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Science Fiction

Assassin's Creed trailer photo
Assassin's Creed trailer

Final trailer for Assassin's Creed has new footage, Jeremy Irons, and Charlotte Rampling


Chock full of Irons and Rampling
Dec 10
// Hubert Vigilla
As we're getting close to the release of Assassin's Creed, one last trailer is dropping for the hype. A VR experience alone will not put your butt in a theater seat. The overall tone of this final trailer is different than th...

Flixist Discusses: An Analysis of Denis Villeneuve's Arrival [Part 2]

Dec 09 // Alec Kubas-Meyer
[embed]221111:43257:0[/embed] Alec: That liberal vs. conservative idea is interesting, and my gut reaction is that it's probably true (assuming we're talking explicitly about alien films)... but I'm sure you could find an exception (to prove the rule). I wonder if there's a similar case to be made re: optimistic or not films. Or, more to the point, I wonder how the political climate will affect the mood of films with both liberal and conservative ideologies going forward. Will liberal films become crushingly sad across the board to reflect their reality or become  happy as they embrace, uh, fantasy and escapism?   I wonder if Arrival would have been different if pre-production began now instead of years ago. I'm thinking yes. I mentioned earlier that one of my colleagues hated the film. His first problem, when I asked why (this was before I had seen it) was that it didn't have a lot of dialogue. (Aside: This is interesting, though not necessarily surprising, for a film that is about language.) He thought it was confusing and that the twist (reveal) didn't work. Etc. I think this may be Villeneuve’s best film, but it's definitely not his most accessible. The “This is thinking person’s sci-fi” reputation is deserved, and if anything I think it was intended to be more opaque than it is. The genuinely bizarre and out-of-nowhere narration from Jeremy Renner felt like a capitulation to the studio over a montage that had been designed for musical accompaniment and nothing else. The decision to leave Banks’ perspective in that moment (especially since it's still about her) is jarring as heck. Genuine question: Are there any scenes in the movie without her that you can recall? I feel like there aren't. And so there's that one weird dark spot coloring an otherwise brilliant experience. And it hardly ruins the film. It's just… why? Everything else is so deliberate. I think it's almost time (ha!) to really get into this thing, but before we do, do you have any other thoughts on the film in general? Even if I didn't think it was so relevant and important, it's just a damn good movie, with gorgeous cinematography and some genuinely great performances. Hubert: Yeah, I agree with you about Jeremy Renner’s narration midway through the film. Everything else in that movie is filtered through Louise’s point of view, and that sudden imposition of Renner’s character just comes out of nowhere. Whereas other scenes seem deliberately ruminative, the learning montage is purely functional. It probably was the “let’s explain this to you if you don’t get it yet” moment in the screenplay, and may have been made more explicit by the studio. That montage and narration would be just fine if they used Louise’s voice and channeled it through her point of view. It wouldn’t be that difficult to make it work that way. It’s her story, after all. Maybe they just needed to give Renner’s character (off the top of my head, I can’t recall his name) something to do. I guess Renner’s character in Arrival is similar to Amy Adams’ Lois Lane in Man of Steel and Batman v Superman: Dawn of Justice--just stand around and look handsome/pretty, and let your significant other be heroic and save the day. We can go in a lot of directions with this conversation about Arrival. I eventually want to get to the idea of free will, determinism, and predestination, but maybe we can save that for the end. I find that discussion determines whether people find the movie hopeful/optimistic or fatalistic/pessimistic. (Just more future stuff in the present. Don’t mind me.) What’s one of the things that struck you most about Arrival while watching it? Alec: That house. I want that house so bad. Actually, though: the design of the aliens. I didn't see the trailer, so I didn't know what they looked like (were they humanoid? were they terrifying?). My gut reaction to their lack of “human”ness was “Oh thank God,” because that would have been a cop out from a design perspective. They aren't from here and they shouldn't look like us. Period. And they didn't, and I was glad about that. But as I consider it, I think about their head-like thing, which we only see in the sequence in the fog. There are those indents, as though they have eyes there. I don't see any practical purpose for those other than to give a face of sorts for the audience to look at in that moment. Humans will see faces in everything (see: trees, the moon, toast), so you don't have to do much to make us subconsciously think about them. And to make them, in that moment, even the slightest bit human allows for another level of connection. In a sequence where we're actually just watching the sort-of-head for a while, we need that. But I think about what a more humanoid design might have done. Diverting back to politics (or, at least, real-world issues) for a moment, much of the fear and hatred in the world right now is aimed at the Other, where that's a race, gender, culture, socioeconomic class. We take people who look like basically us and then box them off. With the Heptapods and their very