Continuing our mission to catalogue the top 5 films in every single genre for the last thousand years in every single reality of the multiverse (our favourite is the universe where every person looks like Ellen Page), we at Best For Film have chose our top 5 sci-fi films from waaay back in 2012. Want to talk about your favourite five romantic comedy films of 1997, or the top dramas of 2006? Get in touch at firstname.lastname@example.org now!
Confirming that the only person in the world capable of loving Jaden Smith is his own father, After Earth makes a mockery of the sci-fi genre. Predictable, boring and occasionally unintelligible, M. Night Shyamalan has once again made a rather large misstep in his career. Whatever talent he may have once had cannot be seen in After Earth, not in the story, the photography or the direction. In a year replete with big-budget sci-fi like Oblivion, Elysium and Star Trek Into Darkness, After Earth has the Best For Film Official Guarantee to be the worst of them all.
With M. Night Shyamalan’s latest film After Earth about to hit UK cinemas, we at Best For Film ask “How does this guy keep getting work? I mean seriously?” Like all rhetorical questions, this one has no answer, or if it does, quiet you, we want to ramble on for an entire blog post first. Let’s take a look back at M. Night’s distinguished career to truly decide once and for all if anyone should give this guy a camera ever again. What a twist!
J.J. Abrams’ vision of the classic space-faring franchise continues to dominate the increasingly-crowded sci-fi genre. After the successful reboot in 2009, the tricky follow-up of Star Trek Into Darkness had a lot to live up to; not only its predecessor, but the much beloved original series. It’s the loudest, fastest, shiniest, most slick, most beautiful and yes, most entertaining Star Trek to date, but this does come at a cost of the introspection and consideration that was previously associated with the series. That being said, Star Trek Into Darkness is a brilliant blockbuster – just expect it to be closer to Transformers than to Wrath of Khan.
If Sam Worthington were a colour, he’d be transparent
James Cameron is “living in Pandora” while writing the Avatar sequels. Is he on something?
Guided by the probing mind of Keanu Reeves, Side By Side is a thoughtful documentary exploring the near universal adoption of digital filmmaking techniques by an industry once defined by the physicality of photochemical film. While most of the directors interviewed wax lyrical about new cinematic frontiers and the endless possibilities presented by the 21st century’s digital playground, some dissenters suggest such freedoms mightn’t be such a good thing.