science fiction
Future ’38 is a memorable adventure which perfectly reflects our time, as well as reminisces about the films and sensibilities of the past.
Paul Verhoeven is a distinguished director in the cinematic world of the past few decades; here is a rundown of his career.
In the latest of our Take Two series, we reexamine Batman & Robin, the sequel we watched so you don’t have to.
Blade Runner 2049 may be acclaimed by critics and cinephiles alike, but why did the general audience fail to love it as much?
Now streaming on Sundance Now is Rainer Werner Fassbinder’s final film, Kamikaze 1989. While mostly nonsensical, it’s a joy to watch.
Flatliners is a terrible remake of an already bad movie, whose basis is genuinely interesting but the vision poorly conceived.
At NYFF, the series calls Genre Stories contains a plethora of short films, from sci-fis to horror, and made from a diversity of backgrounds.
Blade Runner 2049 is a blockbuster with brains, heart and an abundance of style, that will certainly reward repeat viewings.
With Blade Runner 2049 opening in cinemas this Friday, we ruminate on the themes of existentialism the trailer and short film have promised.
Alex Arabian spoke with Tom Hughes about new film REALIVE, his excitement about the film, and his desire to keep finding challenging roles.
With heartfelt performances, and alarmingly relevant, thought-provoking themes, Realive marks Syfy Films’ arrival to the silver screen.
Though visually enticing, Valerian and the City of a Thousand Planets is bogged down by a bloated script and poorly written characters.
Anti Matter displays ingenious science fiction storytelling on a micro budget- but sadly, the film falls down a wormhole of its own making.
While full of plot holes and shakes characters, What Happened to Monday is still a weird, yet perfect movie for a night in.
Lacking substance or exploration of themes, The Bad Batch is a pointless post-apocalyptic, psychedelic trip to nowhere-land.