Here’s the thing, folks: I’ve grown very, very, very tired of modern critics comparing new directors to Steven Spielberg.
This is not a complaint so much as it is a benign observation. My personal take on it is that many of these brainiacs are – ahem – vastly younger than I am, and they actually weren’t there during the days of Spielberg’s earliest releases, the ones they seemingly worship as cinema’s high points. While I’ll certainly agree that Jaws (1975), Close Encounters Of The Third Kind (1977), Raiders Of The Lost Ark (1981), and E.T. The Extraterrestrial (1982) demonstrate an incredible run at critical and commercial success from one director that will likely never be seen again (certainly not in my lifetime, I suspect), there was a great deal going on back in those days socially and culturally that contributed to these projects being embraced by so many. In fact, a great deal of their enduring appeal could be attributed to the fact that two or three of them were released in the wake of George Lucas’ Star Wars redefining what cinema was. Science Fiction and Fantasy was evolving from being cerebral thrillers to being pure popcorn delights. Stylistically, Steven shares a lot in common with many other auteurs. I say this to take nothing away from Spielberg’s acclaim: I think that he and his output benefits as much from being in the right place at the right time, and this often gets overlooked when comparing his stuff to other directors.
I know, I know, I know. I sound like an old grouch, and maybe I am. But I also think creative comparisons kinda/sorta does a disservice to emerging talent, implying that their wares deserve to be enjoyed because they remind us of other stories. Certainly, there’s nothing wrong with such associations; it’s just that I strive to evaluate each work I view as independently as I can – removed from such relationships – in order to give as close a bottom-line as humanly possible. I figure that’s what these creatives are owed, so I generally – generally – frown on such parallels.
So that’s why I’m here this morning, eating crow by the plate full, as I’m aghast as just how much 2022’s Watch The Skies (aka UFO Sweden) reminded me of that early Spielbergian experiences. Why, its themes, its characters, its look, and its structure reminded me so much of so many great theatrical outings that worked very hard to propagate this feeling that I felt like I was thrown back into my youth, sitting in the theater, soda in hand, looking up at the welcome glow of the silver screen, feeling alive with the possibilities of being entertained like never before. Though it wasn’t a perfect experience, it was still about as close as I think I’ve come recently … and that deserves mention.
This is not a complaint so much as it is a benign observation. My personal take on it is that many of these brainiacs are – ahem – vastly younger than I am, and they actually weren’t there during the days of Spielberg’s earliest releases, the ones they seemingly worship as cinema’s high points. While I’ll certainly agree that Jaws (1975), Close Encounters Of The Third Kind (1977), Raiders Of The Lost Ark (1981), and E.T. The Extraterrestrial (1982) demonstrate an incredible run at critical and commercial success from one director that will likely never be seen again (certainly not in my lifetime, I suspect), there was a great deal going on back in those days socially and culturally that contributed to these projects being embraced by so many. In fact, a great deal of their enduring appeal could be attributed to the fact that two or three of them were released in the wake of George Lucas’ Star Wars redefining what cinema was. Science Fiction and Fantasy was evolving from being cerebral thrillers to being pure popcorn delights. Stylistically, Steven shares a lot in common with many other auteurs. I say this to take nothing away from Spielberg’s acclaim: I think that he and his output benefits as much from being in the right place at the right time, and this often gets overlooked when comparing his stuff to other directors.
I know, I know, I know. I sound like an old grouch, and maybe I am. But I also think creative comparisons kinda/sorta does a disservice to emerging talent, implying that their wares deserve to be enjoyed because they remind us of other stories. Certainly, there’s nothing wrong with such associations; it’s just that I strive to evaluate each work I view as independently as I can – removed from such relationships – in order to give as close a bottom-line as humanly possible. I figure that’s what these creatives are owed, so I generally – generally – frown on such parallels.
So that’s why I’m here this morning, eating crow by the plate full, as I’m aghast as just how much 2022’s Watch The Skies (aka UFO Sweden) reminded me of that early Spielbergian experiences. Why, its themes, its characters, its look, and its structure reminded me so much of so many great theatrical outings that worked very hard to propagate this feeling that I felt like I was thrown back into my youth, sitting in the theater, soda in hand, looking up at the welcome glow of the silver screen, feeling alive with the possibilities of being entertained like never before. Though it wasn’t a perfect experience, it was still about as close as I think I’ve come recently … and that deserves mention.
