Empire em Portugal A revista de cinema mais vendida no mundo acaba de chegar a Portugal
Com grandes exclusivos e acesso privilegiado às filmagens dos grandes títulos, a Empire traz para o mercado nacional toda a sabedoria de uma revista líder de mercado e com uma história de mais de 20 anos.
Entrevistas aos grandes actores e realizadores, grandes reportagens nos bastidores e as primeiras imagens dos filmes mais importantes do ano são alguns dos conteúdos que os leitores vão poder encontrar todos os meses na Empire Portugal.
Em todas as edições não faltará igualmente o cunho da Empire a todos os filmes em cartaz e em estreia, assim como todos os lançamentos em DVD e Blu-ray.
No primeiro número, a revista Empire traz como oferta exclusiva a primeira parte do livro com os 500 filmes que receberam as cinco estrelas da Empire, além de vários passatempos, como o caso de uma viagem aos estúdios de Hollywood para duas pessoas.
Biagio Anthony Gazzarra (August 28, 1930 – February 3, 2012), known as Ben Gazzara, was an American film, stage, and Emmy Award winning television actor and director.
Career
In 1954, Gazzara (having tweaked his original surname from "Gazzarra") made several appearances on NBC's legal dramaJustice, based on case studies from the Legal Aid Society of New York. Gazzara starred in various Broadway productions around this time, including creating the role of Brick Tennessee Williams' Cat On A Hot Tin Roof (1955) opposite Barbara BelGeddes, directed by Elia Kazan, although he lost out to Paul Newman when the film version was cast. He joined other Actors Studio members in the 1957 film The Strange One. Then came a high-profile performance as a soldier on trial for avenging his wife's rape in Otto Preminger's courtroom drama Anatomy of a Murder (1959).
Gazzara became well-known in several television series, beginning with Arrest and Trial, which ran from 1963 to 1964 on ABC, and the more-successful series Run for Your Life from 1965-68 on NBC, in which he played a terminally ill man trying to get the most out of the last two years of his life. For his work in the series, Gazzara received two Emmy nominations for "Outstanding Lead Actor in a Drama Series" and three Golden Globe nominations for "Best Performance by an Actor in a Television Series - Drama."[5][6] Contemporary screen credits included The Young Doctors (1961), A Rage to Live (1965) and The Bridge at Remagen (1969).
Gazzara told Charlie Rose in 1998 that he went from being mainly a stage actor who often would turn up his nose at film roles in the mid-1950s to, much later, a ubiquitous character actor who turned very little down. "When I became hot, so to speak, in the theater, I got a lot of offers," he said. "I won't tell you the pictures I turned down because you'll say, 'You are a fool,' and I was a fool."
Some of the actor's most formidable characters were those he created with his friend John Cassavetes in the 1970s. They collaborated for the first time on Cassavetes's film Husbands (1970), in which he appeared alongside Peter Falk and Cassavetes himself. In The Killing of a Chinese Bookie (1976), Gazzara took the leading role of the hapless strip-joint owner, Cosmo Vitelli. A year later, he starred in yet another Cassavetes-directed movie, Opening Night, as stage director Manny Victor, who struggles with the mentally unstable star of his show, played by Cassavetes's wife Gena Rowlands. Also during this period he appeared in the television miniseries QB VII (1974), and the films Capone (1975), Voyage of the Damned (1976), High Velocity (1976), and Saint Jack (1979).
In the 1980s, Gazzara appeared in several movies, such as They All Laughed (directed by Peter Bogdanovich), and in a villainous role in the oft-televised Patrick Swayze film Road House, which the actor jokingly said is probably his most-watched performance. He starred with Rowlands in the critically acclaimed AIDS-themed TV movie An Early Frost (1985), for which he received his third Emmy nomination.
Gazzara appeared in 38 films, many for television, in the 1990s. He worked with a number of renowned directors, such as the Coen brothers (The Big Lebowski), Spike Lee (Summer of Sam), David Mamet (The Spanish Prisoner), Walter Hugo Khouri (Forever), Todd Solondz (Happiness), John Turturro (Illuminata), and John McTiernan (The Thomas Crown Affair).
In his seventies, Gazzara continued to be active. In 2003, he was in the ensemble cast of the experimental film Dogville, directed by Lars von Trier of Denmark and starring Nicole Kidman, as well as the television film Hysterical Blindness (he received his first Emmy Award for his role). Several other projects have recently been completed or are currently in production. In 2005, he played Agostino Casaroli in the television miniseries, Pope John Paul II. He completed filming his scenes in the film The Wait in early 2012, shortly before his death.[7]
In addition to acting, Gazzara worked as an occasional television director; his credits include the Columbo episodes "A Friend in Deed" (1974) and "Troubled Waters" (1975). Gazzara was nominated three times for the Tony Award for Best Performance by a Leading Actor in a Play—in 1956 for A Hatful of Rain, in 1975 for the paired short plays Hughie and Duet, and in 1977 for a revival of Who's Afraid of Virginia Woolf?, opposite Colleen Dewhurst.
