363. Arrival
No matter how cinematic, all films are nothing more than a form of writing that borrows from other forms of writing. Which is why Arrival comes in code.
No matter how cinematic, all films are nothing more than a form of writing that borrows from other forms of writing. Which is why Arrival comes in code.
What if science-fiction were not a literary genre but a political and ideological theory. If so, Alex Garland uses Ex Machina to show us how he sees the world.
David Cronenberg’s adaptation of George Langelaan’s short story is appropriately, a fusion of Icarus, Prometheus, Frankenstein and Beauty and the Beast.
The influence of Fritz Lang’s Metropolis extends far beyond sci-fi and can be seen in films are varied as Casablanca, An American in Paris and The Birds.
There is only one time to tell Margaret Atwood’s novel, The Handmaid’s Tale. Right now. Which means always.
It is incorrectly assumed that Steven Spielberg turned Stanley Kubrick’s dark story into another of his child-friendly fantasies.
Philip K Dick was haunted by many dark visions of the future. None more frightening than his alternate-history from 1962.
Critics often chide Steven Spielberg for inappropriate optimism and not knowing when to end his films. They should reconsider Minority Report.
There have been four adaptations of Jack Finney’s novel. But what new angle could you bring to the classic sci-fi allegory?
It took Jonathan Glazer over ten years to bring Under the Skin to the screen, but with that long gestation he might just have delivered the film of the decade.
Ken Kesey’s story of social oppression was inspired by the CIA program, MKUltra. Did the film retain the novel’s rage?
007 is more than just dry martinis, guns, gadgets and product placement. His best contribution to cinema is the Set-Piece.
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