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
From the film’s IMDB.com page citation:
“A rebellious teenager who believes her missing father was abducted by aliens joins forces with a quirky UFO club of endearing misfits. They embark on a high-stakes adventure that defies the law and challenges the very fabric of reality.”
Succinctly put, Watch The Skies is exactly the kind of viewing I love stumbling into.
I truly went into this one blind, mostly. Though I scanned a bit of the advance publicity information I was provided, I didn’t go to any great lengths to understand or retain it. Essentially, I approach such materials only to establish some basic parameters – what am I getting, what if anything has been said about it, who does it involve, etc. – but the older I get the less interested I find myself in these still necessary fluff pieces. My point here is that I encourage others to check this one out blindly as well, and perhaps you’ll be as impressed as I was with it. (Maybe stop reading now, go watch it, and come back to finish the review later. I’m okay with that!)
When she was a little girl, Denise (played by Inez Dahl Torhaug) suffered the tragedy of losing her father from an incident with High Strangeness: based on the findings of his UFO Sweden group, Uno (Oscar Töringe) went out one night to personally investigate a possible event and seemingly vanished from the face of the Earth. His unexplained disappearance cost a colleague and family friend – Lennart (Jesper Barkselius) – his job with the Swedish meteorological society, and it also brought a measure of disgrace onto the reputation of their modest little group. However, several years later and on the eve of a celestial event, Uno’s battered and damaged automobile shows up as curiously as its owner vanished, forcing Denise to join forces with the now-reluctant gang of misfit UFO investigators to once and for all uncover what’s going on in the skies over their sleepy little town.
Functionally, that’s all one needs to know about Watch The Skies. There are a few more key relationships that figure into the plot – Denise has been befriended by local policewoman Tomi (Sara Shirpey) who helps to keep her out of trouble, and Gunnar (Hakan Ehn) has largely turned the UFO group into a band of skeptics instead of flying saucer crusaders – and, to my surprise, nearly all of them figure in small ways to the developments. Much like the best stories involving small groups, the ensemble – rounded out by Isabelle Kyed, Mathias Lithner, and Niklas Kvarnbo Jönsson – works impeccably as a comic ensemble, giving the film an added layer of humor even in its most frenetic moments. Writer/director Victor Danell clearly had a vision for where he wanted to take this trip into delightful screen Fantasy, and it’s nothing short of mesmerizing in just the right ways.
Where I was a bit uncertain (and some of this may be owed to the fact that this originally is a Swedish-language effort and I wonder if something may’ve been lost in translation) was with the relationship between young Denice and the older Lennart.
From the film’s IMDB.com page citation:
“A rebellious teenager who believes her missing father was abducted by aliens joins forces with a quirky UFO club of endearing misfits. They embark on a high-stakes adventure that defies the law and challenges the very fabric of reality.”
Succinctly put, Watch The Skies is exactly the kind of viewing I love stumbling into.
I truly went into this one blind, mostly. Though I scanned a bit of the advance publicity information I was provided, I didn’t go to any great lengths to understand or retain it. Essentially, I approach such materials only to establish some basic parameters – what am I getting, what if anything has been said about it, who does it involve, etc. – but the older I get the less interested I find myself in these still necessary fluff pieces. My point here is that I encourage others to check this one out blindly as well, and perhaps you’ll be as impressed as I was with it. (Maybe stop reading now, go watch it, and come back to finish the review later. I’m okay with that!)
When she was a little girl, Denise (played by Inez Dahl Torhaug) suffered the tragedy of losing her father from an incident with High Strangeness: based on the findings of his UFO Sweden group, Uno (Oscar Töringe) went out one night to personally investigate a possible event and seemingly vanished from the face of the Earth. His unexplained disappearance cost a colleague and family friend – Lennart (Jesper Barkselius) – his job with the Swedish meteorological society, and it also brought a measure of disgrace onto the reputation of their modest little group. However, several years later and on the eve of a celestial event, Uno’s battered and damaged automobile shows up as curiously as its owner vanished, forcing Denise to join forces with the now-reluctant gang of misfit UFO investigators to once and for all uncover what’s going on in the skies over their sleepy little town.
