Damien and Leito return to District 13 on a mission to bring peace to the troubled sector that is controlled by five different gang bosses, before the city's secret services take drastic measures to solve the problem.
A futuristic prison movie. Protagonist and wife are nabbed at a future US emigration point with an illegal baby during population control. The resulting prison experience is the subject of ... See full summary »
Ten years after conquering the Earth, ape leader Caesar wants the ruling apes and enslaved humans to live in peace. But warring factions of apes led by a militant gorilla general as well as various human groups threaten the stability.
J. Lee Thompson
Based on the classic Hasbro naval combat game, Battleship is the story of an international fleet of ships who come across an alien armada while on Naval war games exercise. An intense battle is fought on sea, land and air. What do the aliens want? Written by
The veterans of the USS Missouri that Alexander Skarsgard's character mentions are real life vets of the USS Missouri. Some served in WWII. See more »
The crew of John Paul Jones readies the USS Missouri, a floating museum, for combat within an hour or two, albeit with the help of retired battleship veterans. In the early 1980s, reactivating and modernizing Iowa-class battleships took two years. See more »
In 2005, scientists discovered a distant planet believed to have a climate nearly identical to Earth.
In 2006, NASA built a transmission device five times more powerful than any before it, and a program to contact the planet began.
It was known as The Beacon Project.
See more »
There is an additional final scene after the end credits. See more »
Sitting in the theatre last night, a line from an old Tool song was
rattling around in my brain. "One great big, festering, neon
distraction" was used by the band to describe the state of California,
but the description couldn't be more apt for Peter Berg's BATTLESHIP. A
deafening, blue and orange military recruitment tool, the film can't
even sustain its laughably simple premise, and attempts to promote a
message so unappealing to its target audience I was left questioning
why it even exists.
Story is the least important element here, so lets just say that in
between all the sweeping helicopter shots and blinding lens flare, an
international Naval war games exercise is interrupted by alien
invaders, and it's up to reckless officer Alex Hopper (Taylor Kitsch)
to save the day. Kitsch delivers solid character work early on, but
soon gets lost in the cacophony of bangs and seizure-inducing editing
which leaves little room for the human story. Inexplicably added to the
mix are pop star Rihanna, seemingly here for no other reason than,
well, she's Rihanna, and Liam Neeson collecting his paycheck for around
10 minutes of screen time. But, as I said, we're not here for the
story, rather the spectacular action and special effects right? The bad
news is that when the aliens finally show up, BATTLESHIP's pace
strangely slows to a crawl (no doubt due to the limited options offered
by the source material), and all potential excitement and interest
evaporates. Director Berg forces the idea of teamwork down the
audience's throats (Japan and the US fighting together in Hawaii?
Wonders never cease), and doesn't even try to disguise his recruitment
agenda. Indeed, the film is little more than a hyperkinetic music video
(oh, that's why Rihanna is here) designed to lure impressionable youth
into signing up so they too can fight the 'alien invaders'.
Herein lies the problem however: young people today almost definitely
don't play Battleship. Basing a tentpole film on a board game seemed
like a daft idea from the outset, but recent cinema history has seen a
theme park ride turned into a critically and financially successful
franchise, so precedent is there in a way. Unfortunately for Universal,
even those of us who grew up in a pre-internet/Xbox Live world remember
Battleship as a desperately boring endeavour, so how can it be expected
to compete in today's short attention-span culture? The strange
metaphor that Berg attempts to craft in the film's third act,
suggesting that we need to remember and re-appraise the past, just
won't fly with 21st century teens bred in our disposable, constantly
updating world of technological wonder. BATTLESHIP's strange
juxtaposition of bombastic special effects framing ancient board game
mechanics simply doesn't sit right, and it's hard to imagine the teen
audience, so crucial for success at the summer box-office, tearing
themselves away from the latest CALL OF DUTY to embrace the turn-based
'excitement' of this ridiculous film. No amount of explosions can
salvage a limp and underwritten movie, and BATTLESHIP, not entirely
unexpectedly, is torpedoed by its own outdated inspiration.
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