A group of longtime friends converge on a fatal course with destiny when they cross paths with Alexander Tatum, a mercenary surgeon. He is a hunter with the keen skill of one who has also ... See full summary »
A psychologist is gradually broken down to the point of no return in his life; but was it his work or his past that sends him over the edge, to do the most unthinkable things. All of this happens to him in the middle of chaos breaking out during the London riots.
Hayley J Williams
One night, young David McLean sees a spaceship crash into a nearby sandpit. His father goes to investigate, but comes back changed. Where once he was cheerful and affectionate, he's now sullen and snarlingly rude. Others fall into the sandpit and begin acting like him: cold, ill-tempered and conspiratorial. David knows that aliens are taking over the bodies of humans, but he'll soon discover there have been far more of these terrible thefts than he could have imagined. The young doom-monger finds some serious help in a lady doctor and a brilliant astronomer. Soon they meet the aliens: green creatures with insect-like eyes. These beings prove to be slaves to their leader: a large, silent head with ceaselessly shifting eyes and two tentacles on either side, each of which branches off into three smaller tentacles. It's up to the redoubtable earth trio to stop its evil plans. Written by
Controversy and dispute surrounds the history of the movie. According to recent interviews, John F. Seitz, the cinematographer, confirmed that the film was planned in great detail to be filmed in 3D but that the last minute it was discovered that no camera was available. Nonetheless, it is claimed that all of the sets were constructed at Republic Studios to be shot in 3D and that the artificial separation of set elements is confirmation of this design intention. Meanwhile, the only documentary evidence for a 3D production is a claimed newspaper advertisement placed by the producers (not the studio) while the film was in pre-production, and no official records are known to exist to throw further light onto the matter. See more »
Many shots are used more than once in the film, mostly in the underground sequences in the Martian tunnels. These include the same shot of an explosion used several times; of a mutant shot, then getting up; of the mutants firing their ray gun; as well as some repeated shots of the sand opening and closing on the surface. See more »
The heavens. Once an object of superstition, awe, and fear. Now a vast region for growing knowledge. The distance of Venus, the atmosphere of Mars, the size of Jupiter, and the speed of Mercury. All this and more we know. But their greatest mystery the heavens have kept a secret. What sort of life, if any, inhabits these other planets? Human life, like ours? Or life extremely lower in the scale? Or dangerously higher? Seeking the answer to this timeless question, forever seeking, ...
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A child astronomer searches the skies with his father. Later the child astronomer wakes to the sound of a flying saucer landing in a sand pit across from his home. The child's father investigates, and returns "transformed." Soon father and mother both seem affected. Child, accompanied by his fetching teacher visits his astronomer friend, whom talks unashamedly about "invaders from Mars."
Within this deceptively simple plotline is a surrealistic masterpiece. With stunning use of color, forced perspective, oversized sets, eerie dreamlike music and carefully mannered performances and plotting, director William Cameron Menzies (an Oscar-winning art director) displays the nightmarish incidents from a child's perspective. Even the typically 50s ending takes on a different perspective. Was it a dream? Was it a foreshadowing of the future? Or is it a recurring nightmare, in a mind gone hopelessly mad.
Only since this film have widespread reports of alien "abductions" and "alien implants" become a reality. Coincidence?
INVADERS FROM MARS is one of the great fantasy sci-fi films of all time.
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