UPDATE: WATCH THIS featuring Jim Flanagan and I on Alien: Covenant and all things Ridley Scott here


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And here’s our review of Alien: Covenant.


***1/2 (out of five)

Ridley Scott doubles down on the mythology of the Alien cinematic universe in the latest instalment (and the third directed by him), Covenant, and in doing so somewhat rescues the bewildering Prometheus (2012) after the fact. Scott spends the extended second act of the new film expanding, explaining and ultimately answering the many questions that film raised; basically, if you want to know the backstory of H.R. Giger’s “perfect organism” (as described by Ash in Alien (1979)), it’s all here.

Not that you’ll understand it if you haven’t seen Prometheus. I didn’t bone up on that film before this one, but it’s fair to say that you’ll at least need to have seen it for this one to make any kind of sense (at least, during that long second act). I’m not going to reveal anything here about all the world-building, but I can happily report that the complicated plot machinations ultimately left me satisfied – and ready for another instalment, should Sir Ridley be so kind.

How many of the ensemble cast of this one would be in such a venture I obviously won’t say; as you may have guessed, some of their characters die in or around the Covenant (which is simply another name of another space vessel, like the Prometheus). You’ll have seen Katherine Waterston on the poster, so you’ve probably assumed she’s one of the major characters (spoiler alert: you’re right) but as for who else had the most days on set… well, I was surprised.


Sir Scott remains a true master of cinema. The filmmaking craft on show is astonishing. The visual and aural atmosphere is beautifully tied into the aesthetics of the original Alien, and the creatures, although almost certainly CGI, are stirringly evocative of the animatronic “practical” monsters from 1979. Likewise, there are many moments that evoke the first film without replicating it; whether Scott refers to these as “callbacks” or not, a lot of people will, and they’re good ones. There also seem to be about four or five in-jokes that perhaps I didn’t get (and might not have been supposed to); is the musical The Phantom of the Opera name-checked because, say, Scott and Sir Lloyd Webber are mates and Ridley thought it’d be good for a giggle at the premiere?


I had a great time throughout this darkly enchanting adventure. And rather incredibly, while the grim, scary action of the first and third acts is impeccably done, it was that long, meditative second act that I enjoyed the most. I might just have to get back on board Prometheus after all.


Steve Jobs

steve-jobs-movie-poster-800px-800x1259*** (out of five)

I don’t know this for a fact, but Michael Fassbender may say more dialogue in Steve Jobs than any actor in any feature film in history. He never stops talking and he’s in every scene. Compare this to his Oscar competitor, Leonardo DiCaprio, who spends The Revenant grunting, spitting, huffing, crying, moaning and groaning, but rarely says a word. Comparing them as performances is a little like comparing the chicken and the ibis – they’re both birds, but…

Fassbender plays (very well) a Steve Jobs of the mind – specifically of screenwriter Aaron Sorkin’s mind. Jobs walks and talks, continually joined and left by a succession of people important to him, as he prepares for three product launches (I won’t mention which ones as they’re kind of fun surprises if you’re a big nerd). If you’re familiar with The West Wing the style will be very apparent. Almost all of these interactions are dialogues, so you’ve got Fassbender with Kate Winslet as his longstanding and fiercely loyal marketing executive Joanna Hoffman, Fassbender with Jeff Daniels as Apple CEO John Sculley, Fassbender with Katherine Waterston as an ex-girlfriend and three actresses playing his daughter Lisa over the years, and, most excitingly, Fassbender and Seth Rogan playing (very well) Steve Wozniak.

If you don’t know who Wozniak is there’s probably no enjoyment for you in this film, and, indeed, the biggest strike against it is that it doesn’t have any compelling reason to exist. Jobs was adequately covered on the big screen in Jobs (2013) and this film doesn’t add anything new to the conversation other than to make Jobs look like a big dick. Sorkin’s writing is often self-conscious and Danny Boyle’s direction often lapses into melodrama and over-simplification; at times both artists, great when at their best, seem to be working off bullet points. The project nearly died many times over when directors (such as David Fincher) and actors (such as Leonardo DiCaprio) walked away (see The Sony hacks for all the details) and it feels like it was only actually kept alive – and made – to assuage Sorkin’s ego. It has very little mass appeal and will probably be remembered as a curiosity and little more. Jobsians will be disgusted at what is, pretty much, a straightforward character assassination and non-techheads could easily become bored.

But Fassbender is electrifying and pulls you through if you’re interested at all in technology, the Apple computer story myth, or the history of the personal computer. He makes this role look easy – and, trust me, it was the hardest gig of its year. Sorry, Leo, that’s the truth.