To get the heresy out of the way: I have never been all that enamored of Ridley Scott’s Blade Runner (1982). Yes, the film is well made and visually stunning, and it certainly stands head and shoulders over all the other, usual lamentable adaptations of Philip K. Dick stories in the three decades after its release. But it remains the prototype for a sort of science fiction film that sadly

For the most part, I found Luc Besson’s Valerian and the City of a Thousand Planets to be an enjoyable space adventure, deploying consistently dazzling visuals in support of an involving story that never becomes entirely predictable. And while serious issues are intermittently raised, the film is refreshingly unpretentious, in contrast to other recent films, as the director’s primary aim was clearly to entertain audiences, not to enlighten or inspire

To my knowledge, there are no announced plans for a fourth film in the recent Planet of the Apes prequel series, and everything about Matt Reeves’s War for the Planet of the Apes thankfully suggests a desire to bring its series to an end as a trilogy. True, much of the film simply carries on the apes-versus-humans saga unveiled in the second film, Dawn of the Planet of the Apes

Without a doubt, Patty Jenkins’s Wonder Woman is the very best of the recent “DC Extended Universe” superhero films – yet the praise doesn’t mean as much as it should, inasmuch as its undistinguished precursors – Man of Steel (2013 – review here), Batman v Superman: Dawn of Justice (2016 – review here), and Suicide Squad (2016 – review here) – set the bar very low, to put it mildly.

In contemporary Hollywood, the announced information about a film often conveys an implied contract – a covenant, as it were – between filmgoers and filmmakers: if you buy a ticket to see this movie, you are guaranteed to experience certain desired forms of entertainment. Thus, a picture with the word “Alien” in its title, directed by Ridley Scott, promises potential viewers that they will observe numerous images of H. R.

by Gary Westfahl

One personal revelation garnered from watching the new, live-action version of Ghost in the Shell is that it is possible to admire a film without really liking it. Director Rupert Sanders and screenwriters Jamie Moss, William Wheeler, and Ehren Kruger have unquestionably crafted an intelligently-written, fast-paced, and visually stunning adventure, and as the events unfolded, I kept thinking that I should be enjoying the experience. Instead, I

by Gary Westfahl

From one perspective, Life represents yet another example of a recent Hollywood trend that I find heartening – a renewed interest in realistic depictions of humanity’s probable future in space (which I term “spacesuit films”) that contrast sharply with the appealing fantasies of the Star Trek and Star Wars franchises. The film takes place on the actual International Space Station, and it involves a long-researched project –

by Gary Westfahl

Kong: Skull Island actually begins quite promisingly, as we are introduced to a diverse and generally appealing cast of characters, and they gather together to journey to the mysterious Skull Island and confront the enormous, and initially hostile, King Kong (also glimpsed in a prologue). One briefly imagines that director Jordan Vogt-Roberts has finally achieved what John Guillermin (in 1976) and Peter Jackson (in 2005) could not

by Gary Westfahl

Like a NASA rocket slowly rising from the surface, The Space Between Us takes a long time to achieve escape velocity and soar through space; however, if you can endure one of the most boring opening sequences in any film I can recall, and about an hour of trite melodramatic sequences interspersed with inauthentic personal drama, its last thirty minutes are actually quite enjoyable, even moving. Whether

by Gary Westfahl

There are several reasons to admire Passengers: it addresses a topic that is usually avoided in science fiction films – how humanity might colonize the galaxy without the magic of faster-than-light travel; its starship is filled with imaginative visual touches; and its story is genuinely unpredictable, consistently holding one’s interest despite a small cast and limited sets. And yet, there is also something strangely incongruous about

by Gary Westfahl

Rogue One: A Star Wars Story provides precisely what it promises – a professionally-rendered, authentic Star Wars story – and enthusiastic devotees of the Star Wars universe will probably be pleased by the results; indeed, in the theatre where I watched it, its conclusion was greeted with scattered applause. However, filmgoers who are not diehard fans, and who were not entirely thrilled by Star Wars: The Force

by Gary Westfahl

Denis Villeneuve’s Arrival is a film that will be properly praised as an unusually intelligent and sensitive science fiction film, derived from an unusually intelligent and sensitive science fiction story, Ted Chiang’s “Story of Your Life” (1998). In many respects, it is faithful to Chiang’s novella: linguist Dr. Louise Banks, enlisted to translate the enigmatic spoken and written languages of visiting aliens, finds that as she masters

by Gary Westfahl

Because the Japanese film Shin Godzilla (also known as Godzilla Resurgence) was unexpectedly given only a limited American release, beginning on October 11, it is inevitably a film that will take quite a while to achieve its full audience, as it gradually becomes more accessible via Netflix, cable television, DVDs, and network television; in this case, then, a promptly posted, day-after-release-date review did not seem important.

