EXCLUSIVE: After revisiting his classic Alien with the upcoming 3D Fox film Prometheus, Ridley Scott is committing to direct and produce a film that advances his other seminal and groundbreaking science fiction film from the past. Scott has signed on to direct and produce a new installment of Blade Runner. He’ll make the film with Alcon Entertainment, producing with Alcon partners Broderick Johnson and Andrew Kosove. This would be the most high profile project for Alcon since The Blind Side. They got control of the franchise earlier this year, but it's a whole different ballgame with Scott at the helm.
I’m not getting a clear sense at this point whether Scott intends to do a sequel or a prequel to the 1982 film that was loosely based on the Philip K. Dick novel Do Androids Dream of Electric Sheep? Also unclear is whether they start fresh or reach out to Harrison Ford. The original took place in dystopian Los Angeles in 2019, in which organic superhuman robots called replicants escaped and are hiding somewhere on earth. Ford played Richard Deckard, a burnt out blade runner assigned to hunt them down. His tired life gets altered when he himself falls for one of the replicants and struggles to keep her from being destroyed.
The film was not a blockbuster when first released--it grossed $32 million in its original run--but the film has gained esteem over time. From the bleak but breathtaking visuals to the complex storyline and themes of mortality, Blade Runner became a classic. There has periodically been talks of doing a sequel but those never really went anywhere. After injecting state of the art 3D in reviving Alien, imagine what Scott can do with Blade Runner? Now, the filmmaker is ready to engage. Alcon has its output deal with Warner Bros, which remastered and released a 25th anniversary version on DVD and Blu-Ray in 2007. Warner Bros made the original film.
This is just the first step and the project will have to be written and it will likely evolve during that process. That's what happened on Alien, which began as a prequel to his 1979 classic. That changed when Lost's Damon Lindelof came in with a different take on the subject matter that imprinted on Scott and Fox executives. They wound up making Prometheus, which Fox considers an original but which I've heard is a cousin to the original Alien franchise. That film will be released June 8, 2012, with Charlize Theron, Michael Fassbender, Noomi Rapace, Patrick Wilson, Idris Elba and Guy Pearce starring. Scott is repped by WME.
Here is the original Blade Runner trailer:
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Typecasting is death in Hollywood. If you keep doing the same kinds of roles over and over A) you’ll go insane and B) people will get sick of your shit. But the sad paradox of Hollywood is that once you’ve established yourself as one kind of actor, you’re basically stuck that way because that’s all people will send you scripts for, turning the whole thing into a spiral of bullshit.
It’s extremely difficult to break out of, and it’s ended numerous careers. (Some for the better.) Some actors get fed up with it, and then you get the roles where those actors try to break out of their type (often unsuccessfully) and as time goes by they end up looking like movies from some creepy alternate dimension or something.
But what’s also weird is going back through an actor’s early filmography and finding insane gems where they’re going totally against their later-established type. For some more famous examples, just look at Keanu Reeves in the Bill & Ted movies or Sean Penn in Fast Times at Ridgemont High. Neither of those guys would even put their cigarette out on those scripts now, and that’s what makes seeing them in those roles hilarious.
So now, in a far from comprehensive list, we’re going to look at some of the weirdest roles that actors have done outside of their typical repertoire.
Bruce Willis in Death Becomes Her
You may already know that pre-Die HardBruce Willis was a comedic television actor on a series called Moonlighting. Post-Die Hard, he was Bruce Fuckin’ Willis, action star and all-around genuine American badass. Later, thanks to Pulp Fiction, he became Bruce Willis, well-rounded dramatic actor and still occasional action/comedy star. But tucked in-between the first two Die Hard movies was an earlier attempt to break out of his John McClane-induced Hell, a black comedy called Death Becomes Her.
Again, comedy roles were nothing new for Bruce, but what’s weird about this one is the fact that his character is a massive, massive dweeb. You want to reach through the screen and give his nebbish plastic surgeon character a wedgie the minute you see him. At least when he played a shrink in The Sixth Sense, you still got the feeling he could kick an ass or two if it came down to it.
