My greatest regret about seeing SKYLINE is that I paid full price ($12.50), and I took a date. So it was $25 to see a 1950’s Saturday matinee movie on CGI steroids.
It was actually fun, in a mindless sort of way. If I was 14 years old, I probably would have thought it was cool. Some of the things that transpire are fairly interesting and somewhat surprising, even halfway clever—though none of it has any significant payoff, emotional or otherwise.
30-something characters with no discernable last names, Jarrod (HAVEN’s Eric Balfour) and Elaine (Scottie Thompson, NCIS) have come from NYC to Los Angeles for Jarrod’s friend Terry’s (SCRUBS’ Donald Faison) birthday party. Terry has made good, apparently in the field of special effects, or as far as I can make out. This allows him to lead a lavish, somewhat libertine lifestyle in the penthouse of a fancy high-tech highrise.
After a night of heavy partying, they’re woken early to discover that strange blue lights are attracting people who are then snatched away by invading alien spacecraft. Jarrod nearly becomes one of them—more than once, and this light causes purple spider web blotches to appear on one’s face and body. They fade if the victim is pulled away from the light, but the characters are left to wonder what the effects might be.
There’s not much time for introspection, however— because though stuck in the building, there are various attempts to escape, lots of bickering between not-all-that-likeable people, and plenty of action with wild alien devices, creatures, and giant monsters. And it’s only a hair over 90 minutes long. SKYLINE reminds me oddly of a cross between TARGET EARTH (1954) and INDEPENDENCE DAY, with little bit of THE WAR OF THE WORLDS mixed in. There are odd mechaniods that look like something from THE MATRIX, and monsters with a mix of tentacles and vaginal mouths that might resemble a nameless horror from H.P. Lovecraft’s nightmares. There are a lot of “borrowings” from various other productions, I suspect they even picked up a gimmick from THE OUTER LIMITS’ “The Architects of Fear”.
It really is very much like an old, low budget sci-fi B-movie—only instead of a modest handful of special effects, everything including the kitchen sink was tossed into the FX budget.
This shouldn’t be surprising, as SKYLINE is directed by FX artists The Brothers Strause (ALIEN VS. PREDATOR: REQUIEM). It apparently cost a half million to shoot, with around ten million spent on special effects. And on that budget, the FX are pretty damn good.
When was the last time a film with that low a budget played on so many screens? 28 DAYS LATER? LAND OF THE DEAD? Both of those are much more visceral and powerful films than this one, and they pretty much make sense. However, if you’re in the mood for action and spectacle while munching on popcorn, SKYLINE is reasonably entertaining.
Just try to avoid paying $12.50 to see it. I hear it’s going to Netflix right after it finishes its run. That could be soon.
Then again, I also hear they’re planning a sequel.
Here’s a clip and a description of this week’s new episode of STARGATE UNIVERSE, The Greater Good.
Col. Young (Louis Ferreira)
and Dr. Rush (Robert Carlyle) are trapped on an abandoned alien ship, while Destiny is stranded in deep space. Rush continues to refuse to divulge his secret. (That he has discovered the ship’s bridge, and can control Destiny, so some extent.)
Meanwhile, Lucian Alliance member Ginn (guest star Julie McNiven) and Eli’s (David Blue) relationship continues to develop, as Camille Wray (Ming-Na) discovers in this clip.
Kathleen Munroe and Robert Knepper also guest star.
The episode was directed by Will Waring, from a screenplay by Carl Binder.
Supposedly the audience will discover what the Ancients’ starship Destiny’s original mission was/is in this episode/
STARGATE UNIVERSE airs Tuesdays at 9:00 PM ET/PT.
According to Deadline.com, ABC has cut down it’s planned 13-episode order for the re-booted V series to 1o.
The series will return January 4th, and will be broadcast at 9:00 PM ET/PT, following the superhero series NO ORDINARY FAMILY.
The article suggests that the producers of ‘V’, which is still in production, will have time to change the scripts and provide for a sensible season finale.
Here’s the latest trailer for MEGAMIND, the upcoming Superhero/Villain animated comedy film from DreamWorks Animation and Paramount Pictures.
MEGAMIND is set to be released in standard and 3D on November 5th. Voices cast includes stars Will Ferrell (LAND OF THE LOST), Brad Pitt (NTERVIEW WITH THE VAMPIRE), Tina Fey, and Jonah Hill.