Henry Kenneth Alfred "Ken" Russell (3 July 1927 – 27 November 2011[1][2]) was an English film director, known for his pioneering work in television and film and for his flamboyant and controversial style. He attracted criticism as being obsessed with sexuality and the church.[3] His films often dealt with the lives of famous composers or were based on other works of art which he adapted loosely. Russell began directing for the BBC, where he made creative adaptations of composers' lives which were unusual for the time. He also directed many feature films independently and for studios.
He is best known for his Oscar-winning film Women in Love (1969), The Devils (1971), The Who's Tommy (1975), and the science fiction film Altered States (1980). Classical musicians and conductors held him in high regard for his story-driven biopics of various composers, most famously Elgar, Delius, Liszt, Mahler and Tchaikovsky.[4]
British film critic Mark Kermode speaking in 2006, and attempting to sum up the director's achievement, called Russell, "somebody who proved that British cinema didn't have to be about kitchen-sink realism—it could be every bit as flamboyant as Fellini. Later in his life he turned to making experimental films such as Lion's Mouth and Revenge of the Elephant Man, and they are as edgy and 'out there' as ever".[5]
Ken Russell died on November 27, 2011, at the age of 84, of natural causes.
Seth Brundle (Jeff Goldblum), a brilliant but eccentric scientist, meets Veronica Quaife (Geena Davis), a journalist for Particle magazine, at a meet-the-press event held by Bartok Science Industries, the company that provides funding for Brundle's work. Seth takes Veronica back to the warehouse that serves as both his home and laboratory, and shows her a project that will change the world: a set of "Telepods" that allows instantaneous teleportation of an object from one pod to another. Veronica eventually agrees to document Seth's work. Although the Telepods can transport inanimate objects, they do not work properly on living things, as is demonstrated when a live baboon is turned inside-out during an experiment. Seth and Veronica begin a romantic relationship. Their first sexual encounter provides inspiration for Seth, who successfully reprograms the Telepod computer to cope with living creatures, and teleports a second baboon with no apparent harm.
Flush with this success, Brundle wants to spend a romantic evening with Veronica, but she suddenly departs before they can celebrate. Brundle's judgment soon becomes impaired by alcohol and his fear that Veronica is secretly rekindling her relationship with her editor and former lover, Stathis Borans (John Getz). In reality, Veronica has left to confront Borans about a veiled threat of his (spurred by his romantic jealousy of Brundle) to publish the Telepod story without her consent. Upset, Brundle teleports himself in Veronica's absence, unaware that a common housefly is in the pod with him. Brundle emerges from the receiving pod, seemingly normal. Seth and Veronica reconcile, and, shortly after his teleportation, Seth begins to exhibit what at first appear to be beneficial effects of the process—such as increased strength, stamina and sexual potency. He believes this to be a result of the teleporting process, "purifying" his body as it was being rebuilt. However, he soon becomes violent, and eventually realizes that something went horribly wrong when his fingernails begin falling off. Brundle checks his computer's records, and discovers that the Telepod computer, confused by the presence of two separate life-forms in the sending pod, merged him with the fly at the molecular-genetic level.
Over the next few weeks, Brundle continues to deteriorate, losing various body parts and becoming progressively less human in appearance. He theorizes that he is slowly becoming a hybrid creature that is neither human nor insect (which Seth begins referring to as "Brundlefly"). He starts to exhibit fly-like characteristics, such as vomiting digestive enzymes onto his food in order to dissolve it, and the ability to cling to walls and ceilings. Brundle realizes that he is losing his human reason and compassion, and that he is now being driven by primitive impulses he cannot control. Attempting to find a cure for his condition, Brundle installs a fusion program into the Telepod computer in order to dilute the fly genes in his body with pure human DNA. To her horror, Veronica learns that she is pregnant by Seth, and she cannot be sure if the child was conceived before or after his fateful teleportation. Veronica and Borans persuade a reluctant doctor to perform an abortion in the middle of the night, but Brundle abducts Veronica before the abortion can be carried out, and begs her to carry the child to term, since it could potentially be the last remnant of his untainted humanity. Veronica refuses, afraid that the child will be a hideous mutant. Meanwhile, Borans breaks into Brundle's lab with a shotgun and comes to Veronica's rescue, but is seriously injured and nearly killed by the almost fully transformed Brundle, who dissolves Borans' left hand and right foot with his corrosive vomit-drop enzyme.