definitively Other design, you're starting from scratch on empathy. But there's also no prejudice against them. It's an actual blank slate. And how you ultimately feel about them says something about your empathy for other beings but not for your fellow man. A human-like alien race (or one that presented as alien and made a point of being like, “We actually look like something else, but figured you'd appreciate this”) would have added an interesting other level. I'm imagining someone shouting, “IF YOU'RE GONNA BE HERE, JUST LEARN ENGLISH, DAMN IT.” Arrival’s too subtle for that, but I'm calling it right now: We will see a science fiction movie with an equivalent line of dialogue in some equivalent situation in the next four years. (If we haven’t already.) And yeah, I agree that that’s where this conversation is fated (what a great pun) to end up. If you want to go there now, you can have the first word on that. If there’s more you want to say beyond that, though, I’m game. Hubert: I really enjoyed that heptapod design as well. Tentacles and that raw seafood look immediately make people queasy and distrustful. H.P. Lovecraft was onto something about the creeping chaos of the local sushi restaurant. But yeah, the vestigial torso-and-head at the end is so oddly inelegant yet fitting for where the story has gotten at that point. The moment we see that human-like shape is when the heptapod tells Louise that its companion is “in the death process”. What a fascinating construction, that sentence, and what a time for an English translation of heptapod to finally appear on screen. I thought the way the ink emerges from the heptapods like squids to form their language was pretty inspired as well. The look of the language informs the creature’s look and vice versa. So many smart, deliberate choices. I wonder how this movie would have played out with human-like aliens, especially now when audiences sort of expect something alien about the aliens we see. Maybe the alien visitation movie in the post-Trump era will have someone demand that the aliens “Speak American” or “Take off that breathing hood”. Though maybe that would make things too preachy in certain hands. Which reminds me: Jeff Nichols (Take Shelter) is set to direct a remake of Alien Nation, which was all about human-like aliens assimilating with the human race like a new immigrant community. The movie was all right, but the TV show and made-for-TV movies were much, much better. Makes me wonder how the remake will address our current political moment. It seems unavoidable to me now, even if they did try to make it a buddy cop movie like the original film. And you know, it’s almost fitting that in 2016 the two movies Nichols put out were Midnight Special (an indie take on 80s science fiction) and Loving (a movie about a mixed-race couple’s love in the face of bigotry). Alien Nation has gone from a curiosity from a filmmaker I like to a potentially important statement about the early 21st century. Which, come to think of it, makes that hypothetical film like Arrival. So about Arrival’s implications about free will and determinism and predestination. The big question: do you think Arrival is melancholy but ultimately hopeful or is it sad and fatalistic? I don’t mean about global peace or anything, but rather the idea that we might not be able to change the future. That certain sorrows in our lives, like certain joys, are unavoidable? I think it’s painfully hopeful since it suggests that even though you may be miserable now, there was still a moment of joy in the past that was just as real. It’s an affirmation of good and bad things as a whole, and that maybe some handfuls of genuine happiness are a justification for a lifetime of general boredom, depression, and unhappiness. (Though my read on this also speaks to the privileges of a middle-class upbringing in the first world.) Alec: Honestly, I think it's neither of those things, because I don’t even think the film is ultimately that melancholy. I read someone somewhere say that this is probably the most hopeful movie they’ve ever seen -- it assumes humans will still be around in 3000 years. But, joking aside, I do genuinely think this an optimistic movie. I left the theater feeling kind of upbeat, and part of that was because it was a great movie and that usually makes me feel good, but there was more to it than after. I realized that it was because of the way Dr. Banks’s decision at the end is played. When she decides to hold onto Jeremy Renner, she does so knowing that they will be together, they will have a young girl, she will tell him that their young girl is going to die, it will break his heart and his relationship with the daughter, the daughter will develop cancer, and the daughter will die. And she does it anyway. You look at that list, and you’re like… damn. That’s genuinely horrible. She’s guaranteeing never-ending sadness for one man and the literal death of her own child. So, she’s a psychopath, right? And that might be the logical conclusion, but I’m going to not think about it way. What’s unclear is whether or not she thinks she has a choice in the matter. Her actions might imply that she doesn’t, but that’s not how I saw that decision. There’s another read, one that I think it’s evidenced by the fact that she smiles in that moment. She knows the happiness that the daughter brings in the time that she’s alive, and that life with her is better than life without. (It’s better to have loved and lost than not to have loved at all, as they say.) It might be fatalistic in a literal sense, but I don’t think it’s a function of her resigning herself to or even just accepting