Functionally, that’s all one needs to know about Watch The Skies. There are a few more key relationships that figure into the plot – Denise has been befriended by local policewoman Tomi (Sara Shirpey) who helps to keep her out of trouble, and Gunnar (Hakan Ehn) has largely turned the UFO group into a band of skeptics instead of flying saucer crusaders – and, to my surprise, nearly all of them figure in small ways to the developments. Much like the best stories involving small groups, the ensemble – rounded out by Isabelle Kyed, Mathias Lithner, and Niklas Kvarnbo Jönsson – works impeccably as a comic ensemble, giving the film an added layer of humor even in its most frenetic moments. Writer/director Victor Danell clearly had a vision for where he wanted to take this trip into delightful screen Fantasy, and it’s nothing short of mesmerizing in just the right ways.
Where I was a bit uncertain (and some of this may be owed to the fact that this originally is a Swedish-language effort and I wonder if something may’ve been lost in translation) was with the relationship between young Denice and the older Lennart.
Initially, it seemed as though he was only circumstantially aware of Uno’s daughter. In the opening vignette, Lennart sees her as a child sitting in the back of the car and says hello, surprised that Uno had brought her along on what we learn was a risky mission. As the story develops (well after Uno’s vanishing), it appears as if Denice and Lennart had vastly more contact with one another than what’s been shown. They seem more than circumstantially aware of one another, with Lennart even filling in the shoes of a surrogate parent, a development given no clear establishing motivation. However, at some point later, the narrative feels loosely like the much older Lennart might have had something stronger than an extended familial attachment to the woman young enough to be his own daughter, a curious sentiment that disappears almost as quick as it emerges. Given the fact that – in the conclusion – Denice’s epiphany (won’t spoil it) seems to suggest that maybe she inevitably favors his companionship over that of her flesh-and-blood father’s, I was a bit concerned with what their connection truly was or might be.
It's a minor quibble, and – as I said – it could just be a little ‘something something’ lost in translation. Being true to myself as a critic, I felt it important enough to mention.
Watch The Skies (aka UFO Sweden) (2022) was produced by Crazy Pictures, Film i Väst, SF Studios, and Sveriges Television (SVT). A quick search of Google.com indicates that the film is presently available only via limited theatrical screenings. As for the technical specifications? While I’m no trained video expert … wow. The film looks and sounds absolutely incredible. I’ve also read online that the motion picture was the first dubbed into English (FYI: it’s a Swedish production) via A.I., and I can assure you that for a good portion of the running time I had absolutely no idea I was watching a dubbed cut. It’s amazing how seamless it was. (I’ve also seen some stating the contrary, but I can only attest to my own experiences.) Lastly, if you’re looking for special features? As I viewed this one entirely via streaming, there were no special features under consideration.
Highly Recommended.
In the interests of fairness, I’m pleased to disclose that the fine folks at Crazy Pictures provided me with complimentary streaming access to Watch The Skies (2022) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
It's a minor quibble, and – as I said – it could just be a little ‘something something’ lost in translation. Being true to myself as a critic, I felt it important enough to mention.
Watch The Skies (aka UFO Sweden) (2022) was produced by Crazy Pictures, Film i Väst, SF Studios, and Sveriges Television (SVT). A quick search of Google.com indicates that the film is presently available only via limited theatrical screenings. As for the technical specifications? While I’m no trained video expert … wow. The film looks and sounds absolutely incredible. I’ve also read online that the motion picture was the first dubbed into English (FYI: it’s a Swedish production) via A.I., and I can assure you that for a good portion of the running time I had absolutely no idea I was watching a dubbed cut. It’s amazing how seamless it was. (I’ve also seen some stating the contrary, but I can only attest to my own experiences.) Lastly, if you’re looking for special features? As I viewed this one entirely via streaming, there were no special features under consideration.
Highly Recommended.
In the interests of fairness, I’m pleased to disclose that the fine folks at Crazy Pictures provided me with complimentary streaming access to Watch The Skies (2022) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
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