Tom McGrath directs, from a screenplay by Alan J. Schoolcraft and Brent Simons
Jeff Bridges returns to the game grid, Harry Potter faces down some deathly hallows — whatever the hell those are — and Jacques Tati gets animated as CHRONIC RIFT producer/host John Drew and I pick up our discussion of the cinematic goodness that will be greeting us as the year raps up. And if TRON: LEGACY, HARRY POTTER AND THE DEATHLY HALLOWS, and THE ILLUSIONIST (the latter by the wickedly idiosyncratic animator Sylvain Chomet and based on an unfilmed script by the legendary Tati) don’t give you the tingles, hang on kid, cause that’s just the smallest fraction of what’s coming up in November and December.
Click on the player to discover how much you’ve got to look forward to.
And if you somehow missed the first part of this discussion, you can hear it here.
Debased franchise yields a startlingly brilliant gem
With all the artificial hype designed to sell PIRANHA 3D as the horror hit that delivered for audiences (despite a sixth place bow that barely topped $10-million), now is a good time to pay homage to the film that truly delivered for fans of cinefantastique: PREDATORS. Thought the film has not been universally hailed by critics (it rates 64% at Rotten Tomatoes, compared to PIRANHA 3D’s 81%), it did find a bigger audience, earning over $50-million in American theatres and over $109-million worldwide. This is one of those interesting examples of popular taste proving more accurate than critical consensus: PREDATORS is, in my humble opinion, the summer’s best sci-fi, action, horror flick. Not only that: it’s the most entertaining genre film released so far this year.
That’s more praise than I ever expected to lavish on a PREDATOR sequel. I don’t expect much from the franchise: the first PREDATOR is the only good movie; the sequel PREDATOR 2 was just more of the same, and the crossover films (ALIENS VS. PREDATORS and ALIENS VS. PREDATOR: REQUIEM) were even worse – just mindless junk.
PREDATORS reverses the trend. Not only does it match the original; this is the first PREDATOR movie that is good enough to be considered more than just a fun popcorn film. Rather like the first ALIEN (1979) PREDATORS is good enough to stand on its own as a piece of cinema, not just a genre film. Or to put it another way, I would recommend PREDATORS to people who are not into monster movies, because it has some good qualities that will pull in an “outside” audience of non-fans.
What makes me go so far out on a limb for a film that seems as if it were made only for the geeks? My joke response it to call PREDATORS the “Feel Good Movie of the Year.” Despite – or because of – the bloodshed, death, and terror, this film presents a scenario that is ultimately optimistic, with a surprisingly humane point of view toward its characters (and by extension its audience).
This interesting attitude toward humanity is about the last thing one would expect in a film that seems all about using humans as target practice for some bad-ass alien hunters. However, PREDATORS takes characters who are in many cases the worst of the worst – assassins and mercenaries, thugs and murderers – people whom the planet Earth is better off without – and the script and the performances combine makes the this despicable crew engaging, even likable.
These are people who talk tough, seem to be out for themselves, and at least initially are as likely to kill each other as team up against the common enemy. But as the story proceeds, that changes in ways that are entertaining and even uplifting without every descending into bathos. PREDATORS pulls this off by presenting its story in hard-boiled terms that hide the sentiment beneath a flinty veneer that applies to both the individual characters and the film as a whole. (In one of the film’s funnier moments, convicted killer Stans (Walton Goggins)”s objection to the death of Mombasa (Mahershalalhashbaz Ali) is brushed aside by Adrien Brody’s character* with a casual “You wanted to kill him this morning,” to which Stans angrily replies, “This ain’t this f-cking morning!“) Of course, we expect the characters to bond after initially disliking each other; that’s a standard plot development. But PREDATORS is going after bigger game. The characters are going through their process of recovery that ultimately leads to – dare I say it? -redemption. Although this theme is expressed mostly in secular terms, the religious allegory lurks just beneath the surface. The familiar scenario (trap a group of characters in an isolated location and bump them off one by one) recalls TEN LITTLE INDIANS – but in more than just plot mechanics. The underlying point of the original Agatha Christie novel (mostly abandoned in the film adaptations) is that the victims deserve what they get: they are all killers who have escaped the law. The same is true here; however, these characters – at least a few – will have a chance not merely to survive but to earn expiation for their sins.