Seth Rogen in Donnie Darko
When you think of Seth Rogen, you think of the doofish guy who sold you weed in college, because Seth Rogen probably really did sell you weed in college. (This is true even if you’ve never smoked weed or been to college in your life.) He’s the best buddy character in like, 90% of comedies released in the last five years. He even made The Green Hornet into a bromance, for God’s sake.
But before all of that, he played a fairly minor role as a total jerk-ass bully in Donnie Darko. It’s such a small part that it probably wouldn’t even stand out, except that he’s the guy who ends up uttering the (in)famous line “I like your boobs,” to a girl he’s taunting. Really, Seth? Now that is some smooth talking. Get you some, big fella.
Vince Vaughn in Psycho
Vince Vaughn is a man who wears many hats: Idiot man-child in Dodgeball, guy who used to slum around in Jon Favreau movies before Favreau started doing stuff like Iron Man, guy who got to schtup Jennifer Aniston in real life, guy who’s only done like five movies since he stopped schtupping Jennifer Aniston, and so on.
But in Gus Van Sant’s ill-advised Psycho remake, Vince Vaughn got to play none other than Norman Bates himself. And the weirdest part? He’s actually really good at it. Like, holy shit, that guy is terrifying. Just seeing how weird Vaughn is in the role is pretty much the only thing about that remake that makes it kinda worth watching. Unless you like seeing otherwise talented actors trying to channel forty-year-old performances, I mean.
Betty White in Lake Placid
Betty White has seen a kind of resurgence of late, thanks to weird, nostalgic people on the internet. Before social media campaigns turned her into an odd, charming old woman, she was… an odd, charming old woman. Okay, obviously nothing’s changed. Betty White‘s pretty much always played the kooky elderly woman role, something she seems to do in real life as well. When we watch Betty White, it’s like she’s not even playing a role. That’s just her on screen, being herself.
She’s kinda like your grandma, except famous and she didn’t lock you in cupboards when you misbehaved as a kid. That’s why it’s kinda odd to see her in a movie like Lake Placid, playing a woman who claims to have murdered her husband, feeds and cares for a gigantic crocodile, calls people things like “fuck-meat”, and tells a police officer to suck her dick. That’s more like the grandma most of us know. (It’s just a joke, grandma. Don’t lock me in the cupboard.)
Michael Madsen in Free Willy
Approximately 99% of people only remember the following about Free Willy: Michael Jackson. Whale. Cover art. That’s it. That’s why it may very well blow your mind to discover that Michael Madsen is totally the kid’s dad in that movie (and then it will be further blown when I tell you that that kid is now 31 years old). And he’s not an ex-cop dad who beats his kids, or a crazy dad who sits around with a shotgun. No, he’s totally a supporting, loving foster dad. This is the same Michael Madsen who played an ear-cutting jewel thief in Reservoir Dogs and Bill’s loser brother Budd in Kill Bill.
Sadly, the only decent footage on YouTube is a 3 second scene where he punches the bad guy (played by Michael Ironside) toward the end of the film. Just watch it and pretend that it cuts away before he ties the guy up and drops a car battery on his junk for an hour.
Ronald Reagan in The Killers
Good old Uncle Ronnie’s become a bit of a legend these days. The current crop of American conservatives love to reference him and his policies to win points with the Baby Boomer generation. Naturally, no one’s forgotten that President Reagan was once a popular film star, although most folks will probably tell you that he spent a lot of time doing Westerns and kissing monkeys, nothing real crazy.
However, in 1964′s The Killers, Ronald Reagan did something he had never done before or since: he totally played a bad guy. (Keep it down, grouchy, politically-minded people. We’re all just here to talk movies.) And not just any bad guy, either– he played a ruthless, bad ass mob boss, the kind of guy who was apparently okay with giving a dame what-for when she got too mouthy or whatever. Poor examples of gender relations aside, Reagan actually did a fairly impressive job. If that whole “politics” thing hadn’t worked out for him, he could have been Robert DeNiro before there even was a Robert DeNiro.
