"Phoenix Rising" - A film about slimy aliens, badass marines, and pancakes

[syxxpac]

Okay, maybe not so much the last one, but the first two are more than prevalent in the script. "What script, oh Great 'Pac?" you might be asking yourself. I speak of the first script I ever wrote, which I've posted bits and pieces of in the "regular" Filmmaking forum a long time ago, when there were only two drafts, and both sucked royally... ... I hope for my sake that no one remembers it.

So, with that having been said, what I bring forth today is the fourth revision (I think) of that old ditty, completed rather recently, and I decided that I may as well share it with you here, in the horror filmmaking forum, where I'm assuming things with gore, major gun action, and sci-fi/horror concepts are not only welcome, but encouraged.

CLICK ME, I'm Phoenix Rising (http://www.geocities.com/albertwesker4prez/PhoenixRising.doc)

For those with the need for more backstory, think of the story as a bastard cross between Aliens, Predator, and the Metroid Prime Gamecube game. One of the locations in the script, Vortex Outpost, is actually taken straight from the game as a not so subtle homage. Shhhh - don't tell anyone.

So if you liked any of those movies or that game, then you should at least find the script mediocre, if not good. And if not... er, my bad? :p

Oh! One more thing... I haven't designed any of the creatures yet (as I'm no artist), so anybody who reads the script, likes it, and is an artist looking for something fun to do, feel free to come with a design or two. I kinda modelled the creatures after Ridley from the Metroid games...

http://mdb.classicgaming.gamespy.com/sm/smart_ridley01.jpg

... Well, minus the red color, wings and Satan tail. But you get the gist.

[X-Nightcrawler]

Okay, I read it, liked it. Following is a review in my very unique rambly style. Now, some things you should know. The second part of the review are specific things I felt like mentioning WHILE I read it. So have in mind I shoot out possible mistakes like a machinegun so some might have been answered later. Most aren't plot/character issues so just things to look out for or that called my attention. Have in mind that in the "specifics" section, I JUST add problems. So reading that will look like I have nothing good to say. That's NOT the thing, I just don't shoot out things I like.

The first part is the more normal review, where I talk about how I felt about the plot/characters/dialogue, etc. The first part is of course more important.

So let's get on with it.

A review/ramble about syxxpac’s “Phoenix Rising”.

General thoughts:
It’s safe to start this reviewramble by saying that you’re in desperate need of a hooker. You know, a hot girl with big breasts who fights off those who try to get too smart or refuse to pay the fee- *shakes head* No wait, not that kind of hooker. I meant, a . . . well, a hooking opening scene. The first few pages of the script aren’t dull, but aren’t going to instantly create interest, as nothing completely interesting (at least in my opinion) happens at first. The most interesting scene felt to me pretty derivative or not particularly exciting (I called Richter turning against Gordon ages before it happened. But then, I’m teh awsum). The first exciting thing doesn’t happen until page 25 or so.

So first off, the plot. While you don’t exactly have the most original piece of sci-fi action here (and you’re aware of that, but still, have to mention it), it’s interesting enough to keep anyone reading. I’m not even a fan of the movies which inspired it (calm down! I do think Aliens is good! Just not my kind of movie), so I didn’t have a right to be entertained. The one thing that kept this apart from other ‘loose experiment’ creature-feature is the idea of a ‘zombie’ infection caused by the monsters. Yes, smells of Resident Evil, but it’s unique once in context, trust me. The only issue, I think, is that this was introduced too late into the story and so, it’s hardly really used/explored, except in the flashbacks (which are the less interesting bit of the story), which is a hassle because it’s a very important plot point. Oh right, there’s also a flashback subplot. Now, props here because eventhough this subplot is mostly for exposition reasons (not much character depth shining here), it was handled well and it never came off as redundant when it should. It sort of goes as a “parallel story”, shedding light on the main events. Good job in that department. Same goes to the idea that there are plenty of character point of views, at least in the first half, (characters in lab, characters in jungle, characters in flashback) and it never felt really unfocused (only at one point right after the Phoenixes escape). As a big fan of the three-act plot structuring, I do have to mention that this went a little lacking in that department. The entire script felt like one long “act II”, without much introduction or a completely concluding . . . well, conclusion. The ending is very, VERY abrupt and I would’ve liked something to really close up the characters, the theme or at least the story. Otherwise, this is a solidly written plot that lends itself solely for action purposes. Which is fine.

