×

The Thing

Far less chilling than versions from 1951 and 1982, Universal's latest take on "The Thing" " is memorable mainly for illustrating CGI's gross deficiencies relative to old-fashioned makeup f/x.

With:
Kate Lloyd - Mary Elizabeth Winstead
Braxton Carter - Joel Edgerton
Dr. Sander Halvorson - Ulrich Thomsen
Adam Goldman - Eric Christian Olsen
Jameson - Adewale Akinnuoye-Agbaje
Griggs - Paul Braunstein
Edvard Wolner - Trond Espen Seim

Far less chilling than versions from 1951 and 1982, Universal’s latest take on “The Thing” at least has a strong lead thesp in Mary Elizabeth Winstead, recruited for the studio’s bid to turn a tale of ice-cold macho paranoia into a beauty-vs.-beast shocker a la “Alien.” Apart from Winstead’s flamethrower-toting paleontologist, bravely battling an extraterrestrial menace that hides inside its human prey, this unfrighteningly icky “Thing” is memorable mainly for illustrating CGI’s gross deficiencies relative to old-fashioned makeup f/x. Chilly word of mouth won’t help U to infect the B.O. for much longer than a weekend.

Curiously crediting the 1938 story “Who Goes There?” rather than the 30-year-old pic it superficially resembles, the new “Thing,” helmed by first-timer Matthijs van Heijningen, nods deferentially to John Carpenter’s still-scary cult film while displaying little comprehension of what made it work (and bearing no relation whatsoever to producer Howard Hawks’ early ’50s classic). As in the Carpenter version, humans here play host to alien cells that turn the body inside out, leaving the appearance but not the identity of the original. Ironically, the 2011 film follows a similar pattern, parasitically mimicking an authentic form in all respects save soulfulness.

Popular on Variety

Set in frigid Antarctica circa 1982, van Heijningen’s movie opens with three Norwegian researchers meeting their demise when their transport vehicle falls through the ice. Arriving with a larger Norwegian team to investigate, independent-minded Dr. Kate Lloyd (Winstead) finds herself subordinate to Dr. Sander Halvorson (Ulrich Thomsen), whose hasty urge to take a tissue sample of a mysterious organism — a gigantic beast buried in ice — results in the creature coming to life, wreaking bloody havoc and sneakily infecting those in the team’s remote outpost.

Van Heijningen diminishes the earlier films’ claustrophobic tension in various ways, not least by allowing his characters a potential escape hatch via several fueled vehicles. Still, members of the team, particularly Kate, feel they can’t leave the outpost before isolating the viral threat, which could be churning inside any one of them. Carpenter’s unnerving means of outing an infected human — with hot copper wire dipped into a suspicious person’s blood sample — is here replaced by the clever but frightless conceit of checking a man’s teeth for fillings that the Thing can’t copy.

The biggest impediment to horror, though, is the pic’s lackluster CG work, which doesn’t hold a candle (or flamethrower) to Rob Bottin’s disgustingly innovative and thoroughly believable f/x from three decades back. As before, chests burst, entrails twist and snap like cracked whips, and bodies morph into spidery monsters, but the digital strings show, and the overall effect pales beside that of Bottin’s makeup-based concoctions.

Humanity stands as a highlight of the first two “Thing” films, but not here. Winstead (“Scott Pilgrim vs. the World”) radiates intelligence in the Kurt Russell/Kenneth Tobey role, yet her take-charge paleontologist-turned-torch-wielder seems severely underwritten from the get-go. Joel Edgerton (“Warrior”) eventually emerges as a co-star by virtue of his character’s survival past the pic’s second act, although he’s given little to do besides look worried that he may not be himself anymore. Thomsen’s domineering researcher merely glowers, while other characters are nearly indistinguishable but for the order of their contagion.

Ennio Morricone’s spare synth score of ’82 is briefly heard in a film that’s all about expedient replication.

The Thing

Production: A Universal release presented with Morgan Creek Prods. of a Strike Entertainment production. Produced by Marc Abraham, Eric Newman. Executive producers, J. Miles Dale, David Foster, Lawrence Turman, Gabrielle Neimand. Directed by Matthijs van Heijningen. Screenplay, Eric Heisserer, from the story "Who Goes There?" by John W. Campbell Jr.

