sci-fi
Boyd Tonkin
The Greek philosopher Zeno’s paradoxes, which have plagued thinkers for around 2500 years, tell us that super-speedy Achilles can never outrun the tortoise and that an arrow in flight must always occupy a fixed position at intervals of time – and so can never hit its target. My introduction to these favourite brain-tanglers came when, as an easily overawed teenager, I went to see Tom Stoppard’s play Jumpers and learned that, thanks to that arrested arrow, “Saint Sebastian died of fright”. Stoppard doesn’t take a bow in Joseph Mazur’s far-reaching and idea-crammed tour of the meanings we Read more ...
Graham Fuller
The Vast of Night’s premise scarcely guarantees originality. Non-science-fiction buffs scoping Amazon’s film listings will probably move on quickly when they learn it’s about two late-'50s teenagers discovering that an alien space craft is hovering over their rural New Mexico burg. But Andrew Patterson’s sparkling directorial debut is an object lesson in how to revitalize an over-familiar narrative with fresh-seeming characters, visual daring, ladles of wit, and atmosphere to burn.Patterson uses the tropes of the extra-terrestrial visitation scenario to investigate Eisenhower-era Read more ...
joe.muggs
A singer-songwriter of somewhat mystical bent, originally from a forested island in the US Pacific Northwest, Kaitlyn Aurelia Smith really came into her own when she discovered vintage synthesizers. In particular, her masterpiece, 2016's EARS, saw her vocals merging into the rich flows of bubbling tones, melodies channelling folk traditions from various corners of the world, creating an unmistakably utopian sound. It felt neither futurist nor retro – rather, of a part with Craig Leon's Interplanetary Folk Music or Ursula K. Le Guin & Todd Barton Music and Poetry of the Read more ...
Joseph Walsh
After a season that sought to redefine what Westworld could become, the finale exposed the confused arc, before limping towards an emotionally weak ending. This season began by recoding itself into something schlockier, more high-octane, and arguably more mainstream than before – somewhere between a Jason Bourne film and The Matrix. Whether a glossy, high budget HBO show (on Sky Atlantic) could ever be classed as anything other than mainstream is a fair question, and the feature-length finale was no different. If Game of Thrones taught us anything, it was Read more ...
Joseph Walsh
In the time since the show’s inception four years ago, arguments have raged as to whether Westworld is a dud or a cult classic. For every dedicated fan, there’s someone out there crying, "The Matrix did it first!" and complaining that the plot didn’t make sense (it did). Whichever side of the argument you fall, the question loomed as to where the show’s creators, Lisa Joy and Jonathan Nolan, could possibly take it next. Two years on from when we last entered Westworld (Sky Atlantic), we can finally find out. The violent delights at the end of Season 2 saw the "hosts" rising up against Read more ...
Graham Fuller
When Sea Fever premiered at the Toronto International Film Festival last September, no one could have guessed its story about an Irish fishing trawler attacked by a giant jellyfish would in one respect prove prophetic. Toward the end of writer-director Neasa Hardiman’s low-key horror movie, self-quarantining becomes a bone of contention for what’s left of the crew. The creature latches on to the boat with its ghostly white limbs, turning patches of the hull into mush with its slime and spreading a lethal parasitic infection that plays havoc with victims’ eyes.However, no blame Read more ...
Adam Sweeting
Originally aired in BBC2’s “Theatre 625” slot in July 1968, Nigel Kneale’s The Year of the Sex Olympics has gathered a reputation as a groundbreaking piece of TV drama which uncannily anticipated the broadcasting future. Its depiction of a society in which the audience are apathetic zombies pacified by crass, bottom-of-the-barrel “entertainment” might cause pangs of unease as we view such contemporary phenomena as Big Brother or I’m A Celebrity…, while the notion of audiences gaping at glamorous couples enacting competitive TV sex is too Love Island for words.However, while Kneale’s far- Read more ...
aleks.sierz
She’s an ordinary young woman, and she really doesn’t know what to think. After all, things are way out of control. She knows that the natural world is pretty fucked, and that nothing grows in the earth any more — well, at least not on her patch. She knows that the gators, the semi-aquatic reptiles that used to live in swamps, have now taken to strolling through cities. And that they fall in love with humans, and serenade them, and feel bad when they are rejected. She also knows that there are codes of behaviour — ways of doing things in everyday life that are right, and those that are wrong Read more ...
joe.muggs
Grimes is hilarious. For all the grandiose conceptualism, apocalyptic visions, high tech sonic manipulation, outré costumes, modish witchery, multiple personas, arch media baiting with her billionaire boyfriend and all the rest, she is still essentially a dork. When she emerged from the weird end of the 00s online electronic music landscape where semi-serious lo-fi genres like “witch house” and “seapunk” abounded, she always seemed kind of goofy with it. And though her musical progression has been a steady accumulation of expensive-sounding production, that same drama student on acid Read more ...
Graham Fuller
Austrian filmmaker Jessica Hausner’s disquieting fifth feature, and her first English language one, Little Joe is a sci-fi drama that ponders the tangled choices faced by many modern women – Kubrickian though it is in its immaculate production design and cold, affectless tone.Alice Woodard (Emily Beecham), a driven thirtysomething bio-engineer, presides over table upon table forested with the leafless, infertile plants she has bred in a spacious greenhouse laboratory. She has developed the project with her colleague Chris (Ben Whishaw), the vaguely patriarchal atmosphere of their Read more ...
Joseph Walsh
Back in 2016, David Ayer’s infantile Suicide Squad burst upon us in a wash of lurid greens and purples. Ayer’s film had a myriad of problems, not least the hyper-sexualisation of Harley Quinn, played by Margot Robbie. While controversy abounded, Robbie’s performance remained a highlight. A manic mix of Betty Boop and Fatal Attraction’s Alex Forrest, she stole the film. Now Quinn has her own gleefully anarchic spin-off, Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn), directed by Cathy Yan and loosely based on the characters from the 1996 DC comic. It’s Read more ...
Marianka Swain
Changing the gender of the title character “highlights the way in which women still operate in a world designed by and for men,” argues Chris Bush, whose reimagining of Marlowe’s play premieres at the Lyric ahead of a UK tour. It’s certainly a compelling idea – albeit one already explored in previous productions like Pauline Randall’s 2018 gender-swapped Faustus at the Globe – but the resulting piece, though impassioned, is unfortunately rather a muddle.Johanna Faustus (Jodie McNee) is the epitome of powerless: a low-born, 17th-century woman whose apothecary father (Barnaby Power) crushes her Read more ...