Peter T Chattaway

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About Peter T Chattaway

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    He's fictional, but you can't have everything.
  • Birthday 10/01/1970

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  1. Joel Mayward wrote: : . . . in a post-Tony Scott world, Ridley has made Prometheus, The Martian, and A:C, the only sci-fi he's done since Blade Runner. Prometheus came out a few months *before* Tony Scott died; Ridley Scott's next two films, The Counselor and Exodus: Gods and Kings, were both dedicated to Tony. : It's difficult to discern just how long time elapses on the Nostromo from the crew awakening to Ripley's escape . . . Hmmm. Now I want to rewatch it with this in mind, taking notes.
  2. Ah, more boobs and butt humour.
  3. Joseph Kosinski Frontrunner to Direct ‘Top Gun 2’ Starring Tom Cruise (EXCLUSIVE) Tom Cruise is getting ready to head back to the Danger Zone — and he’s bringing an old friend along for the ride. Sources tell Variety that Joseph Kosinski — who directed Cruise in “Oblivion” — is the front-runner to direct “Top Gun 2” for Paramount and Skydance Pictures. While no official offer has been made, several insiders believe one is imminent. . . . Cruise met with potential helmers prior to and while filming “Mission Impossible: 6” in London to ensure the “Top Gun” sequel was ready to go after production wrapped. Even with Cruise and Kosinski having previously worked together on the 2013 sci-fi action film, sources say it was Kosinski’s vision the sequel’s direction that officially won him the job. . . . Cruise recently confirmed to a British talk show that the sequel was moving forward and would hopefully shoot at the start of next year. “Its happening,” the 54-year-old actor added. “You’re the first people I’ve told. It’s going to happen.” The thought of making a follow-up to the 1986 pic that made him a bonafide star has been on Cruise’s agenda for some time. The project has gained momentum in recent years, especially after “Jungle Book” scribe Justin Marks was tapped to pen latest draft. . . . This latest project will be set in a world of drone technology and fifth generation fighters and explore the end of an era of dogfighting which made the original film so exhilarating. Other plot details are vague but Val Kilmer has gone on record that he was asked to come back to reprise the role of Iceman opposite Cruise’s Maverick. . . . Variety, May 24
  4. Links to our threads on The Dark Crystal (1982) and the once-proposed sequel The Power of the Dark Crystal (in development).
  5. Joel Mayward wrote: : Yeah, I recall this being a significant surprise and part of the horror of Alien--they're chasing what they perceive to be a cat-sized creature, only to find that it's grown significantly and is even bigger than a human. SDG mentioned a few years ago that one of his children had asked where the Xenomorph was getting its "mass" from in the original film.
  6. Justin Hanvey wrote: : The klingons mainly really throwing me off. Why did they feel the need to make them look like Abrams-verse Klingons and completely undermine the fact that this is supposed to be set in the same universe as Original Series etc. That did occur to me too, though I guess the implication of the Abrams films is that there has always been a race of Klingons that looked like this now.
  7. Not liking the way people communicate by hologram here, as though this were Star Wars or something. Also, the guy playing Sarek doesn't look or (more importantly) sound *at all* like either of the actors who have played Sarek in the past.
