Every development along the way in the first two films was imaginative, unexpected, and gleefully over-the-top violent. So it feels strange that the series capper, Skylines , is so conventional in both its story beats and its action. Beyond Skyline ends with a rousing cliffhanger, as the alien-infected infant, Rose Lindsey Morgan , grown to adulthood, leads an armada of stolen and repurposed alien ships against the invading mothership. Rose has just enough time to catch up with her local doctor friend Dr.
Mal Rhona Mitra and learn that the Pilots are suffering from a mysterious disease that may reassert their alien programming, turning them back into indiscriminate human-killing machines.
Then Rose is scooped up and hauled off by a vaguely sketched military organization that wants her help in their next big push against the aliens. His staff hacker Zhi Cha-Lee Yoon has broken into the alien warp network, and can instantly transmit a ship to the source planet. This is a heist. Part of the fun of the Skyline series has been the way it abruptly and unpredictably swerves between genres, from horror to science fiction to run-and-gun action to emotional family drama.
But they give it a credible shot, as it were. In one gratifying scene, they revert to a tactic that was Earth's trump card in s sci-fi films - an atomic bomb. Alas, when the fireball fades, the nuked aliens just shake it off and come out madder than a hornet. It's disheartening. Back in the heyday of the Japanese creature feature, I sometimes felt sorry for Tokyo, which seemed to endure monster lizards shambling through its downtown districts on a monthly basis.
Bad for business. But Los Angeles has been in disaster's crosshairs longer, suffering giant mutant ants, killer earthquakes, tsunamis, and the unwanted attention of aliens from every sector of the galaxy. All these extraterrestrial guests have endeavored to clear away the city, although you might cut them some slack there, simply on aesthetic grounds.
Most have also targeted the citizenry. But you have to ask, why? Sometimes the aliens just want the real estate, but in "Skyline" that doesn't seem to be the case. Regrettably, not much time is spent on this small matter of motivation just what has induced these tentacled life forms to schlep hundreds of light-years to trash the 'hood no one actually says where they're from, but you can bet these megafauna don't come from oh, say, the Moon.
This isn't a trivial fault. Film critics have noted that the hero in science-fiction is the idea. The characters are merely expositors of some novel notion, some scientifically plausible fantasy. Ad — content continues below.
Somehow, you manage to get the funds together to create an alien invasion movie outside the interference of the Hollywood system. These two disparate scenarios come together in Skyline , a film that, despite the cautious optimism its marketing invoked, proves to be one of the most strange, unintentionally funny films to appear this year. The aliens are quite fascinating, even if the influences of Independence Day , Cloverfield and numerous other sci-fi staples are all too obvious.
Their ships are either vast and baroque, or small and squid-like, hurtling around with their eerie blue lights on full beam. There are clouds of floating humans, an aerial dogfight, a nuclear bomb and a big monster that hates Ferraris. Get the best of Den of Geek delivered right to your inbox!
The unsympathetic characters. In fact, Skyline is essentially Hollyoaks with aliens. And Hoovers. Then they pluck up the courage to go upstairs for a better look. They get scared, and scurry back to the apartment. Later, they go downstairs.
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