![]() Syfy Now; Sci Fi Magazine; Shop; Viewer's Voice;. Shows; Full Episodes; Movies; Schedule; Syfy Wire; Apps;. The 2. 5 Best Sci- Fi Films Of The 2. Century So Far. As kids, we looked ahead to the imminent 2. The robot butler and trips to the drug store in hovercars version hasn’t yet arrived, but the first 1. Sci- fi is almost as old as cinema itself —1. Watch full episodes of Ghost Hunters and get the latest breaking news, exclusive videos and pictures, episode recaps and much more at TVGuide.com. Georges M. Many so- called sci- fi blockbusters were really action movies with some fantastical trappings, rather than thoughtful, provocative examinations of the world we live in through speculation about worlds we might live in. That’s still true to an extent, but the last decade- and- a- half have seen a flourishing of smaller- scale, ingenious sci- fi pictures, as well as some dazzling bigger- scale examples with more ideas per se than explosions and laser fire. And with “Ex Machina” proving to be surprise hit this spring, the sci- fi idiom is the next in our Best Films Of The 2. Century So Far series (read Horror, Animated Films, and Music Documentaries). We set a few rules —no superhero movies (which is a genre unto itself these days), no films with sci- fi segments without the whole film being in the genre (see “Cloud Atlas” and “The Fountain”) and a few films that don’t quite feel like they are true science fiction. ![]() Otherwise, anything went, and the 2. Take a look below and let us know your favorites in the comments. The film was the best use of Cruise’s star persona in aeons (serving almost as a metaphor for the redemption of his own stardom), but the secret weapon, aside from a cunning evocation of video game tropes, the best alien warfare since “Starship Troopers,” and crystal clear direction from a back- on- form Liman, was Emily Blunt as the “full metal bitch,” making a strong case that she deserves to be the biggest star in the world. The film didn’t find the theatrical audience it deserved at home, but more and more people are catching on over time. Melding John Hughews David Lynch, and Albert Einstein into an ’8. Jake Gyllenhaal, in a star- making role) who receives visits from a sinister rabbit who may be trying to convince him to travel through time, it’s rich, funny, swooningly romantic stuff with a very fine cast (Patrick Swayze and Katharine Ross got well- deserved comeback roles, there’s a great cameo from producer Drew Barrymore, and keep an eye out for a young Seth Rogen as a bully), and a surprisingly melancholy tone. Kelly, just 2. 6 when the film was released, handles things with real flair (and a great ear for song selection), and while the Director’s Cut only makes the mythology more impenetrable, it’s a fascinating sci- fi puzzle- box on top of everything else. ![]() Lean, bloody, and with terrific action sequences (Quentin Tarantino called it his favorite film of the previous two decades), it’s also more than a mere genre piece: the students, and even their teacher (a smartly- cast Takeshi Kitano) are sensitively and three- dimensionally drawn, and its power as metaphor, both examining the power of violence and the demonization of youth, elevates it far above the tales of Katniss & co. Indeed, it cut a little too close to the bone for many, and landing in the aftermath of Columbine, it wasn’t released in the U.