The characters are the biggest problem with Phoenix Rising. As many stories of the sort (Alien series, Predator, hell, Resident Evil), this one contains a huge set of characters. Since it doesn’t focus on anyone in particular, I’m not sure if they’re all mains or secondary. The problem is that none of these characters are ever really given any real depth. Just basic personality traits (which is good enough for a sci-fi action story, I suppose) and shallow, stock arcs (if that) for some and minor character twists which are pretty, well, stock? Double-crosses and such. Well, an issue here is that the story does kill characters, and the other characters do react to said deaths and this isn’t sounding like a problem so keep reading. The problem is that there’s zero emotion to these deaths and it almost looks like it’s glorifying death, making it “look cool” (eventhough the gory bits do kick ass [even the aftermath sequences] and I can see the author really wanted to emphasize on gore. Talk about giving the MPAA a nightmare). Is this necessarily a PROBLEM? Well, the lack of emotion I think is (since Aliens had its share of emotional moments), the other, not completely sure. It depends on the author.

Some minor problems also come from the fact that some of the characters act the exact same as others. Take for example, in page 57, Brett’s: “Well, it looks like we're officially up Shit Creek. Anybody got any paddles?” That could have been said by Leonard too and there’d be no difference. So the problem here is that unless that’s changed, when the story’s filmed, we’d be associating character who’s-who because of faces/names and not because of the characters themselves. It doesn’t help much matters that every character in the story is going through the exact same journey (sure, not “exact same”, but it doesn’t differ between one another). I also need to mention that ho-damn, Grisham is one ANNOYING character. Now, I know because I’ve seen Serenity (and just Serenity, not one episode of Firefly) that you can have a large cast of well-developed characters without any sort of character exposition, so, just as a recommendation. Also, can’t say I’m a big fan of the Richter character. His disregard towards all the death for money seems pretty typical.

A big prop goes to the technology department. I know it’s all pulled out of the author’s ass but it sure looks believable. I’m not talking about tech design of course, I’m talking about some well thought out technology and weaponry (the ‘blade mines’ are badass).

Specifics time!

Well, eventhough I’m not going to focus on any technicality (“zOMG wrong use of a slugline!!!!!”) I do feel I have to mention something with some character introductions. My example is in page 1, when introducing the four first on-screen characters, you describe their personality and not so much their looks. “BRETT DEACON, early 30s, quiet, friendly” We can’t tell if he’s quiet and friendly as he walks through a door, as far as I know, you only write what an audience will see. Minor, I know, but I thought it was worth mentioning. *leaves technical mode*

The dialogue seems fine up to this point except for some punctuation choices you make. They’re not grammatically incorrect, but make the characters sound robotic. Refer, in page 2 to Donner: “Lieutenant Donner to you... Mr. Edwards.” See what I mean? “. . .” doesn’t seem to go as well. As if you just did “Lt. Donner to you, Mr. Edwards.” And that’s why these reviews are long, I tend to be picky(ask “The Mack” when I reviewed his screenplay, “The Beast”), I think that works best.

Page 3. “I don’t want to go. *hottie enters* Or maybe I do! YEAH! *raises hand* *slap*” goes with the ‘soldier’ routine, but I think it’s pretty cliché by this point. I’d get rid of it.

Page 4 is enough to say that, if directed by someone with an eye for space visuals, this could show some pretty slick eye candy, even if some of the placed described have been seen before in other movies. I’m thinking: Paul Anderson! Ahahaha! What? . . . Event Horizon looked awesome.

Page 10. Why is this all in italics? And I’m pretty sure you as a writer don’t make the call whether the scene is shown in black and white or not (and if you’re going to, no need to put “Black and White Sequence” in ever slugline, it’d be easier to say “End black and white sequence” at the end of it). But, even if you did. A flashback in black and white? Come on. You can do better than that.

Just something that came up to me. Why is some stuff underlined? I’m not aware of any screenwriting cue with underlined text. Is it to emphasize dialogue like in novels? If so, I also believe that’s the director/actor’s job, not the screenwriter’s.

15. Someone please do me a favor and shoot Grisham in the face. Twice.

18. This isn’t a flaw by all means, but I think it’d be funny if he mentioned “Are we expecting World War IV” or hell, V. Since it takes place in the future, it’s always funny to see future movies predict the future (like Jason X with outlawing hockey (which I found very funny) or Demolition Man with many, many things. Which again, I found hilarious).

