Sterile, green text slowly crawls across a black screen reading, “5 billion people will die from a deadly virus in 1997 … The survivors will abandon the surface of the planet … Once again the animals will rule the world.” A brief line of text attributing the quote to a “clinically diagnosed paranoid schizophrenic” appears and disappears. Finally, the sounds of the arrangement “Suite Punta del Este” (1982) by Ástor Piazzolla cut through the eerie silence. The moment is unexpected, gripping, a bit strange and oddly alluring — a perfect illustration of what’s to come.
To speak frankly, Matt Reeves’ mysterious and evenly layered film noir “The Batman” (2022) is the best live-action adaptation of the character.
Cliche as it may sound, Denis Villeneuve’s new adaptation of Frank Herbert’s foundational 1965 sci-fi novel, “Dune” (2021) feels as though it shouldn’t exist, much less serve as the overture to an epic that seems poised to be the next “Lord of The Rings.”
Bram Stoker’s "Dracula” (1992) is as much an anachronism as its title character. Directed by cinematic legend Francis Ford Coppola — whose storied filmography includes the oscar-winning “Godfather” films (1972, 1974 and 1990) and the Vietnam-era epic,“Apocalypse Now” (1979) — the film features an all-star cast, sprawling sets and a meticulously constructed turn of the century aesthetic.
I have noticed a common notion that fantasy and science fiction are easy genres to write for, simply because it comes down to making things up as you go. I would argue, though, that it carries the unique challenge of not just rounding out a character, but finding them a place in the strange world you create.
“Geiger #1” feels like the beginning of something huge, a cutting-edge blend of superhero comics, science fiction, fantasy and post-nuclear fiction that manages to excite, depress, thrill and intrigue. Plus, it's stitched together by some of the biggest and best names in comics. The book also cements Image Comics as the premier destination for creator-owned books and larger-than-life ideas.
We have now arrived at the reason I began this column. "Three” (2011) is, for my money, the best-executed arc in Jonathan Hickman’s "Fantastic Four" epic, as it makes each of its three plot threads into tremendous personal dramas with huge stakes.
The story opens with Reed Richards speaking at a “TED Talk” analog at “Singularity 2010,” which seems to be going well until Reed seems to go off-script. He begins to berate his fellow scientists, proclaiming, “You fear tomorrow.” As such, Reed decides to form the eponymous “Future Foundation”: a collection of young and brilliant minds from around the Marvel universe to solve the problems of the "tomorrow" that his colleagues supposedly fear.
Miller’s run on the titular character was nothing short of revolutionary, so much so that in his first issue as the book’s auteur, he created Daredevil’s recurring love interest (and now a hugely popular character in her own right), the deadly assassin, Elektra. One issue that sticks out is #191, “Roulette."
The key lies in the main appeal of a streaming service: convenience. This explains the proliferation of streaming services, as more and more media conglomerates see the success of Netflix (with its more than 73 million users in the United States alone) and decide they can cut out the middleman and release their content on their own services.