REVIEW: “The 33”


I can’t help myself. I’ve always had a soft spot for disaster flicks and there has never been a shortage of them. Hollywood has found a way to make a movie about any and every conceivable disaster. The good ones are fun, exciting, and inspired. But many have been shallow, formulaic, and shamelessly melodramatic. “The 33” is the latest and let’s just say it falls somewhere in between.

Based on the 2010 Chilean mining accident, the title refers to the thirty-three miners who were trapped some 200 stories down after the San José Mine near Copiapó, Chile collapsed. The story gained global attention with news agencies from around the world covering the day-by-day rescue efforts. Concerned family members stood vigilantly by pressing for action which led to the Chilean government taking over the intense rescue operation.


The film follows most of these main story points with its own bits of drama added in. We get the obligatory introduction scene when local families are having a big shindig. The following day the miners head to work 17,000 feet below ground. A foreman (Lou Diamond Phillips) has growing concerns over the mine’s safety but the owners dismiss his suggestions. As the men start their work the mine begins to collapse driving them deeper into the mountain. The thirty-three make it to a safe room called The Refuge only to find its food and water supply understocked and the radio broken. They are trapped with few supplies and no way of communicating.

Antonio Banderas plays Mario, the face of the miners and their de facto leader. Banderas is quite good spreading inspiration and emotion like butter on toast. I always find him entertaining and any fault with him can be tracked to the script. He is often asked to lay it on really thick, something he has no trouble doing. He is also given a few corny made-for-the-movies lines. After the mine collapses he says “That is the heart of the mountain. She finally broke.” You can’t help but laugh.

The second part of the story takes place above ground. The private company who owns the mine wants to keep things quiet, but their resources for a rescue are limited. Family members led by the fiery Maria (Juliette Binoche) grow tired of the lack of information about their loved ones. The young Minister of Mining (Rodrigo Santoro) convinces Chile’s President Piñera (played by Bob Gunton in an odd bit of casting) to send him to the site to oversee the rescue attempt. Gabriel Byrne is brought in as the chief engineer and James Brolin pops up as a drill operator.


The topside story hops back and forth between the efforts of the rescue team and the families gathered outside the mine in a makeshift camp. There are several decent dramatic threads between the two but nothing that stands out. The same could be said about the drama inside the mine. After a really good opening the miners’ story grinds to a halt. In fact the entire movie drags its feet around the midway point. A good 20 minute cut to the film’s bulky 127 minute running time would have helped a lot.

There are some good performances, an inspirational true story, a really good beginning, an emotionally satisfying ending, and one of the final scores from the great James Horner. But aside from the laggy middle, the film mainly suffers from being glaringly formulaic. Being based on a true story obviously tips its hand in many regards, but “The 33” hits nearly every disaster movie tick. I still enjoyed the film overall, but I kept waiting for it to do something unique. It never quite does.


3 Stars



Personally, I don’t consider it a stretch to call Ridley Scott’s 1979 science fiction classic “Alien” a groundbreaking and incredibly influential film for the genre. It was a near perfect combination of horror and sci-fi which resulted in an intense and profoundly innovative thriller that still holds up today. Now when you have a movie so highly regarded, tackling a sequel is a pretty daunting task. You’re taking already great and established material and building on it while also creating a film that can stand on its own merit. Such was a the job facing James Cameron, writer and director of the 1986 sequel “Aliens”.

Cameron’s approach to the sequel centered around creating a story that captured both the horror and sci-fi elements that made the first film such a success and adding a militaristic action component to it. Much like Ridley Scott before him, Cameron is deliberate in setting up his story. “Aliens” starts with Ellen Ripley (Sigourney Weaver) being discovered by a salvage crew who come across her shuttle adrift in space. It turns out that she has been in stasis for over 50 years – since the horrible events on the Nostromo in the first film. She’s questioned by a group of executives behind the Nostromo’s mission who find her story questionable and her actions extreme.

Later she is visited by Carter Burke (Paul Reiser), a company representative who informs her that they had recently lost contact with a small colony on LV-426, the same planet where Ripley’s former crew had first came across the alien eggs. Burke asks Ripley to accompany him and a group of Colonial Marines to investigate. Ripley wants no part of going back but agrees after being reassured that the mission is to destroy the aliens and not study them. She sets out with Burke, the marines, and an android named Bishop (Lance Henriksen) to check out LV-426 and hopefully extinguish any threat they come across.

