When the first manned mission to Mars meets with a catastrophic and mysterious disaster after reporting an unidentified structure, a rescue mission is launched to investigate the tragedy and bring back any survivors.
The wanted criminal Richard Bruno Riddick (Vin Diesel) arrives on a planet called Helion Prime and finds himself up against an invading empire called the Necromongers, an army that plans to convert or kill all humans in the universe.
Left for dead on a sun-scorched planet, Riddick finds himself up against an alien race of predators. Activating an emergency beacon alerts two ships: one carrying a new breed of mercenary, the other captained by a man from Riddick's past.
1000 feet below the ocean, navy divers discover an object half-a-mile long. A crack team of scientists are deployed to the site in Deepsea Habitats. What they find boggles the mind as they discover a perfect metal sphere. What is the secret behind the sphere? Will they survive the mysterious 'manifestations'? Who or what is creating these? They may never live to find out.Written by
Michael Hofer <firstname.lastname@example.org>
In the book, the sphere was supposed to be visualized as a "chrome colored ball bearing" with "grooved convolutions" that acted as a door opening so that people could enter. The movie originally had planned to use a sphere that had the same qualities (chrome ball bearing), but soon found out that if it was placed in a dark room, the reflection would look almost entirely black, and not as impressive. The Special Effects Designer and Director Barry Levinson eventually decided to go with a "champagne" colored sphere due to how it looked on-screen. See more »
The team needs to decompress each time that they enter the sub/ habitat module/ spaceship while scuba diving, which at 1000 ft, actually takes ~15 hrs. There is no need to decompress on board the surface ship since the sub's interior air pressure is always ~15 psi (1 atm) during the entire ascent (and descent) - as are presumably the habitat module and spaceship. See more »
The opening credits are cast over an invisible sphere. See more »
SPOILER ALERT: An alternate television edit has been shown with a simplified and more ambiguous ending that follows the shooting script; Harry warns them that the authorities are on their way to debrief them, and they will demand answers. The three survivors ready themselves to forget about their mission and the power they possess. Outside, a helicopter sets down. Subsequently, we see the three survivors being interviewed in a debriefing room after decompression, each shot individually against the same background. They react as if they're oblivious to anything going wrong in the Habitat, unaware of anything that happened to Ted, Barnes or the Sphere. The helicopter leaves, and the camera pans down to the ocean, where the Sphere supposedly still remains. See more »
Great potential falls flatter and flatter as it goes...
The Sphere (1998)
Barry Levinson is one of those directors who has no interest in art, or in invention, or in pretension, either. And so his films sometimes hit a popular strain that makes them take off. He has some terrible misfires, for sure, but his best films ("Rain Man," "Sleepers") have people who you relate to, and who have to confront something extraordinary.
That was the idea here, based on a Michael Crichton novel (that should have been a heads up). The cast is headliner stuff. Dustin Hoffman is particularly convincing, Samuel Jackson plays a great type, and Liev Schreiber is sharp. Sharon Stone is a dull fourth. They bond, and realize they have things in common, in the first minutes of the film as they converge and go under water to check out an alien spaceship. Even after they are deep below the surface and beginning their unlikely exploration they make a viewer connect. As much as it borrows from "Alien" and "Aliens" this could have been a good film on its own terms. Even the talking computer/alien has its own edge compared to HAL.
What goes wrong is the plot itself, and not acting, or even directing, can overcome that. As it gets hairier, we need it to be more plausible, not less. Events get increasingly chaotic, so that action and loud noise drive some of the scenes. Subplots are continued but seem increasingly meaningless (at one point, Hoffman and Stone are rushing into the water in an absolute emergency and they start to chitchat about their distant failed love affair). And finally, as people die off and the menace becomes more ambiguous, the movie becomes completely ambiguous, and as a kind of escape valve, announces that any number of crazy thing we have been watching may or may not have been imagined by one character or another.
But what does that mean about the camera? Isn't there still a differentiation between cinema reality and one character's delusion? Or if these are global delusions including the viewer, shouldn't they do more than simply disorient us? Well, don't hang on for answers. Just hang on. An explosion (of course) caps it all off (why they didn't hit the disarm button isn't explained), and a final logical wrap up that avoids the time travel paradox is warm and fuzzy.
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