The best science fiction stories are smugglers. Underneath the high concept that drives the action lurks an ulterior motive, a message that is being quietly transported into your mind. Genre filmmakers have long used the impossible to comment on the mundane, jumping into the distant future to comment on the here and now. Politics and science fiction go hand-in-hand – H.G. Wells’ War of the Worlds slyly revealed the harsh terrors of colonialism and Robert Wise’s The Day the Earth Stood Still pointed an angry finger at mankind’s war-like nature. Both of those stories were indebted to the times in which they were made, drawing on the ugliness of the world around them to bring weight to the fantastical. It’s easy to settle in for what you think is a movie about aliens, only to find yourself watching something else entirely. Truly great sci-fi gives you what you need, not what you want, even when it tastes bitter in your mouth.
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The CW's Arrow closed out Season 3 this past week with the surprisingly final "My Name is Oliver Queen," but for many a creeping sense of indirection has permeated the emerald archer's arc this year. Now, we attempt to pinpoint where Arrow went astray, including a character absence that may surprise you, and what hope we might find for Season 4.
The Simpsons isn’t just a television show — it’s a cultural institution. It’s hard to imagine the pop culture landscape without Fox’s venerable animated sitcom, which has stuck around for nearly 30 years despite losing its satiric fangs about 14 years ago.
ScreenCrush editor, comic-book lover, and undiagnosed masochist Matt Singer is systematically watching every single (American) comic-book movie ever made in the order in which they were released. This week in The Complete History of Comic-Book Movies: This looks like a(nother) job for Superman.
Avengers: Age of Ultron is the eleventh film in Marvel Studios’ ongoing quest to dominate your disposable income for the rest of your moviegoing life, the biggest, loudest and most expensive chapter yet in what is quickly becoming a triumph of Hollywood marketing and corporate one-upmanship. But it is also, somehow, totally, the work of writer/director Joss Whedon, whose clear voice, honed over decades spent working in film and television, rings through all of the noise. While The Avengers was directed by Whedon, his messier, crazier sequel is truly, at its heart, a Joss Whedon Film.
ScreenCrush editor, comic-book lover, and undiagnosed masochist Matt Singer is systematically watching every single (American) comic-book movie ever made in the order in which they were released. This week in The Complete History of Comic-Book Movies: Superman returns (but not Superman Returns).
After selecting the best sci-fi movies of the last 25 years and the best comedies of the last 25 years, the only logical way to wrap up our #CountdownToUltron and Avengers 2 here on ScreenCrush was to choose the best superhero movies of the last 25 years as well. Initially, this was just supposed to be a brief essay. But on an innocent field trip to the world’s most advanced genetics lab, this blog post was bitten by a radioactive list and transformed into the gargantuan piece you see before you. On that day, we all learned a valuable lesson: That with great power must come great listicles.
When the Avengers reassemble for their big sequel this weekend, they do it to stop Ultron, an eight-foot-tall robot who wants to destroy the world. He’s the accidental creation of Tony Stark and Bruce Banner, who are trying to create an artificial intelligence capable of protecting the planet from threats too big for even the Avengers to handle. Their experiment is a horrific success; Ultron becomes self-aware, gives himself a body made out of spare Iron Man parts, and begins plotting the Earth’s destruction. “You want to protect the world, but you don't want it to change,” he tells the Avengers. “There’s only one path to peace. Your extinction ... when the dust settles, the only thing living in the world will be me!”
In which we give serious consideration to why last night's 'Game of Thrones' hour "High Sparrow" wouldn't show us an older man's exposed genitals. Someone has to do it.
Almost every Hollywood movie ends with a disclaimer from the American Humane Association promising that “no animals were harmed” during its production. The new re-release poster for Roar, a shocking 1981 oddity about a family whose house is overrun...