Riddick Contact Lenses – Riddick Trilogy (Pitch Black/ The Chronicles of Riddick: Dark Fury/ The Chronicles of Riddick) – Big guys
Riddick Contact Lenses
- contact lenses
- (contact lens) A thin lens, made of flexible or rigid plastic, that is placed directly on to the eye to correct vision, used as an alternative to spectacles, or, if coloured, to change one's eye color cosmetically
- (Contact lens) Small, thin removable plastic lens worn directly on the front of the eyeballs, usually used instead of ordinary eyeglasses for correction or protection of vision.
- (contact lens) contact: a thin curved glass or plastic lens designed to fit over the cornea in order to correct vision or to deliver medication
- (Contact lens) A small plastic disc containing an optical correction that is worn directly on the cornea as a substitute for eyeglasses.
- riddick
- Richard B. Riddick (played by Vin Diesel), more commonly known simply as Riddick, is the protagonist of three films in the Riddick series, namely Pitch Black, The Chronicles of Riddick, and the animated movie '. He is also the star of two video games based on the series; ' and ''''.
Pitch Black
Owing a major debt to Alien and its cinematic spawn, Pitch Black is a guilty pleasure that surpasses expectations. As he did with The Arrival, director David Twohy revitalizes a derivative story, allowing you to forgive its flaws and submit to its visceral thrills. Under casual scrutiny, the plot’s logic crumbles like a stale cookie, but it’s definitely fun while it lasts.
A spaceship crashes on a desert planet scorched under three suns. The mostly doomed survivors include a resourceful captain (Radha Mitchell), a drug-addled cop (Cole Hauser), and a deadly prisoner (Vin Diesel) who quickly escapes. These clashing personalities discover that the planet is plunging into the darkness of an extended eclipse, and it’s populated by hordes of ravenous, razor-fanged beasties that only come out at night. The body count rises, and Pitch Black settles into familiar sci-fi territory.
What sets the movie apart is Twohy’s developing visual style, suggesting that this veteran of B-movie schlock may advance to the big leagues. Like the makers of The Blair Witch Project, Twohy understands the frightening power of suggestion; his hungry monsters are better heard than seen (although once seen, they’re chillingly effective), and Pitch Black gets full value from moments of genuine panic. Best of all, Twohy’s got a well-matched cast, with Mitchell (so memorable with Ally Sheedy in High Art) and Diesel (Pvt. Caparzo from Saving Private Ryan) being the standouts. The latter makes the most of his muscle-man role, and his character’s development is one more reason this movie works better than it should. –Jeff Shannon
Dark Fury – The Chronicles of Riddick (Animated)
Taking a page from The Animatrix, Dark Fury is part of a new trend of bridging theatrical sequels. As an official product of a franchise, the 35-minute anime benefits from having the original actors voice the characters, including Vin Diesel as Riddick. This story opens with the new action hero and the two other survivors of Pitch Black already caught by a giant spaceship filled with dread. The sinewy leader has a unique–and creepy–jail for master villains and she has her sights set on Riddick. The film–indeed the series–is indebted to animator Peter Chung, who brings his techno style from his Aeon Flux series. His smooth animation for Riddick doesn’t reinvent the character as much as give him a new, appealing fluidity. As anime goes, there’s nothing really new here–plenty of action, cool killers, and dramatic spurts of blood–but it’s a building block for how this genre might enliven movie series and sequels in the future. –Doug Thomas
(12)
Bigger isn’t always better, but for anyone who enjoyed Pitch Black, a nominal sequel like The Chronicles of Riddick should prove adequately entertaining. Writer-director David Twohy returns with expansive sets, detailed costumes, an army of CGI effects artists, and the star he helped launch–Vin Diesel–bearing his franchise burden quite nicely as he reprises his title role. The Furian renegade Riddick has another bounty on his head, but when he escapes from his mercenary captors, he’s plunged into an epic-scale war waged by the Necromongers. A fascist master race led by Lord Marshal (Colm Feore), they’re determined to conquer all enemies in their quest for the Underverse, the appeal of which is largely unexplained (since Twohy is presumably reserving details for subsequent “chronicles”). With tissue-thin plotting, scant character development, and skimpy roles that waste the talents of Thandie Newton (as a Necromonger conspirator) and Judi Dench (as a wispy “Elemental” priestess), Twohy’s back in the B-movie territory he started in (with The Arrival), brought to vivid life on a vast digital landscape with the conceptual allure of a lavish graphic novel. But does Riddick have leadership skills on his resume? To get an answer to that question, sci-fi fans will welcome another sequel. –Jeff Shannon
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