‘Alien: Covenant’ is everything wrong with filmmaking in 2017

Images courtesy 20th Century Fox.

5/10 Watching Alien: Covenant, it’s hard not to think about the death of cinema, as director/producer Ridley Scott recently described with a remarkable lack of self-awareness. Like the edema, back pain and noxious bad breath of advanced renal failure, the telling symptoms of this process are all present here.

In 2104, the “Covenant” carries more than 2,000 colonists to the distant Origae-6. A poorly timed solar flare blasts the ship seven years out from its destination, triggering emergency wakeup procedures for the 15-man crew. While making repairs, they discover a signal coming from a planet just three weeks away from their current location, one perfect for colonization that everyone had bizarrely missed while looking for new homeworlds. They detour to investigate, and discover the apocalyptic Doctor Moreau freakshow that is the aftermath of Prometheus.

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‘Prometheus:’ five years later, still shitty

Images courtesy 20th Century Fox.

Prometheus is probably the most famously bad movie in recent memory.

Well, no, there are a lot of people who would pretty condescendingly disagree with that. Maybe it’s the most often defended bad movie in recent memory?

The worst good movie in recent memory. Yeah, that’ll do. Prometheus is by far the worst good movie of the past several years.

On the eve of the film’s followup, it’s time to break down some of the arguments in its favor and why they don’t hold up to scrutiny.

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The Möbius Strip: Still hooked on a feeling

Image courtesy Walt Disney Motion Picture Studios.

As expected, Guardians of the Galaxy Vol. 2 continued its reign over Mother’s Day weekend with $65.2 million. It will be interesting to see how it fares against Alien: Covenant this weekend- Box Office Mojo

The MCU’s first offering, Iron Man, was humor-heavy, but it was Guardians of the Galaxy that really made Kevin Feige and company push for laughs in their movies- Reuters

Guy Ritchie’s $175 million King Arthur: Legend of the Sword, on the other hand, absolutely crashed and burned, pulling in just $15.3 million — compared to industry estimates coming into the weekend of just $25 million, which still would have constituted a massive flop. The film was initially pitched as the first of six King Arthur movies for Warner Bros.- The Guardian

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‘King Arthur’ much better than its fate

Arthur gets a wonderful visual analogue for his hero’s journey through Excalibur. The political power he rejects is reflected in the extreme physical power the sword grants, and his relationship to his own ambitions is mirrored by his relationship to the sword throughout the film. Photos courtesy Warner Bros.

8/10 King Arthur: Legend of the Sword is careening toward a disastrous reception, and that’s a shame, because it’s awesome.

After betraying his brother, Uther (Eric Bana), King Vortigern (Jude Law) rules England with an iron fist. His cruel kingship is challenged when Arthur (Charlie Hunnam), a London brothel bastard, draws the sword Excalibur from its stone, a devastatingly powerful enchanted blade that only answers to the king of England. Arthur rejects the crown, wanting only to return to the slums, but is pushed by Sir Bedivere (Djimon Hounsou) to help overthrow the evil king, who’s already gone to the trouble of burning Arthur’s old home anyway.

King Arthur: Legend of the Sword weaves a strange and compelling spell. To describe the movie in one word, it’s ominous. There’s a keen sense of impending doom from the first scene onward, one that coexists with writer/director/producer Guy Ritchie’s signature light-heartedness. Though it has plenty of action, this isn’t an action movie — it’s a well-disguised thriller, designed to keep viewers on the edge of their seats through moodiness and anticipation.

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‘Vol. 2’ not as good as first, but with new and different merits

Images courtesy Walt Disney Motion Picture Studios.

7/10 In August 2014, the first Guardians of the Galaxy burst into theaters as a wildly different offering from the MCU. From the formula that was finally beginning to grow stale — and kept right on doing so with its next offerings — came this vibrant, disco-Star Wars movie drenched in ’70s and ’80s nostalgia that swept movie goers and ticket tearers alike right off their feet. Its influence was felt almost immediately in the marketing campaigns for Suicide Squad and the upcoming Thor: Ragnarok.

In Guardians of the Galaxy Vol. 2, writer/director James Gunn brings us another radically different creation. Where the first was a gleeful romp across the stars, Vol. 2 is an introspective movie with surprisingly difficult themes about family and regret. It’s a much more subdued but no less ambitious movie.

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