'Wonder Woman' Review

Wonder Woman recounts the origin story of trained warrior and courageous princess Diana who has grown up among the fierce female race of Amazons on the sheltered tropical island Themyscira. All is well on the secluded paradise till American intelligence officer Steve Trevor crashes off the island's shore, the first instance of man entering the mythic realm. Trevor is retrieved by the Amazons and in turn tells them of the ongoing power struggle outside their island, World War I. Diana then decides to disobey her mother's commands and accompanies Trevor on a quest into man's world with intentions to end the conflict at hand, discovering her exceptional abilities and fated destiny along the way.

I'll be honest in saying I was cautiously optimistic for Wonder Woman since I was burned thrice before by DC with Man Of Steel, Batman v Superman: Dawn of Justice, and Suicide Squad. While Wonder Woman's marketing material has been stellar from the outset of its promotion, much like Suicide Squad, the DC Extended Universe's spotty track record was enough for me to temper my expectations. I did however maintain hope that Wonder Woman would be the film to turn everything around for DC considering Patty Jenkins was directing and it seemed more standalone in nature, and it is with great pleasure that I'm able to reassure any skeptics that Wonder Woman is truly wonderful! 

Director Patty Jenkins shepherds the Amazon into her own corner of the DC universe so the two can brief moviegoers on the influential heroine's humble beginnings. Jenkins had a difficult task at hand in meeting a broad appeal that didn't favor men or women and she struck the right chord. The supporting male characters are never downplayed in favor of some feminist agenda and there are moments exemplifying Wonder Woman's heroic qualities that offers an ideal representation of female empowerment without overdoing the girl power. Jenkins makes it clear from the start that this will be a tale for everyone to enjoy by infusing Wonder Woman with a sense of hope and optimism, something that's lately been lacking from DC films. 

Jenkins and her cinematographer Matthew Jensen quickly break the mold of DC's gritty/grungy aesthetic with the lush locale of Themyscira. The vivacious color palette of Themyscira is easily the most vivid venue to be seen in the DCEU thus far, managing to look like a plausible place while maintaining a guise of mysticism. This is even further accentuated when contrasted to the nasty No-Man's land and murky London skyline. The visual effects and production design showcased also are a step above DC's usual display, making a breathtaking backdrop to the insane action.

If you thought that Wonder Woman would skimp out in the action department because it was directed by a woman, then you were way off because the action sequences constructed by Jenkins and her stunt team are absolutely incredible! Scenes of the Amazons sparring, a beachside invasion, a trek through No-Man's Land, and an all-out melee in the third act will all astound viewers based on looks alone. It's worth noting that Jenkins and editor Martin Walsh utilize quite a bit of slo/fast-mo in these sequences that can grow a bit repetitive for those not in favor of that technique, but it adds a visceral energy that only intensifies the excitement. This vitality is then dialed up another notch by Rupert Gregson-Williams' potent compositions and Hans Zimmer's pre-existing exuberant Wonder Woman theme. 

Despite Wonder Woman's ability to leaps bounds above the other DCEU installments, I'm fairly certain that Wonder Woman will draw criticism from its startling similarities to the period piece war backdrop featured in Captain America: The First Avenger and the fish-out-of water story told in Thor. There will be numerous comparisons between them (especially with The First Avenger), but I assure you Wonder Woman is very unique when it's all said and done.

Wonder Woman features a screenplay penned by Allan Heinberg, who received some assistance from Zack Snyder and Jason Fuchs in writing the story treatment. Heinberg's script works well and it's not because it revolutionizes the superhero origin story, but rather because it understands the lead character. Diana's easily the most heroic DC character to galavant onscreen in quite some time and pairing Diana opposite the horrific scrim of World War I really brought out her valiant nature. It's also incredibly refreshing to see a female character in a superhero movie that's not a damsel or obvious eye candy, but a fully realized character. While Marvel has Black Widow and Scarlet Witch, DC had yet to truly deliver one of those till now.

Allowing Diana to enter man's world not only accentuates her character but it provides a suitable opportunity for humor thanks to the fish-out-of-water element and I laughed at nearly every joke the writers threw at me. The romantic relationship between Steve Trevor and Diana felt fully fleshed out and strayed away from feeling unbalanced, which was something I feared. Steve probably saves Diana as many times as she rescues him so while Diana's clearly more capable than Steve thanks to her power-set, she learns a thing or two from him on her expedition.