her fate; she’s straight-up embracing it. And I see that as a rejection of the sadness that seems inherent with the life she’s going to lead… but we also don’t really see all the good moments. We see a couple, but we are more generally aware of the bad things that happen than the good, which I think colors the perspective (also, knowing that all of those things happen and thinking about them in a list format is different than the reality of them taking place spaced out over more than a decade). She is the one who lived it and is most qualified to make the decision, and she decides that it is the thing she wants and not just the thing she has to do. Hubert: It’s interesting we’re both seeing it as hopeful. I’ve read/heard a few people conclude that Arrival's implications about time and the future are bleak. It is pretty grim to think about not necessarily having any say in your own life. Viewed in those terms, Arrival‘s conclusion could be read as ditching agency for resignation. It’s going to happen anyway, so why try? And yet, we do, continually, on and on, until we die. That’s more than a little sad. That makes me wonder about Louise telling her husband about their daughter’s death, an act that ruins their marriage. Did she tell him as an attempt to change the future, but it went wrong? Did she tell him because they were having an argument and she wanted to say something awful in the heat of the moment that would hurt? Did she tell him because she thought it would help him deal with loss in the future? Did she tell him because he kept asking her about their daughter and she couldn’t handle being the only person who had access to that secret? Or did she tell him because it was, simply, that time when she was supposed to tell him? There are these fascinating gaps in the future-narrative that Louise as a character might know but the audience has to invent on their own. The relative hope or bleakness of Arrival might be there in the lacunae and how we fill in the blanks. But yeah, I think it’s hopeful. Louise’s smile, like you mentioned, is her saying yes to all the joy and misery ahead because it will have been worth it. It’s like Eternal Sunshine of the Spotless Mind. By the end you know it’s not going to end well for Joel and Clementine, but dammit, that love was worth the pain and vice versa--let’s do this! This aspect of Arrival reminds me of this Friedrich Nietzsche idea of the eternal return of the same (aka eternal recurrence). It’s one of those Existentialism 101 types of ideas, and yet I unavoidably find myself thinking about the shape of my own life in terms of the eternal return. Nietzsche presented a hypothetical situation in which a demon comes to you and says that for the rest of eternity you will have to relive your entire life again, over and over, all of the happiness but also the pain, down to the smallest detail. Nothing new can ever happen in these additional recurrences of life--you are a speck of dust in the great eternal hourglass of existence. If you were confronted with this scenario, would you feel immense anguish and defeat given the futility of it all? Or would you instead welcome this moment, having lived a life worth affirming? Was this worth it? Ask me one day, I might lean one direction. Ask me another day, I lean the opposite direction. When Louise smiles, you know what she thinks about her life to come. Though I wonder, in the vast lacunae of her life off-screen, about the days that Louise feels otherwise. Alec: I can imagine so many scenarios in which Dr. Banks would tell him that their daughter was going to die. All of the ones that you listed there and then others. The hypothetical that I find most compelling is that she told him because he asked. That they were talking about the future, that he wanted to know what she saw for their child and for them and she couldn't lie, because she knew he would find out eventually (of course she knows) and she didn't want to have the fight then. I like that because it has a Pandora’s Box kind of feeling or some other, more appropriate parable that I can't think of: It's his choice to learn the truth, though he is foolish in thinking that he can handle it. In any version of the story, though, it gets at this broader concept froma  very different but equally significant angle: what do you do when you know someone who knows the future? What do you do when you know your daughter is going to die because someone who knows the future has told you, but you can't know it the way they know it? You have to trust it, but at the same time you just can't do that. It's why he can't look at his daughter anymore, because he feels like she's been taken from him because he now knows a horrible truth and, more importantly, he knows he can't stop it. He knows that, no matter how many new treatments there are and how much they put into her recovery, it's going to fail. He feels helpless. (Science will fail him, so it has failed him.) I mean, think of Arrival with the same narrative but from Jeremy Renner’s perspective. I can't imagine a movie much bleaker than that one. I know I’ve got the last word of this particular discussion, but I’m still going to end on a question. If the future is pre-ordained, then neither of them has agency. But in that world, whose situation is better? In more cliched terms: Is knowledge power… or ignorance bliss?  
Arrival Discussion Part 2 photo
The big questions
In the 24 hours since part one of this discussion was posted, I was talking with a friend about something completely unrelated when I realized that the point I was trying to make directly relates to my feelings on Arrival. It...