Brundle then reveals his desperate, last-ditch plan to Veronica — he will use the three Telepods (the third pod being the original prototype) to fuse himself, Veronica, and their unborn child together into one entity, so they can be the "ultimate family". Veronica frantically resists Brundle's efforts to drag her into Telepod 1 and then accidentally tears off his jaw, triggering his final transformation into a monstrous combination of man and insect. The "Brundlefly" traps Veronica inside Telepod 1, then steps into Telepod 2. However, the wounded Borans manages to sever the power cables connected to Veronica's Telepod with his shotgun, allowing Veronica to escape unharmed. Breaking out of its own pod as the fusion process is activated, Brundlefly is gruesomely fused with chunks of metal and other components from Telepod 2. As the mortally wounded Brundlefly-Telepod fusion creature crawls out of the receiving pod, it silently begs Veronica to end its suffering with Borans' shotgun. A devastated Veronica hesitates for a moment, and then pulls the trigger.
The Thing (also known as John Carpenter's The Thing) is a 1982 science fictionhorror film directed by John Carpenter, written by Bill Lancaster, and starring Kurt Russell. The film's title refers to its primary antagonist: a parasiticextraterrestrial lifeform that assimilates other organisms and in turn imitates them. The Thing infiltrates an Antarctic research station, taking the appearance of the researchers that it kills, and paranoia occurs within the group.
Ostensibly a remake of the 1951 Howard Hawks-Christian Nyby film The Thing from Another World, Carpenter's film is in fact an adaptation more faithful in its premise and characters to the novella Who Goes There? by John W. Campbell, Jr. which inspired the 1951 film, and not a remake in the conventional sense.[1] Carpenter considers The Thing to be the first part of his Apocalypse Trilogy,[2] followed by Prince of Darkness and In the Mouth of Madness. Although the films are unrelated, each features a potentially apocalyptic scenario; should "The Thing" ever reach civilization, it would be only a matter of time before it consumes humanity and takes over the Earth.
On June 25, 1982, The Thing opened #8 in 840 theatres and remained in the top ten box office movies for three weeks.[3] The lower-than-expected performance has been attributed to many factors, including Steven Spielberg's E.T. the Extra-Terrestrial, which was released at the same time and features a more optimistic view of alien visitation.[4][5][6][7] However, The Thing has gone on to gain a cult following with the release on home video. The film was subsequently 'novelized' in 1982; adapted into a comic book miniseries in 1991 and published by Dark Horse Comics titled, The Thing From Another World; a 2002 video game sequel titled The Thing; and a prequel film with the same title, released on October 14, 2011.
Plot
An American Antarctic research team is alerted by gunfire as an Alaskan Malamute running toward the station is shot at by a Norwegian helicopter. After they land, a thermite charge accidentally destroys the helicopter and kills the pilot, but the rifleman grazes Bennings and keeps firing at the dog until he is killed by Garry, the station commander. Helicopter pilot R.J. MacReady and Dr. Copper fly to the Norwegian camp for answers, but find a burned ruin, with the body of a man who committed suicide and a large block of ice with a hollowed cavity. Outside the camp, they discover the burned remains of a mangled humanoid corpse with two faces. They bring the body back for an autopsy, but all Blair can determine is that the creature's body contains a set of human internal organs. Clark kennels the Malamute with the rest of the station's sled dogs; they recognize it as an alien before it mutates and assaults the dogs. MacReady hears the fight and hits the fire alarm, calling for a flamethrower, which Childs uses to destroy the creature. When Blair's autopsy reveals that the creature was able to imitate other beings, he suspects that anyone could be replaced by the creature and begins withdrawing from the others. MacReady, Norris and Palmer investigate a site where the Norwegians had been working and discover a massive crater with a flying saucer in it. Bennings is attacked by the remains of the dead dog, but is cornered by the team and burned before he can escape; they incinerate the rest of the creature's remains. Blair calculates that the creature will assimilate the entire planet within three years if it ever reaches civilization; he destroys the helicopter and radio after killing the remaining sled dogs. The team corners him and locks him in the tool shed, determined to find out who is infected. Before they can do the blood tests Copper recommends, they learn that the blood stores have been sabotaged. Fuchs warns them not to share their food and drink. MacReady puts Garry, Copper and Clark into isolation and orders Fuchs to continue Blair's work, but he disappears when the power goes out. With a storm closing in the team continues searching until Nauls finds MacReady's torn clothing and cuts MacReady loose from the tow line, assuming he has been assimilated. While the team debates MacReady's fate, he breaks in and threatens to blow the station if they try anything, and Norris suffers a heart attack. Copper tries reviving Norris, but his chest gapes and closes, severing Copper's arms, revealing Norris as an alien. MacReady burns the alien and orders everyone tied up for a new test. Clark tries stabbing MacReady, but is shot and killed. MacReady explains his theory that every drop of the alien is an organism with its own survival instinct that will react defensively, and one by one he tests everyone's blood. MacReady, Nauls, Childs, Garry and Windows are human, but Palmer's blood reacts; he mutates and attacks Windows before MacReady can burn him. MacReady is forced to incinerate Windows as well. Leaving Childs on guard, the rest head out to test Blair, only to find that he has tunneled under the tool shed. They realize Blair is an alien, and he scavenged the equipment he appeared to destroy to build a small craft. They see Childs run outside just before the camp loses power, and MacReady concludes that the alien intends to freeze itself until a rescue team arrives in the spring. They decide to dynamite the complex, hoping to force the alien out in the open, but Garry is killed and Nauls disappears. As MacReady finishes setting explosives, Blair transforms into a larger monster, demolishing the generator room and taking the detonator. MacReady escapes and blows up the base and the monster. Stumbling through the burning ruins with a bottle of scotch, MacReady finds Childs, who claims he got lost in the storm while pursuing Blair. With the storm closing in and without the energy to test which of them is human, they acknowledge the futility of their situation, and sit down to share the bottle as the camp burns.
