore, while Harrison in the non speaking human role of Nova does her job of looking gorgeous! All that's left to say is that Schaffner, who would win the Academy Award for Best Director two years later for Patton, pulls it all together neatly. 10/10 A sci-fi film so groundbreaking (in too many ways to list here) let's suffice it to say that everything that came after it owes the film a debt as large as Kubrick's 2001, also made in '68. Anyone who enjoyed the recent reboot trilogy needs to seek this one out. The writers turned a not very good novel into an allegory on race and religion.
It also takes an nuclear stance which makes an impact in its finale.
Charlton Heston is Taylor. An astronaut, part of a crew of four on a long term space mission.
They crash landed in what looks like a deserted planet. Soon they encounter some hunter/gatherer human beings who do not speak. Then he finds apes on horseback who speak English.
The apes treat the humans like animals. Taylor is injured by the apes and is unable to speak at first.
A female ape who is a zoologist is shocked when Taylor speaks. The other apes see him as a threat. Taylor being able to talk and think is against what the apes have been taught. The answer lies in the forbidden zone as to what happened to the humans.
The movie raises issues regarding race relations, the treatment of animals and adherence to holy texts.
This is a powerful film famous for its twist ending.
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On a faraway mountaintop, eight kids with guns watch over a hostage and a conscripted milk cow. Monos 2019 review : Perhaps the best way to describe the film is to keep it simple: ‘Monos’ is a mood, an aesthetic, an idea; a sensory cinematic experience more than a story. - Jake Watt
Read Jake's full article... https://www.maketheswitch.com.au/article/review-monos-a-hypnagogic-mix-of-teen-angst-and-warfare **_A bleak allegorical study of war as seen through the eyes of children_**
>_The idea comes from, in many ways, the country where I'm from, Colombia, a country that's experienced 60 years of civil war. And it's been going on for so long, and there are so many different factions and sides, and there's peace agreements and they break, so, in a way, it wasn't something you could go at with clear ideological premises, but instead something that had a kind of ghostly feel. That's what inspired the story, to try to break any binary notion of future/past, man/woman, paradise/hell, and try to get_ _at something that you feel through the stomach or through the skin. I think that's what cinema has; it appeals to your conscious, like a story does, but also your subconscious, kind of like dreams do. So the idea was to do this politically sensitive allegory, but like a dream._
- Alejandro Landes; "Alejandro Landes, Julianne Nicholson & Moises Arias On The Film Monos"; _BUILD Series_ (September 13, 2019)
Joseph Conrad's _Heart of Darkness_ (1899) and William Golding's _Lord of the Flies_ (1954) by way of the mad folly of Werner Herzog's _Aguirre, der Zorn Gottes_ (1972) and Francis Ford Coppola's _Apocalypse Now_ (1979) and the children-are-screwed nihilism of Héctor Babenco's _Pixote: a Lei do Mais Fraco_ (1981) and Jean-Stéphane Sauvaire's _Johnny Mad Dog_ (2011), garnished with the soul-shattering futility-of-war mentality of Elem Klimov's _Idi i smotri_ (1985), all wrapped up in a pseudo-fairy tale/fantasy aesthetic. Turns out an insane hodgepodge like that results in a completely unique film, quite unlike anything you're ever likely to have seen. Written by Alejandro Landes and Alexis dos Santos, and directed by Landes, Monos (from the Ancient Greek "_μόνος_" ("_mónos_"), meaning "alone") is an uncategorisable film that moves from a mountain top which is literally above the cloud-line to a stifling jungle to a raging river to the edge of a city in the midst of war, whilst thematically travelling all the way from a tight-knit group of soldiers who would die for one another to a last-man standing mentality bordering on insanity. Visually stunning, the plot is a little lacking, and sometimes the allegorical basis is a tad imprecise, but this is hugely ambitious and audacious filmmaking from a director we're going to be hearing a lot about in the coming years.