  8. Joel Mayward wrote: : The film itself *never* mentions that the Covenant crew is made up of couples, nor does it clearly delineate who those couples actually are. True. You arguably get a better sense of that from the short-film prologue that Ridley Scott's son directed: : . . . was there a gay couple on the ship's crew? Yep, and they're kind of highlighted in the video above. I'm not entirely sure what sense it would make to include a same-sex couple (especially a *male* same-sex couple) on a colonization mission, where breeding is going to be one of the main activities. (It's not like either of those guys can host any of the embryos on the ship.) But anyhoo. : Prometheus is David; Alien: Covenant is Walter. The former is an ambitious, philosophical, terrifying mess. The latter, in an attempt to "improve" upon its predecessor, essentially trades in its creative ambition for stodginess and familiarity. Well put. : When you have an airborne pathogen weapon that kills its host almost instantly . . . This is another problem with the film: how *rapidly* the xenomorphic lifeforms develop. The original Alien allowed for *some* gestation time. Here you go from facehugger to adult xenomorph in a matter of, like, minutes. : David doesn't want to do what's efficient; he wants to do something more experimental and innovative and uniquely him, even if it's unnecessarily complicated. Perhaps the final xenomorph is meant to be David's eikon or poema, his living work of art. And yet he says the xenomorph he has created is the "perfect organism", or some such thing. Which just reminds me of how much I really didn't care for the android's use of that phrase in the original Alien. It is one of those things that has always held back Alien for me -- made it seem like a cliched sci-fi B-movie, albeit one with a lot of style -- in contrast to the more recognizably human dialogue and behaviour of the second film, Aliens (even on the android's part!). Anyway. When David says the xenomorph is "perfect", I find myself wanting to know just what he means by that word.
  9. Eep. The last few posts are all about people dying. Well, add to the list one more: Chris Cornell, who sang the theme song to Casino Royale (2006), passed away a few days ago. That makes him the first vocalist of an opening-credits James Bond theme song to pass away. (Yes, amazingly, none of the other opening-credits vocalists going back to 1964's Goldfinger have passed away yet -- though Matt Monro, whose vocals were heard over the *end* credits to 1963's From Russia with Love, and Louis Armstrong, who sang the love theme in 1969's On Her Majesty's Secret Service, passed away a long time ago.)
  10. One more comment, re-posted from my Facebook wall: - - - Years ago, in my review of Alien vs Predator, I noted that the Alien franchise hinged on female archetypes (mothers defending their young, etc.) whereas the Predator franchise hinged on male archetypes (musclebound hunter-warriors engaging in rites of passage, etc.). One of the more striking things about Alien: Covenant is the way it's kind-of, sort-of the first Alien film that strays from the archetype of the earlier films. It really *is* more concerned with the male androids -- and the "father"-"son" relationship between androids and the men who make them -- than it is with anything else. There has been a debate in some circles over whether the sci-fi films of the 1950s -- the ones with the giant queen ants, etc. -- were afraid of femininity or something else. One argument went that the queen ants were female, and thus the monster was an expression of sexist fears. But the other argument went that the queen ant reproduced *without relationship* -- it just laid its eggs and let them hatch -- and so the *real* fear being addressed in these films was fear of a "rational" future in which all emotion, personality and inter-human warmth was discarded in favour of industrial-scale conformity and replication. (See also Invasion of the Body Snatchers, etc.) Suffice it to say that there are images in Alien: Covenant that tempt you to associate *male* entities with the creation and industrial-scale replication of life.
