Screenrant.com has appropriately dubbed 2011 “The Year of the Alien.” No
argument since there are a number of films this year dealing with extraterrestrials. Hol-
lywood has definitely rekindled it’s love affair for the alien invasion genre with a variety
of offerings from all out war (Battle: Los Angeles) to unexpected invaders in the old west
(Cowboys and Aliens).
If 2010’s Skyline was supposed to be the frontrunner for all of these interplane-
tary visitors, I have to admit that there’s good news as well as bad news about it. The
good news is, that no matter how terrible every 2011 alien invasion film is, they will all
be much better than Skyline; so there’s no where to go but up. The bad news of course is
that Skyline itself did not live up to any great expectations despite the exciting trailer pro-
motions. It was like a disorganized Independence Day.
From creative director brothers Colin and Greg Strause Skyline has the potential
of being a really good movie, but they simply did not take the ball and run with it all the
way or did not take it in the right direction. Their previous effort, Aliens Vs. Predator:
Requiem was considerably better. And that’s being gracious. At least the ball was going
in the right direction in that case.
Skyline’s situation opens like JJ. Abrams’ Cloverfield, when a motley group
of friends, including couple Jarrod and Elaine (Eric Balfour and Scottie Thompson),
attend a birthday bash for Jarrod’s best friend Terry (Donald Faison) at one of the lavish
L.A. apartment buildings. I say motley because there’s definitely some contention
amongst a few of the guests. Their night of fun and boozing naturally rocks them all to
sleep.
During the evening, they’re awakened by an abrupt brilliance of light slicing
through their windows, a light that’s seems irresistible; so irresistible in fact that
it grabs you and snatches you upward to some weird looking space ship. Panic ensues
as our protagonists dispense various attitudes and near reckless escape attempts trying to
figure out exactly what is happening. They seem to lose themselves in the process, espe-
cially when casualties begin mounting.
Dazzling state of the art f/x could not save this movie or even compensate for it’s
own limited vision. News casts of an apparent invasion are shown, but not elaborated
upon; and if there is any, there simply isn’t enough. Despite the arrival of military troops
and helicopters, our “heroes” are stuck in their own world with only brief instances of
communication with our own world.
If this sounds a little like 28 Days Later, it is. The only difference being the script
was much better serving a cast of characters who were considerably more fleshed out and
kept you intrigued. The only intriguing thing about Skyline was how much it was akin to
some of the unpleasant original SyFy tv movies that try so hard to be good, but just aren’t.
Jarrod and company, like the storyline, stumble through personal hang-ups and
power plays in an effort to get some footing which sadly goes nowhere. There’ s the usual
macho guy conflict that’s supposed to intensify the plot, yet the actions and dialogue don’t
get you any more excited.
On a positive note ( yes there is one), the visual effects provided by the Strause
brothers company Hydralux, are incredible. But as all film makers should know, great
special fx does not a good movie make. While you may dazzle your audience with over-
whelming images of wonder, you still need substance. Skyline had tremendous promise
as a considerably incredible sci-fi genre film. Unfortunately that promise was not kept.