PREDATORS cleverly lays the foundation for this interpretation in an early scene, when one character guesses that they might be in Hell. The suggestion is quickly contradicted by the facts of their situation (they have all been mysteriously parachuted onto an alien planet, which turns out to be a game preserve for the Predator species), but metaphorically speaking the initial assumption is not quite so far off: the characters may not literally be in Hell, but they figuratively seem to be in Purgatory. On this strange distant world, these inhumane humans come face to face with the crimes they committed on Earth. Time and again, individuals are able to guess what the Predators are doing to them, because these terrible actions remind them of atrocities they themselves perpetrated on others. In effect, their kharma has come back to bite them on their collective ass.
The Predators of course are not demons, but they fulfill a similar narrative function, forcing the human characters to make stark moral choices they may have avoided before. It is as if the actions of the Predators reflect the characters’ failings back upon themselves. Putting this in psychological terms, the humans are being faced with their Jungian shadow, which they must confront in an externalized form and destroy – and in the process, destroy that evil part of themselves, thus emerging at the other end as better people. Thus, PREDATORS says that, even in the worst of us, there is something good that is not beyond hope, something worthwhile that can emerge. It’s a positive message that is quite unexpected in what could have been just another action-packed bloodbath.
There are parallels here with THE MOST DANGEROUS GAME (the 1932 movie rather than the original short story), which also featured a doppleganger theme in which the hunter reflected the hunted, and our hero realized the errors of his ways – even while those violent ways provided him the means to survive when the tables were turned. One of the fews ways in which PREDATORS may be deemed deficient is that it lacks the sort of overt philosophical conflict that gave THE MOST DANGEROUS GAME its kick. By virtue of its set-up, PREDATORS cannot have Adrien Brody and his alien counterpart engage each other via dialogue in order to debate the morality versus the aesthetics of hunting (as Rainsford and Count Zaroff do in the 1932 film). But in a way, this fault has some small virtue, to the extent that it leaves viewers to mine the thematic ore without having it laid out in the open.
This hard-boiled thematic approach to showing the sensitive soul beneath the cynical exterior may seem generic, but director Antal and screenwriters Litvak and Finch make it work in a spectacularly satisfying way. Ironically, their achievement surpasses the more superficial approach seen in the directorial efforts of producer Robert Rodriguez, who tends to depict cartoony violence lacking in any real resonance (with the exception of the hard-boiled SIN CITY). The result – a wonderful distillation of the macho ethos, of characters lost in the existential universe who must define themselves by the actions they take, without any assurance of a God in heaven to tell them whether they are right or wrong – stands comfortably alongside work by the most famous practitioners in the field: John Woo, Michael Mann, Beat Takashi, Christpher Nolan (at least the Nolan of THE DARK KNIGHT if not INCEPTION). It’s as if Jean-Pierre Melville had directed a PREDATOR movie.
Redemption is an old-fashioned, cornball concept that many modern filmmakers would not touch with a ten-foot cattle prod (I’m talking to you, Alexandre Aja). To traffic in this kind of story, you run the risk that cynical viewers may laugh at your sincerity; after all, the audience has paid to see predation, not redemption. So I think that producer Roberto Rodriguez, director Nimrod Antal, and especially writers Alex Litvak and Michael Finch deserve credit for not taking the easy “it’s only a movie” approach.
To be honest, the filmmakers do hedge their bets but in a way that adds a nice edge of credibility. When Edwin (Topher Grace) mocks Brody’s character for a last-minute change of heart, ironically calling him a “good man,” the reluctant hero replies, “I’m not good – but I’m fast” while dodging a sneak attack from behind. The emphasis on professionalism rather than morality sounds in-character, but we in the audience still see that, in the end, the avowedly anti-social mercenary did the right thing. Only then can he finally reveal his name, Royce, signaling the return of the humanity kept well hidden beneath the cynical survivor’s metaphoric armor throughout the rest of the film.
Of course, thematic analysis can be deceptive: films can be filled with great ideas without being particularly well executed. Fortunately, PREDATORS delivers on the gut level. The music score effectively enhances the beautiful location shooting. Special effects are not over-abundant (or at least not visibly so), instead paying off at key moments, such as a wonderful matte painting of the sky that finally proves to the characters beyond any doubt that they are indeed no longer on Earth.