War Apes photo
I mean, we all know how this will end
I got a really in depth look at War for the Planet of the Apes at NYCC this year, but now it is everyone else's chance to take a look. The first trailer has landed and it is crammed full of action and grumpy apes. That's...

Flixist Discusses: An Analysis of Denis Villeneuve's Arrival [Part 1]

Dec 08 // Alec Kubas-Meyer
[embed]221081:43252:0[/embed] Alec: So, before we get into this, I want to give some context about my own expectations, because I think expectations ultimately matter a lot here (probably more than they should). Denis Villeneuve is one of my favorite working directors. Sicario is one of the best films of 2015, and both Prisoners and Enemy are really good and extremely interesting. (I’m not fully versed on his pre-English work yet, but I’ll get there.) Anyways, his name gets attached to a project and I’m sold on it. It means I don’t need to learn anything about it and that I won’t watch trailers. I didn’t see the trailer for Arrival, though I knew the basic concept: Aliens arrive. How do we communicate with them? I also knew what other people thought. The downside to having a lot of critic friends on Facebook is that you know what people think about things the instant they get screened. Whether it was the festival premiere or when it actually hit theaters, my feed got inundated with various takes. Most of them were glowing, and I saw a lot of “brainy” and “thought-provoking” pull-quotes, but I didn’t read any further. I also knew that one of my day-job colleagues hated it (this person also hated Carol, for what that’s worth) and another thought it was fine, he guesses (this person hates Guardians of the Galaxy, for what that’s worth). I was fairly sure I’d love it, though. The only thing that surprised me was just how much I loved it. Had you read up, Hubert, or did you go in relatively blind as well? Hubert: I went into Arrival knowing the buzz and seeing the blurbs out of the Venice Film Festival and the Toronto International Film Festival, but I intentionally avoided reading the full-length reviews. Certain movies I’ll read up on extensively and spoil everything for myself and it won’t dampen the experience of seeing the movie. Some movies you’ve already seen before sitting down to watch them, if that makes sense. I even avoided reading the Ted Chiang short story it’s based on in his book Stories of Your Life. I’m glad I went in relatively blind. Arrival’s all about that act of discovery and revelation, and a couple scenes had me silently geeking out as I began to understand the shape of the narrative, and how little lines or images are clues about the nature of the movie. In a sense, Arrival is a causal loop time travel story. It’s not about time travel in a traditional sense, but rather more about folding a moment in the future back like a piece of paper onto the past--a Möbius strip. Even the look of the heptapod language is a closing circle, like the ouroboros, which made me think about time and cycles of existence. By around the halfway point of the movie, I kind of realized that Louise was seeing flashforwards rather than flashbacks, which was all really set-up in Amy Adams’ opening voice over about beginnings and ends. But even suspecting and discovering that on my own, it didn’t damped my emotional reaction at all. (Given the implications of Arrival, in the world of that film, maybe all movies are movies you’ve seen before you sit down to watch them.) Had I read reviews about the movie, I’m sure some critic somewhere would have mentioned a little too much about one detail or another, and the whole game of Arrival would be given away in my head. Alec: I’ve been wondering that, actually, how much I think knowing the game would have spoiled my experience. I’m glad I went in blind, but I’m not entirely convinced I needed to. The other day, I read an article by Todd VanDerWerff at Vox about twists in the modern TV era. It talks a lot about Mr. Robot, which often telegraphs its big moments pretty heavily, so people aren’t all that surprised when things come. And Sam Esmail says that’s intentional, because then it allows you to think about the thing that just happened and not only be shocked by it. This then led me to another VanDerWerff article, which is ostensibly a review of a movie that you didn‘t like but actually has little to with Goodnight, Mommy at all. It’s about the nature of twists and gets to an interesting question: Is there a difference between a “twist” and a “reveal,” and where does Arrival fall on that line? I actually think the answer changes depending on your interpretation of the events and of Dr. Banks’ fascinating brain. In one of them, Banks knows everything that has happened and will happen simultaneously (the Heptapods experience this). In this, the reveal is fundamentally a Twist, because it’s information that the character knows being hidden from you; in another, she experiences time in a non-linear fashion but she doesn’t fully understand it until she’s been taught to understand it. In this, she learns at the same time we do that her daughter is her future daughter and not her current one and then follow all of that. It’s not until the phone call with Shang that it becomes truly clear, but by the time we got to the “non-zero-sum game” sequence, I had figured out where it was going. And so when it came, my thought was, “Damn, this could have gone bad in so many different ways. Good on you team!” and not “WHHAAAATTT?! NO WAY!” and I think I had the right response. Because, like, oh man, there are so many ways the non-linearity thing could have gone wrong, especially with the way it deals with Banks’s daughter. There was so much potential for it to feel ugly and emotionally manipulative, but no, I think it nails the whole damn thing. Hubert: It’s a definitely a reveal rather than a twist--that’s a good distinction with the language. And yeah, a lot of that has to do with how much of the film is anchored into Louise’s point of view, and how the audience is learning the information as she is through most of the movie. Her brain is rewiring and her perception of time is changing, and the audience is starting the see this narrative in a different way. In the same way that Louise is learning to read heptapod language and learning to interpret time, the movie is teaching the audience how to read the movie. Such a fascinating parallel. With twists, like in Goodnight, Mommy or High Tension, there’s no sense of learning how to read the text of the film, at least not in the way that would suggest the twist. Usually there’s just a quick explanation at the end. On the note of Todd VanDerWerff (let’s make this a trifecta), he wrote a new piece on Vox about the pivotal phone