Wonder Woman does admittedly run into a little trouble in its third act with a chaotic, needlessly elaborate final fight. The film's villains also feel slightly underdeveloped with vague motivations, which weren't exactly convincing to begin with. The third act CG isn't the greatest when compared to the remainder of the flick, but it worked for everything Jenkins was striving to achieve. Outside of those minuscule nitpicks, Wonder Woman doesn't encounter too many other issues and easily outweighs those cons.

The cast assembled for the Amazonian's first feature film is one to behold and they step up to the legacy the comics set before them. When Gal Gadot was first cast as Wonder Woman, fans were quite contentious about whether she was the right choice for the role considering she was almost entirely known for modeling at the time. Even after a scene-stealing appearance in Batman v Superman, no one really quite had a grasp of the character since her powers and characterization were left a mystery. Thankfully, Gadot walks a fine line as Wonder Woman and proved up to the task of meeting the physical demands of the role as well. Gal Gadot imbues Diana with compassion, strength, and virtue making her the ideal female role-model and exemplary incarnation of the female icon.

Chris Pine brings charisma aplenty to Steve Trevor as an endearing action hero and likable love interest opposite Gadot. Pine and Gadot exhibit an interesting and sincere dynamic, unlike most comic book couples as the two share an undeniably unique chemistry. Lucy Davis also tags along as sociable supporting player Etta Candy, showcasing some solid comedic chops along the way.

Connie Nielsen and Robin Wright play the predominant Amazonians as the lionhearted General Antiope and confident Queen Hippolyta. Both actresses serve as influential up-bringers and memorable maternal figures for Diana, demonstrating courage and kindness in the best ways imaginable.

Ewen Bremner's anxious sniper Charlie, Saïd Taghmaoui's ladies man Sameer, and Eugene Brave Rock's soft-spoken Chief each added delightful personas to Trevor's squad and stood out as captivating supporting players among the larger ensemble. Elsewhere Danny Huston, Elena Anaya, and David Thewlis adequately act the archetypes of the hardened General Erich Ludendorff, tortured Doctor Poison, and inscrutable Sir Patrick. In regards to references, there aren't too many easter eggs that I noticed aside from the obvious origin story beats and there's no post credits scene, but do look forward to a new DC logo opening up the proceedings. There's absolutely no question about it, you should definitely check out Wonder Woman this weekend! I know I'll be seeing it a few more times!

Turns out Wonder Woman had more in her arsenal than I suspected with dedicated direction, vibrant visuals, astonishing action, powerful performances, and charming characters. She didn't even need to use her Lasso of Truth to coerce me into acclaiming Wonder Woman as the greatest DCEU entry to date, the foremost female lead comic-book movie, and the best DC film I've seen since The Dark Knight! 

Film Assessment: A-

'Pirates of the Caribbean: Dead Men Tell No Tales' Review

Pirates of the Caribbean: Dead Men Tell No Tales charts a new course for the spirited swashbucklers by steering the franchise closer to its humble beginnings. Dead Men Tell No Tales follows the adventures of Henry Turner, son of Elizabeth and Will Turner, as he searches for a means to free his father from his cursed fate. Turner then enlists the help of astute astronomer Carina Smyth and disreputable drunk Jack Sparrow to embark on a quest and find the treasured Trident of Poseidon, an artifact said to grant the wielder complete control of the seas with the power to break any curse. In the midst of all this, a vengeful Spanish specter Captain Salazar escapes the Devil's Triangle with an army of apparitions and a particularly unpleasant ambition. 

Dead Men Tell No Tales is the fifth entry to the Pirates franchise and after Curse of the Black Pearl, the savvy seafarers have landed ashore from their their subsequent plunders with receding riches among their treasure trove. Despite the diminishing returns of the succeeding ventures, I still manage to let loose a hardy "Yo-ho!" anytime Curse of the Black Pearl, Dead Man's Chest, or At World's End sail my way because that original trilogy knew how to handle the cultivating crew. However, On Stranger Tides waded into unfamiliar waters in hopes of extending the franchise only to meet a rocky reception and nearly sink the ship. 