On a plot level, the film follows a well worn track, but it’s the right track, one that leads where the narrative needs to go. Although not loaded with surprises, the script works in a nice twist with one character who turns out to be not what he seems (he wants to embrace the predators as brothers in spirit). There is also an interesting bit with with Adrien Brody’s character trying to forge a brief alliance with a “Classic Predator” (who is victimized by a different type of Predator introduced here). Something similar happened in ALIENS VS. PREDATORS, but the idea is executed to much better effect here. Despite its virtues, PREDATORS is not perfect; there are some missteps. The exciting shot in the trailer, suggesting that Brody’s character will be targeted by multiple Predators, shows only one laser sight on his torso in the movie – a terrible disappointment thanks to unmet expectations. The low point arrives via Laurence Fishburne’s appearance as Nolan, a survivor from a previous group transported to the planet. Dramatic convention necessitates a brief respite, which allows the audience to catch its collective breath before heading into the big finish, but this lull is a little too lulling, breaking the tension that suffuses the rest of the film. And as fun as it is to see Fishburne show up in a PREDATOR movie, the sequence gives him little to do except act as an obvious “Johnny Explainer” who provides exposition; his only noteworthy personality trait is a tendency to talk to himself. At least this provides one bright moment: when Nolan, still babbling as if to an unseen other, tries to kill his new friends, Brody’s character fires a gun at him, while delivering a quip that cleverly paraphrases SCARFACE: “Say goodbye to your little friend!” Fortunately, it is easy to overlook the occasional stumbling when the film delivers beautifully choreographed action built upon a solid dramatic foundation. One memorable highlight is a great set-piece that deftly combines Kurosawa with Tarantino: Hanzo (the Yakusa character played by Louis Ozawa Changchien) remains behind to cover the escape of his comrades. On the one hand, the scene is pure cinematic contrivance – an excuse to stage a fight scene between a Predator and a man armed with a samurai sword.
But it becomes something larger, almost mythic. When Hanzo sheds his suit, it is as if he is attaining archetypal status, becoming a larger than life character (like Will Munny at the end of UNFORGIVEN). He is shedding the man he was – the Yakusa assassin – and becoming the samurai warrior of legend, no longer a killer for hire but a soldier laying down his life for others. It’s an awesome transformation, and though it may be hokey, it is the kind of trascendant melodramatic moment that makes movies worth seeing. It’s the rapturous ecstasy of of losing oneself – and perhaps one’s better judgment – inside the land of cinematic make-believe. And the beauty of it is that it is utterly predictable, in the sense that the perfect outcome – the only satisfying outcome – is the outcome that had to be. This leads to a nicely staged finale that deliberately echoes the ending of PREDATOR: Isabelle (Alice Braga) has earlier delivered exposition based on a debriefing of the character that Arnold Schwarzenegger played in the previous film, and Brody’s character puts the information to good use. The interesting thing is that, despite the repetition, the sequence works because we are now seeing the action performed not by an action star but by an actual actor. PREDATORS is all about transformation, about becoming something better, and nowhere is it visualized more perfectly. You cannot watch Brody on screen without remember his Oscar-winning turn in THE PIANIST (2002). If Adrien Brody – man who ran away from Nazis for two hours, the man who was a useless wimp in KING KONG (2005) and was completely pussy-whipped in SPLICE earlier this year – can suddenly morph into a muscle-bound sinewy titan with the speed, agility and strength to take out a Predator, then truly there is hope for all of us.
In conclusion, I want to admit that, in a summer that contains Christopher Nolan’s blockbuster INCEPTION, which is immensely popular with both audiences and critics, I may be exposing myself to potential scorn by raving about PREDATORS. But the simple fact is that I found INCEPTION to be a technically astounding but emotionally empty exercise in visual effects; as much as I wanted to enjoy the ride, the film lacked the underlying substance that made Nolan’s THE DARK KNIGHT so great.