call scene. His big takeaway is that Louise is omniscient when she makes the call and meets with Shang in the future, and that she’s playing a role to get the information she needs. I personally think there’s a much different interpretation of that moment: Shang himself learns hetapod and taps into non-linear time, and that takes place after he gets the phone call but before he meets Louise. When he meets Louise in the future, he realizes that it is contingent upon him to give her his cell phone number and a message that will convince his past self (whose view of time is pre-non-linear) to avoid conflict and make this future moment possible. The past is contingent on the future and vice versa, which creates this smaller causal loop in the bigger narrative. We got sidetracked to the ending (how non-linear of us), so maybe let’s get into the meat of the movie and its ideas of communication. There’s this line by philosopher Ludwig Wittgenstein that if a lion could speak to us, we wouldn’t be able to understand it. The idea is that even if a lion used English, its worldview is so non-human and its use of words/grammar so potentially unfamiliar that we would not necessarily comprehend the meaning of the lion’s sentence. This also means that the interior lives of lions are alien to us. With Arrival, it seems to suggest that seeing the world like a lion might help us understand their language better, and their values. Arrival is a movie about a lot of things, but extrapolating that idea, I think the movie stresses this belief in empathy. Alec: I think that's true. If science fiction is a way to use unreal narratives to comment on very-real societal issues, I don't think there's a more appropriate film for 2016. The entire world is moving rapidly in an isolationist and nationalist direction, so a film about trying to overcome the fundamental barriers of understanding and the need to work together is, to say the least, timely. That lion thought is an interesting one to consider when put up against what I think is one of the most crucial moments in the film: the reveal of the word “weapon.” In our version of English, that has a very specific meaning and it only ever means something to be used for violent purposes. But the heptapods don't have that context. They, as far as anyone can tell, seem to see “tool” and “weapon” as equivalent words. And so we get into a theme of patience. Some have complained about the methods they use and how it seems like they could have used more videos or other aids right at the start to speed up the process, but that misses the point. Underneath the whole experience is a respect for time and taking the time to do a thing. She wants to get it right, and getting it right requires long, boring demonstration. And that minimizes, theoretically, the chance of a miscommunication. (See the film’s discussion of how the Chinese use war games to learn communication and the pitfalls therein.) But when miscommunication comes, we need to be careful and see it as that. Dr. Banks’ pleas to not jump to conclusions, to point out that the heptapods lack true context for “weapon” is oh-so-relatable to right now. Governments all around the world are being forced to deal with an equivalent problem, where they need to know if something that has been said or done is a result of ignorance on the part of our president-elect or actually means a tectonic change in American policy. And they're dealing with someone who may as well be an alien politically AND for the most part speaks a different native language. (You just have to hope that every government has a Dr. Banks to say, “Let's not go to war just yet. Let's make sure we and they all understand each other correctly.) And looking back on what I just wrote, it appears that I'm thinking of the film’s themes about communication in purely political (or perhaps strategic) terms, which I don't think is quite right and is almost definitely me bringing my own baggage into it. Hubert: Right now, political baggage is personal baggage, so I think that political read of the film is warranted. The movie even braids global conflict with Louise’s unavoidable personal tragedy. I’m sure we’ll talk about the implications of time and fate in the film eventually, but on the note of unavoidable things, our president-elect is sorely lacking in patience and language skills. With patience and empathy comes nuance and mutual understanding. And like you said, you need room for there to be nuance, whether it’s to find the context of “weapon” or to understand why a gesture can be taken as an insult or provocation by another culture. That takes more than 140 characters. Meaningful language is generally not found on bumper stickers or baseball caps. What a weird time to be alive. Since science fiction can reflect societal fears, I wonder what other types of science fiction movies we might be seeing in the coming years as the world faces this wave of nationalism, isolationism, bigotry, and uncertainty. I think the appeal of authoritarianism in general is that it ignores nuance and complexity and reduces the world into manichean problems with simple answers and plenty of convenient scapegoats. In some ways, we’ve never really left the world-on-the-brink feeling of Children of Men. We’re just getting closer to the film (well, except babies are still getting made). So much anxiety about potential global conflicts. Maybe we’re going to go through that Cold War/Atomic Age cycle of sci-fi. There’s this old theory about science fiction movies that’s pretty interesting. I can’t remember who first said it or if it’s necessarily true, but it goes like this: If the aliens come to Earth and want to harm us, the film’s politics are conservative; if the aliens come to Earth and they don't want to hurt us, the film’s politics are liberal. Arrival’s firmly in the latter camp, especially if it’s stressing a form of patient diplomacy to fight humanity’s innate tribalism and nativism. I guess there’s a sadness bundled up in all this since so much of the real world wants to shut off communication and take care of its own affairs. That’s a bumper sticker or baseball cap answer to problems. By contrast, Arrival is a type of humane and life-affirming wish fulfillment, a Star Trek-esque utopianism. (As an aside, three movies that Arrival reminded of: The Day the Earth Stood Still, Day of the Dead, and Star Trek IV: The Voyage Home.) [Check back tomorrow for Part 2!]
Arrival Discussion Part 1 photo
Premonitions, Politics, Aliens (Oh my!)
If you haven't seen Arrival yet, you should do so immediately. Not just because this thing right here spoils the hell out of the movie and won't really make any sense if you haven't seen it; see it because it's a genuinely fa...


