Roanoke Times
Copyright (c) 1995, Landmark Communications, Inc.
DATE: WEDNESDAY, March 28, 1990 TAG: 9003272130
SECTION: EXTRA PAGE: E-1 EDITION: METRO
SOURCE:
DATELINE: LENGTH: Long
Were it just another science-fiction adventure, there wouldn't be a problem; you've seen better, you've seen worse. But the filmmakers claim that this one is true, and so it has to be judged differently.
Most people probably know at least the outlines of Whitley Strieber's story. In 1987, he already had a successful career as an author of horror novels - "Wolfen" and "The Hunger" among them - when he wrote "Communion."
In that book, and in its sequel "Transformation," he claimed that he had been repeatedly abducted by alien beings. They performed extremely unpleasant examinations or experiments on him, and then somehow caused him to forget what had happened.
Given the nature of his claims and the lack of any substantiating evidence, the reader (and the viewer) is forced to choose among three explanations:
Strieber is telling the truth. All of this actually happened to him and to the dozens of others who tell virtually identical stories.
Strieber is delusional. Some kind of physical or psychological trauma has caused him to believe his own fiction.
Strieber is lying. He's a canny novelist who realized that he could tap into public curiosity and credulity to turn a tidy profit.
Personally, I have no strong opinion. Being an open-minded skeptic, I was prepared to give Strieber the benefit of the doubt until I heard him on a radio talk show. His story sounded plausible enough until he explained that he really didn't need or want the money. The million-dollar advances from the publisher meant nothing to him.
Right.
At the same time, I know that some objective readers have been persuaded that there is "something" behind Strieber's claims.
Whether the story is the truth or an elaborate lie or a shared delusion, the film version of "Communion" is a mixed bag. It's a well-made story that doesn't over-rely on special effects. It begins well, establishing characters, place and a sense of mystery effectively. But as the tale progresses it becomes more and more elliptical until it arrives at a completely screwy, completely nonsensical, completely unsatisfying conclusion.
This is what happens:
Whitley Strieber (Christopher Walken) is a novelist who has a bright, intelligent wife, Anne (Lindsay Crouse); a seven-year-old son Andrew (Joel Carson); a New York apartment filled with expensive art and a country cottage where strange bright lights appear in the night. That's where the "visitors" show up and do creepy, nasty things to Whitley.
There seem to be two kinds of aliens. One looks like a cross between E.T.'s ugly cousin and a fireplug; the other is more graceful with a triangular face and big eyes. It looks a little like a cat.
As Whitley begins to realize that something has been happening to him, he is plagued by irrational fears. When a psychiatrist (Frances Sternhagen) tries to tell him that others have had the same experience, he refuses to listen.
Walken is perfectly cast in the lead. His innate strangeness serves him well in an unusual role. Crouse turns in her normal dry, understated performance. Director Philippe Mora ("Howling II: Your Sister Is a Werewolf"), who also produced the film with Strieber, gave the production a glossy, slightly stylized look. The pace is measured, reinforcing the "realism" of the story.
In the end, those who already accept Strieber's contentions will probably appreciate "Communion" more than others. Doubters will not be convinced, and the loopy ending will leave everyone else with a strong desire to throw something at the TV.
\ "Alien Seed" uses a similar plot about mysterious visitors, and assorted conspiracies to cover up their existence and motives. At best, it's no more far-fetched than Strieber's story.
But this one is an unpretentious, low-budget B-movie. There are no surprises here. The tough heroine is well played by Heidi Paine and writer/director Bob James handles the action competently. The plot is goofy from the first frame, but "Alien Seed" delivers all the lively cheap thrills you want from this kind of movie.
New release this week
The Abyss: 1/2
Starring Ed Harris, Mary Elizabeth Mastrantonio and Michael Biehn. Directed by James Cameron. CBS/Fox, 110 min. Rated PG-13 for violence and language. There's a lot of commotion in the ocean in "The Abyss." That's not surprising. Cameron directed "The Terminator" and "Aliens," movies with more action than the Las Vegas strip.
But this one jams one underwater crisis after another into its plot. That's probably because the plot isn't all that substantial.
The story begins when a nuclear sub mysteriously wrecks. The Navy hires a bunch of divers on an experimental underwater oil rig to check things out. Harris plays Bud, the leader, a likable blue-collar hero. Mastrantonio plays his estranged wife, Lindsey, the apparent engineering genius who designed the rig.
To further complicate the plot, there's a team of Navy Seals whose leader (Biehn) is suffering from psychosis induced by underwater pressure.
Often, "The Abyss" is technically impressive. It also has some visually lovely moments and some touching ones as it leaves behind all the clatter and gets down to the real business at hand.
After banging about in claustrophobic, low-tech surroundings for much of the movie, Cameron tries to evoke a sense of Spielbergian wonder. But we've all been in these waters before. - Chris Gladden What the ratings mean:
Wonderful; one of the best of its kind. See it right away.
Very good; definitely worth renting.
Average. You've seen better; you've seen worse.
Poor. Make sure the fast-forward button on your VCR is in good working order.
\ Dud An insult to intelligence and taste. This category is as much a warning as a rating.
by CNB