Sir Alec Guinness in Murder by Death
Sir Alec Guinness (The “sir” is mandatory) is known for a single role more so than anyone else on this list: Jedi Master Obi-Wan Kenobi. A father figure to millions of lonesome, sweaty nerds, Obi-Wan is the embodiment of calm, peaceful wisdom. He is Luke Skywalker’s and, by proxy the audience’s, first real glimpse at the vast universe of the Star Wars saga.
But what a lot of people outside of England don’t realize is that Sir Alec was an accomplished actor for many decades before being cast as Obi-Wan. And, in perhaps one of his oddest roles, he played a blind butler in Murder by Death, a slapstick comedy written by Neil Simon. Most of his laughs in the film come from his interactions with the deaf-mute maid, as seen in the clip above. It’s kind of disconcerting to see him unable to use Force Sight to find his way around.
Lucasfilm and Cartoon Network have announced that Star Wars: The Clone Wars – Season 4 will premiere on Friday, September 16th at 8:00pm. The new season, referred to be the title "Battle Lines", will debut with a one-hour premiere, comprised of two episodes: "Water War" and "Gungan Attack," which are the first two parts of a three-part aquatic-themed story arc, which includes The Clone Wars debut of Captain Ackbar – before the Mon Calamari leader becomes the trap-phobic Admiral we know from Return of the Jedi.
A new trailer for The Clone Wars has been released as well, hinting at some very epic events in the new season, including glimpses of Ahsoka vs. Death Watch and Asajj Ventress taking on General Grievous - along with more of a focus on Anakin Skywalker taking some turns that, well… We just don't think will end well. Check it out below!
A transvestite who’s married to a pornographer may be an odd inspiration for one of the summer’s biggest kids movies, but you just have to scratch the surface a little bit more to find out what’s right under your nose.
Robert Rodriguez’s Spy Kids films have always been “a scrappily innovative series,” says the director. The premise alone made the first film a hit. The second was the first time Rodriguez gave up film to shoot in digital. The third helped to usher in the current bonanza of 3D movies. So when it came time for the next instalment, Rodriguez knew he had to kick it up a notch.
“When it came time to do Spy Kids 4, I thought, we can’t just go do 3D again. We have to keep with the [innovative nature of] the series. Like Nigel Tufnel would say in Spinal Tap, ‘One louder! We have to do one more thing and go to 11!”
And that’s when the pornographer and the transvestite entered the picture. Well, more like they wafted into Rodriguez’s mind. Thinking of ways to maintain the series’ tradition of innovation, Rodriguez says he remembered the 1981 John Waters film Polyester, about a transvestite who is married to a pornographer, yes, but more importantly a film in which the audience was able to experience various smells from the movie – including roses, flatulence, skunk, gasoline and dirty shoes – thanks to scratch ’n’ sniff cards.
Waters called the technology that accompanied his movie Odorama. Rodriguez has dubbed his Aroma-Scope.
“The idea itself was really fun and easy to do. I wanted to do something in 4D where again the audience got something for free … and it would just be an added value to the movie and an added experience,” Rodriguez says.
While Aroma-Scope is being put front and centre in the film’s marketing, even Rodriguez says it’s not something that’s likely to become a trend at the movies. Judging by the long history of failed attempts to make smells an added dimension at the movies, there’s a very good chance he’s correct. But there’s no doubt that olfactory gimmicks such as this one fit well within children’s movies, and with films reaching the limit of what’s visually possible, some believe there’s a chance smell-o-vision could become film’s next frontier – if only we could get the technology right.
“It’s a fun one-off. We’re not going to convert all of our movies and all of our cinema experience to having a smelling component any time soon,” says John Fithian, president of the U.S.-based National Association of Theatre Owners.