In an unidentified country (the characters are speaking Spanish, meaning we're somewhere in Latin America, with the filming done in Colombia) at an unidentified point in time, a war is raging between unidentified combatants for never-specified reasons. On a mountaintop, we're introduced to the MONOS unit, a small group of child soldiers known only by their _noms de guerre_ – Wolf (Julian Giraldo), Rambo (Sofia Buenaventura), Bigfoot (Moisés Arias), Swede (Laura Castrillón), Smurf (Deiby Rueda), Dog (Paul Cubides), Boom-Boom (Sneider Castro), and Lady (Karen Quintero). Apart from being drilled by "Messenger" (former real-life Colombian guerrilla fighter Wilson Salazar), a superior officer in what is referred to only as "The Organisation", the children have two tasks – to look after a conscripted milk-cow named Shakira and to guard an American prisoner being held for ransom, referred to as Doctora (Julianne Nicholson). By day, they take their duties very seriously, but by night, they act more like the teenagers they are; drinking, eating mushrooms, having sex, goofing around. A tight-knit group, morale is high. That is until an accident has a series of knock-on effects that ultimately sees them abandon their mountain base, heading into the unforgiving jungle far below. Cut off from their chain of command, their discipline starts to break down and soon, they have come into violent conflict with one another.
The film is very loosely inspired by the Colombian Conflict, a low-intensity, multi-sided civil war that began in 1964 and is still going on today. The majority of fighting has been between the government, paramilitary groups, narcos, foreign actors, and guerrilla organisations, the best known of which is _Fuerzas Armadas Revolucionarias de Colombia_ (FARC). In particular, Landes and dos Santos based the events of the film on the 2016 peace agreement signed by Juan Manuel Santos's government and FARC, which called for FARC members to surrender their weaponry to UN forces, at which point they would be reintegrated into Colombian society. FARC officially ceased to exist as a military group in 2017, instead reconstituting as a political party, _Fuerza Alternativa Revolucionaria del Común_. However, around 1,600 FARC dissidents refused to lay down arms, forming independent splinter groups to continue fighting the war. According to Landes,
>_the fragile possibility of peace is in the air, and it's been a long time coming._ Monos _explores this moment through the prism of the war movie. Though this is my generation's first chance, this is not Colombia's first peace process and so it feels plagued by ghosts. These ghosts inspired me to shape the film like a fever dream._
One of the most important aspects of the film is the lack of political, historical, societal, and militaristic specificity – it could be an allegory for almost any conflict at any point in time, with Landes explaining,
>_the idea, from the story to the production design, was to create an atemporal world, out of place, out of time, far away from everything – with this group of kids who is being trained and watched over by some unknown force. They're on a mission, part of a clandestine army. They're a squad of soldiers in the 'back' lines of a war – but also just a tight-knit pack of teenagers. Though the specifics of the Colombian civil war are the source of inspiration, the idea was always for the experience of the film to cross borders and exist as a world in and of its own._
In this sense, it has both a fairy-tale sensibility and a mythological underpinning, with the violence and brutality offset by a poetic tone that speaks to timelessness. Rather than attempting to elicit pathos by evoking the horrors of a particular conflict, Landes treats the story as a universal allegory, facilitated by the lack of concrete contextualisation. On top of this, the film examines the chaos and absurdity of war through the lens of adolescence; although the members of MONOS can be violent, so too are they teenagers, a duality that informs the entire film. The opening scene, for example, depicts the group playing football, but wearing blindfolds, thus encapsulating both the seriousness with which they regard their training, but also acknowledging that play is still an important part of their lives. Indeed, the film could even be interpreted as an (admittedly extreme) allegory for adolescence itself (as opposed to adolescence being an allegory for something else) – a group of teenagers unsure who they are, experimenting with drugs, alcohol, and sexuality, not entirely thrilled about being told what to do by adults, and convinced that they can do a better job of running things.
Monos's most salient aesthetic characteristic is its dream-like quality, walking a very fine line between the gritty realism of a war drama and the hallucinatory feel of a fever-dream (in this, it very much recalls _Apocalypse Now_). This sense of existing just slightly outside reality is aided in no small part by the discordant and dislocating score by Mica Levi (_Under the Skin_; _Jackie_; _Marjorie Prime_), which is built around whistling and timpani percussion. Also important here is the lush and saturated photography by Jasper Wolf. On the mountain, Wolf often shoots scenes with the characters dwarfed in a small corner of the frame, filling almost the entire screen with vegetation and sky. Such compositions suggest life lived at the edge of the world, existing outside society, existing outside even time. However, once we relocate to the jungle, Wolf goes in the opposite direction, shooting in tight close-ups, frequently handheld, suggesting both claustrophobia and the loss of the near-omniscient control seen earlier in the film.
