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Between the film’s two apocalypses is an adventure that plays out in the intricately detailed world of Neo-Tokyo, perhaps the most iconic of all cyberpunk cityscapes. The images of mass destruction that bookend this stylish but haunting animated action film speak to a fear not only of a social apocalypse, but a human one.
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Katsuhiro Otomo’s Akira, based on his own 1982 manga, updates the lingering Japanese anxiety about nuclear annihilation for the cybernetic era, as the superweapons in 2019 Neo-Tokyo turn out to be gifted children whose telekinetic powers have been enhanced by a secret government program, rather than nuclear warheads. It’s the stuff of primordial nightmare, mapping the infinite reaches of human anxiety-about everything from sexuality to technology-into two agonizing hours. It just happens to be one of the most artful, flawlessly executed examples of that type, the rationed-out shocks underscored by groundbreaking creature effects, jarring sound design, and the talents of a magnificent ensemble. Giger’s visual rendering of psychosexual horror and biomechanical hellscapes, not to mention the unusual foregrounding of working-class and female characters, Alien is still-at its core-a prototypical haunted-house picture. Keith WatsonĪ film whose shadow looms darkly over subsequent decades of horror and sci-fi, Ridley Scott’s Alien is a master class in the evocation of escalating dread. But they’re united by their fearlessness in breaking down boundaries and thrusting us into worlds beyond our own. Some rely on complicated special effects, others use none at all. Some of these depictions are humorous, others haunting. The titles below (all streaming on Netflix) have shown us utopias, dystopias, distant planets, and our own Earth destroyed. Then there’s Andrei Tarkovsky’s Stalker, which transfigures Arkady and Boris Strugatsky’s briskly paced novella Roadside Picnic into a slow, mesmerizing journey into an uncanny space.īallard may have been right that literary sci-fi has provided all the interesting themes and ideas for which sci-fi in general has become known, but he failed to grasp how cinema has expanded our understanding of sci-fi by pricking at our collective visual consciousness. Dick’s Do Androids Dream of Electric Sheep? about human-looking androids, using them as the raw material for a haunting urban future-noir that owes more to visual artists like Moebius and Antonio Sant’Elia than it does to Dick himself. Ridley Scott’s Blade Runner simply mines some of the concepts from Phillip K. Strip away the Art Deco glory of its towering cityscapes and factories and the synchronized movements of those who move through those environments and what’s left? It’s no accident that some of the greatest adaptations of sci-fi novels bear only a passing resemblance to their source material. Metropolis, Fritz Lang’s visionary depiction of a near-future dystopia, is almost impossible to imagine as a work of prose fiction. If Ballard’s view of science-fiction cinema was highly uncharitable and, as demonstrated by some of the imaginative and mind-expanding films below, essentially off-base, he nevertheless touched on a significant point: that literary and cinematic sci-fi are two fundamentally different art forms. Ballard about George Lucas’s Star Wars in a 1977 piece for Time Out. cinema has been notoriously prone to cycles of exploitation and neglect, unsatisfactory mergings with horror films, thrillers, environmental and disaster movies.” So wrote J.G. “The film has never really been more than an offshoot of its literary precursor, which to date has provided all the ideas, themes and inventiveness.