Rodriguez himself doesn’t expect smells to be swirling through many movies. “I think this is very particular,” he says.
But plenty of films have tried, and failed, to give a pungent push to that other dimension.
“This idea has been around since practically the inception of movies,” says Patrick Kiger, co-author of Oops: 20 Life Lessons from the Fiascoes that Shaped America. In 1906, for instance, a theatre in Pennsylvania dipped cotton wool in rose oil and put it in front of an electric fan during a newsreel about the Rose Bowl.
Waters’s film was a sly parody of Scent of Mystery, a film that introduced an invention billed as “Glorious Smell-O-Vision” in 1960. “First they moved (1895)! Then they talked (1927). Now they smell!” proclaimed ads for the movie. Various smells were pumped into the theatre during the movie: freshly baked bread, a salty ocean breeze, pipe tobacco.
Problem was, the movie wasn’t all that good, and the odours often reached viewers well after the action on screen, and was accompanied by a hissing sound.
“It’s an old idea, but it’s been difficult to find a way to do it effectively over the years,” Kiger says.
Other movies have tried, however. In 2003, the makers of Rugrats Go Wild claimed the scratch ’n’ sniff cards viewers inhaled during the movie were an homage to Waters. In 2005, Japanese theatres presented the Colin Farrell flick The New World with smell. The scents were emitted from under the audience’s seats, with a floral smell accompanying love scenes and a mixture of rosemary and peppermint hitting one’s nose during the film’s tear-jerker moments.
Aroma-Scope will see audiences given a card that has eight smells. When a number flashes on screen, you rub the corresponding number on the card and take a whiff, explains Rodriguez. “There’s some really great smells, really rich smells. And then there’s some surprising smells,” he says. “We have a spy baby and a spy dog, so you can imagine that the smells get pretty out there.”
While it’s not likely to be part of more mature movies any time soon, it’s ideal for children, especially a generation that has grown up expecting interactivity.
“This kind of helps bridge that gap I think between watching a movie and being part of it,” Rodriguez says. “Kids identify so much with these kids on screen. Anything that makes them feel more like a part of the action, more like they’re doing the same thing as the kids on screen, it really helps create that bond even stronger.”
With film pushing the limits of what’s visually possible, scent may be the next frontier, Kiger says.
“We’ve reached the point I think where there’s so much overkill with visual imagery that it’s impossible to wow people any more,” he says. “Once people reach a threshold where you can’t do anything more visual that’s going to amaze them, maybe you’re going to need all these other things.”
Rodriguez jokes that he could do a Machete movie in Aroma-Scope. And though for the moment it’s simply a neat way of making a kid’s movie a little more enjoyable, he doesn’t rule out the possibility filmmakers may be going after our noses down the road.
“This is something just really fun. It’s in the arsenal now, though.”
We really hope the war ends soon. For one, we want our troops home and safe, as soon as possible. But, as an on-the-side benefit, we'd really like to put an end to those damn war movies that keep coming out. From dramas like Lions For Lambs and The Hurt Locker, to gritty documentaries like Restrepo and No End In Sight, to savagely critical works like Fahrenheit 9/11 and Starship Troopers, it seems like more and more sandy and depressing war movies are taking over our cine-
What?
Yes, Starship Troopers. The campy anti-war satire about a race from a distant, desert land, who out of nowhere strikes a civilian target in a way we didn't think was possible, leading to heavy-handed patriotic propaganda, and a headlong rush into a war with a poorly thought-out strategy that results in a quagmire. You don't have to agree with the message to get that it's clearly a satirical send-up of the War on Terror. If anything, it's too on-the-nose.
What's that, you say? The movie was made in 1997, four years before 9/11? Hmmm. That is a problem. We mean, we're not saying Paul Verhoeven traveled forward in time and then traveled back to film a commentary on a future war (because that would be an absolutely HORRIBLE waste of time travel), but... well, yeah, maybe we're saying he did that. Look how they line up:
#6.