by Gary Westfahl

It is not a critical term that often comes to mind, but David Ayer’s Suicide Squad strikes me as a very meh kind of film – a hodgepodge of characters and moments that work, and characters and moments that don’t work, tossed together in a story line that sometimes makes sense and sometimes doesn’t. Further, the film cannot escape the perception that it is a stopgap measure,

by Gary Westfahl

To a remarkable extent, Star Trek Beyond is a film designed to appeal to aging fans of the original series; certain moments – the repeated references to the late Leonard Nimoy’s portrayal of the elderly Ambassador Spock, a photograph of the original cast, the sound of the first series’ fanfare, and the concluding recital of the iconic Star Trek oath (“Space …. the final frontier ….”) by

by Gary Westfahl

Since I was recently complimented at a conference for writing “honest” film reviews, I feel obliged to begin this one by conveying my honest reaction to Independence Day: Resurgence: although I was bored and appalled by the original Independence Day (1996), and utterly baffled by its tremendous popularity, I somehow found its belated sequel to be surprisingly engaging, even moving, despite some obvious issues in its

by Gary Westfahl

The visual effects are regularly creative and engaging, and there are lines here and there that might make you laugh, but overall, anyone looking for 153 minutes of entertainment on this Memorial Day weekend would be best advised to read, or reread, Lewis Carroll’s Through the Looking-Glass, and What Alice Found There (1871) instead of watching this film, which borrows its title but none of its unique

Since debuting in 1938, Superman has confronted many imposing adversaries, including Lex Luthor – a formidable foe whether characterized as an obsessed bald scientist or scheming corporate tycoon; the alien computer Brainiac; Terra-Man, armed with an endless array of ingenious weapons; several Kryptonian supervillains who survived the destruction of their planet in the Phantom Zone; and the ancient Kryptonian monster Doomsday, who once succeeded in killing the Man of Steel.

It seems to be the new pattern for Hollywood success: write a young adult novel about an apocalyptic future society wherein likable teenagers are oppressed by evil adults, ostensibly for some noble purpose; stretch the story out into (at least) a trilogy; sell the rights to film producers anxious to exploit a pre-sold property, designed to appeal to a coveted target audience, that requires no expensive stars; and achieve fame

by Gary Westfahl

Note: if you don’t happen to live near the fifteen American theatres where 400 Days is opening on January 15 (listed here), you may find that the film is available through your cable services as a Video on Demand, which is how I watched the film. Indeed, this might be an ideal way to watch the film, since it is described as the intimate drama of four

by Gary Westfahl

An introductory disclaimer: although I have repeatedly watched, vividly remember, and still cherish the first three Star Wars films – which I still insist upon calling by their original titles, Star Wars (1977), The Empire Strikes Back (1980), and Return of the Jedi (1983) – I could never force myself to watch any of the three “prequel” films in their entirety, and I have no familiarity with

by Gary Westfahl

As I review The Hunger Games: Mockingjay – Part 2, one major challenge will be to avoid repeating what I said while reviewing The Hunger Games: Mockingjay – Part 1 (2014) (review here) – because, as their titles indicate, they are two parts of the same film, planned simultaneously and largely filmed at the same time. (There is absolutely no pretense that this is a separate

by Gary Westfahl

Let me immediately say that Ridley Scott’s The Martian is the best film I’ve seen in a long, long time, and it can be enthusiastically recommended as involving and uplifting entertainment. Most of the credit for its success, though, should go not to director Scott or screenwriter Drew Goddard, but to Andy Weir, whose novel The Martian (2011) provided them with a marvelous blueprint for a successful