If I were to criticise anything, it would be the plot, which is very slight, even by allegory standards. Indeed, regarding that allegory, although I certainly admire Landes's steadfast resistance to specificity, sometimes he's almost _too_ successful in rendering the non-specific and universal, leaving you wondering what exactly he is trying to allegorise (even the title can't be locked into a single meaning – apart from the Greek word for "alone" and the name of the unit itself, it's also the Spanish term for "monkey"). And although the theme of child soldiers is a weighty enough issue on its own, it's something with which Landes seems uninterested for its own sake. This can lead to a lack of emotion, which is almost certainly by design, but it makes it difficult to feel empathy for any of the characters, even Doctora.
Nevertheless, this is hugely ambitious cinema with a lot on its mind. Straddling the line between the surreal and the barbaric, realism and fantasy, the seriousness of the adult world and the innocence of childhood, it's a singularly unique viewing experience, as beautiful, lyrical, and abstract in some places as it is ugly, crude, and realistic in others. Both a dire prediction for where an increasingly divided world may be heading and a foundation myth, _Monos_ speaks as much to our future as it does to the legends underpinning our present. Monos is a film that's both raw, and abstract. Incredibly well done and surprisingly well acted by the young cast. An interesting look at those who are essentially nothing more than pawns of a game they don't even understand, but I liked it a lot that the focus is not on it but on this group of young people and the experience is as crude and strange as it is mesmerizing.
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When Alita awakens with no memory of who she is in a future world she does not recognize, she is taken in by Ido, a compassionate doctor who realizes that somewhere in this abandoned cyborg shell is the heart and soul of a young woman with an extraordinary past. Alita: Battle Angel 2019 review : James Cameron has spent more than a decade trying to bring Alita: Battle Angel to the big screen. Based on a popular cyberpunk manga series by Yukito Kishiro, published between 1990-1995, he has spent that time refining the script and developing the world that Alita inhabits. And that’s pretty much what he now spends most of his time taking care of with the Avatar movies and the world of Pandora. Hence the reason why he eventually decided to step back into producer duties for this movie, letting Robert Rodriguez pick up the directing reins in order to finally get it finished. Rodriguez uses much of the script that Cameron wrote, but brings a little bit of his trademark style to the table too.
It’s 2563, and we’re in Iron City. Dr Dyson Ido (Christoph Waltz) is scavenging among a huge scrapyard, looking for cyborg spare parts that he can make use of, while fresh metal and rubbish rains down from Zalem – a man-made, floating city sitting in the sky above Iron City. 300 years ago there were many of these floating cities but following a brutal war all of them except for Zalem perished. During that time though, the elevator leading up to Zalem was destroyed, and these days only the ‘pure’ inhabitants of Zalem are permitted there. Nobody from Earth is allowed to visit and if anyone comes down from Zalem, they’re not allowed back. It’s to try and avoid any contamination from entering Zalem. If you’ve seen the Matt Damon movie Elysium… well, then it’s a bit like that really.
Among the usual items, such as robotic hands and eyeballs, Dr Ido discovers Alita, or rather the core of Alita – lying lifeless and broken, with only a battered hairless head and upper torso remaining. He takes her back to his laboratory/home, where he works as a cybernetics expert, repairing and upgrading the inhabitants of Iron City who are either cyborgs or humans with cyborg body parts. Along with his assisting nurse, and using a robotic body that had been previously built for his now deceased daughter (this gets briefly explained later), they rebuild her, giving her the name Alita (also his daughters name). Alita awakens later in a nice comfortable bed, in what was presumably Dr Ido’s daughters room. She has no memory of her previous existence and sets about experiencing all the sights, sensations and tastes that human life and Iron City has to offer, exploring and striking up a friendship with local boy Hugo and his group of friends. But, as the name of the movie implies, this cyborg was built for battle, and it’s not long before Alita begins to remember who exactly she used to be and just how good at kicking ass she is.
