Apart from an apparent drive to write about movies with single-word titles beginning with “C” — Christine, Constantine, Calvary, Coma, etc. — we were also given another reason to revisit Cloverfield in the form of a surprise pseudo-sequel, that being the upcoming 10 Cloverfield Lane. Lane was announced out of the blue last week by J.J. Abrams and Co., having already been completed and somehow kept under wraps until a mere two months before release. Impressive marketing strategies aside, the film actually looks pretty interesting. Here’s that trailer:
Cool, right? It seems like the kind of thing that just happens to take place in the world of Cloverfield, but might really be a self-contained story that could conceivably exist without the other movie. Judging from that brief look, the only thing that links the two films is the alien invasion itself, not the human characters nor the location nor any of the events of the first film. There’s no way to be certain of that, of course, but the good thing is we don’t have to wait long to find out. Presumably, this is more of a psychological thriller than Cloverfield, and presumably future sequels could follow the same format and use only the alien invasion as the linking factor. This, of course, results in the hilarious romantic comedy Clove at First Sight and the franchise crossover Angels in the Cloverfield.
Continue reading Cloverfield (2008)
If the worth of a film can be measured in the height of the protagonist’s hat, then The Great Train Robbery is one of the finest cinematic endeavors in history. Look at that thing! More than once I thought of this:
Even if we strike that particular criteria, Michael Crichton’s The Great Train Robbery is still one of the most unique and enjoyable entries in his long and storied career. We’ve discussed Crichton’s popular status as a “sci-fi writer” before, positing that although The Andromeda Strain and Coma and Jurassic Park certainly number among his finest works, Crichton also defied the genre to which he’d been assigned by the popular media on more than one occasion. In no single script is this more apparent than in The Great Train Robbery, adapted from his own 1975 novel, and the reason why isn’t simply because there’s no science fiction involved.
Continue reading The Great Train Robbery (1978)
Michael Douglas famously referred to Coma as the first time he was a part of something with a good story, a good cast, and a good director. The latter of those compliments, while true, was at that point based only on Crichton’s debut feature Westworld and his earlier made-for-TV flick Pursuit. The middle statement, about the cast, seems oddly self-serving considering Douglas is in the cast. The actor’s career was likewise young, and oddly enough Mike Crichton and his brother Douglas once published a story under a pseudonym that combined their first names: Michael Douglas.
Whatever conspiracy the Michaels and the Douglases have cooked up here, it probably isn’t as sinister as the conspiracy afoot in Coma. Based on the highly popular novel of the same name by Robin Cook (a friend and contemporary of Crichton’s), the story of Coma is as well thought-out as Douglas claimed. The pairing of Cook and Crichton is a match made in medical thriller heaven, and Crichton’s script treatment of the novel is accurate and respectful of the source material. Slight changes were made, but the overall sense of paranoia that pervades the book is very much intact in Crichton’s screen treatment.
Continue reading Coma (1978)