The Arrival (1990)

Those of you with quick eyes caught the warning signs in the opening credits: Directed by David Schmoeller, music by Richard Band — both Charles Band associates. Danger, Will Robinson!

The high-concept of this film (you can order the best film review and film essays in our paper writing service ), in a nutshell: A meteor lands near elderly Max's house, something enters him, and he starts getting younger, eventually becoming another actor. The entity inside him lives on estrogen (!), so he travels cross-country, killing as the need arises and drinking the blood of the victims, all the while tracking down the pretty young nurse who attended to him when he was an old codger. On the other side of the tracks, FBI agent John Saxon is desperately trying to put an end to the trail of bodies.

There was in interesting idea in here somewhere — or at least, an idea which could have supported an interesting story — but it got derailed early. The main problem, as I saw it, was that we never really got to like old Max before he became “weird,” so we didn't really care about him as he got younger and became a different actor. (Having some facial resemblance between the two actors would have been an immense help. Even keeping the beard would have been something.) They just waited until too damned late to introduce a touch of humanity in the incredibly stony-faced young Max. I suppose it would have been different if he had shown some remorse at being driven to kill instead of being a disinterested murdering machine.

Other things: The possessed Max sits around watching the static on TV — gee, THAT'S original.

Poor John Saxon. The first time he walks on-screen he's forced to give the obligatory “Investigation in progress” dialogue (“So what are we dealing with here?” “Just like the others” etc.) A strong chin will only carry you so far.

In fact, the most engrossing character in the entire video was a parrot with two lines.

And you gotta love the FBI's planning on the final takedown. “Naw, let's not surround the apartment or have a chopper waiting or anything — let's let Max escape and then chase him on foot for three suburban blocks and across an entire National Forest, all the while shooting indiscriminately like a bunch of besotted good-ol'-boy hunters.” What tactical genius!

Add a “surprise” ending broadcasted from about eight miles away, and you've got a real winner here.

So, in the end, do we have any idea why the alien entity was here? Where he was going? What he hoped to accomplish? Why he killed for estrogen instead of bringing his own supply? Why the entity didn't originally seek out an estrogen-producing host (i.e. a woman)? In other words, what was the point of it all?

Sigh.