The commercial towing spaceship Nostromo is on a return trip from Thedus to Earth, hauling a refinery and twenty million tons of mineral ore, and carrying its seven-member crew in stasis. Upon receiving a transmission of unknown origin from a nearby planetoid, the ship's computer awakens the crew.[13] Acting on standing orders from their corporate employers, the crew detaches the Nostromo from the refinery and lands on the planetoid, resulting in some damage to the ship. Captain Dallas (Tom Skerritt), Executive Officer Kane (John Hurt), and Navigator Lambert (Veronica Cartwright) set out to investigate the signal's source while Warrant OfficerRipley (Sigourney Weaver), Science Officer Ash (Ian Holm), and Engineers Brett (Harry Dean Stanton) and Parker (Yaphet Kotto) stay behind to monitor their progress and make repairs. Dallas, Kane, and Lambert discover that the signal is coming from a derelict alien spacecraft. Inside it they find the remains of a large alien creature whose ribs appear to have been exploded outward from the inside. Meanwhile, the Nostromo's computer partially deciphers the signal transmission, which Ripley determines to be some type of warning. Kane discovers a vast chamber containing numerous eggs, one of which releases a creature that attaches itself to his face. Dallas and Lambert carry the unconscious Kane back to the Nostromo, where Ash allows them inside against Ripley's orders to follow the ship's quarantine protocol. They unsuccessfully attempt to remove the creature from Kane's face, discovering that its blood is an extremely corrosive acid. Eventually the creature detaches on its own and is found dead. With the ship repaired, the crew resume their trip back to Earth. Kane awakens seemingly unharmed, but during a meal before re-entering stasis he begins to choke and convulse until an alien creature bursts from his chest, killing him and escaping into the ship. Lacking conventional weapons, the crew attempt to locate and capture the creature by fashioning motion trackers, electric prods, and flamethrowers. Brett follows the crew's cat into a large room where the now-fully-grown Alien attacks him and disappears with his body into the ship's air shafts. Dallas enters the shafts intending to force the Alien into an airlock where it can be expelled into space, but it ambushes him. Lambert implores the remaining crew members to escape in the ship's shuttle, but Ripley, now in command, explains that the shuttle will not support four people. Accessing the ship's computer, Ripley discovers that Ash has been ordered to return the Alien to the Nostromo's corporate employers even at the expense of the crew's lives. Ash attacks her, but Parker intervenes and decapitates him with a blow from a fire extinguisher, revealing Ash to be an android. Before Parker incinerates him, Ash predicts that the other crew members will not survive. The remaining three crew members plan to arm the Nostromo's self-destruct mechanism and escape in the shuttle, but Parker and Lambert are killed by the Alien while gathering the necessary supplies. Ripley initiates the self-destruct sequence and heads for the shuttle with the cat, but finds the Alien blocking her way. She unsuccessfully attempts to abort the self-destruct, then returns to find the Alien gone and narrowly escapes in the shuttle as the Nostromo explodes. As she prepares to enter stasis, Ripley discovers that the Alien is aboard the shuttle. She puts on a space suit and opens the hatch, causing explosive decompression which forces the Alien to the open doorway. She shoots it with a grappling gun which propels it out, but the gun is yanked from her hands and catches in the closing door, tethering the Alien to the shuttle. It attempts to crawl into one of the engines, but Ripley activates them and blasts the Alien into space. She then puts herself and the cat into stasis for the return trip to Earth.