23. Not completely sure why the people at BioTech couldn’t recognize (at least by radar) the Agency ship. If there’s a legit reason then all right, otherwise, just thought I’d bring it up because it’s VERY important and I don’t see a real reason for that.

30. These marines are acting like playground elementary scholars. You should give that a look.

35. Please, PLEASE shoot him in the face.

36. That’s way too much like Jurassic Park III (or II? Which one had the smart trap-setting raptors?). If you want to convey that the Phoenixes are smart, try a new more original approach. Have them teach themselves calculus. That’s smart.

40. Why isn’t anyone showing much regard towards the fact that an unidentified ship just SHOT at them? I know, the Phoenixes are out but come on. No one wants to know exactly what the hell was that all about?

41. Not sure of this myself, but I’ve never heard soldiers/military officers refer to other military officers/soldiers as “Mr.” Maybe Jones isn’t in the military? Not sure of it myself.

57. Cliché situation alarm. I’m sure you can tell what I’m talking about.

60. That’s “whom.” :D

62. “And so begins the endgame.”? Come on. That’s very cheesy.

70. Knowing what the hell happened to Russel is a little overdue, don’t you think?

76. Finally! Someone mentions the pancakes. Eventhough it doesn’t sound like something someone would want in that situation. :D

80. Unsubtle characterization alert.

84. Maybe it’s just me but you’re using the “I think they’re dead/No they’re not.” thing with the characters too much.

94. About time.

106. Wait, he’s ALIVE? There was blood left behind! How could there be blood if he was wearing a vest! And wouldn’t Donner notice the lack of bloodshed? Or the fact that he was wearing an extra vest?

109. I think the words “I thought you were dead!” have been said more than the word “INT.” . . . well, maybe not. But it’s been said a lot.

113. Now, I think this is a problem. Russel was completely missing in action for most of the time only to show up and save the day? Makes him look more like a plot gear and not a character. At least fill us in in what he’s gone through, otherwise it feels like a copout.

[syxxpac]

Holy shit, that was... comprehensive :D

A lot of that stuff is duly noted, and this page is bookmarked in case I go for yet another draft.

The characterization IS weaker than it should be in places, but I've fixed things like that before (like in my Biohazard scripts, which were lacking as well at first) so that shouldn't be too much of a problem, it's all about tweaking and adding things.

Some of the dialogue sucks, I know this, and it can be changed easily. I never did like the "endgame" thing...

I suppose I could add something more to the ending, it does kinda cut off abruptly.

The gore could be trimmed I guess, but I don't know if I'll be the one doing it :D

If you don't like Grisham, that's not a problem. Through subsequent drafts, some characters that live have died and others have lived when they die in this version. Russell died, then lived, then died again at one point. And since this is action/horror, I wouldn't be against offing a character in later drafts, so you might just get your wish ;)

That vest thing always did bother me, too. I was thinking he should just get shot in the meat of the neck, and the shooter THINKS they got him in the carotid or in the head.

Other things that I'm not 100% in agreement with, but will probably see the light eventually as you are X-Nightcrawler, and X-Nightcrawler is a Mexi-CAN, not a Mexi-CAN'T:

That whole "italics/B&W" template was ripped DIRECTLY from the Memento screenplay, since at the time I didn't know how to convincingly pull off two distinct parallel stories in color and B&W, so Mr. Nolan showed me the way. If you have a problem with that, you should blame him ;)

You're not a fan of Richter, but then, I don't really want you to be. I want you to pity him more than actually LIKE him. He does certain things for emotionally legit reasons, yet at the same time is a greedy prick.

Things are underlined all the time in scripts, mostly for emphasis in dialogue, so that's not a mistake on my part.

The reason the ship shot at the base was because the base shot at THEM first. I, er, thought that was abundantly clear, but anywho... :p

And to follow the above up, I guess it was an oversight on my part, making it too "moderny" that it's simple radar as opposed to some kind of cool looking scan program, but even so, the ship I described was basically just a big black behemoth, so they still wouldn't be able to identify just WHO it belonged to. Plus, Richter knew they were coming, so he recognized it, in a way.

When it comes to Russell, he was stuck in that maintenance shed for the duration of the others' troubles, and was working to get that chopper ready to fly, which he did near the end. Nothing much more he'd gone through than needing to give the thing an oil change or... something. I dunno, I'm no gearhead.