Thankfully, all hands were called on deck so Norwegian co-directors Joachim Rønning and Espen Sandberg were able to save Disney's lucrative vessel just when I thought these pirates were about to walk the plank and abandon ship. Rønning and Sandberg ensure that everything encountered along the voyage looks and sounds tremendous, harkening back to the strange, supernatural elements Verbinski interposed into his own swashbuckling stories. 

For starters, every orchestral score in the Pirates of the Caribbean franchise has sounded exceptional, regardless of the film's quality, and this entry is no exception. Though Hans Zimmer abandoned ship and the score includes a number of familiar sea shanties, composer Geoff Zanelli proudly waves the Jolly Roger in his deconstruction & reconstruction of the pivotal Pirates themes. Elsewhere, the hair & makeup team alongside the commendable costuming crew continue to impress, despite dressing the cast in the usual pirate garb. I'm sure it must be a huge ordeal to ensure each pirate has the distinct and adequate attire, so the simple fact that each cast member looks great is enough for me to tip my hat to those members of the crew!

The vfx artists and production designers prove to be no land lubbers either, considering they are able to craft an authentic tropical background that these rum-smitten sailors can inhabit. The film looked leagues better than On Stranger Tides from start-to-finish and bolstered an awesome, unabridged aspect ratio in IMAX that further enraptured me. On the flip side, I was a bit worried about the look for Salazar and his ghastly crew judging from the trailers. Fortunately, my concerns were ill-suited because the dastardly Spanish crew looked exceptional thanks to a mix of profound practical prosthetics and illustrious CG-effects.

**Spoiler warning in case you somehow haven't seen any of these movies I'm about to mention**

Other technical accomplishments to note include Disney's alarming ability to de-age actors lately. You may have noticed this in various Marvel Studios entries including Ant-Man, Captain America: Civil War, and Guardians of the Galaxy Vol. 2 that all featured brief scenes with a younger version of a prominent character (Hank Pym, Tony Stark, and Ego respectively).

**End of spoilers**

I previously haven't brought this up in any reviews because each of those occurrences were well under-wraps and I was avoiding spoilers. However, Disney has put this de-aged Jack Sparrow front and center in their marketing material so I think it's safe to talk about it. While I don't think there has been a misstep yet, I'd place the de-aged Sparrow among the upper escalate of examples because he's onscreen longer and maintained the authenticity throughout. It's truly incredible that technology has come this far that studios can now effectively de-age an actor and practically bring a deceased one back to the big screen (in the case of Rogue One: A Star Wars Story).

On the other hand, Dead Men Tell No Tales doesn't play out nearly as well on paper. Jeff Nathanson penned the seadog's screenplay and does an adequate job finding a means for the story to carry onward but the plot's riddled with meaningless side-quests involving extraneous characters. Dead Men Tell No Tales could have easily had the shortest running time in the series if Nathanson had thought to throw out a few of these meandering plot lines and insignificant characters. On top of that, the story basically follows this ridiculously repetitive pattern of [interchangeable character] is captured and [interchangeable character] is free. There were a number of clear comedic attempts that fell flat or pandered primarily to children, in quite a few of these instances absolutely nobody in my theater even chuckled. The dialogue is what failed to elicit a response most of the time and Sparrow's schtick hasn't completely worn off because some of the situational humor works quite well! 

Even when Dead Men Tell No Tales sails around in storytelling circles, there's an adequate level of enjoyment to be had. A bank heist at the film's outset literally gives the one featured prominently in Fast Five a run for its money and there's some zombie sharks in the second act that were particularly cool. Dead Men Tell No Tales has all the outlandish, outrageous pirate escapades you were missing in On Stranger Tides but very few of them are on par with the set pieces concocted by Verbinski.

If you're a stickler for continuity, Dead Men Tell No Tales will raise some serious concerns regarding its well-traversed story routes, pirates lore, and the mythical side of the Pirates universe but these things may sail away completely unnoticed by casual Caribbean tourists. Dead Men Tell No Tales somehow managed to simultaneously feel the furthest removed and most interwoven of the Pirates films thus far and I'm lost for words at how that was even possible. There are a number of cameo appearances that I found amusing and worth mentioning, but you may already know about them thanks to the film's marketing so they aren't exactly surprises. 