A quick word about the visuals, as they are by far the best thing about this movie. Iron City, despite clearly being a futuristic world, is certainly not dark or bleak looking in the way we’re used to with similar movies of this genre. Many of the early scenes take place during daylight hours and the city is a vibrant, bright, bustling home to thousand of humans and cyborgs. We get to go beyond the limits of Iron City – the city walls, out to the badlands beyond, and as you’d expect from Cameron a lot of thought and detail has gone into mapping out and building this world. The cyborgs and the other robots we meet are all pretty standard for a movie of this kind, but it’s Alita that is the most impressive. Much of this is down to the incredible CGI involved in making her look as realistic as she does, but a lot of what makes her so enjoyable and believable is down to Rosa Salazar, whose motion captured performance helps bring her to life. The visuals are obviously at their most impressive during the battle scenes involving Alita – where so many movies with heavy CGI battles end up as just a messy whirlpool of characters and action, that’s certainly not the case here. Slick, inventive and exhilarating choreography allowing you to actually track and follow every single character and action in crisp detail. It’s refreshing and impressive, even more so when watched in 3D and particularly so during the fast paced Motorball scenes featured towards the end of the movie.
Outside of the visuals though, other characters and plot lines don’t seem to stick so well, which is disappointing considering the rich source material available to the film makers. Alita: Battle Angel suffers from inconsistent pacing, dialogue that is clunky and exposition-heavy and there are many times when the accompanying soundtrack just felt distracting to me, out of place with whatever is currently happening. Christoph Waltz, Mahershala Ali and Jennifer Connolly all seem overqualified and underutilised, and the romance between Alita and Hugo is unnecessary, and at times annoying. It feels like it’s trying to cram too much story into its two hour run time, resulting in plot holes and frustrations later on. And there is even a cliffhanger ending – frustrating in that it feels as though we haven’t even properly concluded this part of the story and we’re now being left to wait should a sequel ever be given the go ahead.
I found much to enjoy with Alita: Battle Angel, and would gladly go see a sequel or two, should they get made. It’s enjoyable at times, and dazzling to look at, but overall it did leave me feeling a little bit frustrated and disappointed. I quite enjoyed this movie. Of course it was a good start that it was directed by Robert Rodriguez. It is perhaps a bit of a young adult movie but that did not stop this old fart from enjoying it.
I guess most people know the basic premise of the movie. It is based on a Japanese cyberpunk manga. Alita, a cyborg, is found by Dr. Ido. She is reawakened, given a new body (two actually), she is much more than she seems and … she kicks ass.
The movie plays out in a somewhat post apocalyptic world although it is not as dark and depressing as many post apocalyptic scenarios. It is actually quite colorful and sometimes both funny and cool. A lot of people, if not most of them, in this world are cybernetically enhanced. Alita herself is a “full body conversion”. It is a quite detailed world full of pretty cool cyberpunk gadgets.
The various cyborgs themselves are of course the “main feature” of the movie. They range in a wide variety from fairly human-like to cyborg tanks. Most of them wielding various kinds of bladed weapons. Of course the CGI and the various action scenes are top notch. Alita is really cool when she gets going with her ass-kicking.
Story? Well it is manga of course so it is pretty simple but having said that it’s not bad at all. I definitely feel there is some elements from Rollerball in the no rules racing and ball chasing games which is a centerpiece of the story.
One thing that I liked immensely is that there is really no preaching in this movie. No green nonsense and no social crap. Maybe that’s because it’s based on a Japanese manga and the Japanese has not yet developed the easily offended SJW mob that plagues all too many western countries nowadays. I know there’s a bunch of SJW retards that manages to cram some feminist message into it and another bunch that claims Alita is too pretty. Well if you like cyborgs with eyes like golf balls maybe but these asshats should perhaps stop their ranting and take a serious look at their sexual preferences in that case.
The only thing that I was not too happy about was that there is no real ending to it and what is there is rather sad. This Nova guy pulling the strings up in Zalem, the cloud city, is never even touched and the ending scenes just shows him smiling like a huge cliffhanger. I guess I should not be surprised because him and his cloud city is the foundation of this manga world so for the story to continue in a possible sequel that had to be kept but still … it irked me somewhat. If you enjoy reading my Spoiler-Free reviews, please follow my blog :)
I’m writing this review one day after the Oscars night, and I can guarantee at least one thing: Alita: Battle Angel is getting a Best Visual Effects nomination and it’s probably going to win. Calling it now. There are no words that can describe how immersive, realistic and groundbreaking the IMAX 3D experience is. Weta Digital is undoubtedly the most incredible VFX/CGI company since the beginning of this millennium. From the Lord of the Rings trilogy to the Avatar movie(s) and through the most famous TV series of this time, Game of Thrones, Peter Jackson‘s company keeps surpassing the impossible.