Origins
While studying cinema at the University of Southern California, Dan O'Bannon had made a science fiction comedy film with director John Carpenter and concept artistRon Cobb entitled Dark Star.[14] The film included an alien which had been created using a spray-painted beach ball, and the experience left O'Bannon "really wanting to do an alien that looked real."[14][15] A few years later he began working on a similar story that would focus more on horror: "I knew I wanted to do a scary movie on a spaceship with a small number of astronauts", he later recalled, "Dark Star as a horror movie instead of a comedy."[14]Ronald Shusett, meanwhile, was working on an early version of what would eventually become Total Recall.[14][15] Impressed by Dark Star, he contacted O'Bannon and the two agreed to collaborate on their projects, choosing to work on O'Bannon's film first as they believed it would be less costly to produce.[14][15] O'Bannon had written twenty-nine pages of a script entitled Memory comprising what would become the film's opening scenes: a crew of astronauts awaken to find that their voyage has been interrupted because they are receiving a signal from a mysterious planetoid. They investigate and their ship breaks down on the surface.[15][16] He did not yet, however, have a clear idea as to what the alien antagonist of the story would be.[14] O'Bannon soon accepted an offer to work on a film adaptation of Dune, a project which took him to Paris for six months.[14][17] Though the project ultimately fell through, it introduced him to several artists whose works gave him ideas for his science fiction story including Chris Foss, H. R. Giger, and Jean "Moebius" Giraud.[16] O'Bannon was impressed by Foss' covers for science fiction books, while he found Giger's work "disturbing":[14] "His paintings had a profound effect on me. I had never seen anything that was quite as horrible and at the same time as beautiful as his work. And so I ended up writing a script about a Giger monster."[16] After the Dune project collapsed O'Bannon returned to Los Angeles to live with Shusett and the two revived his Memory script. Shusett suggested that O'Bannon use one of his other film ideas, about gremlins infiltrating a B-17 bomber during World War II, and set it on the spaceship as the second half of the story.[16][17] The working title of the project was now Star Beast, but O'Bannon disliked this and changed it to Alien after noting the number of times that the word appeared in the script. He and Shusett liked the new title's simplicity and its double meaning as both a noun and adjective.[14][16][18] Shusett came up with the idea that one of the crew members could be implanted with an alien embryo that would later burst out of him, feeling that this was an interesting plot device by which the alien creature could get aboard the ship.[14][17] In writing the script, O'Bannon drew inspiration from many previous works of science fiction and horror. He later stated that "I didn't steal Alien from anybody. I stole it from everybody!"[19]The Thing from Another World (1951) inspired the idea of professional men being pursued by a deadly alien creature through a claustrophobic environment.[19]Forbidden Planet (1956) gave O'Bannon the idea of a ship being warned not to land, and then the crew being killed one by one by a mysterious creature when they defy the warning.[19]Planet of the Vampires (1965) contains a scene in which the heroes discover a giant alien skeleton; this influenced the Nostromo crew's discovery of the alien creature in the derelict spacecraft.[19] O'Bannon has also noted the influence of "Junkyard" (1953), a short story by Clifford D. Simak in which a crew lands on an asteroid and discovers a chamber full of eggs.[15] He has also cited as influences Strange Relations by Philip José Farmer (1960), which covers alien reproduction, and various EC Comics horror titles carrying stories in which monsters eat their way out of people.[15] With roughly eighty-five percent of the plot completed, Shusett and O'Bannon presented their initial script to several studios,[14] pitching it as "Jaws in space."[20] They were on the verge of signing a deal with Roger Corman's studio when a friend offered to find them a better deal and passed the script on to Walter Hill, David Giler, and Gordon Carroll, who had formed a production company called Brandywine with ties to 20th Century Fox.[14][21] O'Bannon and Shusett signed a deal with Brandywine, but Hill and Giler were not satisfied with the script and made numerous rewrites and revisions to it.[14][22] This caused tension with O'Bannon and Shusett, since Hill and Giler had very little experience with science fiction and according to Shusett: "They weren't good at making it better, or in fact at not making it even worse."[14] O'Bannon believed that they were attempting to justify taking his name off of the script and claiming it as their own.[14] Hill and Giler did add some substantial elements to the story, however, including the android character Ash which O'Bannon felt was an unnecessary subplot,[23] but which Shusett later described as "one of the best things in the movie...That whole idea and scenario was theirs."[14] In total Hill and Giler went through eight different drafts of the script, mostly concentrating on the Ash subplot but also making the dialogue more natural and trimming some sequences set on the alien planetoid.[24] Despite the multiple rewrites, 20th Century Fox did not express confidence in financing a science fiction film. However, after the success of Star Wars in 1977 the studio's interest in the genre rose substantially. According to Carroll: "When Star Wars came out and was the extraordinary hit that it was, suddenly science fiction became the hot genre." O'Bannon recalled that "They wanted to follow through on Star Wars, and they wanted to follow through fast, and the only spaceship script they had sitting on their desk was Alien".[14]Alien was greenlit by 20th Century Fox at an initial budget of $4.2 million.[14][24]
In 2084, Douglas Quaid (Arnold Schwarzenegger) is a construction worker on Earth, married to his wife Lori (Sharon Stone). Fantasizing of travelling to Mars, he visits "Rekall", a company that can implant memories of a virtual vacation. Quaid opts for a trip to Mars, including the option of being a secret agent and discovering alien technology as part of his virtual experience. When Quaid is sedated and put into the implant machine, the technicians discover he has already undergone a previous memory wipe. Quaid wakes up, frenzied and disoriented, claiming the Rekall technicians have blown his cover. He attacks them in an attempt to escape, but they manage to subdue and sedate him again, wiping the memory of his visit to Rekall and sending him home.
