Posts Tagged ‘Ryan Reynolds’

Humanity has an inauspicious introduction to an alien organism in the sci-fi/horror movie ‘Life’

May 17, 2017

By Matthew E. Milliken
MEMwrites.wordpress.com
May 17, 2017

The grandly named 2017 movie Life is a grimly efficient horror flick set aboard the International Space Station in the near future. I use the word flick advisedly: This is a B-movie premise mounted on a very respectable $58 million budget.

The space station’s six-person course — ah, I mean crew — is working on a project called Pilgrim, in which an automated probe is returning Martian rock and soil samples to near-Earth orbit for analysis and experimentation. Matters get off to a rocky start when the probe is damaged by debris, which leads to a hair-raising high-speed rendezvous.

But that’s nothing compared to what happens when exobiologist Hugh Derry (Ariyon Bakare) discovers that one of the samples contains a dormant single-celled organism. Once Derry brings the laboratory chamber’s temperature and atmosphere to Earth-like conditions, the microscopic creature begins first moving and then multiplying.

Humanity is captivated by the discovery, and an overjoyed elementary-school student names the life form Calvin on a live broadcast. No one is happier than Derry — although he and his crewmates will soon come to regret their finding.

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‘Woman in Gold’ movingly portrays the quixotic quest by a World War II refugee and her attorney to correct a Nazi injustice

April 21, 2015

By Matthew E. Milliken
MEMwrites.wordpress.com
April 21, 2015

The new feature film Woman in Gold poignantly tells the true story of a World War II refugee and her lawyer who sue to recover a famous portrait of her aunt decades after it was confiscated by Nazis.

The woman at the heart of the story is Maria Altmann, the daughter of a prominent Austrian Jewish family. Simon Curtis and Alexi Kaye Campbell — it’s the second full-length movie feature directing credit for Curtis, following My Week with Marilyn and numerous TV movies, and the first writing credit of any kind for Campbell — intertwine scenes from Altmann’s earlier life in Vienna with those of Altmann and her attorney, new father Randy Schoenberg.

The titular woman in gold is Adele Bloch-Bauer, whom famed artist Gustav Klimt painted in 1907 in what became an iconic work. As we learn, even this apt and seemingly innocuous title has political implications. (Klimt, incidentally, also painted a second portrait of Adele as well as additional works for the Bloch-Bauers.) The legal battle begins in 1998 when, after the death of Maria’s older sister, Luise, the younger woman finds letters from the late 1940s that her sibling had exchanged with an Austrian lawyer in a futile attempt to recover stolen family property.

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