S. Some claimed the picture his worst (our review wasn’t very charitable), some thought it was a vision from the heavens, and as usual, when the dust has settled, more mannered judgments have taken root (more of a consensus Playlist opinion forms here). So yes, Nolan shoots for the fences in “Interstellar” and arguably does not connect in the same home run fashion he has for so many pictures in a row now. The dialogue can be really on the nose, while the ending some see as jumping the shark. None of us will make too strong of a case against any of those points. That said, Nolan’s film is still a dazzling, ambitious vision of love, time, space, and some deeper, perhaps fuzzier elements of the universe. It’s the place where the heart and quantum physics meet. While that might admittedly be a bit of an awkward intersection, its love- letter sincerity to humanity inspired by Nolan’s own children is at least visually awe- inspiring and occasionally breathtaking. Admittedly clunky in spots, it’s a film that will very likely only grow in estimation over time. But the film was a quiet, unexpectedly moving triumph, and was then exceeded on every front by Matt Reeves’ follow- up, one of the few sequels that trumps the original. Picking up after the ape- pocalypse, as Caesar (Andy Serkis) is forced to confront humanity again, as well as a new threat closer to home, the movie, even more than its predecessor, takes full advantage of the stunning performance- capture technology, which reaches something of an apex here. Beyond that, it’s also simply a remarkably well- told story: a rare summer blockbuster in which you actively root against violence taking place, with a borderline Shakespearean arc for its non- human hero, and Reeves’ stylish- but- unshowy filmmaking chops steering things beautifully. Gattaca Movie Review & Film Summary (1. What is genetic engineering, after all, but preemptive plastic surgery? Make the child perfect in the test tube, and save money later. Throw in perfect health, a high IQ and a long life- span, and you have the brave new world of “Gattaca,” in which the bioformed have inherited the earth, and babies who are born naturally get to be menial laborers. This is one of the smartest and most provocative of science fiction films, a thriller with ideas. Its hero is a man who challenges the system. Vincent (Ethan Hawke) was born in the old- fashioned way, and his genetic tests show he has bad eyesight, heart problems and a life expectancy of about 3. He is an “In- Valid,” and works as a cleaner in a space center. Advertisement. Vincent does not accept his fate. As a child, he had swimming contests with his brother Anton (Loren Dean), who has all the right scores but needs to be saved from drowning. Now Vincent dreams of becoming a crew member on an expedition to one of the moons of Saturn. Using an illegal DNA broker, he makes a deal with a man named Jerome (Jude Law), who has the right genes but was paralyzed in an accident. Jerome will provide him with blood, urine samples and an identity. In a sense, they'll both go into space. His most important set is a vast office where genetically superior computer programmers come to work every day, filing into their long rows of desks like the office slaves in King Vidor's “The Crowd” and Orson Welles' “The Trial.” (Why are “perfect” human societies so often depicted by ranks of automatons? Is it because human nature resides in our flaws?) Vincent, as “Jerome,” gets a job as a programmer, supplies false genetic samples and becomes a finalist for the space shot. The tension comes in two ways. First, there's the danger that Vincent will be detected; the area is swept daily, and even an eyelash can betray him. Second, there's a murder; a director of the center, who questions the wisdom of the upcoming shot, is found dead, and a detective (Alan Arkin) starts combing the personnel for suspects. Will a computer search sooner or later put together Vincent, the former janitor, with “Jerome,” the new programmer? Vincent becomes friendly with Irene (Uma Thurman), who works in the center but has been passed over for a space shot because of low scores in some areas. They are attracted to one another, but romance in this world can be dangerous; after kissing a man, a woman is likely to have his saliva swabbed from her mouth so she can test his prospects. Other supporting characters include Gore Vidal, as a mission supervisor, and Tony Shalhoub as the broker (“You could go anywhere with this guy's helix under your arm”). Hawke is a good choice for the lead, combining the restless dreams of a “Godchild” with the plausible exterior of a lab baby. The best scenes involve his relationship with the real Jerome, played by Law as smart, bitter, and delighted to be sticking it to the system that has grounded him. At a time when we read about cloned sheep and tomatoes crossed with fish, the science in “Gattaca” is theoretically possible. When parents can order “perfect” babies, will they? Would you take your chances on a throw of the genetic dice, or order up the make and model you wanted? How many people are prepared to buy a car at random from the universe of all available cars? That's how many, I suspect, would opt to have natural children. Everybody will live longer, look better and be healthier in the Gattacan world. But will it be as much fun? Will parents order children who are rebellious, ungainly, eccentric, creative, or a lot smarter than their parents are? There's a concert pianist in “Gattaca” who has 1. Don't you sometimes have the feeling you were born just in time?
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