Meanwhile, Johnny Depp's performance as Captain Jack Sparrow has definitely improved from his turn in On Stranger Tides. He's no longer the lead so he doesn't have as much weight on his shoulders and is able to let loose as a supporting character again. Depp will never not be a great Jack Sparrow, but he's as kooky caricature once more. Nathanson unintentionally set up an interesting arc for Sparrow regarding his fall from grace but Depp never gets to tackle the underlying emotional vulnerability I was hopeful to see because he's too busy parading around for laughs. I'm doubtful Depp and the Caribbean's creative forces will ever be able to recapture the restrained, comedic brilliance of his debut but anything's possible. 

Filling out the crew, Brenton Thwaites and Kaya Scodelario are thrown out into the seven seas with hopes they would be able to recapture the Bloom/Knightley pairing from the original trilogy. While they come closer than the last feeble attempt, the two simply don't have the spark. Thwaites is a serviceable plucky lad and Scodelario plays the adept academic to a tee. Both are fine in their respective roles but neither were able to carry the weight required to completely fill the void left by Will Turner/Elizabeth Swann.

However, Javier Bardem oozes the appropriate amount of menace as Spaniard spirit Captain Salazar and stood out as the best baddie this franchise has seen in some time. Bardem wasn't given much to work with but he successfully elevated his character and projected a huge screen presence as you'd suspect an Oscar winner would. Geoffrey Rush also goes all in with his rotten, roguish portrayal of Captain Barbossa and Kevin McNally makes for a nice addition as dedicated first mate Gibbs.

When it comes down to my Memorial Day movie recommendation, it really depends on what you as a viewer would like to watch. If you want to see a gallivanting, enjoyable romp across the sea, go see Pirates of the Caribbean: Dead Men Tell No Tales. Crude comedy? Baywatch. Suspenseful sci-fi? Alien: Covenant. Out-of-this-world superhero story? Guardians of the Galaxy Vol. 2. You can't really go wrong with any of those options provided you're seeking that specific source of entertainment. Otherwise, keep your eyes peeled to the WONDER-ful horizon. I guarantee if you feel lost in the summer sea of blockbusters, you'll be shouting "Land, ho!" next weekend.

Pirates of the Caribbean: Dead Men Tell No Tales is being billed as the "final adventure" but with a post credit scene offering a titillating tease for a sixth installment and the insane international business these pirates manage, I can't help but feel there will be a few more adventures for Captain Jack on the horizon. Pirates of the Caribbean: Dead Men Tell No Tales offers plenty of reasons to raise the Jolly Roger thanks to its capable cast, refreshing tropical visuals, elaborate action set pieces, and another sea-spirited score. Dead Men Tell No Tales is by no means the optimal expedition but it was reassuring to see Jack Sparrow and his merry band of marauders change course.

Film Assessment: C+

Throwback Thursday Review: 'Pirates of the Caribbean: On Stranger Tides'

Sorry for the delayed review but this week I'm wrapping up my series of Pirates of the Caribbean reviews with my thoughts on Pirates of the Caribbean: On Stranger Tides. Next week I'll be revving up my Throwback Thursday Review of Cars in preparation for the threequel. Other reviews you can expect to see over the course of May and June include Throwback Thursday Reviews over The Mummy (1999), Cars 2, Transformers: Age of Extinction, and Despicable Me 2 in addition to new reviews over Pirates of the Caribbean: Dead Men Tell No Tales, Wonder Woman, The Mummy (2017), Cars 3, Transformers: The Last Knight, Baby Driver, and Despicable Me 3.

'Pirates of the Caribbean: On Stranger Tides' Review

Pirates of the Caribbean: On Stranger Tides sets sail with Captain Jack Sparrow, but there's a catch, he's both ship-less and crew-less this time around. When Sparrow catches wind of an imposter recruiting for a voyage in search of the fabled Fountain of Youth, he investigates only to discover former flame and daughter of Blackbeard, Angelica. Sparrow soon finds himself onboard Blackbeard's notorious vessel, the Queen Anne's Revenge, and learns that Blackbeard's hellbent on finding the fountain for fear of a prophecy that promises he will be bested by a one-legged man. 

On Stranger Tides allowed Rob Marshall to take up the helm of the franchise previously captained by Gore Verbinski. Marshall simplifies things but that only results in a restrained Pirates flick that rarely delivers the gung-ho and epic spectacle showcased in previous outings. On Stranger Tides has its moments but suffers from average action, poor pacing, flat characters, a stale story and lack of connective tissue to the original trilogy. 

