Synopsis
Let There Be Life.
When contact is lost with the crew of the first Mars expedition, a rescue mission is launched to discover their fate.
2000 Directed by Brian De Palma
When contact is lost with the crew of the first Mars expedition, a rescue mission is launched to discover their fate.
Gary Sinise Tim Robbins Don Cheadle Connie Nielsen Jerry O'Connell Peter Outerbridge Kavan Smith Jill Teed Elise Neal Kim Delaney Marilyn Norry Freda Perry Lynda Boyd Patricia Harras Robert Bailey Jr. Britt McKillip Chaynade Knowles Jeffrey Ballard Anson Woods Jillian Marie Jody Thompson Lucia Walters Pamela Diaz Sugith Varughese Story Musgrave Mina E. Mina Carlo Rota Dmitry Chepovetsky Tracy Waterhouse Show All…
Jacqui Lopez Matthew O'Callaghan John Knoll Alexander Laurant Merrick Rustia Brennan Doyle Patrick Bonneau
Nerses Gezalyan Greg Zimmerman Kerry Ann Carmean Tom Fleischman Maurice Schell Rob Young Harriet Fidlow
Missão Marte, 火星任务, Misija na Mars, Misión a Marte, Миссия на Марс, Mise na Mars, Misja na Marsa, Missão a Marte, A Mars-mentőakció, Αποστολή στον Άρη, Operaatio Mars, Misia na Mars, Misiunea către Marte, המשימה: מאדים, 미션 투 마스, Missão: Marte, Місія на Марс, ミッション・トゥ・マーズ, Görev Mars, Мисия до Марс, Misija: Marsas, Mission sur Mars, 火星任務, ฝ่ามหันตภัยดาวมฤตยู
Wonky CG and broad sentimentality aside I can't believe Disney asked De Palma to direct one of their literal PG theme park movie adaptations and they actually let him do the super brutal space deaths, have a weird, existential 2001 / Close Encounters inspired climax and hire Morricone to do another beautiful score. Even beat Gravity and Interstellar to many of the same ideas regarding • space travel • trauma • physical/spiritual connection •, etc, and the improvised landing sequence is one of the saddest in De Palma's filmography. What the hell?
Feels like ground zero for the ideas/sequences of every space movie of the past decade. Like a partly successful test run.
Imperfectly paced, yet impeccably beautiful and filled with a child-like wonder I so rarely experience in films anymore. I'm reminded of Jacques Tourneur's Way of a Gaucho - also a film where the director was replaced very shortly before production - the film should be impersonal, yet it isn't. It's in the accent, the 'way of looking', - this is a De Palma film through and through. The absence of the usual themes make De Palma's expanse of techniques be applied to more classicalist usage - you won't find much wholly emotional filmmaking anywhere else. If someone says that De Palma is too anaytical or too critical a filmmaker, here's the antidote - "The universe is not chaos, it's connection. Life reaches out for life." Dance the night away!
"It's why we're here."
The sheer suicidal audacity of the manned exploration of space juxtaposed with spiritual risk of being truly connected to someone or something else, both manifestations of our instinctive need to reach out.
There's a scene in the middle of this where Don Cheadle's character flies into a delirious rage seeing his fellow astronauts after being stranded alone on Mars for over a year, and the thing that finally calms him down is being reminded that before he went to Mars he was reading Treasure Island to his son. There's something there about how stories are sometimes the only thing that can bring us together as people or just keep us from going crazy, and it's appropriate that the climax of this is basically three astronauts being shown a 3D movie.
Everyone, including me, who ever called this a failed 2001 knockoff was dead wrong, Kubrick is a visual touchstone for this but…
At its core, a story about kind, decent, competent professionals who care deeply about their values, their dreams, and, most of all, about one another. Directed by [checks notes] …Brian De Palma?
Action! - The Master & The Fan: De Palma's Bags of Tricks Place Him Above Every Other Fan
Brian De Palma leaves Earth to explore the hostile plains of Mars with a stellar ensemble. There are also lethal sand monsters, and the filmmaker tries to harness his love of Kubrick on multiple occasions.
Unfortunately, despite some brilliant concepts and instances with some great technical work with the camera, production design, and even visual effects, the film ends with these great actors giving some wooden performances, and it feels almost like a low-budget picture intended for the Syfy channel. Seriously, the acting and the way they deliver the dialogue are so terrible, so formulaic, that it felt at times like the film…
i can't even describe this yet, words fail me, this was what i needed more than anything right now, this is the type of movie to give you faith in humanity, in the world, in the damn universe. there is so much sadness but even more beauty, and that's why we're here, to seek the wonders of this life we're in. the ending is one of the most transcendent and utterly emotional experiences i've ever had with a film, where all your life flashed before you and you see your friends, your loves, your memories of times long gone before opening your eyes again, realising that despite all the pain, you are with all of those you've lost and that…
wheres the door????? mars.nasa.gov/raw_images/1064629/
THE NATIONAL AERONAUTICS AND SPACE ADMINISTRATION'S COOPERATION AND ASSISTANCE DOES NOT REFLECT AN ENDORSEMENT OF THE CONTENTS OF THE FILM OR THE TREATMENT OF THE CHARACTERS DEPICTED THEREIN.
its not carrie or body double but bdp packs some real interesting textures in this. sinise's haircut is hilarious. good cheadle. not a tim robbins fan but his read of "look, its mars" made me laff. connie nielsen (who??) has a kid with lars ulrich. jerry oconnell did not need to be here. ppl who think untouchables is a corny old dad movie should watch this, which makes it look like SLAUGHTERED VOMIT DOLLS. sinise was born to be sleazy in depalmas (snake eyes gang) so him smiling…
They went into space searching for extraterrestrial life, but instead they found something else—themselves.
So endearingly optimistic that I want to forget all the problems I had with it and just return the warm, fuzzy hug it gave me. Enough dated CGI to counterbalance the occasionally brilliant cinematography, and enough boring stock scenes to ruin the few moments of genuine tension, but there's something surprisingly sweet about the characters' simple desire just to be together.
Hard to believe that a movie which rips a character to shreds with an imaginary space tornado could be (almost) redeemed by its sentimentality.
Showed this to my family of normal people who don't know who Brian De Palma is and they were all captivated by the entire movie, so I want to hear everybody who thinks this is bad shut the fuck up now.