41. Not sure of this myself, but I’ve never heard soldiers/military officers refer to other military officers/soldiers as “Mr.” Maybe Jones isn’t in the military? Not sure of it myself.

Well, the short answer is they're not the military. They're the Agency... ... Ohhhhhhh! *rattles chains*

30. These marines are acting like playground elementary scholars. You should give that a look.

Connell comments on that, and besides, mostly it's Grisham, your sworn enemy :D The others hate it just as much as you, and since Grisham IS military... well, I'm not going to make rash, generalized judgments on young guys in the military, but you can see where this is going :p

57. Cliché situation alarm. I’m sure you can tell what I’m talking about.

60. That’s “whom.” :D

80. Unsubtle characterization alert.

94. About time.

Not sure what you mean by these, as your page numbers don't match MY page numbers. For example, there is no mention of pancakes on page 76.

So no, I CAN'T tell what you're talking about :D

[X-Nightcrawler]

Well, FINE. Just, one thing. I'd ask Ronaldinho or the others from the screenwriting forum (the general one) about those cues. Because remember Nolan also wrote the screenplay. I'm pretty sure the rules are different when the writer is also the director. As for the underlined bits, that's fine, I believe you. I just had never seen a script with underlined bits.

Originally posted by syxxpac
The reason the ship shot at the base was because the base shot at THEM first. I, er, thought that was abundantly clear, but anywho... :p
I actually meant why didn't their radar recognize the Agency ship, I know why they shot him. It seems very. . . odd for the radar not to recognize a 'friendly' ship. I emphasize this because it's the most important plot point of the entire script.

Originally posted by syxxpac
So no, I CAN'T tell what you're talking about :D
Okay, here I go:

57. I meant the "Here! Come get me, BITCH! It's ME you want!" which we've seen in every monster movie since the cradle of life.

60. That was me being very, very funny. Nevermind that.

80. Well, this was about the extensive character exposition after the characters think Grisham (I think) is dead.

94. About time we found out what the hell had happened with Russel.

These page numbers are taken from the draft you linked in your first post in case you want to re-check what I mean. I mean, I bet you want to know what my hilarious joke in page 60 was about.

[syxxpac]

Originally posted by X-Nightcrawler
Well, FINE. Just, one thing. I'd ask Ronaldinho or the others from the screenwriting forum (the general one) about those cues. Because remember Nolan also wrote the screenplay. I'm pretty sure the rules are different when the writer is also the director. As for the underlined bits, that's fine, I believe you. I just had never seen a script with underlined bits.

Psh, I don't really care, I doubt this will ever get made :p

I actually meant why didn't their radar recognize the Agency ship, I know why they shot him. It seems very. . . odd for the radar not to recognize a 'friendly' ship. I emphasize this because it's the most important plot point of the entire script.

You know what, I made a mistake in another way entirely that didn't involve that at all. See, Connell mentioned he sent a message to them that they're coming to inspect the base just before Richter orders the missile launch.

So I should actually go back in and relay that message TO them in the control room. THAT'S the plot hole that matters, where's your mind at, sir? :D

57. I meant the "Here! Come get me, BITCH! It's ME you want!" which we've seen in every monster movie since the cradle of life.

So is "Come on", "Let's go", "Run!" and a dozen other phrases that don't really matter in the long run whether they're cliche or not, as they're believable as something a character in these movies would say in an action sequence. You don't really HAVE to have them say something like "Let us venture this way", "Sprint away!" etc. A little cliche in action dialogue is not a bad thing if it gets the point across in a necessary way. BAD and DISTRACTING cliches are things like recycled plot points, characters, etc. and those are the ones I'm gonna look to correct from your notes above, as I obviously commit this several times. Also, the note about "I thought you were dead" might seem like a nitpick to you, but I think you have a point and it does drag down the script. So that will be amended.

60. That was me being very, very funny. Nevermind that.

Oh... well, I owe you a laugh. Make sure to remind me, or I'm liable to forget.

