The Ghosts Of Mars Full Movie In Hindi Free Download Hd
Berry Spitsberg
Ghosts of Mars (titled onscreen as John Carpenter's Ghosts of Mars) is a 2001 American space Western[3] action horror film written, directed and scored by John Carpenter. It was produced by Screen Gems and distributed by Sony Pictures Releasing. The film stars Natasha Henstridge, Ice Cube, Jason Statham, Pam Grier, Clea DuVall, and Joanna Cassidy. Set on a colonized Mars in the 22nd century, the film follows a squad of police officers and a convicted criminal who fight against the residents of a mining colony who have been possessed by the ghosts of the planet's original inhabitants.
Desolation's associates soon arrive and force Ballard and Butler to release him. While they originally plan on leaving the officers and remaining miners to die, Ballard convinces them to work together to survive. Their initial effort to escape is halted when the army of feral miners converge on their position, killing, injuring and infecting several of their number. Confronted by Ballard, Whitlock eventually explains that she fled from her post after discovering an ancient underground vault created by an extinct Martian civilization. When the door to the vault was opened, it released hostile spirits or "ghosts", which took possession of the workers, causing their violent behavior. Killing a possessed human merely releases the Martian spirit to possess another host. Ballard surmises that these Martian spirits believe humans to be an invading race. Ballard is briefly possessed until Butler feeds her a hallucinogenic drug, which forces the Martian spirit to leave her body.
The mining camp seems empty when the cops arrive. Henstridge is joined by Helena (Pam Grier), Bashira (Clea Duvall), Jericho (Jason Statham) and Uno (Duane Davis). They start finding bodies. Desolation is still in jail, proving he could not be the killer, and eventually a survivor named Whitlock (Joanna Cassidy) tells the story of how the miners found the entrance to a long-buried tunnel. It led to a door which, when merely touched, crumbled into dust and released, yes, the ghosts of Mars. They possessed humans and turned them into killing machines, to take, she says, "vengeance on anyone who tries to lay claim to their planet." That's the setup. The payoff is a series of well-staged action sequences, made atmospheric by the rusty red atmosphere which colors everything. At one point the cops barricade themselves inside the mining camp's police station, which will remind Carpenter fans of his first feature, "Assault on Precinct 13." There is also something about the ghoulish way the possessed miners lurch into action that has a touch of the Living Dead movies.
carpenter wanted to make a classic style monster/space movie. so he did take alot of features from older B movies about bot monsters and mars.
i watched and interview about the movie
personaly i didnt think it was that great
I didn't really like GOM, dunnow the decors were not that good and a poor plot. For a mars movie yep Total Recall was really excellent.
Would be nice if we had a Doom movie once, Resident Evil one was pretty good in my opinion.
In short, there is no evidence Ghosts Of Mars started life as another Snake Plissken adventure and it's almost certainly a rumor. The last word on the topic should go to the movie's producer and John Carpenter's wife Sandy King Carpenter, who responded with a simple "No" to a fan asking the same question on Twitter. While it might have been fun to see Kurt Russell's Snake fighting Martian ghosts, it appears that was never the plan.
Statham was reportedly up for the main role of convict Desolation Williams in Ghosts Of Mars, though the studio didn't think he had the star power to sell the movie. Ice Cube took on that part, while Statham was instead cast as Officer Jericho. The movie takes place on a terraformed Mars in 2176 and sees a group of cops and criminals defending themselves from a horde of miners possessed by vengeful Martian ghosts. In addition to providing Statham with his first onscreen kiss - courtesy of Species' Natasha Henstridge - it was also an early indicator of his action prowess.
Scott, If we knew nothing of Carpenter's views, I would assume that the film was either (1) done exactly as I say, i.e. premised on the idea of a feminist world but the director had no idea how to represent that except for a handful of lines of dialog and casting women in the leadership roles, which lines reveal how confused he was, or (2) that this was essentially the director's attempt to make a science fiction S&M/Female Domination fantasy but almost all of those scenes ended up on the cutting room floor when the producers saw the mess he created.
