Beautiful Caroline Munro as space-bikini babe, Stella Star! Gold-clad Christopher Plummer using mystical powers to "halt the flow of time"! Kung fu fighting Amazons, acrobatic Troglodytes, and lightsaber battles with stop-motion robots! The Hoff firing frickin' laser beams from his eyes! Is Starcrash the greatest movie ever made? Probably not, but it's awfully good fun. Second best of the late seventies Star Wars rip-offs, behind Kinji Fukasaku's mind-blowing Message from Space (1978).
Italian writer-director and sci-fi buff Luigi Cozzi weaves a wild yarn full of in-jokes and genre references. The magnificent super-spaceship "Murray Leinster" (named after the s-f writer/magazine editor) goes missing and is sought by the Emperor of the Stars (Christopher Plummer) and his cape-swishing arch-enemy, Count Zarth Arn (erstwhile Maniac (1980) Joe Spinell). Fleeing the Galactic Police, interstellar rogue Stella Star and her bubble-permed, mystical sidekick Akton (faith healer-turned-trash film star (yes, really) Marjoe Gortner) stumble on some survivors who babble about "red monsters."
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Following on from its release of the newly-restored Nosferatu, Eureka has released another silent classic from Weimar-era Germany for its Masters of Cinema series - Fritz Lang's Frau Im Mond. Also known under the English title of Woman in the Moon, Frau Im Mond was Lang's final silent movie, a mix of spy flick, romantic tale and science fiction, as well as being a very stylish and very prophetic movie.
Lang's research for the movie was incredibly detailed, using cutting-edge scientific theory on rocket science to give the space travel plot credibility. In fact, the theory on display in the movie was so realistic that the movie was banned in Nazi Germany, with the authorities fearing it would compromise national security. Which probably makes this the first credible science fiction movie.
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There are few genres that director Takashi Miike hasn’t taken a
crack at during his dizzyingly productive career, but his medium of choice
has always been the wry, ultraviolent sci-fi potboiler. That he has
created so many enjoyable and radical films in this self-conceived
category makes it particularly disappointing that Dead or Alive: Final
(third in a trilogy of strictly diminishing artistic returns) is an
unsightly, rambling mess strewn with failed satire, dialogue-heavy
downtime and possibly the silliest climax in the history of science
fiction.
The plot, derivative in the extreme, centres on Ryô (Sho Aikawa), a
good-natured drifter who is revealed to be an android, and Honda (Riki
Takeuchi), a bitter cop who, wouldn’t you know it, is an
android too. In post-apocalyptic polyglot Yokohama, the demented mayor
has made it compulsory for all citizens to take a drug rendering them
infertile and stemming their sexual urges. Ryô falls in with a group of
militant rebels who refuse to take the drug, and the mayor sends Honda
and his cronies to suppress the movement.
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We really have got the 1960s to thank when it comes to the marked increase in celluloid imaginings of near and far futures…from Farenheit 451 and Alphaville to Zardoz, Planet Of The Apes and Logan’s Run - utopias and dystopias inhabited by Nehru collared hipsters, mini skirted birds..and monkeys….!
Italian cinema has had a long love affair with fantasy and science fiction and in 1965, film maker Elio Petri combined these with that other passion of Italy - crime films - and concocted a heady, clever and extremely cool movie: La Decima Vittima.
Marcello Mastroianni and Ursula Andress are contestants/assassins in a futuristic television game where after ten rounds of dodging, hunting and killing other assassins you win a million dollars. Followed by film crews and feted as superstars by the public, they pursue and are pursued through modernistic cityscapes and jazz clubs dispatching each other with relish.
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