science fiction
Jim Dixon sat down to interview with director Vladislav Kozlov and the cast of their upcoming film, Immortalist.
As part of Melbourne’s annual Monster Fest, we got a look at one of the films in the lineup: Brandon Cronenberg’s Possessor.
Genuinely funny and made with a real passion for its heroes, Bill & Ted Face the Music is a most excellent addition to the franchise.
Lake Michigan Monster embraces strangeness as it affectionately homages sci-fi B-movies of the 1950s and silent comedies of the 1920s.
Despite its visual innovations and blockbuster decadence, Tenet finds itself submerged beneath Christopher Nolan’s lofty ambitions.
We spoke with Gavin Rothery, the director of Archive, which explores new territory in sci-fi themes like memory, humanity, loss, and fear of replacement.
Despite a potentially fun premise, Elvis from Outer Space does not quite capture the B-movie joy it appears to be chasing.
Full of innovation and imagination, The Vast of Night plays to the corners of the human mind that dare to dream and recoil from what we fear.
We go through the career of Alex Garland, and how his films often follow a similar theme of focusing on dystopian worlds.
Carmentis never runs out of ways to use the subversive potential of the sci-fi genre to articulate the loneliness and disorientation that haunt the film’s main character.
The Clone Wars starts off in the light and ends in the dark. The show ends in an exhale, without a post-credits inhale to give us hope.
The third season of Westworld finally came to an end last night on a hopeful and bittersweet moment. The story, unfortunately, concludes in an underwhelming and frustrating note.
As the final season of Clone Wars dipped further and further into the timeline of Revenge of the Sith, it was apparent that we were going to see Ahsoka have to face Order 66 on her own.