Revue 'ASH': an extraterrestrial threat with a gratitude bite

Who is eager to live on other planets? The second thoughts can be in order after seeing the woolly journey of “ASH” science fiction of the Gurr winner of a Grammy Steven Ellison), which runs a naked game of cosmic survival with a real sound flair and image and a frantic enthusiasm for the strange beauty of Mutant Gore.

The fact that this modestly budgetary budget Freak-Out was assembled by a merger artist, some of an expert in the rating of your reveries and your nightlife, never makes a doubt. In fact, while we become oriented towards the film's space station on the full planet, where the member of the Riya crew (Eiza González) wakes up and confused by the dark reality that his colleagues have been brutally murdered, fluorescent bafature, memory shakes the indicators and the electronic tones that accompany their tower of the premises, they suggest the premises been in force for the first to be the premises. The interstellary mission has turned terribly.

At the beginning of Jonni Remmler's script, there is a brief flashback in the team of five people from the Outost who hangs out, teasing what their Neil Armstrong type declaration will be alluding to their exploratory goals for humanity. (Surprise, surprise: the earth becomes uninhabitable.) Men – Stoic captain Adhi (Iko Uwais) and Kevin (Beulah Koale) and Davis (Ellison), in a good mood, seem to take their task seriously, while Clarke on a hard edge (Kate Elliott) seems to be sabotage and Riya do not seem simultaneously and that.

That's it for the film Chitchat, however. The director, in synchronization with his director of photography, Richard Bluck, prefers to pass his energies by far through a glove with the threat of the Suites, stars and enlightened Kaleidoscopic flashbacks, which alludes to a suddenly amnesiac riya mechanics in the role of Riya in the stitch or the mechanics of the intrigue.

However, the mystery of what was increasingly animated Riya (and us), especially after a guy named Brion (Aaron Paul, a reliable serious) suddenly appears, after responding to the distress call sent to his spacecraft in orbit. He wants to convince her to pay more attention to the worsening of oxygen levels and to save the mission by taking out hell. But while his memories begin to return, the more reveals himself on the real threat, which turns out John Carpenter would have helped to transform with regard to our crunchy and spongy nightmares.

The inheritance of “Stranger” Is there, of course, in the parallels of Ripley, but the joinery nods are also-in particular “The Thing” and an emergence of the “Halloween” type from an off-plan background. (This is perhaps the reason why the Terror Titan justified a place in the final credits thank you.) The border partition is also resolutely influenced by the themes of Pulsating Synth of Carpenter, with part of the melodic melancholy of Angelo Badalameti thrown for a good measure. But the soundtrack is also its own work evocative of intoxicating technology, which could be killed from car speakers to easily transform any routine district race into a sudden disturbing excursion. (Just like playing parts of Bernard Herrmann's “vertigo” Instantly gives you the feeling that you have the car in front of you.)

“ASH” is categorically an atmosphere more than it is a particularly unique story or an enlightening character study, even if the beauty of González steel vehicles a lot on psychological issues at hand. But in the era of the construction of the expensive and overworked world, it is Ellison's experience with well worn equipment that delivers the goods. There is also something resonating in an Afrofuturist vision of colonialist science fiction, which marks its narrative space with such a powerful mixture of planetary wonder, danger of identity and extraterrestrial violence. It is refreshing to be recalled by films like this that we should always ask: who is invasing, again?