science fiction
Watchmen is looking to be a thrilling and satisfying continuation of the world that changed the world 30 years ago.
Color Out of Space heralds Richard Stanley’s return, a man given short shrift and who has a great eye for throwback horror and truly creepy cinema.
Living with Yourself is as much as about the actual character living with another version of himself as much as it is about our own acceptance of the lives we live.
Lucy in the Sky is an absolute flatline, dragging to an anticlimactic ending. Noah Hawley might do best to stay in television.
Raising Dion enlivens the superhero genre by offering a fresh tone and concept, and it also has some subtle messages that resonate with personal growth and sociopolitical challenges still being faced today.
Gemini Man smears a lot of fancy tech all over an empty and tiresome thriller.
Invisibility. Camouflage. They are plot devices in many science fiction and fantasy stories, but do we have anything really like it in real life? How does it work?
The potential is there for Batwoman to soar, but it’s going to need some serious re-working before it can get its feet firmly off the ground and into Gotham City.
Ad Astra is not without its flaws, but Gray’s science-fiction endeavor is ultimately one of the best films of the year.
In the Shadow of the Moon joins the ranks of Equilibrium and the most recent Planet of the Apes trilogy as a politically motivated film disguised as a popcorn flick.
A Shaun the Sheep Movie: Farmageddon feels messily reverse engineered, a lazy Spielberg riff forcibly created just to fit the punning title.
This TIFF 2019 report focuses more on the stranger side of TIFF, including the films Color Out of Space and The Long Walk.
Freaks is a paranoid little picture, using its influences wisely while manufacturing something distinctive: one of the best Sci-fi’s of the year.
The Dark Crystal: Age of Resistance is the bold kind of fantasy that is more than welcome from the Henson studio in the 21st century.