Tag Archives: Paul McGann

1992, ★★★, Sci-Fi

Alien³ (1992, David Fincher)

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Alien³ is a strange film. Some of its problems inevitably stem from its post-production issues, but there's also the question of intent. It's three films in one; first is a sequel to Aliens. That storyline takes about an hour. Then it's its own film for about forty-five minutes. Then it's the final film in a series for the last ten or so. Characters move between these phases, but not necessarily subplots and the filmmaking techniques even change.

Disjointed might be the politest description; incredibly messy also works. Gloriously messy might be the best, however, because Alien³ is glorious. Fincher does an outstanding job directing–and his composition techniques also signal changes in the film's phases–with wonderful Alex Thomson photography. But the Terry Rawlings editing really brings the whole thing together. It's a lush, dark, dank film.

All of the acting is great, especially Charles S. Dutton and Charles Dance. Sigourney Weaver is fantastic (of course, it wouldn't work at all if she wasn't). She and Dutton occasionally get some terrible, trailer-ready lines and they push through them. It's in the quieter moments Weaver really shines; it's simultaneously too obviously on her shoulders and just right.

The special effects are fine. The practical ones are outstanding and the production design is phenomenal.

Additional good supporting turns from Danny Webb, Ralph Brown, Brian Glover, Pete Postlethwaite. Paul McCann's good even if he inexplicably disappears (one of those post-production issues).

Great Elliot Goldenthal score.

In pieces, Alien³ is excellent. All together, it's still good.

3/4★★★

CREDITS

Directed by David Fincher; screenplay by David Giler, Walter Hill and Larry Ferguson, based on a story by Vincent Ward and characters created by Dan O’Bannon and Ronald Shusett; director of photography, Alex Thomson; edited by Terry Rawlings; music by Elliot Goldenthal; production designer, Norman Reynolds; produced by Gordon Carroll, Giler and Hill; released by 20th Century Fox.

Starring Sigourney Weaver (Ripley), Charles S. Dutton (Dillon), Charles Dance (Clemens), Paul McGann (Golic), Brian Glover (Andrews), Ralph Brown (Aaron), Danny Webb (Morse), Christopher John Fields (Rains), Holt McCallany (Junior), Pete Postlethwaite (David) and Lance Henriksen (Bishop).

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1990, ★, Drama

Paper Mask (1990, Christopher Morahan)

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Until the third act, when it painfully changes course, Paper Mask is excellent. Hospital employee—it’s never clear his exact position—Paul McGann assumes the identity of his ex-girlfriend’s dead doctor boyfriend and heads off to practice medicine. The events don’t unfold as simply as that sentence suggests, but the process McGann goes through is what makes so much of Paper Mask excellent.

McGann’s performance (until the third act, when it becomes clear the film isn’t happy with the character’s arc unfolding naturally) is outstanding. It helps he has Amanda Donohoe as a love interest. Donohoe’s excellent in the film, grounding it. She disappears briefly and the whole thing falls apart.

What starts as a somewhat genre-less film—it’s got comedy, drama, mystery—ends as a completely traditional thriller. Well, maybe not completely traditional, but far more in common with the dangerous impersonator thriller than it should.

If I’ve given anything away, I can’t quite apologize because the film ends so pointlessly, there’s not really much reason to watch it as a drama. The acting is excellent and is worth a look (especially for Donohoe, who I think went on to Sci-Fi Channel movies).

Also, director Morahan is outstanding. He manages to keep the filmmaking quality high until the very last shot, which is when Richard Harvey’s otherwise good score sputters out too.

Great supporting turns from Barbara Leigh-Hunt and Frederick Treves… and a mediocre one from Tom Wilkinson.

Paper Mask is competent, but fatally unimaginative.

1/4★

CREDITS

Produced and directed by Christopher Morahan; screenplay by John Collee, based on his novel; director of photography, Nat Crosby; edited by Peter Coulson; music by Richard Harvey; production designer, Caroline Hanania; released by Enterprise Pictures Limited.

Starring Paul McGann (Matthew Harris), Amanda Donohoe (Christine Taylor), Frederick Treves (Dr. Mumford), Tom Wilkinson (Dr. Thorn), Barbara Leigh-Hunt (Celia Mumford), Jimmy Yuill (Alec Moran), Mark Lewis Jones (Dr. Lloyd), John Warnaby (Dr. Hammond), Alexandra Mathie (Beverley) and Oliver Ford Davies (Coroner).

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1992, ★★½, Sci-Fi

Alien³ (1992, David Fincher), the assembly cut

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So, I guess David Fincher wasn’t that upset about the “Assembly Cut” Fox did of Alien³ for their moronically-titled “Alien Quadrilogy” DVD set a few years ago, because he left his name on it. Fincher’s always badmouthing Alien³ but hasn’t got the balls needed to Alan Smithee a film (like Michael Mann has). Now, was Fincher smart not to reedit the film for DVD? Well, he couldn’t do anything to improve on the existing Alien³ theatrical cut (he’s simply not a capable enough artist), so I guess it doesn’t matter.

I’ve been hearing about this damn cut for years, probably since 1997. Everyone who loved Fincher (from Seven) and thought he was a genius (for Seven!) talked about this magic cut. Most of what’s in this “assembly cut” is in the novelization (I used to read novelizations, then I started listening to film school snobs. I’m not sure which was worse) and none of it helps the film. This cut runs about a half hour longer and includes some different scenes and shit, but mostly it just uses up the viewer’s patience. I need to watch Alien³ the regular version in a few weeks to properly grade it, but I’m pretty sure it wasn’t so poorly paced. There’s a full hour of red herring here, which the studio wisely cut the hell out of. Fox was not always a terrible, inhuman studio. That happened, I’m pretty sure, after NewsCorp bought it. According to IMDb, Fincher walked before editing began, which seems to be a good thing, because this “assembly” cut does little but show how much good editing can improve a film.

Now, this cut is and has been lauded around the internet and film snobs (how much of a film snob can you be if you like Panic Room, however) have spewed praise… The fans of this cut think that calling something a “quadrilogy” is an acceptable human practice. I’m not that upset watching this cut–the DVD set was a Christmas gift and it’s not that bad, in the two and a half range, but it was a complete waste of time and did nothing but make me doubt the folks who recommended it.

Alien³, the longer cut, was supposed to be the holy grail of DVD (much like folks hope Warner will do an official, expanded Superman II). Oddly, off the top of my head, I can only think of three or four films that benefit from an expanded cut. The Big Red One, Blade Runner, Touch of Evil (to some degree, it was always great), and then it gets murky. No, wait, Star Trek: The Motion Picture became watchable. Anyway, if anyone out there has the Aussie/UK version of The Last of the Mohicans without Mann’s 2000 tweaks, let me know….

2.5/4★★½

CREDITS

Directed by David Fincher; screenplay by David Giler, Walter Hill and Larry Ferguson, based on a story by Vincent Ward and characters created by Dan O’Bannon and Ronald Shusett; director of photography, Alex Thomson; edited by Terry Rawlings; music by Elliot Goldenthal; production designer, Norman Reynolds; produced by Gordon Carroll, Giler and Hill; released by 20th Century Fox.

Starring Sigourney Weaver (Ripley), Charles S. Dutton (Dillon), Charles Dance (Clemens), Paul McGann (Golic), Brian Glover (Andrews), Ralph Brown (Aaron), Danny Webb (Morse), Christopher John Fields (Rains), Holt McCallany (Junior), Pete Postlethwaite (David) and Lance Henriksen (Bishop).