One of the greatest sci-fi films ever made, this is a masterpiece of mood setting, existential themes and unforgettable images.
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Blade Runner (1982)
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Author / Eternality Tan
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Riding Alone for Thousands of Miles (2005)
A mid-2000s departure from his wuxia epics, Zhang’s largely restrained work about an aged Japanese father travelling to China to film a traditional mask opera for his estranged dying son ultimately teeters towards the emotionalism of the director’s earlier melodramas.
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Umbrellas of Cherbourg, The (1964)
The magic of cinema is exuded in this dialogue-as-lyrics French musical that is easily one of the most emotionally resonant pictures of its time and genre.
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Matrix Resurrections, The (2021)
This is the worst ‘Matrix’ by miles—a tediously talky, muddled mess of meta-recursive ideas that dilutes the mythology that made the trilogy, flawed as it may be, such a blast.
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Maelstrom (2000)
A talking fish on the chopping board partly narrates this interesting if weird non-linearly-structured sophomore feature by Villeneuve that is tonally all over the place, as it explores how cosmic connections mediate between actions and consequences.
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No Home Movie (2015)
Akerman’s final film, shot in long takes that aren’t always compelling, features her late mother in the domesticity of her home as they enjoy the conversations and comfortable silences.
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Alien (1979)
Of all the science-fiction horror movies ever made, Ridley Scott’s significant cultural touchstone of a film might just be the greatest.
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Samaritan Zatoichi (1968)
This 19th installment is a rather straightforward if still serviceable affair, as the guilt-ridden blind swordsman protects a woman from nefarious harm.
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October: Ten Days That Shook the World (1927)
Commissioned by the Soviet state, Eisenstein’s follow-up to his landmark Battleship Potemkin sees his trailblazing theories of montage applied most propagandistically—and to fervent effect—in this high-octane silent film about the October Revolution of 1917.
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Spider-Man: No Way Home (2021)
The tick-the-checkbox fan servicing approach is a mixed bag—the nostalgising can be oddly satisfying but the storytelling ironically feels regressive in the very construct designed to entertain a range of creative possibilities.
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