I was born at the perfect time, 1972, which would make me five years old in 1977, the influential year for all things sci-fi. Anyone who was a kid at the time will tell you what kind of massive cinematic thunderclap "Star Wars" created. Not only did it give food to starving imaginations everywhere, even though “Star Wars” is not science-fiction, its success created a boom of unprecedented highs (and lows) The critics be damned, the film opened the flood gates and made science-fiction/fantasy a viable, profitable genre again. As a kid growing up in this geek renaissance, I become in love with the genre that still lasts to this day. Of course my tastes have changed, evolved and evened-out, the one constant remains that always keeps me coming back; the genre's continued exploration of humanities soul. When it works, science-fiction is the mirror we hold up to ourselves to access our value, judge our sins, mine the potential and forgive our transgressions. It can traverse our deepest darkest angels and perhaps help us see the light or damn us to the fate we deserve. We remember these films not for their incredible effects, (although that can be fun too), but for the characters and what they have to say, how they matter to us and hopefully help us view our world in a different- positive way. Here are the top ten reasons why I heart science-fiction. THX-1138 (1971) Stark, chilling and cynical, yet strangely hopeful, George Lucas’s first motion picture is probably still his least seen, was also a box-office flop in its initial release. Set in the unknown future, Robert Duvall stars as the titular character that breaks society’s rules by having sex, refusing his medication, thinking for himself and questioning authority. Your typical 70's dystopia themes and ruminations, is also a visually stunning experience with a magnificent sound design unlike any other. The first of the many 70's sci-fi films that took a provocative idea and ran with it. Watching this we realize "Star Wars" was just inevitable. An odd, hypnotic score by Lalo Schifrin "Terminator" (1984) Described by its script collaborator, Bill Wisher as "It's a Wonderful Life" with guns, the Cam's best film made Arnold Schwarzenegger a household name playing the merciless cyborg sent from the future to erase the past in this furious high-impact, tech-noir. Shot for a modest $6 million, the budget never comes off as anything other than ambitious and tough with its non-stop action and impressive special-effects. Underneath the violence and sci-fi Mcguffin is an unlikely bittersweet love story between Linda Hamilton's Sarah Connors and back to the past time jumper, Michael Biehn's Reece. Hamilton would become an icon of her generation by becoming a tough, clear-thinking heroine able to give as good as she gets by doing battle with the nasty terminator who kills without mercy, fear or regret. The plot was nothing new; borrowing heavily from a Harlan Ellison short story, but the post-apocalyptic-machine-ruled society has now slipped into standard cliché, but for it's time and even today, Terminator still packs a thump with Brad Friedel's techno-pounding, iconic score, it's dialed-down, realistic violence and swift, brazen direction. Not really much to say in the way of the genre other than sit back and have a great time. The overrated sequel, Judgment Day is fine, but us geeks here at reelholes.com prefer the much more entertaining "Terminator 3: Rise of the Machines." “A.I.-Artificial Intelligence” (2000) This hotly anticipated collaboration between Spielberg and Stanley Kubrick split audiences down the middle on who was responsible for the films ending. Because of its sentimental nature, many ignorant fools assumed it was Spielberg’s, when in fact it was Kubrick’s from the stories inception- who cares! Debates like this are for the nitpicky morons since the film compliments the sensibilities of both directors; Spielberg gaining a slightly darker edge and Kubrick showing he’s wasn’t just an eccentric, cold craftsman. Both have created a film of powerful imagery and profound statements about humanity set against the backdrop of a futuristic fairytale. Haley Joel Osmet stars as David, a mechanical boy, “Mecha”; through several cruel twists of fate, he’s given up by his family and sets off on a search to find the blue fairy so he can return to his family as a real little boy. Both Directors ideas run concomitantly through the script, (penned by Spielberg) confidently and harmoniously. A poignant story punctuated with one of Spielberg’s best kid performances by Osmet who conveys a plethora of emotions; ranging from curiosity, confusion, determination to contentment. Surprisingly low-key, it’s a sometimes sad, but beautiful film that intelligently explores something so rare in science-fiction today- the human heart. John Williams creates a delicate, haunting score. “Star Trek: The Motion Picture” (1979) After enjoying unprecedented success in syndication and inspired by the blockbuster success of “Star Wars”, Paramount Studios brought the first of eleven Trek adventures to the big screen. With the entire original cast intact, Creator/Writer/Producer Gene