Phantasm Xmas ornament photo
Phantasm Xmas ornament

This Phantasm sphere Christmas ornament is not a dream... BOOOOOOY!


Deck the balls with Tall Man mayhem...
Dec 07
// Hubert Vigilla
Phantasm is one of the great influential cult horror movies. Released in 1979, the film unfolds like a strange teenage nerd dream--a little bit B-movie, a little bit Something Wicked This Way Comes. In some ways, 2016 was the...
Kodoku Meatball Machine photo
Kodoku Meatball Machine

The trailer for Kodoku: Meatball Machine is blood-soaked and absolutely bonkers (NSFW)


Content and title are a perfect match
Dec 06
// Hubert Vigilla
If GWAR in its classic form decided to remake Tetsuo: The Iron Man, it might look like Yoshihiro Nishimura's Kodoku: Meatball Machine. That is all I can really say. There are no words. Just feelings. Strange, strange feelings. Seriously, watch this f**king trailer, dudes. Note: There is a lot of blood and some (maybe fake?) nudity.
Chinese Rogue One trailer photo
Chinese Rogue One trailer

Chinese Rogue One: A Star Wars Story trailer features an intro with Donnie Yen & Jiang Wen


Another final Rogue One trailer
Dec 06
// Hubert Vigilla
There will never be a final trailer for Rogue One: A Star Wars Story. There was the final trailer a little while ago. And then a second final trailer last week. And now here's a Chinese trailer for the film. It's like one of ...
Rogue One creatures photo
Rogue One creatures

Featurette showcases some practical effects creatures from Rogue One: A Star Wars Story


It's a trap! And a mask! And a trap!
Dec 06
// Hubert Vigilla
While I've been anticipating Rogue One: A Star Wars Story all year, I'm sort of glad that the marketing blitz for the film has been mostly concentrated into this last few weeks. Maybe I've just been avoiding all of the market...
Final Space photo
Final Space

Conan O'Brien brings Olan Rogers' Final Space to TBS: Watch the animated show's teaser/pilot


More Conan-related stuff on TBS
Dec 05
// Hubert Vigilla
Conan O'Brien is staking more territory over at TBS. In addition to his own talk show, Conanco (O'Brien's production company) is set to produce an all new animated television show called Final Space. Created by Olan Rogers an...
Rogue One and Ep 8? photo
Rogue One and Ep 8?

New Rogue One clips, and a possible connection to Star Wars: Episode VIII


Curiouser and curiouser
Dec 05
// Hubert Vigilla
Rogue One opens next week. Can you believe it? I'm legitimately getting more excited for this movie as the release draws near. Over the weekend, two new clips for the film surfaced, as well as some indication that Rogue One w...
Rogue One 60-minute Q&A photo
Rogue One 60-minute Q&A

Watch a 60-minute Q&A with the Rogue One: A Star Wars Story cast and director


More questions and anwers with the team
Dec 04
// Hubert Vigilla
The 30-minute Facebook Q&A with the Rogue One cast and director Gareth Edwards wasn't the only appearance the team made in the Bay Area. There was a 60-minute Q&A/panel with the same talent in San Francisco. Twitter, ...
Science v Cinema: Arrival photo
Science v Cinema: Arrival

Video: Science vs. Cinema weighs in on Denis Villeneuve's Arrival (SPOILERS)


Find out if the science holds up
Dec 04
// Hubert Vigilla
I mentioned last week that Denis Villeneuve's Arrival is one of the best movies of 2016. Artist Peter Konig shared some concepts and designs that demonstrate the craft involved in the film. But if you're a hardcore sci-fi gee...
Rogue One 30-minute Q&A photo
Rogue One 30-minute Q&A

Watch a 30-minute Q&A with the Rogue One: A Star Wars Story cast and director


Facebook employees getting all the perks
Dec 04
// Hubert Vigilla
Last week, the cast members of Rogue One: A Star Wars Story and director Gareth Edwards dropped by Facebook HQ in Menlo Park, CA for a Q&A and special 28-minute preview of the film. A video of the Q&A session was post...
I AM GROOT VOL GROOT photo
We are Groot
All right, a-holes, here it is. The official trailer for Guardians of the Galaxy Vol. 2 has arrived. Everyone's back, it sounds like we've got a new track from the second Awesome Mix, and Groot's a baby. (Which means Vin Dies...

Star Wars: Rogue One photo
Star Wars: Rogue One

Korean Star Wars: Rogue One TV spots and a new poster bring the hope


Less than two weeks to Star Wars 3.5
Dec 02
// Hubert Vigilla
The hype train for Rogue One: A Star Wars Story is now in full effect. A second final trailer was released last weekend as advanced tickets went on sale. A behind-the-scenes featurette with Diego Luna also showed up recently,...
Alternate Arrival aliens photo
Alternate Arrival aliens

Check out these alternate alien concept art designs for Denis Villeneuve's Arrival


Other forms of otherworldly
Dec 02
// Hubert Vigilla
We haven't reviewed or written anything on Denis Villeneuve's Arrival on this site, though that definitely needs to change. Arrival is one of the best movies of 2016, and may be the science fiction film that best embodies the...
Rampage adaptation photo
Rampage adaptation

Director of Rampage adapation starring Dwayne "The Rock" Johnson promises emotion, scares


Kaiju candy asses gonna freak out
Dec 02
// Hubert Vigilla
In case you forgot (why would you remember?), an adaptation of Rampage has been in the works for years. The film seems to have some actual legs on it now that Dwayne "The Rock" Johnson is attached to star with San Andreas dir...
Star Wars: Rogue One clip photo
Star Wars: Rogue One clip

First clip from Rogue One: A Star Wars Story has rebels taking out jabroni storm troopers


Rebel rebel, you've torn your dress
Dec 01
// Hubert Vigilla
We're just two weeks away from Rogue One: A Star Wars Story. While the reshoots stoke a little worry in me (according to reports, composer Michael Giacchino only had four and a half weeks to write the score), I remain hopeful...
Star Wars: Rogue One vids photo
Star Wars: Rogue One vids