The Attack
In The Film:
The movie follows Johnny Rico, a dumb jock from a weirdly Aryan-looking Buenos Aires of the future, as he signs up for the Mobile Infantry to protect the human race from the Arachnids, hive-minded, insectoid aliens. The war Johnny is training for is purely theoretical for the first 50 minutes of the film and then, suddenly, war is declared. What's the trigger? An asteroid strike on Johnny's home city of Bueno Aires, which destroys the city and kills over eight and a half million people. This, for the humans, is an absolute shock to the system, a blow made all the more devastating by the fact that the Arachnids don't have a colony within fifty thousand light years of Earth.
In space terms, that's this much.
That they shot an asteroid from halfway across the galaxy and managed to hit, not only another planet, but the planet they actually aimed at, is not just impressive, its goddamned miraculous. Especially considering that the Arachnids don't seem to have much knowledge of math and interstellar travel -- their species spreads to other planets by shooting their spores into space and hoping for the best. In fact it's so amazing that it's either a plot hole or a surprisingly subtle plot point- there's a theory among Starship Troopers fans that the attack was either a random collision that the government used as an excuse for war, or a deliberate attack by the government on its own people to justify attacking the bugs.
Either way, humanity promptly loses its shit and declares war on all bugs everywhere.
"Well this seems easy enough."
In Real Life:
You can see right away how the plot mimics real events. Before 9/11, the threat of Islamic terror was lingering out there, but wasn't immediate -- just like the bugs in the movie. Then there's an attack on a civilian target that comes as just as much a shock to the system, as it demonstrated a capability no one thought the terrorists had. The US promptly lost its shit and declared war on the very notion of terrorism, entering into an armed conflict against an abstract concept like only America can.
"And after we beat Terrorism, we're gonna beat Drugs! Then we're going to take on Sadness!"
There are some crucial differences between the movie and real life. For one thing, plus, in war time here on Real Earth, Denise Richards is probably the last person we'd call for support, (assuming the war was not being fought by boners).
"We need at least six more boners to the frontline. Richards, get out there!"
Also, 9/11 was obviously not some random coincidence or inside job. Sure, in a shitty movie, fans will wildly speculate all the time and talk about how the government attacked Buenos Aires on purpose and blamed the bugs, but no one in real life would look at 9/11 and whip up a bunch of crazy, nonsensical, conspiracy theories about "what really happened, right?
The humans quickly mobilize to destroy the Arachnids, sending their space fleet to the Arachnid homeworld of Klendathu. They recklessly charge in, with little thought given to tactics or battle plans. And so what? The enemy is bugs. Who needs tactics?
"I need a really big magnifying glass, stat!"
Well, the bugs have other ideas. Turns out there is one breed of Arachnid that can unload a huge, steaming pile of blue plasma right on into space. Though they don't have sophisticated aiming capabilities, just squirting plasma upwards makes short work of a few human spaceships, while the Arachnid foot soldiers for the Mobile Infantry to retreat in panic from an enemy who was better prepared, better armed and in greater numbers than they expected.
"The giant, armored bugs are defending themselves somehow!"
But this movie is crazy, it was directed by the guy who directed Showgirls. No real military would be as misinformed and unprepared as the military in a move about fighting massive, shrieking bug-monsters, right?
In Real Life:
Operation Anaconda was the first major engagement of the War On Terror. The idea was to attack a force of around 200 Al Qaeda soldiers in the Shahi-Kot Valley from the west, causing them to flee into the waiting arms of more US soldiers in the east, in what's known as a "Hammer and Anvil" strategy.
Just one problem: Al Qaeda did not flee, but stood their ground.
Just one other problem: There were not 200 enemy soldiers in the valley; there were up to five times that amount.
Just one further other problem: the US military planners had assumed the enemy were armed with machine guns; they actually had mortars, rifles and rockets, and the planners assumed that Al Qaeda were in the valley, (they were in caves in the mountains surrounding the valley), and a convoy broke off from the main "TF Hammer" force to reach an observation point they'd been assigned to. And an AC-130, which was supposed to be providing firing and recon support during the battle thought they were an Al Qaeda convoy and attacked them. This friendly fire battle resulted in the first casualty of the operation.
