science fiction
By bouncing back and forth between too many stories, Calling All Earthlings, while intriguing, doesn’t provide the complete picture of any of them.
Katee Sackhoff’s ability to pull off an almost solo performance is 2036: Origin Unknown’s saving grace and, ultimately, is what makes it worth any of your time.
The Darkest Minds brings some potentially daring concepts, but builds them to nothing, with not even its action scenes being a saving grace.
Zoe’s detriment is not necessarily any of its individual parts – it’s that they don’t quite add up to anything more impactful or memorable.
The anthology format for TV is often the perfect forum to spread ideals about morality; here are a few shows that utilize this to the fullest.
Don’t blink. Seeing Doctor Who’s Weeping Angels petrifies them into statue form in a process referred to as quantum locking. How believable is this?
Xavier Gens’ science fiction fantasy Cold Skin is a hotbed of promising concepts. The problem is, it doesn’t know what to do with them.
Fireworks is both stunningly animated, and stunningly disappointing, hampered by a predictable love story that is neither compelling or insightful.
Midnight in Paris uses time travel to 1920’s Paris to deal with themes of nostalgia and the fallacy of Golden Age thinking.
We were able to talk with Milda Baginskaite and Martha Binns, director and star respectively, of the short sci-fi drama 7 Planets, about the creative decisions for this film, and the experience of making it.
Sorry to Bother You is the perfect film for this particular moment – a moment that feels defined by the struggles of the ordinary people against traditional structures of power – even if it isn’t a perfect film.
In this part of the Fantasy Science column, we’re diving into the scientific underpinnings of Ant-Man’s power: resizing and going “subatomic”.
An uneven final product with a mess of ideas and images thrown onscreen, The First Purge will sear moments in your mind, leaving you to question whether it was all worth it.
With a clever use of eerie scenery and camera shots, The Endless is a vortex that goes full on wacky, without diluting its purpose, only strengthening it.
It’s hard not to think of Jurassic World: Fallen Kingdom as just a rinse-repeat of nearly every other film in this now 25-year-old franchise.