sci-fi
Tim Cumming
The lightning speed of the past, Raymond Carver once wrote. There’s no epic distance of space larger than that between the imagined futures of decades past and the way things are now. It’s the Jet-Pack conundrum: it should be here but what have we got? Drones and jogging apps.Of course, sci-fi isn’t a literal space – or wasn’t, before CGI. It was, rather, the last trumpet of allegorical art in a world obsessed by surface images. Outside of sci-fi, we barely experience allegory in our imaginative lives. Gaming, however wacky the graphics, is about literalism and WYSIWYG shoot-ups, while most Read more ...
Simon Munk
Welcome to the future; welcome to the ever-present now. Sci-fi is evergreen – perhaps because, unlike other fictional forms, its primary focus is not one style or historic period. It is constantly holding a slightly warped mirror up to our present concerns and extrapolating, asking "is this what you want?", or "could we go here?" or even "this is what you really are."So while Westerns or crime thrillers can speak of universal human themes, or pose weighty questions, they are always anchored in a specific time. Sci-fi, on the other hand, is barely even a "genre" – it's what happens "next Read more ...
Kieron Tyler
The world is getting hotter. Unbearably so. Along Fleet Street, the centre of British newspaper production, on-the-skids, drink-sodden Daily Express reporter Peter Stenning (a square-jawed Edward Judd) begins looking into the reasons for the change. With the help of his charismatic science editor Bill Maguire (a wonderful Leo McKern), he begins piecing things together – nuclear weapons testing has shifted the Earth’s axis. Even worse, the orbit has changed and a spiral towards the sun has begun. On his hunt for information, Stenning finds love in the arms of the beautiful Jeannie Craig (a Read more ...
Simon Munk
It's Call of Duty, in the future, with Kevin Spacey. For many, the biggest and most important game of the year is here. But for the most part, Advanced Warfare is as conservative and reactionary in terms of innovation as it is in terms of the pro-military, ends-justifies-the-means politics it peddles.For those less than familiar with the Call of Duty franchise, a brief recap – the series specialises in epicly over-the-top first-person shooter action. These games are the Jerry Bruckheimer, the Arnie, of action games. They started out in WWII, but rapidly moved focus to cover Modern Warfare in Read more ...
Adam Sweeting
Space, the final frontier. Except that on the slowly dying earth where Christopher Nolan's often awesome sci-fi epic begins, the instinct to reach for the heavens has been crushed by the struggle for survival as crops die and life-choking dust storms sweep across the American midwest.In this eco-doom dystopia, technology has been deemed useless because food production is the sole imperative, and schools teach that the NASA moon landings were a fiction designed to bankrupt the competing Russians. Virgin Galactic is evidently not operational. It's only when former test pilot Cooper (Matthew Read more ...
Adam Sweeting
Never mind Alien vs Predator. Gareth Edwards's rumbustious earth-in-peril spectacular restores Godzilla to the top of the über-monster food chain. He's an indestructible force called from his sub-oceanic lair to combat hideous opponents fuelled by mankind's reckless abuse of Mother Nature.Edwards makes token efforts to give his story some human-scaled interest, though frankly it's futile. Bryan Cranston emotes doggedly as a scientist at a Tokyo nuclear plant, where the first signs of impending planetary catastrophe are felt, but Juliette Binoche as his wife lasts about five minutes before she Read more ...
Kieron Tyler
The key lines are “you’re reborn into an untroubled world” – a world “where everyone’s the same.” The 1956 Don Siegel science fiction film Invasion of the Body Snatchers is often taken as a response to America’s fear of Communism and the associated suppression of self, or as a commentary on the encroaching conformity brought by the spread of consumerism and a regimented suburbia. In both cases, homogenisation and standardised behaviour were the potential result.Seeing the film anew does nothing to alter these interpretations. In cinemas again as part of the BFI’s Days of Fear and Wonder Read more ...
Simon Munk
Which you is you? Where does your soul live? Who cares if a clone of you dies? For a fairly simple puzzle game, The Swapper asks some serious questions. And importantly, it asks them with subtlety, deftness and atmosphere – that enhances the excellent gameplay.Exploring a semi-ruined space station, your fragile astronaut finds a strange device that lets you create up to four clones of yourself. These clones will walk, grab, jump as you do, but you can place them far from you. More than that, you can swap your control, your consciousness, to them if you have direct line of sight. And that's Read more ...
Simon Munk
The iconic monster is back in a far more successful way than Prometheus. The first-person, stealth game Alien: Isolation largely successfully returns us to the creeping horror and claustrophobic environments of the original film.Set after the events of Alien, Isolation sees Ripley's daughter chasing the black box recorder of the original spaceship, the Nostromo. On reaching the space station it's on, of course she finds the iconic "xenomorph", the "perfect organism, its structural perfection is matched only by its hostility", let loose among a terrified and splintered population.The Read more ...
Simon Munk
This sprawling post-apocalyptic role-playing game comes long after the original. Wasteland was a critical hit back in 1988. It was a fairly unique proposition then. But that was back in 1988 – which in videogames terms is about the dark ages.In the last 25 years, console manufacturers have risen and fallen, Windows has come into existence (and nearly out of again), and mobile phones have turned from bricks to smart. In the meantime, post-apocalyptic settings for games have become common, so have squad-based role-playing games, so, even, have games with "persistent worlds" (where, when you Read more ...
Simon Munk
The blockbuster game to outblockbuster them all. Creating Destiny required a record-breaking budget of $500 million; it's made by the makers of the iconic Halo series; it fuses that series' first-person, space-opera shooter pedigree with World of Warcraft-style massively multi-player online gaming; and it sold $500 million on its launch day alone. In gaming terms, Destiny is huge – a massively slick and serious enterprise… with a hollow heart that would make Hollywood proud.Destiny is best viewed as a surface. It looks undeniably amazing – simultaneously organically complex, gritty and Read more ...
Jasper Rees
Luc Besson has always venerated the ladies, preferably trousered types with lashings of spunk. You can tick them all off: Isabelle Adjani in Subway, the felon-assassin Nikita, precocious little Natalie Portman in Léon, bande-dessinée adventuress Adèle Blanc-Sec. Why, in The Lady he even offered a po-faced serenade to Aung San Suu Kyi. Not a lot of submissive mannikins in floaty floral-print cotton skirts in that lot. Just when you think he’s run out of ballsy goddesses to plant on a pedestal, up pops Lucy, his most completely idealised heroine yet, glacially incarnated by – who else? - Read more ...