The rest of TF Hammer came under heavy mortar fire from the prepared and entrenched Al Qaeda, and their air support turned out to consist of six bombs, and their attack didn't actually make it into the valley, meaning that TF Anvil, arriving via helicopter, did not close the trap as had been intended, but instead found a trap closing around them, as they were attacked by an enemy who was better prepared, better armed, in greater numbers, and from a better-fortified position than they expected.
No word on whether they had massive pincers and exoskeletons.
#4.
Shock and Awe
In The Film:
After being unpleasantly surprised by the Arachnids' willingness to fight back and defend their home, the human military in Starship Troopers come up with a new battle plan: "Fleet glasses the planet, MI mops up." Basically, rather than wading in and fighting whatever they find, they first bombard the planet with explosives, making it easier for the Mobile Infantry to take out the survivors. We see one of these aerial bombardments in action, not on the planet they invaded originally, but on a completely different planet called Tango Urilla. The jet fighters fly overhead and drop bombs, the bugs scream in terror and try to run away, but get blown to pieces in their thousands.
Space travel has obviously not yet equipped them with super-nukes.
Johnny and his squad then walk in and successfully wipe out the remnants, before being sent off to yet another planet called Planet P, where the rest of the film takes place.
In both cases, that's a disastrous first engagement as a result of underestimating the enemy, and an attempt to compensate next time around with heavy aerial bombardment.
Also? Here are those planets the military attacked in Troopers...
Now, here's where we have to make something completely clear: the whole point of Starship Troopers is that the humans may not be the good guys. Earth's government has clearly been taken over by Fascism, and the propaganda is clearly meant to be a satirical mockery of wartime culture in the same way that Verhoven's Robocop was meant to be a mockery of the greed and violence of the Reagan 80s. When we say that Verhoven accidentally made a War on Terror parody with Starship Troopers, we're not saying that that post-9/11 America was just as bad as the Nazi uniform-wearing protagonists of that movie. It'd be like saying the Reagan administration literally turned us all into murderous psychopaths and cyborgs.
So in the film, events are broken up by propaganda newsreels which give an insight into the human society depicted in Starship Troopers, and which drop several heavy hints that these aren't actually the good guys that we're rooting for here. One of these hints comes in the form of casual prisoner abuse. Check it out at 0:50:
Yeah, that's Doogie Howser showing you how to wound and properly kill an Arachnid soldier. An enemy combatant that they have captured, and keep in a cage, and mutilate and execute live on camera. Then, look at what they do to this brain bug they catch at the end:
"After tireless research, our top scientists have discovered that the bugs hate this."
That thing outwitted the humans earlier in the movie, it's capable of planning and reasoning...
It even has a face! That or it walks everywhere backwards.
And there they are, shoving huge sharp things into its mouth(?) and broadcasting the footage with evident glee. It's only shown briefly, but these scenes of bug torture are there to tweak the audience. We're supposed to feel a twinge there -- even though this is the enemy, the good guys are still torturing their captives, without a second thought.
In Real Life:
Remember the Abu Ghraib scandal? Sure you do: that was when those photos surfaced of American soldiers torturing Iraqi prisoners pretty horribly. It was a dark time for us, and the photos are pretty grim, so rather than show them here, we will instead show you these spoofs from the sitcom Arrested Development:
Of course, unlike the folks in Starship Troopers, we, the public, were horrified by this, (because we're real people, and have never been and will never be directed by Paul Verhoeven to do anything).
This is where our assertion that Paul Verhoven is a time traveler starts to look pretty good. If you were doing a movie about war in general, or doing a satire of any previous war, why would you include a bit about how the supposed Good Guys treat their prisoners at all? There's so much more prominent stuff you can cover. But if you're satirizing the War on Terror? You'd need to bring up the prisoner thing at some point. Which is weird because, again, we're talking about a movie that came out four years before the War on Terror and one which was directed by the guy who made Showgirls.
