With the theatrical re-release of Star Trek: The Motion Picture earlier this year, a new generation of fans has discovered its charms, thanks in large part to an extensive upgrade to the creator-approved Director’s Edition released on DVD in 2001 — the version personally overseen by director Robert Wise to better represent the movie the way he wanted to debut it back in 1979. But, now, a stunning new version of the film has emerged in the 2022 Director’s Edition, which presents this classic movie in 4K/HDR and Dolby Atmos for the first time.
Like The Original Series before it, Star Trek: The Next Generation was a product of its time. Whereas Kirk & Co. embraced broad drama and the two-fisted clichés of ‘60s television on their space-faring adventures, Next Gen was more refined, drawing upon our greater understanding of science fact and taking lots and lots of time to discuss the characters’ feelings, too.
Is Star Wars art or entertainment? The simplest answer to that question is, “It’s both, of course.” But Episode VIII: The Last Jedi proves the question to be less simple than it first appears. Because of all its silly creatures, swashbuckling adventure sequences, million-dollar-a-minute special effects, and cheeky humor, The Last Jedi is at its heart a deeply personal, deeply thematic, deeply deconstructive, big-budget indie film that forces longtime fans to contend with questions about what Star Wars even is and why its unique blend of mythology, arthouse pastiche, and B-movie kitsch works as well as it does.
There is nothing like Star Wars. Across its three trilogies of Roman-numeraled Episodes, creator George Lucas and the inheritors of his galaxy far, far away opened the minds of audiences across the globe as well as across generations of fiercely devoted fans, thanks to their unique spin on epic fantasy. Love it, hate it, or anywhere in the middle: Star Wars has left an undeniable mark on the world of entertainment.
What if Superman hadn’t been a good guy? Could the government do anything about it? After the events in Batman v Superman, members of the U.S. government are nervous that aliens and metahumans could wreak havoc upon the Earth at their whim and there would be nothing the human race could do about it. With this in mind, a covert government agent named Amanda Waller hatches a plan to use incarcerated supervillains to form her “Task Force X” in order to combat evil forces in the world. To control them, she has explosive devices implanted in their necks that will detonate if they decide to not follow orders. As circumstances have it, her team is needed shortly after it’s formed to battle an ancient villain named Incubus who has invaded Midway City.
A funny thing happened on the way to the multiplex.
See, when studios invest hundreds of millions of dollars in their intended tentpole movies, they’re betting that sufficient tens of millions of people will be buying seats and popcorn to offset these exorbitant costs.
One of the ways they hedge these bets is to feature familiar characters in sequels, remakes, reboots and other sorts of “franchises'' with (they assume) a certain built-in audience. Of course, the movies need to be of a certain level of watchability and even rewatchability to reach that goal, and therein lies the challenge.
To generations of fans the world over, Christopher Reeve simply was Superman. His look, his manner, his commitment to the dual role of lovable oaf Clark Kent of Smallville and Kal-El of Krypton defined the character and set the bar, perhaps impossibly high, for all who dared follow. And while these movies might not have always achieved that same high standard, Reeve and his co-stars have left a substantial cinematic legacy, commemorated in Warner’s Superman Film Collection: 1978-1987.
This is how director Christopher Nolan does time travel. Actually, to hear him tell it, this is how he does a spy thriller, inspired by the Bonds of his youth and enhanced with all of the mind-bending trappings we've come to expect from one of filmdom's brainiest auteurs. The central conceit of Tenet—one that commands audiences to pay full attention lest they be left behind—is the recent discovery of a temporal anomaly, possibly man-made, that can send certain objects backwards in time, rather than in the usual direction.
It’s time to remind everyone what a big deal Terminator 2: Judgment Day still is. The action/adventure genre underwent a serious evolution in the ’80s, and by 1991, to be taken seriously, T2 had to be bigger and better than anything that had come before.
Linda Hamilton is back as pistol-packin' mama Sarah Connor and badass as ever, her days dedicated to a familiar mission: ridding the world of killer robots. Dark Fate is James Cameron's first active role in the franchise he created—here as a producer and co-writer—since 1996's T2:3D theme park ride, which surely accounts for much of the movie's old-shoe feel.
Batman movies keep evolving, changing and—surprisingly—getting better with each reboot, in one way or another. Director Tim Burton's Batman relied heavily upon its extreme art deco design to sweep away the goofiness of the Adam West TV incarnation, before that film series quickly descended into its own absurdity. Christopher Nolan's Dark Knight Trilogy was the cure, finding ways to make believable the exploits of a vigilante dressed as a flying mouse fighting a clown and a scarecrow, owing in large part to inspired casting choices.
When a new baby arrives at the Templeton house, seven-year-old Tim has his world turned upside down. He’s even more flummoxed when he sees that the baby is wearing a suit, carrying a briefcase, and is here on a mission from BabyCorp, where babies come from. Puppy Co., the company that Tim’s parents work for, is threatening BabyCorp’s only market by producing cute, cuddly, “forever puppies” that threaten to eliminate the human passion for babies.
Captured in 1943, a battalion of British soldiers is forced to work as slave labor to build a bridge for the Japanese over the River Kwai. The sadistic POW commander, Col. Saito, insists the British officers work alongside the enlisted personnel against the bylaws of the Geneva Convention. The British officer, Col. Nicholson, brings this to the attention of Saito, who promptly puts him in the “hot box” until he changes his tune. Nicholson refuses to back down, and a battle of wills ensues. Saito eventually realizes he’s fighting a losing battle and must find a way to inspire the prisoners to work faster, and Nicholson is the key to getting the bridge built on time.
Steven Spielberg’s The Color Purple became one of the moviemaker’s most remarkable successes, garnering 11 Academy Award nominations, including Best Picture while earning him Best Director honors from the DGA. The unforgettable characters of Alice Walker’s Pulitzer Prize-winning novel populate this lyrical cinematic adaptation. At the center is Celie, a Southern Black woman who gradually gains self-respect as she strives to educate herself and to find love, despite an abusive spouse and a society biased against her race and her sex.
The seminal hero of sword and sorcery, Conan was created by author Robert E. Howard and later evolved from the pages of pulp magazines across movies, TV, and more. His first big-screen outing was also a pivotal career move for bodybuilder Arnold Schwarzenegger, who became a bona fide movie star by anchoring director John Milius’ epic adventure film Conan the Barbarian with his statuesque presence: While not everyone can survive the fashion risk of a furry little loincloth, Arnie rocks it. But yes, there are a couple of solid stories to back it all up, reunited in Arrow’s magnificent new “Conan Chronicles” boxed set featuring 1982’s Conan the Barbarian and the 1984 follow-up Conan the Destroyer on 4K Blu-ray.