Alita is a mix of Rosa Salazar‘s motion-capture performance and CGI animation, and it’s the most beautiful thing I’ve seen in a long time. Visuals are not the most important aspect of a film, they’re not even the key technical feature. The story and characters are and always will be the necessary ingredients for a movie’s success. That said, I’m also the first to defend that without remarkable technical achievements, a film won’t ever go above “very good.” If you want a movie to be one of the best of the year, a combination of compelling story/characters and great filmmaking attributes is essential. Robert Rodriguez‘s film nails the latter requirement, but has a lot of hits and misses regarding the former.
Like I wrote above, I have no vocabulary to describe how mind-blowing and eyegasmic this movie looks. If you’re intrigued by how fascinated I am, you know what to do: buy an IMAX ticket and watch it. The visuals alone compensate for the price of admission. Besides the jaw-dropping VFX, the sound and production design are unbelievable. I could feel every punch, kick or scream like I rarely feel with other high-budget films. The amount of work that went in to build this world is worthy of recognition, and I honestly hope that by the end of this year, Alita is receiving a whole bunch of nominations for its aesthetics.
I love how anime-like this feels. I didn’t read the original manga, but you will like this movie more if you’re a fan of anime. Rodriguez does a seamless job bringing Iron City to life, and there are tons of nods to how anime stories flow, which will surely please fans of said genre. Sadly, the screenplay isn’t exactly written as it should be. One of the most emotive moments of the film trusts the audience to buy into the romance displayed on-screen, but since it feels very forced from the get-go, this unnecessary subplot carries too much influence on the end result.
In addition to this, James Cameron and his team took a quite questionable decision concerning the main plot, having in mind the marketing surrounding this blockbuster. It’s still a minor spoiler, so I can’t really delve into details, but I’ll write this: the closest the movie gets to its third act, the more worried I became. From the moment the second acts ends, I start realizing something that not a single person working on this film even hinted at. And that was the worst call they could have ever made. Not only it dragged the first half of the movie, but it deeply damaged its narrative.
Once you see this film, you’ll understand what I’m talking about. You’ll get me when I say that the marketing strategy for Alita: Battle Angel ruined its story and it will definitely make a lot of people leave the theater frustrated, just like I did. Hopefully, this was just a misstep that doesn’t affect its box office because this is a movie worthy of watching at a movie theater and ONLY at such place. Yes, it does have issues with its storytelling. It has a whole world that doesn’t fit in just a 2-hour flick, so the plot becomes convoluted and a bit slow. However, I do think critics are being too harsh …
Alita is one of the most complex, intriguing and well-written characters of the last few years. While the screenplay contains fundamental writing flaws, its main protagonist is flawless. Despite still feeling a bit frustrated, I want to rewatch this movie so bad, just to get another opportunity to follow Alita throughout her journey. I love character-driven narratives, especially when the character in question is such a compelling one. Rosa Salazar delivers an amazing mo-cap performance (The Academy wants a new category? Well, Best Motion-Capture Performance suits your ceremony like a glove). Alita and Salazar share resemblances that can only be achieved with the unique camera-setup and technology that the production team had at their display, which is something pretty outstanding.
Christoph Waltz brilliantly portrays Ido, as expected from such a high-caliber actor. Mahershala Ali (Vector) and Jennifer Connelly (Chiren) are underused, but they make their characters work for the story. Keean Johnson is fine as Hugo, but he’s connected to one of the film’s major issues. Everyone else is pretty great, each performance elevates their respective character, which helps move the plot forward. However, it all goes back to Salazar‘s remarkable performance and the way she and Alita carried the whole thing to safe harbor. Hollywood, put your eyes on this girl!