Crew: Camera (color, Panavision widescreen), Michel Abramowicz; editors, Julian Clarke, Peter Boyle; music, Marco Beltrami; production designer, Sean Haworth; art director, Patrick Banister; set decorator, Odetta Stoddard; costume designer, Luis Sequeira; sound (Dolby Digital/Datasat Digital/SDDS), Glen Gauthier; supervising sound editors, Scott Hecker, Elliott L. Koretz; re-recording mixers, Jon Taylor, Bob Beemer; visual effects supervisor, Jesper Kjolsrud; visual effects, Image Engine; stunt coordinator, Rick Forsayeth; assistant director, Jeff Authors; second unit director, Clay Staub; second unit camera, David Franco; casting, Denise Chamian, Angela Demo. Reviewed at AMC Southdale 16, Edina, Minn., Oct. 11, 2011. MPAA Rating: R. Running time: 103 MIN.

With: Kate Lloyd - Mary Elizabeth Winstead
Braxton Carter - Joel Edgerton
Dr. Sander Halvorson - Ulrich Thomsen
Adam Goldman - Eric Christian Olsen
Jameson - Adewale Akinnuoye-Agbaje
Griggs - Paul Braunstein
Edvard Wolner - Trond Espen SeimWith: Kim Bubbs, Jorgen Langhelle, Jan Gunnar Roise, Stig Henrik Hoff, Kristofer Hivju, Jo Adrian Haavind, Carsten Bjornlund, Jonathan Lloyd Walker. (English, Norwegian dialogue)

More Film

  • 'The Salt of Tears' Review: Philippe

    'The Salt of Tears': Film Review

    Handsome twentysomething Luc is a trainee joiner, a craft inherited from his doting single dad: a man at once proud of his son’s continuation of their trade, and hopeful that he’ll do something greater with it. When Luc asks his father if he ever wanted to design furniture rather than simply build it, the reply [...]

  • Time to Hunt

    'Time to Hunt': Film Review

    As context for those unaware, South Korea does not have the equivalent of the United States’ Second Amendment. Instead, the country enforces strict gun control — privately owned weapons must be stored at the police station — and fatal shootings hardly ever happen there. That’s important to know when watching Korean movies: It explains why [...]

  • SF Studios, Cinematic Inc. Join Forces

    SF Studios, Cinematic Inc. Join Forces on 'Comet in Moominland,' 'When the Doves Disappeared,' 'Omerta'

    SF Studios is joining forces with Antti J. Jokinen’s leading Finnish production banner Cinematic Inc. to develop and produce the animated feature “Comet in Moominland” and “When the Doves Disappeared,” adapted from Sofi Oksanen’s bestseller. “Comet in Moominland” and “When the Doves Disappeared” are being made by both companies as part of a five-picture deal. [...]

  • Tiger Rising

    Exclusive First Look: 'The Tiger Rising' Starring Queen Latifah

    Queen Latifah and Madalen Mills star in Ray Giarratana’s “The Tiger Rising.” The drama is based on Kate DiCamillo’s New York Times Bestselling children’s book and produced by Deborah Giarratana and Ryan Donnell Smith.  Highland Film Group is handling worldwide sales, which are under at the European Film Market in Berlin. The Tiger Rising” is [...]

  • The Berlinale Bear is Seen in

    Berlinale Enlivened by Anti Chile State Violence Protests

    On Saturday afternoon the Martin Gropius Bau, the site of the Berlin Festival’s European Film Market, saw a group of anonymous protestors unfurl a big banner from one of the markets upper floors, with activists shouting out “How can you celebrate Chile when Chile is killing its own people?” The protests came at the Berlinale’s [...]

  • Vadim Perelman, Ilja Zofin, Lars Eidinger

    'Persian Lessons' Eidinger, Perelman Say Film Offers Parallels for Today

    Director Vadim Perelman and frequent Berlinale film star Lars Eidinger on Saturday championed their new Holocaust-set “Persian Lessons” as a timely, very German tale of how that dark history is closer to us than it seems, made uniquely possible by the fact that most of the film’s production team is not German. The film’s world [...]

  • Uppercase Print

    'Uppercase Print': Film Review

    History is a fanged presence in Romanian director Radu Jude’s recent films. Since 2015’s “Aferim!,” in both fiction and nonfiction formats, culminating in the heady tangle of the two approaches that was 2018’s remarkable “I Do Not Care If We Go Down In History As Barbarians,” Jude has interrogated various incidents and epochs in his [...]

More From Our Brands

Access exclusive content