Everything in these movies seems to be for Snyder alone. It’s as if the only point of four and half hours of movie runtime is for him to prove that he can spend all this money to capture his meticulous little scenes on his camera, refracted through his gauzy vintage lenses. Never before has the act of filmmaking felt more like someone painting Warhammer figures in their basement.
Read MoreVilleneuve’s script makes it obvious that no matter how much free will Paul attempts to display, his fate is preordained. He will rise up to lead the Fremen, even if that means setting off a chain reaction of events that begets ever more bloodshed. It’s proof of Villeneuve’s skill and the abilities of the cast that we’re hardly ever in the dark about the characters’ feelings – they don’t get lost amid the larger, bombastic action setpieces happening around them.
Read MoreThere’s plenty of moments that, in the era of COVID-19, seem all too familiar. The characters are hypervigilant around sources of infection, frantically double-checking their suits and disinfecting everything. They soon develop an effective blood-based test for the virus, and in the fourth season, part of an episode revolves around performing community-wide tests to determine if someone’s been exposed.
Read MoreA character glimpsed briefly in one episode will eventually get an installment of her own. The high-tech discoveries at the Loop figure into each one, but we’re never left with the sense that the show is trying to sound dire warnings about its viewers’ relationship with their phones or social media.
Read MoreAnd just as venerable franchises like Star Trek and Star Wars adapt to the changing times, Lost in Space has launched on Netflix in a shiny new production, looking to mirror the progressive ideals of the current cultural landscape. And even though some may argue that sci-fi is a saturated genre, Lost in Space – whose original version actually predates the original Trek by a year, hitting CBS in 1965 – does try to set itself apart. It keeps the focus not on the intrepid crew of Starfleet-esque officers, or on a rag-tag group of rebels taking down an evil empire, but on a family unit.
Read MoreThe problem with a lot of modern horror-thriller sci-fi films is that it’s quite obvious which characters will survive and which ones won’t. I think, over the decades, plot twists that seemed original are much more commonplace now, but Annihilation avoids most of that by telling the audience the result of the expedition in its very first scenes. Self-destruction is briefly mentioned in a line of dialogue but it’s a pervasive theme throughout the entire film, and one of its strengths is showing how each character deals with death and pain and how they ultimately choose to end their fight.
Read MoreSuch is the fate of The Cloverfield Paradox, a stunningly well-cast sci-fi based on a Black List script, which seems to have undergone so much re-tooling, at every stage of production, that it barely resembles a completed film. There are plenty of ideas on display here (literally: the film crams in quantum entanglement, meeting your doppelganger, outer-space espionage, an energy crisis, mind-controlling worms, and more). But most of the concepts are hurriedly introduced and then abandoned, leaving behind an experience that feels like a generic mashup of every sci-fi release from the past thirty years.
Read MoreMake no mistake: on the surface, Matt Reeves’ film features cutting-edge motion-capture tech and the investment of an estimated $150 million (before marketing costs). But the key to the film is a focused, moving screenplay - one that finally puts all of its attention on the main character of the series, Caesar the ape (Andy Serkis), as opposed to viewing him alongside a human lead. We track Caesar through his greatest struggle, to find a lasting home for his people, an endeavour that references Old Testament stories, classic cinema, and modern politics. Big tentpole films with truckloads of CGI don’t have to be made this way, and all too often aren’t. So why not celebrate when Hollywood gets it right?
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