Quaid wakes up in a taxi nearing his residence, unaware of how he got there. On his way home, he is attacked by his former coworkers who tell him he should not have gone to Rekall and during the struggle, he kills his would-be assailants. As he gets home and attempts to explain what's happened to his wife, Lori, she turns on him and tries to kill him, but he manages to ensnare her. She admits she is not his wife, and that his cover is truly blown. Quaid races out of the apartment as men, led by Richter (Michael Ironside), attempt to catch him. While in hiding, Quaid is contacted by a stranger who claimed they were "buddies back at the Agency." He gives Quaid a briefcase and promptly disappears, explaining that Quaid himself had given him instructions to do so. The briefcase contains false identity papers, money, and a device designed to remove the tracker implanted in Quaid's head, which Richter is following. The briefcase also contains a video from Quaid himself, but here, he calls himself Hauser, explaining that he used to work for Mars administrator Vilos Cohaagen (Ronny Cox) hunting rebels, but turned on Cohaagen after a crisis of conscience. Hauser believes Cohaagen must be responsible for Quaid's implantation. Quaid escapes as Richter closes on the discarded tracking device.
Quaid arrives on Mars, and finds clues from Hauser that lead him to Venusville, a red light district of the Mars colony where many mutated humans reside, a result of poor radiation shielding. In a bar, he discovers Melina (Rachel Ticotin), Hauser's former lover, but Melina refuses to have anything to do with him, believing that he had been acting as a double agent all-along. Returning to his hotel, Quaid is met by Lori and Dr. Edgemar (Roy Brocksmith), the developer of Rekall. They attempt to convince Quaid that his virtual vacation has gone wrong, and that all of his experiences since leaving Rekall have been part of a free-form paranoid delusion that his brain has constructed. Upon noticing a bead of sweat on Dr. Edgemar's face, however, Quaid refuses to believe this and kills Edgemar. More of Cohaagen's henchmen arrive in an attempt to capture Quaid; however, Melina arrives and kills them but she fails to notice Lori who disarms her. The two women engage in a fistfight which Lori wins. Lori is about to kill the unconscious Melina when Quaid shoots her. The two return to Venusville, where Melina's fellow rebels aid in delaying Richter and his men. When Cohaagen hears of this, he orders Venusville sealed and its oxygen supply cut off.
Quaid, Melina, and a taxi driver named Benny (Mel Johnson, Jr.) make their way to the rebel headquarters. Quaid is taken to meet Kuato, a small humanoid form conjoined to another man (Marshall Bell). Kuato probes Quaid's mind and discovers that he knows about an alien reactor that would provide oxygen for the entire planet, but Cohaagen has tried to cover it up, knowing it would destroy his control. Kuato implores Quaid to activate the reactor and free Mars. Before they can proceed, Cohaagen's men assault the rebel base and Benny is revealed to be a double-agent, killing Kuato and capturing Quaid and Melina. They are taken to Cohaagen's offices, where he shows them another video from Hauser, revealing that Quaid's entire experience had been part of an elaborate plot devised by Cohaagen and Hauser to infiltrate the rebel stronghold and kill Kuato. Cohaagen orders Quaid to be restored through a Rekall device back to Hauser, his close friend, and Melina to be reprogrammed as his loyal wife. Before the memory implantation can be completed, Quaid and Melina again manage to escape and make their way to the alien reactor. In the process Benny is killed in the tank he tried to ambush Quaid with, and Richter tries to beat Quaid to the control room, but has his arms detached from him when a dead end on the elevator approaches, as he falls to his death.