:D

80. Well, this was about the extensive character exposition after the characters think Grisham (I think) is dead.

Hmmm... still not entirely sure what you're referring to, but I'm going to ASSUME it's after _______ bites it in the reservoir scene, and the part afterward. If so, I can see the problem, but it's really a matter of snipping it down as opposed to the material itself. I personally don't feel it was too extensive in exposition, because I liken it, in spirit, to that bit in Kill Bill: Vol. 2, after _______ is killed and _______ finds that sword in the closet, wherein we find out more about the dead character that actually sheds more light on him than when he was alive, and even though it's a brief bit, it makes his previous departure a bit more tragic. (I used blanks to avoid spoilers, btw, if you haven't seen it)

Not the same type of scene, I guess, but you can understand where that is coming from if you read it again. Since I never mentioned that backstory before, but portrayed the dead character and Brett as close friends during earlier scenes, showing the subsequent anger and near-breakdown of Brett made the death hit home to him, and in turn provides the pivotal turning point in his arc, which is that he grows harder and a TAD more suicidal, and thus more dependent on others. And I liked doing that, because I know going in, most people will equate Brett with the "everyman leader who has to step up and take control" that's always found in these movies, and by the end Grisham becomes more mature (mentally and physically, not in terms of humor, which I know you hate ;):D) and thus the "leader", if you were to pick one.

94. About time we found out what the hell had happened with Russel.

Well, like I said, he wasn't really GOING anywhere, right? Though I suppose I could add a few more little parts that show him WORKING on the vehicle, if that's what you mean.

These page numbers are taken from the draft you linked in your first post in case you want to re-check what I mean. I mean, I bet you want to know what my hilarious joke in page 60 was about.

I'll take your word for it. I'm sure it was hysterical to the nth degree and then some.

...

But not really :D

[Jix]

Ok, read the script.

I must confess that I liked it. You’re a good writer. It would make a good B-movie. Won’t get any Oscar nominations, but which action/horror movie ever got any (don’t answer that). I also have a soft spot for movies where Aliens spawn from their prey, so I’m kinda biased.

Just keep in mind I’m not a professional scriptwriter, so take it all with a grain of salt. That goes the same for X-Nightcrawler’s script (forgot to mention it when I made comments on it and I don’t want to come off like a pompous ass). Also keep in mind that I wrote this review without reading X-Nightcrawler’s comments, so any similarities between the two of us should be seriously considered.

Ok…

I liked some of the plot subtleties, like that first exchange between Donner and Trent in the training hall. It lets some readers/viewers know something’s up without being too pretentious. Some will sense something’s up, most won’t, which is good.

I liked the fact you have more than one type of creature - it gives it a Jurassic Park kind of feel - and how you had a bunch of security teams and groups getting whacked as opposed to one single group getting picked off one by one.

Good dialog, not wooden, free-flowing.

Logical plot (up to a certain point) even if a bit simplistic. The story doesn’t try to be complicated. I like that because I have a tendency to convolute things.

In most cases characters make logical decisions, even though they are limited by their setting (jungle, research facility, sewers and utility rooms).

Ok, onto the negative.

There aren’t enough reasons to set this in the future, especially when the main reason why it shouldn’t be, is a big one: cost of production. Right now, all sets have to be futuristic for the mere effect of being true to the theme, even though there aren’t many moments that REQUIRE the story to be futuristic. All this could be easily set it the present or not-too-distant-future (like Robocop time). You’d just have to change the flashbacks a bit, maybe to an exploration team deep in the Congo finding a new type of fungus, the ships to planes and choppers and you got a movie set in the present.

I’m not an expert scriptwriter but I’d also watch out for expensive sets that can be substituted with something simpler, like the Reservoir. I can imagine the drain scene giving execs nightmares.

In the beginning we see a docking bay full of people, then when Connell asks for some recruits everybody is on leave. Is he being lied to? Why is everybody bumming around on a space station while on leave? Is only the summoned group on leave? It needs to be clarified but it’s not a big deal.

Dialog, though not wooden, is a bit too literal. People aren’t that expressive and witty in real life. Not all the time, anyway. This brings me to the next topic…

Too many wisecracks. It gets heavy after a while to the point that you start to dread when somebody opens their mouth. They even wisecrack at inappropriate moments, like when crashing or being attacked by creatures. Tone it down a bit.

Too many guys sound the same. Connell, Trent, Brett, Grey and Grisham all have the same kind of dry sense of humor. They all sound like they’re spouting lines YOU wrote. Vary it up a bit. Give them a distinct voice. Donner is good, for instance. She sounds like a girl who’s been getting a lot of attention all her life so she doesn’t try too hard to be witty. Trent is the quiet type but he sometimes sounds just like Connell, Brett and Grisham. As for the rest of the marines, they all sound the same.