Watch a new TV spot and behind-the-scenes video for Rogue One: A Star Wars Story


Diego Luna and a bit of Darth Vader
Nov 29
// Hubert Vigilla
Tickets are now on sale for Rogue One: A Star Wars Story, which means the hype is now in full force. The movie looks like it might be sort of like The Dirty Dozen in space, and I'm totally fine with that. (I can only ass...
Assassin's Creed clip photo
Assassin's Creed clip

Michael Fassbender enters the Animus in this Assassin's Creed clip


Shake hands with the past
Nov 29
// Hubert Vigilla
The Assassin's Creed movie is less than a month away. I'm lukewarm but interested, and at least willing to give it a shot based on the talent involved. The film brings together Michael Fassbender, Marion Cotillard, and direct...
Avatar 2 photo
Avatar 2

James Cameron may finally have a release date for Avatar 2


Putin/Seagal is the new Penn/El Chapo
Nov 28
// Hubert Vigilla
Avatar 2 has been delayed for a long, long time, but over the weekend James Cameron's sequel might have gotten a release date. The people at 20th Century Fox have been adjusting their release schedules, and they have an untit...
Star Wars: Rogue One photo
Star Wars: Rogue One

Final trailer for Rogue One: A Star Wars Story mentions the odds and raises the stakes


May the Donnie Yen be with you
Nov 28
// Hubert Vigilla
I know, I know--we already said there was a final trailer for Rogue One: A Star Wars Story. Now we have two final trailers. You can blame Disney and Lucasfilm for wanting to hype the movie one last time now that the public can buy their advanced movie tickets. Go buy tix already, duders. Check out the second final trailer for Rogue One below.
Yoda Bad Lip Reading photo
Yoda Bad Lip Reading

Yoda sings a song about seagulls in this Bad Lip Reading of The Empire Strikes Back


Laughing off my ass, I did
Nov 27
// Hubert Vigilla
A break from posting during Thanksgiving, Flixist has taken. But fear not. Return we will with news and reviews in the final weeks of 2016. A very crummy year, 2016 was. The dark side of the Force is powerful, but balance res...
MST3K Turkey Day 2016 photo
MST3K Turkey Day 2016

MST3K Turkey Day is back for Thanksgiving 2016 with Joel Hodgson and Jonah Ray


Their top six episodes as voted by fans
Nov 23
// Hubert Vigilla
Thanksgiving is tomorrow. You're probably busy traveling or pretending to work or fretting over the time you have to spend with your relatives right now. If you're stressed out or feeling down, buck up: MST3K's Turkey Day is ...

Review: Evolution

Nov 23 // Hubert Vigilla
[embed]220389:42858:0[/embed] EvolutionDirector: Lucile HadzihalilovicRelease Date: November 25, 2016 (limited/VOD)Rating: NRCountry: France The world of Evolution is mysterious from the get go, which is due largely to the coastal locale where the film is set. We don't know what year it is, or quite where this place is either. It's all so otherworldly, the sort of setting for tales, allegories, and de Chirico paintings. There are white stucco buildings built near the water, and the sand is black leading to the turbulent shore. It's beautiful in how stark it is. In the distance, there's a medical facility that looks like it was abandoned years ago, but boys and their mothers walk back and forth for periodic examinations. There are only grown women and young boys on this island. There are no men, there are no girls, and the mothers have a sinister uniformity about them. At night, the mothers leave their homes carrying hand lanterns and congregate near the water. The boys are just boys but are in the dark about their caretakers. The boys are raised on a diet of mashed kelp and something like worms, one of those foods that while heated in a saucepan still looks cold when it's served. Evolution centers primarily on Nicolas (Max Brebant) and his mother (Julie-Marie Parmentier), and what Nicolas discovers about this town and where babies come from. We follow him into the night, down long corridors, to water in the dark, and in the process participate in the act of discovery, unwrapping the allegory along with Nicolas, sharing in his repulsion and curiosity. Roughly midway through Evolution, this dive into the unknown slows, maybe too much for what's revealed about the mothers and their boys. Yet even what's revealed is just enough to suggest larger possibilities and delve deeper into the thematic territory of the movie--sex, childbirth, asexuality, violation, flesh, reproduction, biological processes. I sensed in the film's lull that Hadzihalilovic was signalling a move away from an explicit exploration of the plot and the machinery of the world to a series of ruminative brushstrokes, each one a deliberate move to the film's finale, which is more conceptual than visceral. In the immediate aftermath of Evolution, I felt a little let down, expecting more of a resolution to what's introduced early on. Yet the movie has this strange, lingering quality thanks to its pervasive otherworldliness. I mentioned Lovecraft and Cronenbeg earlier, but Hadzihalilovic makes this movie her own, invested with unique hobbyhorses and a fascinating sensibility. It's rare to see a movie that sticks around in your mind after an initial sense of disappointment. The fact I'm still thinking about Evolution, and deeper now than in the hours after the first viewing, have made me reevaluate Hadzihalilovic's languid pace, which unfolds with the same speed as a dream verging on a nightmare but never quite arriving there. Cinematographer Manuel Dacosse does a magnificent job in rendering these images and giving them such a haunting quality that I can't get several of them out of my head. Evolution's grown on me, like a skin graft or like coral, or maybe it's grown in me, like the stuff of recurring bad dreams.
Review: Evolution photo
Lingering, haunting, and yet
There's so much going for Lucile Hadzihalilovic's Evolution, a film expertly lensed from the deliberate first shot: looking up to the sky from underwater. From beneath, the ripples and waves on the ocean surface produce undul...

