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Monsters - Gareth Edwards (2010)

Tomfincher

By Tomfincher
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Tomfincher Paul Verhoeven

Tomfincher

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6 years ago NASA discovered the possibility of alien life within our solar system.

 

A probe was launched to collect samples, but crashed upon re-entry over Central America. Soon after new life forms began to appear there and half of Mexico was quarantined as an INFECTED ZONE.

 

Today, the American and Mexican military still struggle to contain "the creatures"...

 

The story begins when a US journalist agrees to escort a shaken American tourist through the infected zone in Mexico to the safety of the US border

 

Un extrait assez intriguant :

http://www.quietearth.us/articles/2010/03/09/SXSW-2010-First-clip-from-MONSTERS#extended

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meltingman Paul Verhoeven

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Director Bio

Creating BAFTA award-winning and EMMY nominated visual effects entirely 'from his bedroom, Gareth Edwards has always pushed the boundaries of filmmaking. He recently broke new ground directing the epic drama 'Attila the Hun for the BBC, creating all the 250 visual effects by himself. Winning the SciFi Channels 48 hour film contest led to Monsters, his feature film debut.

 

1IK1WJ-oveE

 

Un bon p'tit gars quand même...

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meltingman Paul Verhoeven

meltingman

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Ch'tite photo du film :

 

 

“It’s a road movie set in a world with Monsters, except the big difference is it begins years after all other monster movies end when people aren’t running and screaming anymore; life just goes on as normal with these ‘things’ in certain parts of the world. We follow a photojournalist as he tries to help a stranded tourist back home through the ‘infected zone.'”

 

 

__________________________________

 

Ch'tite photo (pas ?) du film :

 

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MartinG Mario Bava

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La review fait super envie!

 

Director Gareth Edwards, [...] says that he wanted to begin where every other monster movie ends.

 

c'est vachement intéressant ! j'ai tendance à penser que de plus en plus en plus de films vont se situer dans ce cadre "post". On a maintenant un peu fait le tour des films d'invasion, d'attaque, je pense que ça sera plus un reflet des attentes du spectateur et de la société en générale que de voir des histoires de SF et de monstres qui se passent dans un monde ou le pire est déjà arrivé. Enfin c'est pas vraiment nouveau, mais je pense qu'on en verra plus. Et à mon avis à ce titre disctrict 9 sera peut être considéré comme un point de départ d'une nouvelle tendance.

 

Et à mon avis la France va se faire éliminer en quart de finales de la coupe du monde et Dominique Strauss Kahn va manquer de rien d'être élu président en 2012. Oui je suis le fils de Madame Soleil, et alors?

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meltingman Paul Verhoeven

meltingman

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Le film a été acheté par Magnet Releasing (déja distributeurs de Bronson et B13 - Ultimatum ) pour une diffusion aux US et au Mexique.

 

"We were blown away by 'Monsters,' " Quinn said. "Gareth Edwards is an extraordinary talent and we're thrilled to bring his vision to American audiences."
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meltingman Paul Verhoeven

meltingman

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MAIS COMMENT CA VA DECHIRER GRAVE SA RACE D'ALIEN !!!!

 

Une autre review (attention quelques spoilers) sensée, posée, sans geekitude, qui donne encore plus l'eau à la bouche.

 

SXSW Review: Monsters

Posted by Neil Miller (neil@filmschoolrejects.com) on March 15, 2010

 

You will like it for what it is. That is usually a cop out line, used by critics who are in the process of defending a movie that isn’t very good. The term “for what it is” implies special parameters, telling the audience that if they don’t like a movie, it’s because those parameters aren’t being applied. If applied correctly, seeing any movie “for what it is” makes every movie good. And we know that’s just not true. However, there is a rare occasion when it’s okay to say that a movie is interesting for what it is. This only occurs when the understanding of what the movie “is” enhances the appreciation of the film. Take Garreth Edwards’ Monsters. On the surface, it’s a good movie. But when we pull back a few layers and see what went into this film, it’s both good and very interesting. Interesting, for what it is.

 

The story is this. Several years ago, NASA found the existence of life within our solar system. But when they tried to bring some of it back to Earth, the probe carrying it crashed in between the United States and Mexico. The result was the rise of a dangerous race of aliens, and the subsequent creation of a massive quarantine zone. After a quick scene in which we’re introduced to one of the giant squid-like monsters through the lens of a military nightvision camera (an impressive opening scene that calls to some of the found-footage thrillers that have become so popular in recent years), we meet a photojournalist named Andrew Kaulder, played by Scoot McNairy. He is in South America, searching a hospital in an area that has been ravaged by war against the aliens for the daughter of his publisher. When he finds Samantha (Whitney Able), she’s got an arm in a sling and her attitude cranked to eleven. She doesn’t exactly want to go home, but she knows that she has no other choice. She must go with Kaulder and try to get back to the United States, where her life and fiancee await.

 

Thus begins this road-trip story through a ravaged country side and eventually — after things begin to go wrong — through the quarantined zone itself. Shot guerrilla style (read: three people walk into the jungle with a camera) and on the run, Edwards’ movie takes us on a long journey through war-torn Mexico, into the infected jungle and on to a mammoth wall that separates the United States from Mexico.

 

His great accomplishment is two-fold. One, as his own cinematographer, he captures some gorgeous imagery. Not just the images of the very cool aliens he’s created, but also simple, expertly-framed shots of a countryside destroyed. Second, with his two talented lead actors, he creates a relationship story that cuts through all of the sci-fi elements and tense scares. Together, McNairy and Able have great chemistry. The evolution of their relationship — from neither wanting to be together to needed each other to survive — feels very authentic and lends weight to the overall story. McNairy is charismatic, Able demure, and it works perfectly inside this universe created by Edwards.

 

With Monsters, Edwards proves that he is another example of the evolution of the indie filmmaker. This new breed of filmmaker who shoots rogue, runs a lean production, performs duties beyond director (and writer). They are often writer, director, cinematographer, editor and special effects wizard. They’re accomplishing things on their MacBook Pro that used to take a room full of specialized workers and equipment. It seems to stem from the likes of Rian Johnson, who created Brick on his home computer. Or The Spierig Brothers, who did the CG effects for Daybreakers by reading the manual and doing it themselves. It is the creation of independent films that look like they had a dozen teams from a studio behind them. With Monsters, Edwards is director, DP, set decorator, editor and creator of all the alien creatures you see in the film. It’s no small task — and the end result makes him look like a filmmaker who can move mountains with his mind.

 

To its ultimate credit, Monsters is a little sci-fi movie with big monsters that understands first that you must have interesting characters. And those characters must fit inside of an interesting narrative. And that narrative must be supported by interesting visuals. Edwards accomplishes all of this, on his first try. Considering he did it on a shoe-string, hoping in the back of trucks to go from location-to-location, and did it with completely improvised dialogue and, save for the two leads, a group of non-actors, it makes it all that much more impressive. You know, for what it is.

 

 

ET DONC C'EST CONFIRME !!!!

LES ALIENS SONT DES PIEUVRES GEANTES !!!! T'ENTENDS NICK !!!!!

 

Je vais m'évanouir. Et tout ça c'est de la faute à Tomf...

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