I would not assume he was making the point that women can be just as bad as men. That doesn't come across as his intent at all.
To give you a sense of how poorly this film was done, the last two lines in the film have Ice Cube breaking the blonde chick out of jail and telling her that the ghosts have arrived in the main city. He says, "Let's go kick some ass." She responds, "That's what we do best." Only, they got their asses kicked. They did not win, they only escaped. Moreover, they learned they can't kill the ghosts. So basically, those two lines nullified the whole prior adventure. That's how poorly this thing is written.
I like They Live a lot, despite its politics.
Stuart had a clear vision for the cover. And as I hadn\u2019t read the story, I was happy to follow his direction. Above you can see the initial mock up he put together for me. The main character, Eva, would be front and foremost on the cover. She would need to be in a white, sterile colony base, with the Martian landscape behind her. The window would be split into three panels. The ghosts on the left, the rest of the colony in the middle, and signs of an oncoming dust storm to the right. The snake in the foreground was also an important detail to include. I was excited to draw all these elements and get them working as a scene. I had certainly never drawn a Martian landscape before!
After the murder of the team leader Helena Braddock, Ballard has to take her place. She learns from a survivor that the miners in the outpost had discovered an underground doorway created by an ancient Martian civilization. When the door was opened, it released disembodied spirits or "ghosts", which took possession many of the miners, who now behave savagely and begin to kill everyone else, because they see them as an invading species that has to be wiped out so that the planet will be theirs again.
After that she reports what happened to her superiors, but noone believes her. Later it turns out that the quest to stop the ghosts has failed. They now attack the capital and Williams and Ballard join forces again to survive.
Ghosts of Mars (USA, 2001)
Directed by John Carpenter
Starring Natasha Henstridge, Ice Cube, Jason Statham, Pam Grier
The 1990s were a bad time for John Carpenter. Having returned to form with They Live, the man who was once the king of low-budget horror served up a series of disappointments, from the Near Dark rip-off Vampires to the witless Escape from L.A.. But none of these misfires incite such fury and frustration as Ghosts of Mars, one of the lousiest, stupidest and worst thought-out movies outside Michael Bay's back catalogue.For starters, Ghosts of Mars looks really, really cheap. At a budget of $28m, it was among Carpenter's more expensive efforts, and yet it looks for all the world like it was made for less than a tenth of that. The film was shot in a gypsum mine in New Mexico, with all the rocks being painted red to make it vaguely resemble a Martian settlement. Every scene bar one is shot at night, in a move designed to disguise this low-tech approach but which only serves to emphasise it. The film's aesthetic is worryingly similar to Vampirella, a little-known 1990s turkey starring Roger Daltrey as a renegade vampire who lays low on Earth by posing as a rock star.The story of Ghosts of Mars finds Carpenter shamelessly ripping off his back catalogue. The idea of prisoners and cops constantly changing sides and teaming up to fight a greater foe is taken from Assault from Precinct 13, but with all the intelligence and social commentary taken out. The idea of ancient ghosts being bent on revenge is from The Fog, and the manner in which people become possessed by these ghosts is like a cross between The Thing and Prince of Darkness.
