science fiction
With a re-release on 70mm, we look back at the sci-fi classic 2001: A Space Odyssey, which continues to astound after 50 years.
Upgrade a gleefully nasty film that relies on a unique mixture of futuristic beautiful landscapes and old-school grindhouse fun.
In this 7th part of the Fantasy Science series, we are going to chat about naturally occurring biological immortality, with the help of movies.
Despite its name, Future World, with its interesting premise and a high-caliber cast, is meant to become a film that’s a part of the past.
Too heavy in its fan service at times, Solo: A Star Wars Story is not a terrible Star Wars entry, with enough fun moments to please.
Despite its absurd concept lending itself to occasional entertaining satire, The Jurassic Games suffers from poor visuals, bland cinematography, and poorly developed stereotypical characters.
With the inclusion of a MacGuffin and the eventual predictable narrative that follows, Fahrenheit 451 misses out on a golden opportunity to connect with a modern audience.
While many found the 2017 release of Blade Runner 2049 to be misogynistic, the perceived sexism within the film may be more than meets the eye as the movie turns out to express anxiety about the past and not the future and an avoidance of human society.
In this segment of Time Crisis, we look back at the 2014 hit Edge of Tomorrow, examining why this is the best time loop film since Groundhog Day.
Film Inquiry’s resident physicist takes a look at teleportation in film and TV, explains how teleportation would work, theoretically, and whether one day we might be teleporting from A to B.
Orbiter 9 recalls independently minded sci-fi films such as Sunshine and Moon – but lives in the shadow of its very obvious inspirations.
Kristy Strouse reviews her final batch of films from Tribeca Film Festival, including Zoe, In a Relationship, and Woman Walks Ahead.
Why haven’t we found any signs of life out there in the universe, when statistically, there should be? This is Fermi’s Paradox, and in this new Fantasy Science column, we cover some of the explanations offered for this paradox in movies and TV.
Stephanie Archer gives a roundup of some of her experiences at Tribeca Film Festival, including a sci-fi, documentaries, shorts, and more.
The 1975 sci-fi Rollerball depicts a world run by a global corporate state that has eradicated war, famine and disease – and yet, it can’t help but feel prescient in the era of Trump, Mark Zuckerberg and Cambridge Analytica.