sci-fi
The Midnight Sky is another example of something that could’ve been a complex and emotionally affecting work of science-fiction, but quickly collapses.
On the surface, Sphere — a 1998 flop directed by Barry Levinson and adapted from Michael Crichton’s hit sci-fi thriller — is perfect for lockdown.
While Synchronic is not the deep and pensive film it attempts to be, it is still an enjoyable film that will entertain.
Lapsis is topical, revolutionary, and maddening, encouraging viewers to think critically about the economic systems that govern their lives.
Attack The Block from Joe Cornish remains a rare gem that challenges the audience just as much as it entertains.
Anchored by Katherine Langford in her best performance yet, Spontaneous will turn heads, churn hearts, and best-case scenario, blow you away.
Deep down, what Possessor offers isn’t just violence and shock value, but has real ideas about identity and capitalism.
As a lighthearted take on the end of the world, Save Yourselves! is an enjoyable distraction.
With its flashes of humor and music, The Hole is a disturbingly timely depiction of humanity in crisis that speaks to our current isolation.
Far from the dumpster fire many feared, The New Mutants is a much more mundane disappointment: a near miss.
Away is clearly built to inspire, a sense of inspiration feels even stronger and more emotional by the time you arrive at the finish line.
With stunning technical work, solid performances and intriguing examination of parenthood, Raised by Wolves is enough to hook you in every episode.
Half-baked and poorly executed, Project Power is a big-budget, overly ambitious feature that does nothing but let you down.
Sputnik is a solid alien-driven thriller; it’s when it focuses on the more human elements to its story that it stumbles.
A forgettable military and horror thriller, Tom Paton’s Black Ops has all of the best intentions but fails to hit most of them.