PREDATORS, by virtue of its franchise association, is not the sort of film that earns respect; the fans just want to have fun, and most critics probably don’t even want to know about it. And yet, for me, the film worked in ways I did not anticipate. That sense of surprise might have overwhelmed my better judgement; I will have to see the film again to determine whether it holds up to a second viewing. But for now I am willing to risk derision and stand by my declaration. In case, the heavy-handed analysis above leaves you in any doubt, I think that PREDATORS offers viewers a great time, fulfilling the basic requirements while offering something more; and judging by the justly awarded audience applause that concluded Hanzo’s duel with the Predator, I don’t think I’m the only one. UPDATE: My designation of PREDATORS as the year’s “most entertaining genre film” may seem confusing in light of my having called SPLICE “the season’s best filmed science fiction.” Let me clarify: I see the relationship between the two films roughly the way I saw the relationship between MOON and STAR TREK last year. MOON was the best cinematic science fiction, because it carefully examined a science fiction concept in a fascinating way; however, STAR TREK was the most entertaining science fiction film, because it provided a joyously good time at the movies. In the same way, I may rank SPLICE slightly higher as an artistic achievement, but I find PREDATORS to be the more thoroughly satisfying piece of entertainment. Making distinctions between art and entertainment may be a dubious business, but in this case I think it makes sense. FOOTNOTE:
The character played by Adrien Brody does have a name (Royce), but since he reveals it only at the very end of the film, it seems misleading to use it throughout this article. Hence the awkward use of phrases like “Brody’s character.”
PREDATORS (20th Century Fox, July 9, 2010). Produced by Roberto Rodriguez. Directed by Nimrod Antal. Written by Alex Litvak & Michael Finch, based on characters created by Jim Thomas & John Thomas. Cast: Adrien Brody, Topher Grace, Alice Braga, Walton Goggins, Oleg Taktarov, Laurenc Fishburne, Danny Trejo, Louis Ozawa Changchien, Mahershalalhashbaz Ali, Carey Jones, Brian Steele, Derek Mears.
This article has been clarified since its original posting.
Here’s a trailer for MONSTERS, a low-budget SF-Horror thriller from writer-director Gareth Edwards.
Six years ago, NASA discovered the possibility of alien life within our solar system. A probe was launched to collect samples, but crashed upon re-entry over Central America. Soon after, new life forms began to appear and grow. In an effort to stem the destruction that resulted, half of Mexico was quarantined as an Infected Zone. Today, the American and Mexican military still struggle to contain the massive creatures…
Our story begins when a jaded US journalist (“Scoot” McNairy) begrudgingly agrees to find his boss’ daughter, a shaken American tourist (Whitney Able) and escort her through the infected zone to the safety of the US border.
MONSTERS was shot with a Sony PMW-EX3 HD Video camera, a minimal crew and just two professional actors on location in South America. The UK-based Gareth Edwards has mainly done special effects (Emmy nominated and BAFTA award-winning) and some direction of re-creations for documentaries in the past. Magnolia Pictures is the U.S. distributor; following their usual approach, they will debut the film via VOD, then offer a platform theatrical release.
September 24: On Demand, Xbox Live, Playstation Marketplace, Amazon, and Vudu
ABC has revealed that Jane Badler, who was the lizard leader we loved to hate in the original V, will have a recurring role in the secoind season of the rebooted series.
“Actress Jane Badler, best known for her role on the original “V” series, will join the cast of ABC’s “V” as a recurring guest star, playing Diana, mother to Anna (Morena Baccarin), who is now the leader of the Vs. Badler will make her debut in the Season 2 premiere of the series.
“Season 2 will feature more character and lizard reveals, more details about the Vs’ mythology – in which Badler will play an important role — and more action and more plot twists. Viewers can expect a roller coaster ride week to week.
“V” stars Elizabeth Mitchell as Erica Evans, Morris Chestnut as Ryan Nichols, Joel Gretsch as Father Jack, Charles Mesure as Kyle Hobbes, Logan Huffman as Tyler Evans, Laura Vandervoort as Lisa, with Morena Baccarin as Anna and Scott Wolf as Chad Decker.”
Jane Badler was also a regular in the final season of the 1980s TV revivial of MISSION IMPOSSIBLE. A singer as well, she released a solo CD in June 2008 called The Devil Has My Double.
Somewhat to my surprise, SyFy is announcing a whole bunch of scripted shows.