At times, On Stranger Tides is able to recapture the wacky, wistful spirit of the preceding chapters but these moments are few and far between, largely quartered to the film's first act. The chase sequence throughout London and pub duel are enough to entertain audiences for a solid thirty minutes, but after our characters reach the water, there's not much to see aside from a savage scheme to capture a mermaid. On Stranger Tides lacks the epic set-pieces and inventive action to keep audiences engaged for the long voyage ahead.

On Stranger Tides marks the fourth Pirates screenplay to be penned by Ted Elliot and Terry Rossio, who you'd suspect would have charted a careful course after four movies. However, the duo concoct a story that simply didn't need to be told. Elliot and Rossio tied a neat, nice bow for the finale of At World's End but find difficulty unraveling things to send Captain Jack off to make another billion for the Mouse House. The plot connects to previous Pirates movies by the single thread that Jack was searching for the Fountain of Youth and has little else to tie things together, going as far to trapping the Black Pearl's plucky pirate crew in a bottle so they're also out of the picture. 

Elliot and Rossio struggle in regards to characterization. Jack Sparrow works best as a character when when contrasted against full fledged heroes. Sparrow's the comedic supporting anti-hero so that juxtaposition is necessary to bring out any growth for his character, otherwise he's the same rugged rogue when everything's all said and done. However, On Stranger Tides places Sparrow front and center as the lead protagonist and doesn't bring any courageous souls as a source of variation. The screenplay even fails to give any characters much of an arc, considering almost all of them end up where they started to some extent. Elsewhere, Hans Zimmer composed yet another spectacular swashbuckling score that has some Latin flair thanks to guitarist couple Rodrigo y Gabriela.

The cast is composed of both veteran privateers and fresh sea dogs this time around since most of the original cast bowed out for this installment. Johnny Depp's portrayal of Captain Jack Sparrow as the silly sailor never fails to amuse but he definitely seems to be on the verge of running aground. Depp's turn feels a tad worn-out and is more of the same that you've come to expect from the savvy scoundrel, the unexpected. Opposite Depp, Penélope Cruz is introduced as Sparrow's by-gone lover Angelica and projects a veil of mystery around her character, making her an interesting addition. While the two of them remain among the film's more entertaining pairings, it's a little will they/won't they with the relationship. This grows so tedious that viewers will be completely confused where either character stands when things are over with since their motivations flippantly flop around. 

Ian McShane brings a grounded gravitas to Blackbeard but fails to make his mark in the halls of the franchise's sinful scoundrels. Blackbeard just doesn't have the meaty malevolency that an accomplished antagonist needs so he's not particularly memorable once the credits start rolling. The reappearing rogues encompass Geoffrey Rush and Kevin McNally as former pirate, now British naval privateer Barbossa and dependable first mate Gibbs. Despite his changed allegiance to the Queen's navy, Rush exhibits all the seaside scurvy you can possibly imagine from Barbossa and is certainly one of the film's higher marks. 

The supplementary supporting characters include Sam Claflin's devout Christ follower Phillip and Astrid Bergès-Frisbey's melodious mermaid Syrena. The two were clearly meant to fill in the star crossed lover slot left open by the absence of Will Turner and Elizabeth Swann but their relationship falls flat. The relationship isn't built on much of a foundation and feels crammed into the proceedings for the sake of having a love story. If that weren't enough, both actors are deliver one-note performances so neither of their characters feel fleshed out whatsoever. 

In summary, On Stranger Tides isn't without its merits but they're few and far between this bloated sequel. Rob Marshall's effort to simplify things only made the franchise all the more convoluted as there's simply too many new characters for audiences to invest in any persona. Pirates of the Caribbean: On Stranger Tides pathetically paddles behind its predecessors, desperately seeking hold of any thread it can to keep the franchise afloat. 

Film Assessment: D

'Baywatch' Review

Baywatch adapts the long-running seaside series following a group of Miami lifeguards who are in the midst of recruiting a few new members when Olympic gold medalist Matt Brody arrives, desperate to improve his public image by joining the squad after an incident at the last Summer Olympics. The team then must work together to unravel a criminal scheme if they're going to preserve their beach community. Baywatch is made in the same vein as the recent 21 Jump Street revival, they're both raunchy R-rated action-comedies based on an older cult television series and boast tremendous star power. However, Baywatch never quite clicks together the way 21/22 Jump Street did. 