Cohaagen arrives first at the control room, and attempts to dissuade Quaid from using the alien artifact, claiming it will destroy the planet, and threatening to blow up the control room with a nearby bomb. Quaid throws the explosive away, destroying a seal on the room, exposing it to the vacuum of the Mars atmosphere. Cohaagen is dragged out and dies from asphyxiation and decompression on the planet’s surface. Quaid manages to activate the artifact before he and Melina are blown out, and both are saved as waves of air generated by the artifact, which melted the ice below Martian crust, sweep across the surface, shattering the windows of the Mars colony, giving its residents fresh air to breathe. As the population begin to walk into the new blue sky of Mars, Quaid wonders if this is still part of his Rekall fantasy before he turns to kiss Melina.
Gattaca is a 1997 science fiction film written and directed by Andrew Niccol. It stars Ethan Hawke, Uma Thurman and Jude Law with supporting roles played by Loren Dean, Ernest Borgnine, Gore Vidal and Alan Arkin.
The film presents a biopunk vision of a future society driven by liberal eugenics where potential children are selected through preimplantation genetic diagnosis to ensure they possess the best hereditary traits of their parents.[1] A genetic registry database uses biometrics to instantly identify and classify those so created as "valids" while those conceived by traditional means are derisively known as "in-valids". While genetic discrimination is forbidden by law, in practice it is easy to profile a person's genotype resulting in the valids qualifying for professional employment while the in-valids—considered more susceptible to disease, educational dysfunction and shorter lifespans—are relegated to menial jobs.
The movie draws on concerns over reproductive technologies which facilitate eugenics, and the possible consequences of such technological developments for society. It also explores the idea of destiny and the ways in which it can and does govern lives. Characters in Gattaca continually battle both with the society and with themselves to find their place in the world and who they are destined to be according to their genes. The title is based on the initial letters of the four DNA nitrogenous bases (adenine, cytosine, guanine, and thymine). During the opening and closing credits, the letters G, A, T, and C are all highlighted. The name Gattaca itself is the name of the fictional space agency shown in the film.
The film was a 1997 nominee for the Academy Award for Best Art Direction.
Plot
In "the not-too-distant future", liberal eugenics is common and DNA plays the primary role in determining social class. Vincent Freeman (Ethan Hawke) is conceived and born without the aid of this technology. He has a high probability of developing mental disorders, is myopic, has a heart defect, and his projected life expectancy is only 30.2 years. His parents initially placed their faith in natural birth and now regret it; Vincent's younger brother, Anton, is conceived with the aid of genetic selection. Anton surpasses his older brother in many aspects including a game that they call "chicken": both swim out to sea, and the first to give up and swim back to shore is the loser. Anton always wins due to his superior physical stamina. Vincent dreams of a career in space but is constantly reminded of his genetic inferiority. Later as young adults Vincent challenges Anton to the game of chicken. This time it is Vincent who pulls ahead while Anton runs into trouble and begins to drown. Vincent saves him, then leaves home shortly thereafter.
Due to frequent screening, Vincent faces genetic discrimination and prejudice. The only way he can achieve his dream of becoming an astronaut is to become a "borrowed ladder", a person who impersonates a "valid" with a superior genetic profile.[2] He assumes the identity of Jerome Eugene Morrow (Jude Law), a former swimming star with a genetic profile "second to none", who had been injured in a car accident, leaving him paralyzed from the waist down. Vincent "buys" Jerome's identity and uses his "valid" DNA in blood, hair, tissue, and urine samples to pass screening. To keep his identity hidden, he must meticulously groom and scrub down daily to remove his own genetic material and then dust himself with Jerome's. Vincent gets accepted into Gattaca, with a DNA test being the entire interview process. With Jerome's genetic profile Vincent gains access to the Gattaca Aerospace Corporation, the most prestigious space-flight conglomerate. He becomes Gattaca's top celestial navigator and is selected for a manned spaceflight to Saturn's moon Titan. A week before Vincent is to leave on the one-year mission, one of Gattaca's administrators is found bludgeoned to death in his office. Police discover an eyelash of the real Vincent on the premises, making him the prime suspect. A paper cup used by Vincent is also found after he gave it to Caeser the cleaner (Ernest Borgnine).
Vincent must evade increasing security measures as his launch date approaches. Simultaneously, he becomes close to one of his co-workers, Irene Cassini (Uma Thurman). Although she is a "valid", Irene knows she will only ever be picked for lesser missions due to slightly elevated risk of heart failure. Attracted to Vincent, she clandestinely has his DNA analyzed. The results confirm that he is out of her league, leaving her wistful, but Vincent makes it plain that he does not care about her genetics. Jerome (generally known as Eugene) also suffers from the burden of his genetic perfection; when he won only a silver medal in a high-profile competition, he became increasingly depressed. While intoxicated, Jerome confesses that he did not have a car accident, but rather, had attempted suicide by jumping in front of a car, but only paralyzed himself from the waist down.