Ithaca Fantastik photo
Ithaca Fantastik

Ithaca Fantastik is this week (November 9-13)


Genre movies in upstate New York
Nov 07
// Hubert Vigilla
Ithaca Fantastik starts this Wednesday, November 9th up in Ithaca, New York. The film festival is a showcase of genre movies from all over the world. This year's festival is bookended by two major Korean release. On opening n...
The Predator photo
The Predator

Olivia Munn to star alongside Boyd Holbrook in The Predator


Let's try this again
Nov 04
// Matthew Razak
The Predator was actually looking like a solid reboot with director Shane Black on board and Benitio del Toro set to star, but the actor left the project to be replaced by Boyd Holbrook. That's kind of a letdown, and now...

Ithaca Fantastik (November 9-13): Full lineup for 5th annual horror/sci-fi/fantasy film festival

Oct 27 // Hubert Vigilla
[embed]220990:43171:0[/embed] 24x36: A Movie About Movie Poster - Kevin Burke, Canada Alipato: A Very Brief Life of Ember - Khavn, Philippines/Germany Aloys - Tobias Nölle, France/Switzerland Another Evil - Carson D Mell, US [embed]220990:43172:0[/embed] Autohead - Rohit Mittal, India The Autopsy of Jane Doe - André Orvedal, UK Belief: The Possession Of Janet Moses - David Stubbs, New Zeland Creature Designers: The Frankenstein Complex - Gilles Penso & Alexandre Poncet, US Dearest Sister - Mattie Do, Laos [embed]220990:43166:0[/embed] Headshot - Kimo Stamboel & Timo Tjahjanto, Indonesia Here Alone - Rod Blackhurst, US I, Olga Hepnarova - Petr Kazda &Thomas Weinreb, Czech Republic/Poland/Slovakia/France Kiyamachi Daruma - Hideo Sakaki, Japan K-Shop - Dan Pringle, UK [embed]220990:43169:0[/embed] The Love Witch - Anna Biller, US Master Cleanse - Bobby Miller, US Miruthan - Shakti Soundar Rajan, India My Father Die - Sean Brosnam, US [embed]220990:43170:0[/embed] Nova Seed - Nick DiLiberto, Canada The Open - Marc Lahore, France Pet - Carles Torrens, USA/Spain Return of MIZUNO - Hikaru Tsukuda, Japan S is for Stanley - Alex Infascelli, Italy [embed]220990:43167:0[/embed] Sadako vs. Kayako - Koji Shiraishi, Japan Safe Neighbourhood - Chris Peckover, Australia/USA Seoul Station - Yeon Sang-ho, South Korea She’s Allergic to Cats - Michael Reich, US Terror 5 - Sebastian Rotstein & Federico Rotstein, Argentina [embed]220990:43168:0[/embed] Retrospective: Werewolf '81 Wolfen - Michael Wadleigh, US (1981) American Werewolf in London - John Landis, US (1981) Retrospective: The Known Unknowns The Naked Prey - Cornel Wilde, US (1965) Deliverance - John Boorman, US (1972) Long Weekend - Colin Eggleston, AUS (1978) Altered States - Ken Russell, US (1980) Aliens - James Cameron, US (1981) [embed]220990:43173:0[/embed]
Ithaca Fantastik 2016 photo
Genre cinema and retrospectives
The fifth annual Ithaca Fantastik film festival will be getting underway starting November 9th and running through the 13th. The festival specializes in horror, sci fi, fantasy, thrillers, and general genre weirdness. Over th...

Cloverfield 3 photo
Surprise, surprise
10 Cloverfield Lane was such a pleasant surprise of a film. Not a direct sequel to Cloverfield, the movie did its own thing, plopping Mary Elizabeth Winstead, John Goodman, and John Gallagher, Jr. in a sandbox of thriller and...

Watch the sneak peek teaser for Guardians of the Galaxy: Volume 2

Oct 19 // Hubert Vigilla
Oh, you kids with your space movies and things. How lovely. No lie, Guardians is my second favorite MCU movie since it has a bit more personality than the other films, and because James Gunn made Tromeo and Juliet, the secret-best Troma movie. Gunn is such a nice guy he even shared a poster for the film. Give it a look below. We'll keep you posted on the full trailer for Guardians 2 when it arrives. For now, come and get your tease of love. [via James Gunn on Facebook]
Guardians 2 teaser photo
We are all Kevin Bacon again
We're all anxiously awaiting Guardians of the Galaxy: Volume 2. James Gunn promises a full trailer is on the way for his misfit science fiction adventure, but for now, he's taken to Facebook to share a special sneak peek of the film. Give it a watch below, amigo.


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