Ghosts of Mars also rips off at least a dozen other films, borrowing their respective styles at the expense of their collected substance. Being an action movie set on Mars with horror overtones and lots of violence, there is a natural comparison with Total Recall. But whereas Paul Verhoeven was able to use flesh-ripping violence to draw an audience into the story, Carpenter borrows the full-on gore and doesn't use it for anything other than shock value.The designs of the Martian base are not original either. With the angular sandy buildings and metal doors with circles in the middle, they look exactly like Tatooine at night. It's almost as though George Lucas met Carpenter for lunch, agreed to lend him the sets and had them shipped to New Mexico. There are other Star Wars knock-offs too: the sequence of the soldiers breaking into the power station is unforgivably close to Return of the Jedi, where the rebels break into the shield generator on Endor. Add in some grimy interiors from the Alien series and possessed miners who are somewhere between Braveheart and Mad Max, and you have one desperately derivative movie.The problem is not simply that Ghosts of Mars is made of seriously well-worn parts. There are dozens of films made each year which use familiar genre tropes and make for passable if forgettable viewing. The problem with Ghosts of Mars is that it is completely stone-faced about its place in the genre. It doesn't show contempt for science fiction or action-adventure, but it takes itself deadly seriously when what it should be doing is having fun. It is to Total Recall what Xanadu was to Flash Gordon: po-faced, naff, and completely misjudged.The story of Ghosts of Mars is almost non-existent. There is the thinnest of plots involving the transport of a dangerous convict from A to B, which is complicated by the fact that evil ghosts which used to live on Mars have been released from a mine. But the film ignores or dismisses every possible chance to spice things up, trotting through the backstory of how the ghosts got there and throwing away a potentially interesting idea about Mars being run by a matriarchal society. Such nuggets are treated like the dust on the planet's surface: characters ignore it as best they can and see it as a nuisance when it gets in the way.In the absence of any real story, the plot plays out like a video game. Every five minutes there has to be a big action sequence where faceless miners get killed, beaten or blown. And because killing the miners will just unleash the ghosts to possess someone new, there is an endless supply of cannon fodder on which the protagonists can empty their magazines in ever-more pointless shootouts. We keep going round and round in circles until the train arrives, and as soon as our heroes are on the train, one of them insists on going back to try and blow them up!The stupidity of Ghosts of Mars can be seen in its numerous plot holes. If the ghosts are indeed ghosts, how come they cannot pass through walls and doors: what is it about them which make them need to possess humans? And if they need human hosts to survive, what was keeping them 'alive' before the seal on the mine was broken? Were there other creatures on Mars before humans arrived that the ghosts preyed on? What caused them to be ghosts in the first place? Why are they here?!Then there are various technical questions about Mars itself. Martian gravity appears to be the same as it is on Earth, but there is no attempt to explain this via some kind of 'gravity field generator' or other such device. The planet has only been partially terra-formed, and yet the film expects us to believe that characters can tolerate this by wearing the kind of safety specs worn by A-Level chemists. None of the weapons seem to have been customised or built specifically for Mars, and despite there being less oxygen in the air, the fireballs are every bit as big as they would be on Earth.When Carpenter made Assault on Precinct 13, he was very careful to focus on the ethics of law enforcers trusting criminals with their guns. He kept the number of times that guns changed hands to a minimum, so that the claustrophobic tension would not be compromised. Ghosts of Mars is almost a parody of film shootouts in its complete disregard for common sense. There's barely a scene involving Ice Cube where the tables aren't turned or people pull out guns they never had before. This idiocy culminates in a scene where the criminals have their weapons confiscated, only to be armed with new ones seconds later.The acting in Ghosts of Mars is universally bad. Ice Cube plays a caricature of himself, attempting to exude attitude via scenery chewing but ending up as little more than obnoxious. Natasha Henstridge, who was cast at the last minute, seems to have only one facial expression and has no chemistry with her co-stars. Because the whole film is narrated by her in flashback, we already know that she will survive: there is no tension or reason to care, and because she is the only one found on the train, all the other characters are expendable.The supporting cast fare no better. Jason Statham tries his best but is nowhere near as enjoyable as The Transporter series, or even his brief appearance in Mean Machine. Pam Grier turns up to give the film some kind of genre credibility, but before long the script deems her unnecessary and she literally loses her head. Worst of all is Joanna Cassidy, most famous for playing Zhora in Blade Runner. She spends half her time bouncing off the walls pretending to be mad and half the time staring blankly into space, wondering what happened to her career.To say Ghosts of Mars is an abject failure would be doing a disservice to abject failures. It is easily the worst film of Carpenter's career, containing none of the wit, substance, polish or ambition of his heyday. The characters are paper-thin and dull, the acting is terrible, the script is weaker than dishwater and the direction is almost non-existent. It ranks alongside Captivity as an example of a once-great director hitting rock bottom, and is nothing short of dull, dumb and deeply depressing.
Rating:
Verdict: Mind-numbingly terrible