After numerous close calls, Vincent's identity is revealed to a shocked Irene. Yet Irene comes to see Vincent for who he is and accepts him. The murder investigation abruptly comes to a close with Mission Director Josef (Gore Vidal) under arrest. The director reveals that he murdered the administrator because the victim was trying to cancel the Titan mission. As Vincent appears to be in the clear he is confronted by the youthful chief detective, who is revealed to be Anton (Loren Dean). Anton accuses Vincent of fraud and asserts that Vincent is unworthy of his place at Gattaca. Vincent reminds Anton of how he has made it thus far solo and that it was Anton who needed saving before, not himself. Having rationalized the competition he lost, Anton challenges Vincent again. They swim out, but as before, Anton turns back first and Vincent must rescue him from drowning. When Anton asks how he did it, Vincent explains that he did it by never saving anything for the swim back.
As the day of the launch arrives, Jerome bids Vincent farewell. He reveals that he has stored enough genetic samples to last Vincent two lifetimes. Overwhelmed and grateful, Vincent thanks Jerome, but Jerome replies that it is he who should be grateful, since Vincent lent Jerome his dreams. Jerome gives Vincent a card but asks him not to open it until he reaches space. As Vincent moves through the Gattaca complex to the launch site, he is stopped for an unexpected last urine test. Vincent has not brought Jerome's fluids as he assumed there would be no more tests. The urine analysis uncovers Vincent's identity. However, the unperturbed Doctor Lamar, who for years has been asking Vincent during physical exams if he ever told Vincent the story of his own son, once again asks and this time goes on to tell it: His son admires Vincent and wants to be an astronaut despite a genetic defect that would rule him out. Lamar resets the test result, and tells Vincent to make his flight.
The rocket lifts off with Vincent, and he opens the card from Jerome to find no words—just a hair sample. Back on Earth, Jerome climbs inside his home incinerator, puts on his silver medal and lights the fire. Vincent, meanwhile, is suddenly sad to leave, despite never having a place in the world. He muses, "They say every atom in our bodies was once a part of a star. Maybe I'm not leaving; maybe I'm going home."
In a post-apocalyptic future, after a virus in 2011 wiped out 99% of the Earth's population, all the survivors inhabit Bregna, a walled city-state, which is ruled by a congress of scientists. Although Bregna is idyllic, people are disappearing and everyone is having bad dreams. Æon Flux is a member of the 'Monicans', an underground rebel organization who communicate through telepathy-enabling technology and are led by The Handler. After a mission to destroy a surveillance station, Æon comes home to find her sister Una has been killed for supposedly being mistaken for a Monican. When Æon is sent on a mission to kill the government's leader, Trevor Goodchild, she discovers that both she and the Monicans are being manipulated by council members in a secret coup.
This discovery causes Æon to question the origin and destiny of everyone in Bregna; and in particular, her own personal connection to Trevor. It turns out that every person in Bregna is actually a clone, grown from recycled DNA. With the dead constantly being reborn into new individuals and still bearing partial memories of their previous lives, there has been an increase in the populace's troubling dreams. Recycling and cloning became necessary since the original virus antidote made humans infertile. Trevor's experiments, and of all his clone ancestors, have been trying to reverse the infertility. Æon learns that she is a clone of the original Trevor's wife, Katherine and is the first Katherine clone in over 400 years.
One of Trevor's experiments, Una, had been successful as she was pregnant. However, Oren Goodchild, Trevor's brother, had her killed and had Trevor's research destroyed so he could stay in power forever through his clones. In a confrontation with Trevor and Æon, Oren reveals that humanity itself has corrected the problem and that some women were becoming naturally pregnant. Oren had them all killed to maintain the Goodchild reign. Æon is now forced to go up against both her former allies, who want to kill Trevor, and Oren.
She manages to convince the other Monicans to ignore The Handler and help her instead to kill Oren and his men. Æon goes to destroy the facility where the cloning DNA is stored - The Relicle, a dirigible constantly floating in the sky. There she meets the old man who monitors everything. She also discovers he preserved her DNA for years, even though Oren ordered it to be destroyed so Katherine could not influence Trevor in any way. The dirigible crashes into the city wall breaking it down to reveal, for the first time in centuries, a lush and fertile land as opposed to the wasteland they were taught about.
+001.jpg)
+001.jpg)
+001.jpg)
+001.jpg)
Empire em Portugal
.bmp)
+001.jpg)
+001.jpg)
+001.jpg)
+001.jpg)
+001.jpg)
+001.jpg)
+001.jpg)
+001.jpg)
+001.jpg)
+001.jpg)
+001.jpg)
+001.jpg)