From their press release:
“Building upon solid ratings and critical acclaim for returning hits WAREHOUSE 13 and EUREKA, and newcomer HAVEN, Syfy today announced a rich development slate of seven scripted projects featuring television icons Lee Majors and Kevin Sorbo; the SANCTUARY creative team of Damian Kindler, Martin Wood and Amanda Tapping; a swashbuckling space opera and an alien version of THE OFFICE from Universal Cable Productions plus a single camera 1/2-hour about fighting zombies and a dramedy featuring supernatural villains. BALL & CHAIN
After months of emotional tumult, Edgar and Mallory call their relationship quits. As they say their final goodbyes, the ex-lovers are nearly hit by a meteorite that, it turns out, imbues them with extraordinary powers. Unfortunately, the powers only work when they are in close proximity to each other. Though the last thing they want to do is stay together, they’ll need to try if they hope to overcome the newly arrived other-worldly forces that threaten to destroy them and anyone else who gets in the way.
Executive Producers: Bob Cooper and J.J. Jamieson for Landscape Entertainment
Executive Producer/Writer: Andrew Miller
Studios: A Universal Cable Productions/Fremantle Media co-production ME AND LEE
In this 1/2-hour single-camera series, a down-on-his-luck 20-something undergoes back surgery, only to find that the procedure did not go well. Enter Lee Majors, who claims he has the perfect solution. He entices the young man into his ultra high-tech lab and makes him bionic. Now intrinsically bound together, Majors tries helping his new partner get his life back on track.
Executive Producers/Writers: Matthew Salzberg and Jenji Kohan
Executive Producer: Steven Pearl
Studio: Lionsgate ORION
NATIONAL TREASURE meets FIREFLY in this swashbuckling space opera about an adventurous female relic hunter and her team as they hunt down — and sometimes steal — valuable and powerful objects to sell on the black market, all while staying one step ahead of the bounty hunters hot on their heels.
Co-Executive Producers/Writers: Dirk Blackman & Howard McCain
Co-Executive Producers: George Krstic & Ryuhei Kitamura
Supervising Producer: F.J. Desanto
Studio: Universal Cable Productions SHERWOOD
In this “Robin Hood” story for the 23rd century, a young man of privilege teams up with a misfit spaceship crew to right the wrongs of his family.
Writer: Damian Kindler
Executive Producers: Damian Kindler, Martin Wood, and Amanda Tapping for My Plastic Badgers Productions LEGENDARY
A 1/2-hour single-camera series in which Kevin Sorbo plays an exaggerated version of himself … a former syndicated television series star. When a fan approaches Sorbo to enlist his skills in combating the underworld mythological creatures that threaten to destroy Los Angeles, an unlikely partnership is formed. Together, they use their intimate knowledge of the myths of Hercules to defeat a myriad of beasts.
Executive Producer: David Eick
Supervising Producers/Writers: Adam Karp & Royal McGraw
Producer: Kevin Sorbo
Studio: Universal Cable Productions HUMAN RELATIONS
The OFFICE meets MEN IN BLACK in this project featuring an office Temp who slowly discovers that his off-kilter and odd-ball bosses at the strange hi-tech “ad agency” where he works are really aliens working on a plan to destroy the Earth.
Co-Executive Producer/Writer: Scott Prendergast
Executive Producers: Michael Rotenberg and Tom Lassally for 3 Arts
Executive Producers: John Altschuler and Dave Krinsky for Ternion
Studio: Universal Cable Productions ZEROS
In this 1/2-hour single-camera satire, when the zombie population of Marshall City overcomes the 30-foot barrier separating the infected people from the rest of the city, the Zombie Extermination and Removal Operations company (the Zeros) are called in to keep the peace. When they can get out of their own way long enough to focus on a case, they are pretty effective with very unorthodox methods.
Executive Producers: David Kenin and Steve Brenner
Co-Executive Producers: Chris Provost & Dave Hales”
Not to borrow trouble, but ZEROES sounds a lot like a private sector version of Fearwerx’s ZOMBIE EMERGENCY RESPONSE OPERATIONS (Z.E.R.O.) seriocomic para-military team featured in a pilot film & web episode, a spin-off of their well-established merchandise line.
See WarOfTheDead.com to view the episodes and Fearwerx.com for ZERO merchandise. Fearwerx is a division of Spherewerx LLC, which also owns Cinefantastique.
By now you’ve no doubt heard of the upcoming film BATTLE: LOS ANGELES, starring Aaron Eckhart as one of a platoon of Marines fighting an alien invasion in the City of Angels. Just today, new teaser posters have been released showing that this war may not be as new as we think it is. BATTLE: LOS ANGELES will hit theaters March 11th, 2011.