By the way, it's a minor point, but as we said, the whole latter part of Starship Troopers revolves around the humans trying to locate and capture the elusive brain bug. It became a major objective for the whole war effort. And they eventually do find it, hiding in a cave. A hole, you might say. With a bunch of critters that look like spiders. A... spider hole?
Getty
#2.
The Propaganda
In The Film:
The universe of Starship Troopers is saturated with propaganda, mainly dispensed by the newsreels, of which there are six in the movie, (here, here, here, here, here, and here). All of Verhoeven's most insultingly heavy-handed satire happens in these newsreels. They're all aggressively patriotic, so patriotic that it almost borders on strongly encouraged racism.
"The only good bug is a dead bug!"- Actual line from movie.
In Real Life:
Of course, we don't have a Fascist government, and if the American government did release cheerleading newsreels, people would just point and laugh. No, in the real world, effective propaganda has to come from someplace other than the government.
Sure, we could point out the Fox News cheerleading of the war effort, and the anchors saying the US military was simply trying to "spread love" to the Middle East:
But that's not as openly goofy and stupid as the propaganda in Starship Troopers. No, to find that, we have to go to the world of country music. Or, to quote Charlie Daniels, "This ain't no rag, it's a flag, and we don't wear it on our heads." Enjoy:
Or, we could go with the even less subtle Tobey Keith tune, "Courtesy of the Red White and Blue." Sample lyrics:
And the eagle will fly and it's gonna be hell, When you hear Mother Freedom start ringing her bell. And it'll feel like the whole wide world is raining down on you. Ah, brought to you, courtesy of the red, white and blue. Oh, justice will be served and the battle will rage: This big dog will fight when you rattle his cage. An' you'll be sorry that you messed with the U.S. of A. 'Cos we'll put a boot in your ass, it's the American way.
Now compare those videos to the newsreels from Starship Troopers. Holy shit, they make the fictional propaganda look even-handed and intelligent.
"My only regret is that I could not fit more flags on my stage."
#1.
The End
In The Film:
The film does not end with the end of the war. It doesn't end with a peace treaty, or the bugs surrendering.
No, the film ends with Neil Patrick Harris explaining to the main character that, now that they have a brain bug, they'll soon be able to understand how the Arachnids think, and confidently predicting that this is the turning point of the war. This is followed by a final recruitment ad that ends the movie.
But not before that guard from The Shawshank Redemption saves the day.
They may say they're winning, but the final message is the government desperately begging for soldiers, with key phrases like "we need soldiers!" and the slightly desperate-sounding reminder that "Service guarantees citizenship!"
In other words, the truth is that either the humans are fighting a losing battle against the Arachnids, or they're stuck in an unpleasant stalemate: the humans too technologically advanced to be beaten back, the Arachnids too entrenched and determined to give up. The optimism of the main characters at the end of the movie amounts to nothing more than a premature, presumptuous, and ultimately false declaration of victory.
Seriously now, is it just us? The events of the movie match up beat for beat, exactly the way an anti-war satirist would draw it up. But even weirder, we can't find another war that matches up as well (that is, one a non-time traveling Paul Verhoven could have had in mind). Vietnam? That war didn't kick off with a sudden attack on a civilian target. World War II? That didn't turn into an unexpected quagmire. Neither did the first gulf war (ie Operation Desert Storm). Nothing else matches up.
See, that's the thing about Starship Troopers -- to this day, lots of people don't realize it's a satire. They think it's just a really shitty action movie that does a bad job of building sympathy for the protagonists. The reason so many people don't get the satire is because at the time it wasn't clear what war it was satirizing ("A quagmire in the desert, triggered by an attack on the homeland? Shit, when has that happened?") and that's because the war it was satirizing hadn't happened yet.
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