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The New York City Ayn Rand Group Message Board › The Thing 2011

The Thing 2011

A former member
Post #: 18


"The Thing" 2011 prequel of director John Carpenter's 1982 remake of the original "The Thing form Another World" in 1951 by directors Christian Nyby and uncredited Howard Hawks presents today's Hollywood best and worst, all in one spectacular Sci-Fi/Horror feature film. The original story titled "Who Goes There?" by John W. Campbell Jr. about an antarctic military outpost that discovers a frozen, ancient alien shapeshifter has mesmerized readers and movie goers since it first broke out of its block of ice. This newest prequel of "The Thing" thaws out Carpenter's 1982 long dormant cult classic franchise with all the reverence of a highly orthodox religious ceremony as it pays homage to what's considered the "Citizen Kane" of the Sci-Fi/Horror genre.

It's a highly orthodox religious ceremony in several ways. The 2011 forensic treatment of Carpenter's 1982 cult classic culls every last scrap of plot device and tragic irony since we know in advance from his 1982 nihilistic remake that all the characters are going to ultimately die. And most horribly as well. Resurrection is strongly implied as the mood throughout is even more catacombic than Carpenter's remake. And the extraordinarily reverence to the 1982 cult classics's ground breaking live action special effects work by Rob Bottin produces perhaps some of the best Sci-Fi/Horror special effects of 2011. So much so, that the monster is now the star of the show as Norwegian lumber jacks get progressively mutilated by state of the art CGI/live action effects scenes. The awesome display of 2011 fire effects and flamethrower flaunting finally roasts the proceedings to finely cooked, dark aged inquisition like anti-climax. Nihilistic, burnt alien mutation has never tasted so bad.

To supposedly update for and help to satiate todays Sci-Fi/Horror fanbase, "The Thing" 2011 absorbs bits and pieces of the recent major alien films like "Alien", "Aliens", and "The Terminator". "T2" plot devices like the alien not being able to simulate non-organic materials such as dental fillings, become the critical hinge pin to unmask the alien's simulations of humans. Ridley Scott like set pieces and photography based on "Alien" further expose today's Hollywood highly derivative and resurrection formulas for playing it safe while the monster runs amok. It's not paradoxical that the original story's basic alien mutation premise of "The Thing" has given permission to Hollywood directors to do the same as the franchise absorbs and simulates as it destroys all in its path. No new ideas have even the slightest chance of existing let alone surviving in this nightmare-ish frozen tundra.

John W. Campbell Jr.'s original story skillfully metaphors the Kantian attack on the law of identity. The original title of "Who Goes There?" says it best as nothing is what it seems when A is not A. Anyone can be mutated into anything. Or should I say, "The Thing"? Even the original title has mutated as the alien adapts to fit its surroundings faster than the humans. I was asked to recommend some films at the last NYC Ayn Rand Group meet up and this is one of them if you'd like to see both the best and the worst of today's Hollywood production values. The artistic craftsmanship of monster making has outstripped the screen writing on a global scale. It's no longer a cautionary tale as today's Hollywood progressive Liberal extreme nihilists throw any remaining caution to the icy winds of global cinematic necessity. The Sci-Fi/Horror fanbase has mutated into bottomless, gaping maw of snarling teeth and whipping multi-tentacles that can't be fed fast enough as all humanity gets swallowed in massive bites. It's viscerally exciting to watch, but even more distressing to see the humans progressively being eaten away. I managed to reserve and borrow the DVD from the NY Public Library which owns many copies since this is Sci-Fi/Horror movie cult at its best and worst. It's kind of warm, cuddly, and alien bloodbath DVD that nihilistic fellow New Yorkers like to cozy up to on those long winter nights instead of reading the original story.
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