Prometheus is a visually stunning, universe-spanning, science-fiction epic, and is a prequel to Ridley Scott’s 1979 horror masterpiece, Alien. The movie attempts to weave an expanded mythology based on the lore set out in the original film but ultimately fails to achieve the director’s lofty ambitions. A meandering plot, the lack of a cohesive script, and a series of unrelatable characters make Prometheus the equivalent of film porridge. Others will argue differently, but Prometheus is a bad film.
If heroes were my thing, the late Christopher Hitchens would be one of them. He was such a contradiction. On the one hand, Hitchens was a lucid intellectual and seemingly well-read in every subject known to man; he was a vicious debater while also being kind at heart; he could communicate with envious clarity, but turned off many who disagreed with him. Hitchens also had the appearance of a Dickensian villain: he was a heavy smoker and enjoyer of alcohol, and he often wore a dirty trenchcoat on his back.
In 1935, Mayer, an American journalist of German and Jewish descent, travelled to Germany in an attempt to secure an interview with Hitler. He failed in this task, but what he saw in Germany terrified him enough to know that Hitler wasn’t the person he needed to speak to. Instead, he interviewed ten everyday Germans — a tailor, a cabinet maker, a salesman, a student, a baker, a bill-collector, a teacher, a policeman, and a bank clerk — to decipher how it was that the Nazi movement had swept the country.
Uzumaki follows Kirie Goshima and her boyfriend, Shuichi Saito, as they attempt to survive the increasingly disturbing spiral related events which defile the inhabitants of the Japanese town of Kurōzu-cho.
Carl Sagan’s contact is the purest form of speculative science-fiction. It takes a present-day world and imposes on it a remote but completely plausible scientific premise. In Contact, Carl Sagan asks, how would the human race react if we suddenly received a message from an alien civilisation.