Finally, the action. Oh my God! The action scenes are some of the most entertaining, riveting and thrilling sequences I’ve seen since Mission: Impossible - Fallout. While the latter based its action on real jaw-dropping stunts, Alita: Battle Angel probably delivers some of the best animated action ever. The motorball sequences are impossible of getting your eyes off-screen, and the fights that Alita goes through are so well-crafted. Honestly, I’m even scared of how these look in regular 2D. I doubt they feel seamless and flow as perfect as they do in IMAX 3D, so be careful with which choice you make. In my opinion …
Alita: Battle Angel is one of those movies that you HAVE TO watch at a movie theater, especially on IMAX 3D. You will not be able to grasp or feel the astonishingly immersive world that James Cameron produced, nor the powerful sound design. Its visuals effects are groundbreaking, and I promise you’ve never seen such a mixture of real and animation like this. Beautiful or gorgeous are not adjectives enough to describe the world where Alita lives. It’s a visual experience, so do waste your time and money in supporting this film.
I can’t deny neither its storytelling problems or the damaging marketing surrounding this blockbuster. However, Rosa Salazar‘s terrific performance and Alita as the protagonist are more than enough reasons to make you feel entertained and captivated until the very end. The action is mind-blowing, and I’m not lying when I state that it contains some of the best animated sequences ever. I left the theater frustrated, but I can’t wait to see it again on the big screen. Alita alone deserves that effort.
Rating: B+ I did enjoy _Alita_. It was a great big "pkyew-pkyew" sort of a mess, but I did still walk away having had a pretty good time.
Unfortunately, both Alita(the character)'s romantic interest and _Alita_(the movie)'s romantic plotline I despised. And this aspect took up **so much** on screen realestate that I could never see my way to giving _Alita_ a glowing score, even if everything else about it had been perfect (it wasn't).
An interesting part of the flim though that I also need to touch on is the special effects. They aren't even close to photorealism, but it honestly still totally works, just because there are so many of them. Impressive is the most appropriate word that comes to mind. See, even if the CGI effects don't always sell themselves as reality, the world that they are in fits, it's like how an animated movie doesn't look like real life, but you're still convinced because against its own backdrop, even though maybe they didn't use an actual elephant to play the role of Dumbo, you still believe that he's a real character **in that world**. _Alita's_ sheer abundance of creative, setting driven CGI, blurs the lines between live action and animation, delivering a totally new, unique product.
It's just a shame they couldn't have done that in a better, more coheseive (and less bogged down) narrative.
_Final rating:★★½ - Had a lot that appealed to me, didn’t quite work as a whole._ Definitely a Robert Rodriguez movie, but a Robert Rodriguez movie made with that James Cameron money.
The world building was incredible. Rosa Salazar, Christophe Waltz, and the rest of the cast do a great job. The technical wizardry, not just with the visual effects but the use of 3-D and IMAX was nothing short of dazzling. The action is exhilarating. I'll also take Motorball over podracing or Quidditch any day.
Yes there are problems with the script because James Cameron has never been a strong writer. There is also way too much sequel baiting for my taste. But for a movie like this to come out in a time when all the profitable IPs are getting tedious, Alita Battle Angel was refreshing and tons of fun. Easily the best live action anime film adaptation to date and a kick ass sensory overload.
James Cameron, I would rather you devote time to make more Battle Angel and less Avatar. **Alita: Battle Angel** is an awesome movie. It has great action, an interesting plot, lovable characters, amazing acting by Rosa Salazar and overall it's a wonderful and fun film. It includes some of the best CGI ever created in film. Without a doubt, it is the best manga/anime adaption by Hollywood. I highly recommend this movie. Definitely 10 out of 10. I'm truly disappointed by critics. I just don't understand their philosophy about entertainment. This movie was a marvelous! Without knowing the source material and quizlet live, it made me interested in this world. I can't wait for the next chapter. **One not too terrible spoiler** This movie was full of potential. The beginning of the movie was fantastic, full of amazing James Cameronesque world building and attention to detail. Where the movie starts to go down hill is more of a suprise hole in the side walk that this movie fell down, because you don't see it coming. Up to and including the bar fight, the movie was amazing. RIGHT afterward the B team entered the cutting room floor, characters started doing things that went against their motivation, and honestly the least bit of work would have solved that, but none was put forward. It was like that for the entire last half of the movie. I DO hope there is a sequel, I would like to see that. I think it would be better.
