Say, there sure have been a lot of reviews lately! In keeping with this pattern, today I wanted to discuss an anime series that kind of took me by surprise. As a matter of fact, I almost skipped it entirely.
The moment the world seems to have been waiting for is finally upon us: Ready Player One has been adapted into a movie. And with Spielberg at the helm, it can’t fail, right? Click to read on.
Hello all and welcome to the second week in a row of movie reviews! Today we’re going to look at the sequel to Guillermo del Toro’s tribute to mecha anime, Pacific Rim: Uprising. The first film teased a sequel in its final act, when the main character of that film almost ended up getting trapped in the monstrous Kaiju’s home dimension. Does Uprising clear the inevitable sequel bar? Read on and find out with me.
Hello everybody, and welcome to another review! Rather than standing on ceremony, let’s jump right in.
WARNING: SPOILERS AHEAD
Critics may have misread the sci-fi comedy series, missing the underlying tribute to Gene Roddenberry’s original vision.
First we had two weeks devoted to music, and now two weeks I’ve covered sci-fi TV shows. It’s a coincidence, I promise. Anyway, The Orville is a sci-fi comedy-drama masterminded by Family Guy creator Seth MacFarlane, which debuted in the fall 2017 season alongside its drama counterpart and heavyweight franchise contender, Star Trek: Discovery. Here is a trailer:
Elements of the dystopian sci-fi subgenre have bled into pop culture throughout the last decade, but the return of mainstream cyberpunk is now beyond a doubt. Question is, do they get it right?
Yes, that’s right, cyberpunk.
Canadian sci-fi/fantasy author Crawford Kilian described cyberpunk as a subgenre about a future in which capitalism is “triumphant but not necessarily benevolent.” Typically, the cyberpunk setting often involves towering super-cities, morally grey characters and anti-heroes, and sometimes no discernible morality at all. Mega-corporations may function as authoritarian governments, serving as a background Aesop regarding modern consumerism. And of course, it wouldn’t be cyberpunk without humans implanting or plugging electronic things into their bodies, or at its most innocuous, street urchins capable of effortlessly hacking together machines that present-day engineers can only dream of (although that is less the case now than it was during the genre’s genesis in the 1980s). Hey, sounds quite a bit like our own foreseeable future, doesn’t it? Almost like the genre is meant to serve as a warning for where we might be headed or something.