One interesting and recurring obstacle for Ripley is the constant disregard for her information and input. Planted right in the middle of a predominantly male environment, she constantly encounters skepticism and mockery. The corporate heads didn’t buy her story, Burke was skeptical of the severity of the threat, and the Marines laugh it off as a simple “bug hunt”. But Ripley not only turns out to be right, but she maintains the most calm and level-head of any of the group once the inevitable threat is realized. Through this, Cameron takes the tough survivor character from the first film and builds her into what I believe is one of the strongest female roles in cinema. Not only does Ripley adapt through physical toughness but you see a leadership that proves vital to their survival. But while she’s tough, I loved how we also see the gentleness and love she shows, especially after finding a young girl named Newt (Carrie Henn) alone in the ventilation systems of one of the colony office buildings. The two connect as Ripley takes on a mother-like role for a young girl who has seen horrors and lost everything.

The marines themselves cover all of the personality angles including the cigar-chomping Sergeant Apone (Al Matthews) the smart-aleck, wise-cracking Hudson (Bill Paxton), and the dependable, by-the-books Corporal Hicks (Michael Biehn). We also get the tougher-than-all-the-guys Vazquez (Jenette Goldstein) and her heavy gunner partner Drake (Mark Rolston) and an inexperienced and sometimes incompetent Lieutenant Gorman (William Hope) who was just assigned to be the squad’s field leader. We get some clichéd but fun military banter between the soldiers during the first half of the film and later see them in full combat mode, fighting for survival. For the audience it really becomes one of those “let’s see who survives” stories. But it works so well because even though these are tough and resilient soldiers, they are humbled by the realization that they are overmatched. There are no Rambos in this bunch, only desperate people trying to survive. And when everything does hit the proverbial fan, they have to rely on a lot more than just strength and firepower to stay alive. That’s one reason Ripley is such a force in the movie.

Cameron is very clever in the way he sets up the tension. Again, much like Ridley Scott, for most of the film the true horror isn’t in what you see but what you think you are seeing. You get fleeting glances of the aliens – only enough to project images into your mind. In a sense, Cameron has the audience paste these brief images together in their minds to create what these deadly creatures look like. It isn’t until the very end that we get an unhindered look at them. I still remember the first time I saw the film. The brief camera shots of the creatures in motion really created a sense of tension and suspense. Of course now all movie fans know what the aliens look like thanks to the internet, comic books, sequels, etc. But the way Cameron never fully unveiled them in the film until the end was very effective.

The Oscar-winning special effects of “Aliens” were another major reason the movie works. The skilled crew use an amazing assortment of miniatures, trick cameras and lighting, carefully designed costumes, and a large number of puppeteers that contribute to a visual world that still looks impressive even in today’s fancy CGI-driven age. So many cool details add pop to the film such as the marines futuristic armor, weapons, and vehicles as well as their technologies and sciences. The effects most certainly stand out but they always stay consistent with the movie’s gritty, dark tone. The action sequences throw the soldiers and crew right into the darkness and the unknown. Much like us, they don’t know for sure what they’re fighting. The brief glimpses of the aliens through gun flashes, shoulder mounted flashlights, and dim emergency lighting makes the combat intensely fierce. Ray Lovejoy’s editing of the action scenes is phenomenal as is James Horner’s score. As a result, “Aliens” delivers two of the most pulse-pounding battle/escape sequences you’ll see.

Another major accomplishment for “Aliens” is the recognition it received from the motion picture community. The movie received 7 Academy Award nominations, none bigger that Sigourney Weaver for Best Actress. Of course she didn’t win but the fact that a science fiction/ horror film would received such recognition was a major step forward for the genre. But Weaver was also surrounded by an excellent cast. I loved Henriksen as Bishop, the company android. He’s a cryptic character in the sense that we know from the first film that androids aren’t without, shall I say, glitches. But Henriksen is a believable “artificial person” and we, like Ripley, just aren’t sure we can trust him. I also really liked Michael Biehn’s performance. He’s a tough but open-minded soldier and when the situation goes bad he steps up. Biehn doesn’t play him as a testosterone-driven macho type. He’s at times unsure and he understands what it will cost to get his people out alive.

“Aliens” was an extremely ambitious sequel that took a pretty sacred first film and built upon it in the most satisfying way. It’s a fantastic sci-fi movie. It’s a fantastic action movie. It’s a fantastic horror movie. It blends all of these things together and creates what I consider to be one of best motion picture sequels of all time. With the exception of the stereotypical “we are soldiers” profanity, the dialogue is crisp. While some may describe the first half of the film as languid, I think the pacing is brilliantly deliberate. The special effects were astounding for its time and still hold up today. The acting from each character big or small is strong throughout the film. The direction, the score, the editing, and the sound design grab us and drag us into the unnerving world. It’s just a great movie. And while some may not respond to a handful of things that are connected to the decade the film was made in, “Aliens” is still one of my favorite movies of all time and while it is a sci-fi movie it’s also a great, great action picture.