I feel it's worth noting that director Seth Gordon is aware of the original series' absurdity and wears the ridiculousness as a badge of honor, slo-mo running included. The action set pieces aren't much to look at with some inadequate effects and egregious editing while the story's not particularly engaging either. What will really keep you invested for two hours are the quips and the buddy-dynamic between Dwayne "The Rock" Johnson's stout seashore sergeant Mitch Buchannon and Zac Efron's arrogant Olympic swimmer Matt Brody.

Johnson's proven to be charismatic in just about everything, bolstering many projects on his shoulders, so it's no surprise that Mitch Buchannon would have the subsequent charm as well. All the while, Zac Efron showcases that he has the killer comedic timing and adequate acting chops required to butt heads with "The Rock" and play the conceited yet charming dunce. The two work together like thunder and lightning, helping Baywatch stay afloat thanks to their electric buddy-cop combo.

Filling out the ensemble, Jon Bass portrays a awkward geek Ronnie who's attracted to the insanely attractive CJ Parker, played by Former Sports Illustrated model Kelly Rohrbach. Both actors succumb to cliché characterization but their relationship stood out as a bright spot of comedic relief in Baywatch's lulls. Meanwhile, Alexandra Daddario and Ilfenesh Hadera are both serviceable in the capacity used. They both offer passable performances as Summer and Stephanie, but the script just doesn't give either much to work with in regards to a character arc or even humor.

Priyanka Chopra on the otherhand, plays Victoria Leeds as an over-the top Bond villain and it pays off. Chopra evokes a sinister, commanding demeanor about her that made her the ideal antagonist opposite these courageous lifeguards so she successfully pulls attention when onscreen. Hannibal Buress and Yahya Abdul-Mateen II are also worth noting for their sufficient supporting comedic bits but neither were imperative to the narrative.

As for the writing, Damian Shannon and Mark Swift rely a little too heavily on jokes about the male anatomy for laughs but the situational humor onscreen was occasionally a little more clever (although I have no idea whether it was improvised or not). Baywatch has got quite bit of self-referential humor up it's short sleeves so that's definitely something else the motley lifesaving crew have going for them. If you're hoping for references to the original series or any cameo appearances, you won't be disappointed but those cameoing are revealed by the opening credits so it's not exactly a surprise. Another aspect I enjoyed was the banter between Buchannon and Brody, which I almost wish had been more of the film's focus. Baywatch's story is scrambled but the one-liners keep Baywatch from sinking.

As we're hit by wave after wave of summer blockbusters, I aim to voice my recommendations for the weekend (I've done this from time-to-time but would like to make it a staple of my reviews this summer). This weekend there's a briny box office battle brewing between Baywatch and Pirates of the Caribbean: Dead Men Tell No Tales. While I haven't seen Dead Men Tell No Tales, Baywatch is without a doubt for the adult crowd while Pirates will certainly be more kid-friendly in comparison. Baywatch will sustain your raunchy action comedy needs so if that's what you want then it's worth a matinee showing. If neither of those are up your ally, there's two spectacular space offerings worth checking out in Guardians of the Galaxy Vol. 2 and Alien: Covenant in case you've missed out on either of those intergalactic adventures. Regardless of what you choose, there's a variety to pick from at the multiplex right now.

In conclusion, Baywatch delivers on the outlandish premise with oodles of eye candy, sufficient slo-motion, and all the charisma "The Rock" can muster. Even when Baywatch wistfully wades into shallow waters, it still manages to find a riptide and shred some solid jokes. So long as you watch this movie with the mindset you're watching an outrageously over-the-top popcorn flick about lifeguarding, you should be able to hang ten and have a righteous time!

Film Assessment: C+

'Alien: Covenant' Review

Sorry that all my Alien Anthology reviews this past week have been published later than expected but I should be making up for that soon with early reviews for Baywatch, Wonder Woman, and Baby Driver all on the way. I'm trying something different with this review and if it's well received, I'll be going back and altering previous reviews and use the template for future reviews.

'Alien: Covenant' Review

Alien: Covenant escorts the coupled crew of the colony ship Covenant bound for prospective planet Origae-6. En route the Covenant encounters a space storm and whilst making repairs, the crew receives a foreboding human transmission. The crew investigate its source only to find an even closer planet and head there in hopes of discovering a pristine paradise. Of course, as things always do in these Alien flicks, nothing goes according to plan and the crew are forced to fend for themselves on an unfamiliar world against an unknown entity. 

