"I've done a lot of time-dilated travel." This statement encapsulates the essence of Grace's journey, highlighting the profound effects of traveling at speeds approaching light, where time for the traveler slows down significantly compared to those remaining on Earth.
While John Carpenter's 1982 remake was initially dismissed as an empty, nihilistic gorefest, The Thing (née Another World) has since been reevaluated as one of the greatest science-fiction films of the '80s, and certainly one of the most influential.
Kick off with Ridley Scott's 1982 OG Blade Runner: The Final Cut, which stars Harrison Ford as a special agent on a mission to exterminate escaped androids. Ford is joined by Ryan Gosling in the Denis Villeneuve-directed Blade Runner 2049, which is sure to whet your appetite for Dune: Part Three - hitting cinemas this December.
My first thought was, 'Oh god, I don't know how we're going to make this into a movie.' I was so scared. I didn't want to let Andy down. But I realized how challenging it was. This is a far more ambitious book than The Martian. It's a much bigger canvas, it's a much more mature subject, the detailed emotional storyline that's at the core of this is so intimate against this celestial backdrop.
The first thing you notice about undertone is how quiet it is; not just in its audio mix, but in how it's shot - primarily steady wide shots that slowly pan across empty rooms, allowing your eyes to frantically scan for something amiss. It's an understated form of filmmaking that allows for the movie's scares to hit all that much harder.
Based on the bestselling book of the same name by Dan Simmons, it chronicles a doomed Royal Navy expedition dispatched to the Arctic in search of the fabled Northwest Passage. Under the leadership of Captains Sir John Franklin and Francis Crozier, the HMS Erebus and HMS Terror, manned with 129 crew, set sail from England in 1845. They became locked in pack ice off King William Island in the winter of 1846.
Back in December, when SFWA announced that it was updating its rules for the Nebula Awards. Works written entirely by large language models would not be eligible, while authors who used LLMs "at any point during the writing process" had to disclose that use, allowing award voters to make their own decisions about whether that usage would affect their support.
The story focuses on the crew of a spaceship that has crash landed onto another world. The survivors have to contend with an alien lifeform that's hunting them and can mimic its prey (no prizes for guessing that Supermassive took inspiration from The Thing here). If these astronauts want to stay alive, though, they'll put the lives of everyone on a dying Earth at risk.
Until recently, "liminal spaces" were only known to architects. But on the Internet, storytellers and amateur filmmakers have morphed these ubiquitous places you pass by on errand runs into caverns of cosmic terror. Now, a new A24 film from 20-year-old filmmaker Kane Parsons is set to kick off the summer and christen it the season of liminal horror.
BBC Threads, directed by Mick Jackson, follows two families in Sheffield as they try to survive a direct hit from a nuclear bomb. It pulls no punches as its characters fall one by one, before ultimately only focusing on pregnant Ruth (Karen Meagher) as she tries to survive and carve out a life for her and her child. Meticulously researched, it presents a bleak picture of what civilization would look like after nuclear winter, including the ozone layer weakening, resulting in blindness and skin cancer, and the degradation of the English language itself.
This isn't your average pandemic thriller; here, the infected meld with inorganic material in their surroundings, until their outward contours and their personhood are gone. Thibault Emin's film starts with a little whiff of Jean-Pierre Jeunet and Marc Caro's Delicatessen. After their one-night stand, hypochondriac Anx (Matthieu Sampeur) and impertinent Cass (Edith Proust) find themselves bunkered up in one corner of a madcap apartment block.
Cyberpunk Cinema, by Thrillhouse Records, presents cyberpunk movie classics at The Knockout in the Mission every second Monday of the month from 6:30-9 pm. They'll show one episode of Cowboy Bebop at 6:30 pm, followed by the feature film. Use #cyberpunkcinema during the event to share trivia, thoughts or squishy human feelings on the HD projection screen. Cyberpunk Cinema Every second Monday at 6:30 pm The Knockout, 3223 Mission St., SF FREE
Boris Karloff stands tall as one of film history's most iconic performers, particularly within the horror genre. Foremost known for portraying some of the most iconic monsters in film history, from his work as Frankenstein's Monster in Frankenstein, Imhotep in The Mummy, or voicing The Grinch himself, Karloff had a few distinctive attributes that made him one of the most memorable stars of the era.
In 1992, the original Lawnmower Man was way ahead of its time. Loosely based on the Stephen King short story of the same name, the cyberpunk film turned a neurodivergent gardener into a kind of pre- Matrix badass in a virtual world. Starring Jeff Fahey as Jobe and Pierce Brosnan as Dr. Lawrence Angelo, The Lawnmower Man was a haunting, bizarre sci-fi horror movie, which is utterly unlike anything else in cinema history.
I'm thrilled with any chance to collaborate with the Harvard Film Archive and to make use of Harvard's collection. I've taught several of Kubrick's films in different courses over the years, but never all of them together and never on the big screen. It is a unique opportunity. The HFA is one of Harvard's treasures. I'm really grateful to them for making this happen.
After spotting that Eli's rash guard conceals a red, flaky skin disorder, the boys have concluded that he has the titular plague, a contagious disease that affects social standing as much as it does dermatological well-being. If anyone ever touches him, they must thoroughly wash themselves before they're considered full-blown infected. Even something as innocent as Eli sitting at the same lunch table sends his teammates running and screaming.