Oct. 22, 2021: a date that for a lot of science-fiction followers can’t come quick sufficient. That’s when these of us who don’t attend movie festivals will lastly have the opportunity to watch Denis Villeneuve’s long-awaited “Dune,” both in a theater or on HBO Max. Amusingly, a few enterprising indies are banking on some impatient viewers’ not paying shut consideration and being drawn to the microbudget British manufacturing “Dune Drifter,” with its intentionally antiquated aesthetics, or to the stupefyingly inept “Dune World,” which includes “wormlike beasts” on a “hostile and barren planet.” Higher to try this month’s choice of missed sci-fi nuggets, none of which tries to coast on Frank Herbert’s universe.
Henriksen performs an Arizona charlatan whose ill-gotten powers find yourself making the bullied teen Kelly (Elijah Nelson) just about invincible. This, in flip, permits Kelly to exert bloody revenge on the soccer gamers who’ve wrecked his life.
It’s disappointing to see Henriksen exit so quick however Martin Guigui’s movie maintains a terrific cheap-and-nasty momentum. That is as shut as we get these days to traditional Seventies or ’80s B fare, full with off-brand, endearing actors who throw themselves into this entertaining spin on superpowered excessive schoolers.
Lots of the best science-fiction films camouflage allegorical messages with action-driven plots — taking a look at you, “Planet of the Apes.” After which there are movies like “Mnemophrenia,” the place what you see if what you get: a considerate dialogue of the character of reminiscence and what makes us human. This may occasionally sound like a lecture stretched over the course of a characteristic, particularly because the director, Eirini Konstantinidou, teaches movie research on the College of Essex. However “Mnemophrenia” achieves a fragile stability between concepts and relationships, and has a real heat. The movie is about in an all-too-relatable near-future the place digital actuality has develop into so commonplace that it has rejiggered individuals’s sense of identification — the title refers to a (made up however credible) situation “characterised by the coexistence of actual and synthetic reminiscences.”
For some characters, mnemophrenia isn’t an issue however “a brand new means of being,” one other step within the lengthy sport of human evolution. Others are much less taken with the lack to distinguish the actual from the pretend, the precise expertise from the VR journey. They don’t discover life in a perpetual holodeck significantly fascinating, not to point out the potential neurological results of the brand new “complete cinema,” which replicates contact, style and odor. On the coronary heart of the film is a tricky query: Does it matter if one thing’s pretend so long as it feels actual?
That this South African alien-possession film is streaming on the horror platform Shudder is an efficient indication that it’s not for the faint of heart. Simply know that the extraterrestrial presence enters the physique of Barry (Gary Inexperienced) by means of what appears to be like like each potential orifice, and a few newly carved ones as properly. And that’s only the start.
Barry wasn’t probably the most healthful automobile by means of which to discover Earth: A heroin addict, this down-on-his-luck outsider doesn’t even get respite at residence, the place he consistently bickers along with his spouse, Suz (Chanelle de Jager), in a hysterical mixture of English and Afrikaans. So possibly internet hosting a horrible vacationer isn’t the worst factor that would have occurred to him. The film mainly consists of a sequence of encounters because the newly empowered Barry, bulging eyes suggesting all is even much less properly than typical, teeters round city.
Ryan Kruger’s debut characteristic has a relentless gonzo vibe — be prepared for medicine, intercourse and a revolting fast-forward being pregnant — that falls someplace between the cinema of transgression of the Eighties and the outrageous world of the South African music duo Die Antwoord. It’s so decided to be cult, it screams to be watched on VHS.
Ray (Dean Imperial) is so determined to make cash to pay for the care of his sick brother that he indicators up to work for CBLR, one of many massive gamers within the thrilling new world of “quantum cabling” — there’s even an business expo, the place staff can store for equipment.
Quantum cabling and CBLR are terrifying in a well-recognized means: a brand new monopolistic business that spouts “disrupting” platitudes (its slogan is “problem your establishment”) whereas stopping those that don’t purchase in from being totally functioning. That is even worse for workers, who should pay for the respect of working by shopping for a medallion, then are subjected to fixed surveillance.
This all makes Noah Hutton’s film sound terribly darkish and ominous, however “Lapsis” is a delicate, usually goofy satire, led by an endearing doofus who finally finds the resistance within the individual of fellow employee bee Anna (Madeline Sensible). Make no mistake, although: the observations about expertise’s ever-encroaching energy and the gig financial system’s exploitative streak land with an uncomfortable familiarity.
Admittedly, you would possibly query whether or not the British director Ben Wheatley’s eco-mystical mind trip qualifies as science fiction. Written throughout lockdown and shot underneath Covid-19 restrictions, the movie is about throughout a pandemic and makes references to isolation and successive waves of the illness. The premise is just a little on the nostril — we’re nonetheless dwelling this and may not but be prepared for the docu-fiction model — however Wheatley rapidly takes off in surprising, and fully weird, instructions. That his goal is to create a form of freak-folk fairy story is obvious from its start line: Alma (Ellora Torchia) guides Martin (Joel Fry), a scientist, right into a mysterious forest straight out of the Brothers Grimm. He doesn’t appear fearful when she tells him a few spirit of the woods referred to as Parnag Fegg. Quickly, although, they understand the animals appear to have disappeared: “they sense one thing,” and in flip, we sense that this one thing isn’t good.
Wheatley provides to this framework with abandon, from scenes of physique horror that will make a podiatrist cowl his eyes to many administrators’ favourite “I can’t consider the rest to do” trope — hallucinations. The film overplays the cryptic card however stays absorbing for one easy cause: You by no means know what is going to come subsequent.