Disney is about to lean more on sci-fi nostalgia to reel in viewers. Deadline reports Disney is remaking its 1986 classic Flight of the Navigator for the streaming service. Details of the reboot are scarce, but it would feature a female lead and see Bryce Dallas Howard (who directed two The Mandalorian episodes) both direct and produce the title. It's safe to say the basic premise, of a child who bonds with an alien spaceship, won't change much for this adaptation. The project is a shrewd move for Disney.
Sign up to receive the Future Tense newsletter every other Saturday. On Aug. 30, my heart broke a tiny bit. That day, the Guardian published a remarkable interview with Frank Oz, Jim Henson's longtime collaborator and the puppeteer behind Fozzie Bear, Miss Piggy, and other classic Muppets. Oz hasn't been involved with the Muppets since 2007, three years after Disney purchased the franchise. He tells the Guardian: "I'd love to do the Muppets again but Disney doesn't want me, and Sesame Street hasn't asked me for 10 years. They don't want me because I won't follow orders and I won't do the kind of Muppets they believe in. He added of the post-Disney Muppet movies and TV shows: "The soul's not there.
Horror movies frequently feature a "final girl," a female character who survives to the end of the movie when most--or all--of the other characters do not. Stephen Graham Jones, author of My Heart Is a Chainsaw, is a big fan of the final girl trope. "The final girl is to the slasher as the silver bullet is to the werewolf, as daylight is to the vampire, as a headshot is to the zombie," Jones says in Episode 482 of the Geek's Guide to the Galaxy podcast. Geek's Guide to the Galaxy host David Barr Kirtley says that final girls tap into our natural tendency to root for the underdog. "It's more of an accomplishment for a young woman to defeat the bad guy than if it's some experienced, buff soldier," he says.
Want to shake off the doldrums of a long day with something bone-rattlingly exciting? You need an action movie stuffed with fantastic fights, stupendous stunts, calamitous chases, and climactic spectacle so bonkers it'll blow your mind. Whether your interests lean to science-fiction, fantasy, cop-drama, disaster flicks, superheroes, heist thrillers, mythic monsters, family-friendly adventure, or R-rated violence, we've got you covered with a top-notch collection of awesome movies. Here are the 10 best action movies on HBO Max. J.R.R. Tolkien's high-fantasy novel is brought to vivid life by Peter Jackson's Lord of the Rings Trilogy, which began in 2001 with this widely acclaimed first chapter.
In 1966 a television series called "Star Trek" introduced the communicator, a device Captain Kirk flips open to talk to his crew remotely. Decades later, in the mid-1990s, Motorola released its StarTAC model phone--credited as the first flip phone and clearly inspired by the communicator device from the science fiction series. Likewise, "2001: A Space Odyssey," a movie released in 1968, introduced the idea of video calling, with which most of us have become all too familiar in the past year. And the list goes on--autonomous cars, cars that can fly, smartwatches and virtual reality, just to name a few more. There are several visionaries who have inspired our thinking and design principles.
Fans of dystopian science fiction might want to take note of this one. Based on the short stories, then novels, released in the '40s and '50s by sci-fi author Isaac Asimov, Apple TV series Foundation follows a group of exiles aiming to rebuild after the fall of the Galactic Empire. And judging by this new trailer, the second look we've seen, it's going to be a pretty ambitious series. As Mashable's Chris Taylor writes, "The Foundation Trilogy is a grand galactic epic. Think: science fiction's answer to Lord of the Rings. Indeed (and to Asimov's surprise), it once beat out Tolkien's trilogy, in a one-time Hugo Award contest for best speculative fiction series of all time. George Lucas was clearly inspired by Asimov's Galactic Empire."
Apple has given a release date for the second of two Tom Hanks films it acquired during the pandemic. Like Hanks' war movie Greyhound before it, the film became a casualty of the pandemic, mired by release date delays until Apple swooped in to acquire it from Universal. The robot (pictured above) is played by Caleb Landry Jones, fresh off a best actor win at Cannes. Hanks plays the titular character, an ailing robotics engineer who emerges from his self-imposed underground exile to journey across a desolate American wasteland. Along for the ride are his dog, Goodyear, and an android who names himself Jeff.
So as a kid growing up in the 70's I loved science fiction movies. As a kid, I imagined the future as frightening and weird. Every day would be like Black Friday at Walmart. Who can forget "Mad Max"? Riveting tales of a dystopian earth where lawlessness reigns and survival becomes a daily challenge.
Sense8 was an eight-hour Netflix Original series created by Lana and Andy Wachowski, and J. Michael Straczynski. The science fiction series starred eight characters worldwide, connected by a bond that can be felt through every sense. Sense8 follows the inhabitants of Chicago, who are all connected by more than just two or three senses; they are experiencing everything that their counterparts are seeing, sensing, hearing, and feeling. The series is a love story between two characters, and as they become more connected to their sense counterparts, they begin to feel their partners' pain. They also carry the responsibility of protecting their loved ones that are constantly in danger and fighting for freedom from some sort of outside threat.
Just as it takes a tough man to make a tender chicken, it takes a smart filmmaker to make a stupid movie, which I mean in the best possible way. Science-fiction films, once a cinematic counterpart to pulp fiction, are today often big-budget, overproduced spectacles that substitute grandiosity for imagination. M. Night Shyamalan's new film, "Old" (which opens in theatres on Friday), is different. His frequent artistic pitfall is complication--the burdening of stories with extravagant yet undeveloped byways in order to endow them with ostensible significance and to stoke exaggerated effects. With "Old," facing the constraints of filming during the pandemic--on a project that he'd nonetheless planned before it--Shyamalan has created a splendid throwback of a science-fiction thriller that develops a simple idea with stark vigor and conveys the straight-faced glee of realizing the straightforward logic of its enticing absurdity.