Best movie endings match point10/5/2023 ![]() But when the implant goes awry, Quiad finds his supposedly fictional adventure playing out in reality. Arnold Schwarzenegger stars as Douglas Quaid, a construction worker who buys an “implanted memory” of him having a planet-hopping adventure on Mars. Paul Verhoeven’s '90s action masterpiece Total Recall is deceptively deep beneath its gory B-movie exterior is a satire targeting powerful corporations and unchecked privatization. When they’re presented with an opportunity to potentially break free from their cataclysmic trajectory, they’re forced to grapple with the cost of their survival - can they maintain their humanity in the depths of space? The closing shot of the film doesn’t offer a clear answer. Monte and Willow have survived long enough, but their supplies are running low, and they’re on a collision course with a black hole that will most likely destroy them. In short, she wants to be the first woman to create life in the vacuum of space.ĭenis’s film dabbles in faith and politics, but High Life also looks to question the boundaries that separate humans from animals. The prisoners are also subjected to the insidiously perverted whims of their captain, Dibs (Juliette Binoche), a scientist who is using them in her human reproductive experiments. Through flashbacks, we learn that he was part of a crew made up of prisoners, who were sent on a suicide mission to the far reaches of space to study and potentially harvest the energy emanating from black holes. Robert Pattinson stars as Monte, an astronaut struggling to survive and take care of his daughter Willow on an isolated ship floating through space. With no help on the way, the two are left to freeze to death in the rubble of the burning base, leaving the audience to wonder if one of them actually is no longer human.Ĭlaire Denis - the revered French auteur behind Beau Travail and most recently The Stars at Noon - made the leap into science fiction territory with the 2018 movie High Life. After the Thing is seemingly destroyed at the climax of the movie, Childs and MacReady - the only survivors - reconvene after being separated during the chaos. The ambiguity and uncertainty that pervades the entire film continues through the last frame. Conflict and paranoia consume the team of scientists trapped at the isolated Arctic research base as they realize any one of them could be the monster. The so-called Thing at the center of Carpenter’s film is an alien life form with the ability to consume and imitate other living organisms. The original movie was made during the height of the Red Scare, and was a reflection of that era’s growing mistrust and fear of communism.Īlthough Carpenter’s remake relocated the story to Antarctica and toned down the more overt political undertones of the original, he maintained the uneasy paranoia that made The Thing From Another World so effective. The film is a remake of 1951’s The Thing From Another World (which itself is an adaptation of a 1938 novella). John Carpenter’s seminal science-fiction horror film The Thing is a certified classic in the genre. And unlike other films on this list, Memoria actually provides an answer to its central mystery, but like any great ending, the ramifications of the answers only inspire more questions. ![]() Memoria is incredibly slow, and though that may sound like a bad thing, Weerasethakul is able to harness the film’s long beats of silence to create something truly hypnotic. The film tracks her journey to find the source of the noise, which may or may not have cosmic origins. This sound repeats with no discernable pattern, and it quickly becomes apparent to Jessica that she is the only one who can hear it. Tilda Swinton stars as Jessica, a Scottish woman living in Colombia, who awakes one night to the sound of a mysterious loud boom. And Weerasethakul’s latest, Memoria, is no different. But patient viewers who hand themselves over will be rewarded with a complex and emotionally-rich experience. To say his films are niche is would be an understatement they are deliberately-paced and refuse to adhere to a traditional structure or narrative. Apichatpong Weerasethakul is a rising star in the art-house circuit.
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