October 22, 2021: A date that can’t come fast enough for many science-fiction fans. Then only those of us who don’t attend film festivals will finally be able to see Denis Villeneuve’s film The long-awaited “Dune”, Either in theaters or on HBO Max. Amusingly, some enterprising industry is not paying attention to some impatient audience and microbudgets are attracted to British production. “Dune Drifter” with its intentionally archaic aesthetic, or downright unnerving “Dune World,” Including “insect-like animals” on a “hostile and barren planet”. All the better to check out this month’s selection of unseen sci-fi nuggets, none of which try to coast on Frank Herbert’s universe.
Henriksen plays an Arizona charlatan whose erroneous powers ultimately make badass teen Kelly (Eliza Nelson) pretty invincible. This, in turn, allows Kelly to seek bloody revenge on the football players who have ruined his life.
It’s disappointing to see Henriksen come out so fast but Martin Guigui’s film maintains a wonderfully cheap and poor pace. It’s as close as we get to classic 1970s or ’80s B fare nowadays, complete with off-brand, lovable actors who throw themselves into this gripping spin on superpowered high schoolers.
Many great science-fiction movies camouflage allegorical messages with action-driven plots—seeing you “Planet of the Apes.” and then there are movies like “Menophrenia,” Where You See What You Get: A thoughtful discussion of the nature of memory and what makes us human. It may sound like a lecture during a feature, especially since the director, Irene Constantinidou, teaches film studies at the University of Essex. But “menemophrenia” achieves a delicate balance between thoughts and relationships, and there is genuine warmth to it. The film is set in a very believable situation in the near-future where virtual reality has become so common that it has reshaped people’s sense of identity – the title refers to a (constructed but believable) situation “real”. and characteristic of coexistence” artificial memories. “
For some characters, pneumonia is not a problem, but a “new way of being,” another step in the long game of human evolution. Others are less taken with the inability to separate the real experience from the real, VR journey from the fake. They don’t find life in a particularly desirable holodeck, not to mention the potential neurological effects of the new “total cinema,” which replicates touch, taste, and smell. At the heart of the film lies a tough question: does it matter that something is fake as long as it feels Real?
This South African alien-capture movie horror stage streaming on Shudder is a good sign that it is not for the faint of heart. Just know that supernatural presence permeates Barry’s (Gary Green) body, creating what looks like every possible perforation, and some newly carved ones, too. And this is just the beginning.
Barry was not the healthiest vehicle through which to explore Earth: a heroin addict, this plucky outsider is not even relieved at home, where he constantly quarrels with his wife, Suze (Chanel de Jagger). . , in an ecstatic mix of English and Afrikaans. So maybe hosting a terrible tourist might not be the worst thing for him. The film basically consists of a series of encounters as the newly empowered Barry, bulging eyes suggest that there is less good than usual around town.
Ryan Kruger’s debut feature has a relentless gonzo vibe — prepare for drugs, sex, and a rebellious fast-forward pregnancy — that falls somewhere in between. crime movie The Outrageous World of the 1980s and South African Music Duo die antwood. It’s so determined to be cult, it screams to be seen on VHS.
Ray (Dean Imperial) is so desperate to earn money to care for his ailing brother that he signs up to work for CBLR, one of the big players in the exciting new world of “quantum cabling” – There’s even an industry expo, where employees can shop for stuff.
Quantum cabling and CBLR are terrifying in a familiar way: a new monopoly industry that “disrupts” platitudes (its slogan is “challenging its status quo”) from fully functioning. It’s even worse for employees, who must be paid for the honor of working by purchasing medals, then subjected to constant monitoring.
It all makes Noah Hutton’s film sound so dark and ominous, but “Lapsis” is a gentle, often goofy satire, led by a lovable doofus who eventually finds resistance in the person of fellow worker bee Anna (Madeline Wise). Make no mistake, though: Observations about the constantly encroaching power of technology and the exploitative streak of the gig economy lands with an uncomfortable familiarity.
Of course, you might question whether British director Ben Wheatley’s eco-mysterious mind tour Passed as science fiction. Written during the lockdown and shot under Covid-19 restrictions, the film is set during a pandemic and makes reference to the isolation and gradual waves of disease. The premise is a bit on the nose — we’re still living it and can’t quite get ready for the docu-fiction version yet — but Wheatley takes off quickly in unexpected, and utterly bizarre, directions. Her aim is to create a sort of whimsical-folk fairy tale, which is evident from its opening point: Alma (Ellora Torchia) leads a scientist Martin (Joel Fry) into a mysterious forest straight out of the Brothers Grimm. He doesn’t get worried when she tells him about the spirit of the forest named Paranaag Phag. Soon, however, they realize that the animals have disappeared: “Something makes sense to them,” and in turn, we feel that this is not something good.
Wheatley links this framework with an abandonment of body horror scenes, which makes a podiatrist cover his eyes for many directors’ favorite “I can’t think of anything else to do” trope — hallucinations. The film overplays the secret card but remains embodied for one simple reason: You never know what will happen next.