Colin Stetson discusses his process for scoring film and artistic satisfaction it gives him. "I get to invent a new array of solutions with novelty and identity. I hope the music has not existed in the particular guise and aesthetic before that."
The focus on Thanos single-handedly saves Avengers: Infinity War from becoming the overstuffed mess many feared and lends the film a relentless action pace more akin to Mad Max: Fury Road than a superhero blockbuster.
From the Enterprise to the Discovery: The Decline and Fall of Utopian Technology and the Liberal Dream
The technology and liberalism of recent series such as Star Trek: Discovery, Star Trek: Picard, and the latest Doctor Who series have more in common with Harry Potter's childish wand-waving than Gene Roddenberry's original techno-utopian dream.
The teen-focused, John Hughes-inspired approach not only makes Spider-Man: Homecoming feel fresh in the realm of Spider-Man films, but in superhero films in general.
The latest two Red Circle Minis, by Takuji Ichikawak and Kanji Hanawa, deal in archetypes; one set in the distant past, the other in the all too near future.
In Mangold's Logan, an elderly, sick surrogate father and a young, estranged, emotionally-scarred "daughter" come to rely entirely on the aged Wolverine who is now but a haunted, battered, suicidal husk. It's nothing like superhero films that came before.
The filmmakers' attempt to mask X-Men: Apocalypse's lack of purpose and thematic unity with a stunning density of characters, plot lines, and fan service. But we see behind the mask.
Andrew Patterson's debut film, The Vast of Night, compels its audience to listen to a radio conversation and watch a mysterious play. Interview with director Andrew Patterson and actors Jake Horowitz and Sierra McCormick.
With his prescient film, Children of Men, director Alfonso Cuarón hasn't flipped Hegel onto his head, as Marx and Engels were accused of doing -- he's knocked him off his feet.
Alphaville's pulpy sci-fi plot acts as a warm coat of familiarity as Godard slyly subverts one genre trope after another.
In the Russo Brothers' Captain America: Civil War, friend turns on friend, and no easy resolution is reached. It's rather like the toxic online fan culture that followed the film's release.
In a sci-fi setting with Wild West overtones, Sophie Thatcher's Cee is discovering how far she will go to get what she wants in Prospect.
While several of the stories in Palestine + 100 are dystopian, others offer hope, emphasizing the urgency of peace and reconciliation not just for Palestinians, but for Israelis as well.
Nigel Kneale's book and screenplay, which Hammer Films made into Quatermass and the Pit, raises many provocative questions regarding the nature of human evolution and the conception of the devil itself.
Dark Phoenix makes it clear that the X-Men, as socio-political commentary, must take their own metaphor more seriously and evolve, already.
From the makers of The Blob, Irvin S. Yeaworth, Jr .and Jack H. Harris, 4D Man and Dinosaurus! (restored by Kino Lorber) give film fans a can't-look-away sci-fi gaze into the victims of progress.
Director A.T. White reflects on his deliberately obtuse debut feature, Starfish, and letting go of a character, a version of himself to the film's actress, Virginia Gardner.
Graphic fiction BTTM FDRS drags up our culture's biggest, ugliest globs of unconscious sewage and spreads it across a white page for us to see and acknowledge.
Calling the plot of Godzilla: King of the Monsters stale would be an insult to the fossilized potato chips hiding between your sofa cushions.
Purists who see Ian McEwan's comments about science fiction and his novel, Machines Like Me, as a slight against their beloved literary genre are missing the point.
More than any previous X-Men film, Days of Future Past engages in deeply geeky, comic book-inspired elements resulting in the best cinematic representation of X-Men comics to-date.
With his second collection of short stories, Exhalation, master of existential science fiction Ted Chiang explores AI, time travel, and alternate realities with the studious eye of an anthropologist.
The prolific independent filmmaker Michael Fredianelli doesn't let the microbudget scale of his productions limit his imagination -- or his creations.
The title suggests that this would be a schlocky B movie with a '70s-style grindhouse aesthetic, but The Man Who Killed Hitler and Then The Bigfoot is, in fact, a finely crafted and emotionally charged drama about ageing, loneliness, and lost love.
Pola Oloixarac's Dark Constellations is what the late Michael Crichton might have written if he had grown up in Argentina and fancied himself a high postmodernist.
The first five episodes of The Twilight Zone (2019-) developed by Jordan Peele, Simon Kinberg and Marco Ramirez, vary wildly in quality, but even the best of the bunch lack nuance and bite.
Intimacy in World Building: Christopher Caldwell and Zeek Earl on their Indie Sci-fi Film, 'Prospect'
Directors Christopher Caldwell and Zeek Earl reflect on a lack of wisdom for their practical film school with their debut feature, Prospect, and an aspiration to evade the trappings of sci-fi filmmaking.
In existential nightmare, High Life, Claire Denis explores the darkest intersection between outer space and the human psyche.
Without a set form, there can be no water-cooler talk about Bandersnatch, no collective reflection and analysis, because each viewer watched a different movie.
Mystery and discovery in Hugo Award-winning novelist Elizabeth Bear's latest work, Ancestral Night, initially hooks but it's the speculative and complex world she constructs that's most rewarding.
Made in Abyss: Journey's Dawn compresses the first eight episodes of the series into a two-hour film.
Captain Marvel is a solid start for a strong, compelling character that will grace the big screen for years to come.