Alien: Covenant takes place between Prometheus and the original Alien, acting as a bridge between the two in more ways then one would suspect. Ridley Scott returns to the director's chair after experimenting with Prometheus and brings both his creative children together for an impressive amalgamation. The best way for me to describe Alien: Covenant would be that a studio executive locked Prometheus and Alien in a room and told them to play nice, only to return a while later and discover the two are now the best of pals. However, it's worth noting that Alien: Covenant bears the resemblance of a Prometheus sequel more than the guise of an Alien prequel. 

Jack Paglen and Michael Green set the story while John Logan and Dante Harper penned the film's screenplay, building upon the groundwork Prometheus laid out to weave a satisfying tale that answers some pressing questions Prometheus ignored (don't expect answers to every disregarded inquiry though). Ridley Scott and his team of screenwriters effectively meld the excellent elements of each (Prometheus and Alien) to great effect, finding a deft balance between horror and philosophy. At times the film strays too close to the plotting of both those films, feeling a tad formulaic and predictable, but Alien: Covenant will still successfully startle and surprise viewers. If you haven't watched Prometheus or the promotional Alien: Covenant prologues released on YouTube, I'd recommend checking them out before seeing Alien: Covenant to enhance your understanding of things but none of them are essential viewing and it won't affect your level of uneasiness if you opt out of watching any of them. 

Ridley Scott and crew demonstrate terrific technical prowess with commanding cinematography, magnificent visual effects, and striking scenery. Dariusz Wolski's camerawork amplified the serene essence in the film's quiet moments and instantly instilled a frantic vitality when things got terrifying. On the long list of Alien: Covenant's accolades, the hair, make-up, and production design teams collaborated seamlessly along with the vfx artists to craft some chilling chest-bursting sequences and an idyllic aesthetic to juxtapose opposite the gruesome bloodbath. The computer generated Xenomorphs manage to move with a fervent frenzy that simply can't be brought to life any other way so hats off to the animators behind that monstrosity. Meanwhile, Jed Kurzel's musical score fittingly intensified the proceedings. Kurzel's compositions strike a sweet spot, boasting vacant volume and an eerily intense, ethereal sound matching the duality of Scott's vision. 

Elsewhere, Alien: Covenant accommodates an accomplished ensemble who exceeded my expectations. Katherine Waterston offers an all-encompassing performance demonstrating her range, thus making Daniels a serviceable female lead. Billy Crudup also digs deep as Captain Oram and Danny McBride's serious turn as Tennessee was a shocking delight. The remaining crew members are serviceably portrayed by Demián Najera, Carmen Ejogo, Jussie Smollett, Callie Hernandez, Amy Seimetz, Nathaniel Dean, Alexander England, Benjamin Rigby, Uli Latukefu, and Tess Haubrich respectively, but these characters wound up feeling shallow in the grand scheme of things. I can say the ensemble worked together well as the sense of the crew's camaraderie is felt from the very beginning, aided by the fact each character has a spouse among the crew. The real scene stealer unsurprisingly turns out to be Michael Fassbender, who's definitely a proven commodity at this point. Michael Fassbender exceptionally brings a two-pronged performance playing the respectable robot Walter and reprising his role as sinister synthetic David. Fassbender excels in both facets, impressively playing against himself as two different droids with a similar basis. I won't say much else about these characters because that would approach the dreaded spoiler territory but I can say there's one scene that will make Fassbender fangirls around the world squeal in giddy joy. 

In conclusion, I highly advise a trip to the theater to see Alien: Covenant for fans of horror or the Alien franchise itself. If you're wondering about tamer offerings, I can vouch that Guardians of the Galaxy Vol. 2 holds up well for repeat viewings (I've now seen it three times) or you could give poor King Arthur a hand at lifting that epic sword and check out King Arthur: Legend of the Sword (which hasn't had the greatest run at the box office). However, Alien: Covenant definitely delivered the thrill-ride I was hoping for and stands as another strong science fiction entry in this summer season's blockbuster catalogue. Alien: Covenant is tense, riveting, and bursting all-around with accomplished aspects, making it the most satisfying suspenseful sci-fi epic this franchise has seen in years!

Film Assessment: B+