For All Mankind Season 1 is the first season of an alt-historical fantasy TV drama series streaming on Apple TV+. Created by Ronald D. Moore (Star Trek, Battlestar Galactica, Outlander), For All Mankind reimagines the space race of the 60s/70s as an alternate reality where the Soviet Union put a man on the moon before the USA. Season 1 begins with that crucial departure from our history and brings events to a different conclusion by season’s end.
Offworlder #1 is the first issue of this star-spanning science fiction comic book saga by writer Mike Baron and artist Jordi Armengol. Imagine Edgar Rice Burroughs (John Carter, Tarzan et al) pulp scifi concepts melded with the brutal barbaric sensibility of Robert E. Howard’s Conan books.
American Gods S03E01 is the first episode in the latest season of this supernatural fantasy TV drama. The series is adapted from Neil Gaiman’s 2001 novel of the same name. The premise relates to a mythological war between ancient deities who were brought into the U.S.A. by immigrants centuries ago and new gods brought about changes in contemporary society and culture.
His Dark Materials S02E07 is the season finale of this scifi fantasy adaptation of The Subtle Knife, the second book in Philip Pullman’s series. Entitled “Æsahættr”, His Dark Materials S02E07 finally reveals to us, the true nature of Lyra’s identity, as preposterous as that revelation is.
The Stand Episode 1 is the premiere of the post-apocalyptic dark fantasy drama miniseries based on the beloved 1978 Stephen King novel of the same name. The Stand Episode 1 entitled “The End”, introduces us to the setting and starting premise of the miniseries.
His Dark Materials S02E06 is the penultimate episode in Season 2 and thus, story events needed to progress beyond the static. His Dark Materials S02E06, entitled “Malice”, certainly shook up the status quo as far as this series is concerned. One main flaw of the series so far is the slow moving plot and sloppy pacing issues. While less than perfect, at least this episode seemed to move the plot forward.
His Dark Materials S02E05 was built around a highly anticipated confrontation. Things had come to a head in the previous episode as the machinations of Lord Boreal (Ariyon Bakare) to acquire the Subtle Knife reached the point of hopeful fulfilment. Not only does Boreal bring Mrs. Coulter (Ruth Wilson) into his confidence, he takes her to our world, where he has set up a trap to lure Lyra (Dafne Keen) and Will (Amir Wilson).
Glad to report that His Dark Materials S02E04 carries on the quickening of the pace, the improvement in quality first seen in the previous episode. His Dark Materials S02E04 finally reveals the role of Will Parry (Amir Wilson) in the storyline. Strange to witness Lyra (Dafne Keen) being relegated to a supporting role but that’s essentially what happened in His Dark Materials S02E04.
His Dark Materials S02E03 is probably one of the strongest episodes thus far in this adaptation of Philip Pullman’s novel series. If you have been following my reviews, you would be aware of my complaint that the world-building that this adaptation is attempting is so dense that it can all get very confusing.
His Dark Materials S02E02 continues Lyra’s sojourn away from her home world as she continues to seek the truth behind ‘dust’ – the substance that facilitates traveling between alternate realities. Entitled “The Cave”, His Dark Materials S02E02 now takes place on multiple planes of existence as part of its narrative.
His Dark Materials S02E01 marks the return of HBO’s adaptation of Philip Pullman’s popular scifi fantasy series. The first season was a mixed affair distinguished by the performances of Dafne Keen (as protagonist Lyra) and Ruth Wilson (as antagonist Mrs. Coulter), but bogged down by the convoluted storyline. Definitely did not have the impact of a Game of Thrones that perhaps HBO was hoping for.
A bit late to this graphic novel but considering the responses to recent geek movies The Shape of Water and Annihilation, the moment seemed appropriate for quick thoughts about Providence.
2017 was a very eventful year for geek movies in general. Geek franchises like the MCU and Star Wars demonstrated their wide-ranging popularity with the masses whilst (sometimes) dumbing down story content in the process.
Mortal Engines is a movie adaptation of the novel of the same name (by Philip Reeve), which focuses on a futuristic, steampunk version of London, now a giant machine striving to survive on a world running out of resources.
The medieval fantasy series has captured global imagination to become one of the biggest TV series ever. It has actually surpassed the Lord of the Rings movie adaptations in reach and influence over the last seven years of its run. It has made stars out of previously unknown actors and has made HBO millions. A cultural phenomenon.
Neil Gaiman is a critically acclaimed award-winning writer who started his career with comic books – notably on the fan favourite Sandman – and novels (viz. American Gods, Coraline, Stardust and The Graveyard Book).
Not quite sure what to make of this. Basically with Norse Mythology, Neil Gaiman “reaches back through time to the original source stories in a thrilling and vivid rendition of the great Norse tales” – as the press release informs us. So is it something like an album of covers? And why is it so short (304 pages)?
Synopsis Based on the Warcraft video game series and novels set in the world of Azeroth, The film portrays the initial encounters between the humans and the orcs and takes place in a variety of locations established in the video game series. The film is co-written and directed by Duncan Jones and stars Travis Fimmel, Paula Patton, Ben Foster, Dominic Cooper, Toby Kebbell, Ben Schnetzer, Robert Kazinsky and Daniel Wu.
Fans and critics have been sharply divided in their opinion over Star Wars: The Force Awakens. For the detractors, the launch of the new trilogy is a simple re-hashing of plot elements from the original trilogy whilst the supporters feel that the movie has injected a freshness into the franchise after the disappointment of the prequel trilogy.
More avant-garde/speculative fiction/fantasy than outright scifi, Greek director Yorgos Lanthimos’ The Lobster is a triumph of imaginative allegory. There is a strong message running through the narrative that somewhat loses steam in the third act. The set-up though is well conceptualised.