Korgan dies with a fizzle. I was expecting more when Korgan and Richter were happy Donner and Brett got in the base. I thought they had a plan (you allude to it) then nothing. Korgan makes a dumb decision and dies.

== The Ending ==

Logic takes a bit of a backseat at the end and a few things let me down. It needs a rewrite, imo. Looks like you just wanted to be over done with it.

Not a big deal, but Brett shouldn’t be able to chase a Phoenix away with a few stabs to the arm when the creature is holding on to Donner. We’re dealing with bioweapons, killing machines.

Richter’s decision to go into a Tank to kill one of the remaining Phoenix’s is a bit questionable. He’s almost out in the clear and decides to put himself in harm’s way on the “assumption” that a Phoenix might hitch a ride. And he has to “lure” the creature out to do this, since the creature is nowhere in sight. It’s a bit iffy. Make the threat more imminent, like info on a panel that the ship will only be ready in 10 minutes, increasing the urgency of having to kill the creature. Or make the Phoenix visible, like bashing in a door, trying to get inside the hangar. A scream just isn’t enough and makes Richter seem reckless and stupid.

When Brett runs away from the 4 chasing scaliens, he shouldn’t just turn and shoot them dead. We’re close to the climax. Come on, you can think of something better.

Conversely, ramming the helicopter into the tank to kill some scaliens seems like a waste of good material and it’s a bit over-the-top. I had more expectations for the chopper. Pump the fuckers full of iron from above, dude! You got a chopper!

The mutated Richter... He somehow ends up in a corridor somewhere and kills Gordon. Shouldn’t he be in the hangar, on the tank, with the rest of guys (Grisham, Brett, Russell)? Isn’t that where we last saw him, dying, mutating? How did he slip by everybody in the hangar, being a huge-ass monster and all?

Last fight scene... Why not end the story with a fight between the mutated Richter and the boys? The story leads us to believe that will happen, and then nothing. It ends with in an awkward fight with a Phoenix inside the ship. You see the knife coming a mile a way, you got bulky, flying gas tanks, a Russell that seems out of place, a Phoenix that just stands there like a dumb shit taking abuse and a weird decision to have Grisham throw the last knife, even though Brett is the knife expert. In all, the ending seems rushed.

Also, wasn’t the last Phoenix loaded into the frigate Trent escaped in? Or did Trent escape in the other frigate? You need to clarify it.

I’d rewrite the whole ending from the point where Richter loads the Phoenix into the frigate.

== The Characters ==

THE GOOD:

- Donner’s death was emotional and I actually felt sorry for her;
- Richter seemed like an ass you wanted to see die;
- Trent came off as a badass;
- Grisham was effectively obnoxious;
- Brett seemed cool and I wanted to bang Donner even though you didn’t describe her physical traits much.

THE BAD:

- I didn’t like Korgan’s evolution. He started out strong then fizzled out into oblivion.
- Gordon deserved more at the end. You kept him alive for so long only to cut his death scene.
- Connell was a weak character. He didn’t assert his authority enough to give him credibility. He just sounded like one of the boys.
- Russell and Elliott were forgettable. They offered nothing to the story.
- I’m surprised you kept Russel alive at the end.

Other than that, I liked it. It’s not bad. Keeps you interested.

Good work.

[syxxpac]

Holy shit, that was awesome. Along with X's comments, I've got a lot to work with for the next rewrite.

Thanks a lot :cool:

Btw, I've been meaning to get around to your Alien 5 script for a while now, I just haven't found the time, but now I'm definitely gonna repay the favor soon.

[Jix]

Yeah, well, when you do, don't mind the formatting. I wrote it knowing I'll be the only director ever to have a whack at visualizing the story, so there's a bit too much camera directing in my script.

[X-Nightcrawler]

Originally posted by Jix
There aren’t enough reasons to set this in the future, especially when the main reason why it shouldn’t be, is a big one: cost of production. Right now, all sets have to be futuristic for the mere effect of being true to the theme, even though there aren’t many moments that REQUIRE the story to be futuristic. All this could be easily set it the present or not-too-distant-future (like Robocop time). You’d just have to change the flashbacks a bit, maybe to an exploration team deep in the Congo finding a new type of fungus, the ships to planes and choppers and you got a movie set in the present. I always thought that it was being set to the future as a fallback theme of technological advancements and how they can backfire. Sure, I guess the theme isn't necessarily played out strongly througout the story, but that was good enough a reason. For me anyways.