  11. kenmorefield wrote: : P.S. -- it is indicative of the issues griped about above that when this shower scene happened (don't want to be too specific for possible spoilers), I had no clue who these two characters were, what their relationship was to each other or the main characters, or whether I was supposed to even know or not. I had no idea who they were either, really -- as individuals, that is -- but the spaceship in question is populated by couples (married or otherwise), so I assumed their relationship *to each other* was that they were one of these couples. (Although now I'm wondering if the film ever spells out that the ship is populated by couples, or if this is one of those things I picked up from the marketing materials.) Is it okay to say I'm a little disappointed that the nudity wasn't a tad more graphic in that scene? I mean, if you're going to *have* a slasher-style murder-in-the-shower scene in an R-rated film, you might as well *go* for it... FWIW, a slightly tweaked version of some extra thoughts I posted elsewhere earlier today: *** SPOILERS SPOILERS SPOILERS *** *** SPOILERS SPOILERS *** *** STILL SPOILERS *** *** OKAY, THEN. *** Why were the Engineers *waving* to David's ship when it arrived? Do North American crowds gather to wave hello to incoming airplanes? The Engineers had been traveling through space for thousands, if not millions, of years. If the arriving ship was just one of many random ships, why would they greet it like that? Who's the Engineer equivalent of an air traffic controller here? (Side note: The Engineer ship in the prologue to Prometheus was different from the ship that we saw in Alien, the rest of Prometheus and Covenant because a lot of time had passed, and spaceship designs had changed. So say the filmmakers on the Prometheus Blu-Ray. A lot of time, in that case, meant potentially millions of years, whereas the ship that connects Prometheus and Covenant might be only 2,000 years old.) By the way, how did David and Elizabeth get *off* the ship? And why did the ship *crash*? And did I miss something, or was there basically no power in the Engineer city? If there wasn't, then why wasn't there any? We saw in Prometheus how an abandoned military lab could still function after 2,000 years -- heck, the Engineer in suspended animation was still alive after thousands of years! (Khan Noonien Singh's ship only had to keep him alive for two or three *hundred* years.) It seems strange that David would be working by candlelight only ten years after wiping out the city's population (if I'm remembering correctly). Incidentally, why *were* there tons of bombs on that ship? We know why there were tons of bombs on the ship that crashed in Prometheus -- because it was *supposed* to be going to Earth to wipe out humanity. But that ship crashed, and Elizabeth Shaw got to pick another ship before going to the Engineer homeworld. Would she have knowingly taken all those black-goo weapons *with* her!? (Maybe, if she wanted a defense against the Engineers. But maybe not, given that she was taking David with her, and she knew David was responsible for a lot of the misery that had befallen her and her now-dead boyfriend. I'll set aside for now the implausibility of an archaeologist being sufficiently advanced in robotics to put David's head back on his body in such a way that she fixes his voice and she leaves no visible seam on his skin.) A screenwriter I know says the climax of the film borrows heavily from an early version of Joss Whedon's script for Alien Resurrection (in which something happened involving a combine harvester), and he says the aliens-in-the-grass scene echoed a scene from an unused draft of Alien 3. And a few people have noted that the ending of Covenant is very similar to the ending that Ridley Scott says he *wanted* to have in the original Alien. It's like Covenant has been pieced together from the scraps of scenes that were cut from the earlier films.
  12. Joe Johnston says The Silver Chair is the beginning of a brand-new trilogy, among other things.
  13. Link to our thread on the animated film. - - - Cannes: Harvey Keitel Set for Real-Life Miracle Drama ‘Fatima’ Harvey Keitel has signed on to star in true-life religious drama “Fatima,” which Arclight Films will introduce to buyers at the market in Cannes. Veteran Brazilian actress Sonia Braga is also set to star in the film. . . . Based on a true story, “Fatima” tells the tale of three children who witnessed six apparitions of the Virgin Mary, who confided three secrets to them, in Portugal in 1917. Although their elders were skeptical, the Roman Catholic Church validated the children’s visions, and the town of Fatima became the country’s main pilgrimage site, now visited by more than five million people each year. Two of the three children were made saints by Pope Francis earlier this month. . . . Directed by Marco Pontecorvo, it will be produced by James T. Volk and Dick Lyles for Origin Entertainment, Frida Torresblanco for Braven Films, Rose Ganguzza for Rose Pictures and Natasha Howes. “Fatima” is currently in pre-production. . . . Variety, May 18
  14. Delayed reaction here, but I was struck by how the third episode, on the one hand, included a scene in which Mr Wednesday says there is a different Jesus for every ethnic group, and on the other hand, it had a prologue in which a modern-day Egyptian woman meets an ancient Egyptian god who is completely different from her ethnically. (Complicating matters even more is that the woman in question is officially Muslim, but the god reminds her that she heard stories about the ancient Egyptian gods when she was young. This gets me wondering, will American Gods ever depict Allah? Or -- since Jesus is part of the picture -- will it ever depict God the Father? The Jewish God, even?) I have never read the novel, so I don't know to what degree it might shed light on any of these questions.