Review of 'Ash': an alien threat with a recognition sting

Who can't wait to live on other planets? The second thoughts can be in order after seeing the Lanoso science fiction journey “Ash” of the Grammy winning music guru turned into director Flying Lotus (also known as Steven Ellison), who turns a cosmic survival game with a true sound and image lid and a discouragement without purification by the strange beauty of the strange Gore.

A fusion artist, that someone expert at the score of their dreams and nightlife, are never in doubt. In fact, as we oriented to the space station of the film on the starting planet, where the crew member, Riya (Eiza González) is awaited and confused by the gloomy reality that his colleagues have been brutally murdered, the fluorescent bones worn out, aware of the memory, and the electronic tons that accompany their tour, suggest the resources of the resources of the resources of the resources of the resources of the resources of the resources of the resources of the resources. bad The interstellar mission went terribly badly.

At the beginning of Jonni Remmler's script, there is a brief flashback in the team of five outpost people who hangs out, mocking the other on what will be his statement similar to Neil Armstrong and insinuating his exploratory objectives for humanity. (Surprise, surprise: the earth is becoming unincably). The stoic men-fypitan adhi (Iko Uwais) and Kevin (Beulah Koale) and Davis (Ellison), seem to take their homework seriously, while Clarke (Kate Elliott) seems to be the Sabro and Riya seems simultaneously without Nosense and Cynsened.

However, that's all for movies. The director, synchronized with its photography director, Richard Bluck, would prefer to spend his energies that push him through a threat glove of the threat of another world and another world of another world.

Even so, the mystery of what was increasing More about the true threat, which turns out to be the type of penetrating threat than a John Carpenter in his position would have powerfully enjoyed the crispy crispy and soft nightmares.

The legacy of “Alien” is, of course, in Ripley's parallels, but Carpenter's nods are also, especially “The Thing” and an appearance similar to the “Halloween” of an out of place background. (It may be the reason why Titan terror justified a place at the end of thanks credits). The score is also decidedly influenced by carpenter pulsing synthesizer synthesizer issues, with some of the melancholy melancholy of Angelo Badalamenti thrown to a large extent. But the soundtrack is also their own evocative work of Techno Techno poisoning, one that could be chosen from the speakers of its car to easily convert any routine neighborhood message into a suddenly sinister excursion. (Just when interpreting parts of the “vertigo” score by Bernard Herrmann gives you the feeling that you are relaxing the car in front of you).

“Ash” is categorically one more atmosphere than is a especially unique story or a study of illuminating characters, even if González's steady beauty conveys a lot about the psychological bets in question. But in this era of construction of the expensive and excessive world, it is the experimental attention of Ellison with well worn material that delivers the goods. There is also something resonant in an Afro -Futurist version about colonialist science fiction, one that marks its narrative space with such a powerful mixture of planetary wonder, danger of alien identity and violence. It is refreshing to remember that films like this should always ask: Who is invading, again?