Roddenberry creates Treks first and ONLY full-blown hard science-fiction story. After Federation Space Station and a Klingon Cruiser are destroyed by an alien menace, the Enterprise, with Captain Kirk and crew at the helm (a late appearance by Spock), is sent to intercept the dangerous entity before it reaches Earth. Legendary Director Robert Wise (Day the Earth Stood Still, Sound of Music) lends an epic feel to the story. Although the middle act plods along in parts, the movie’s visuals are awe-inspiring. Composer Jerry Goldsmith’s score is one of his finest, rivaling “Star Wars ANH” in its opulence and beauty; the standouts being the opening Overture, Ilia’s and V’Ger’s theme. Considered a mediocre success in its initial release, STTMP has aged like any fine wine. The performances are a tad on the dour side, exhibiting little of the characters trademark relationship but Goldsmith’s score and the wondrous visuals are a feast to behold. "Testament" (1984) Brutal, sobering, scary as hell, the film taps into the fear of nuclear annihilation at the apex of the Cold War, the film takes an intimate, realistic look at post- nuclear holocaust told from the POV of Jane Alexander and William Devane as your average couple trying to raise a family in a small California town. Then one day the Big One hits and their lives slowly began to disintegrate. Devane's character ends up missing while Alexander attempts to keep things as close to normal for the sake of her children. The horror comes not in the spectacle of war, but from the radiation poisoning and the slow loss of normalcy. Alexander struggles with her ordeal, she says goodbye to her friends watches her world slowly crumble around her and slowly rips your heart out as she buries her children, neighbors’ children, one by one as they succumb to the sickness. A potent and powerful film that takes you on a devastating journey that will put you through the emotional ringer. Absolutely heartbreaking in its humanity, it is the saddest motion picture I have ever seen. Keep an out for a very young Kevin Costner and Rebecca Demorney as a married couple dealing with their own tragedy. Originally planned as a television movie for PBS, the executives were so impressed, they released it theatrically, but someone needs their nuts chopped off for not awarding the Best Actress Oscar to Jane Alexander for her outstanding work. James Horner’s delicate, but effective score is aces. "Contact" (1997) Based on Carl Sagan’s bestseller of the same name; this Robert Zemeckis adaptation delivers Jodie Foster's best performance-ever. Foster plays Ellie Arroway, an eager astronomer who is constantly looking towards the stars until one day she gets an answer. One of the few sci-fi films to discuss religion alongside science without the mocking or supplanting of either one. Continuously thought-provoking, deep philosophical issues are discussed, pondered as it shows us faith and science go hand in hand and you really can't have one without the other. Many slam the ending with her ghost dad standing in for the aliens, but if you watch the movie it makes perfect sense all emphasized by a wonderful score by Alan Silvestri. "2001: A Space Odyssey" (1968) Stanley Kubrick’s best film was not the huge hit many expected it to be, it did well, but it would take nearly a decade before it reached classic status. Even though the film had its fan from the beginning, several of the renowned critics of the day, Pauline Kael being the most vociferous- slammed the film for being “slow’ and “dull.” Unfortunately, I used to think the very same thing. Having grown up with the whiz-bang of “Star Wars” and “", 2001 never appealed to me. Even though I still love “Wars/Trek” dearly, they could not be further from what Kubrick was saying. Thanks to maturity and the lack of originality from science-fiction today, I ‘ve seen the errors of my ways and can appreciate what Kubrick created- a mind-bending sci-fi art film that isn’t cut and dry, there is no villain or hero and no logical resolution. It demands you to work your gray matter and ponder humanities place in the universe- as in the films closing moments, when Bowman dies and ascends to Star Child, is that man’s next evolutionary step or an altogether new lifeform or is it just the Monolith using man’s arrogance to play tricks on him? The movie is very cold and plays almost like a silent movie during the first and last act, with stretches of only sound effects and images to react to as it embraces scientific accuracy-no sound in space, etc. Nothing is a given which only adds to its baffling, majestic beauty. The film’s single most important contribution is its awe factor. So many films today lack the simple ability to transport the viewer away with stunning visuals, compelling story and none ever approach the profound questions that 2001 effortlessly throws out. "Alien" (1979) Director Ridley Scott’s first foray into science-fiction is the first horror art film that does a genius slow-burn of “ten Little Indians.” By using the sci-fi setting to isolate the crew of the Nostromo, Scott picks them off one by one scaring the hell out of the viewer in the process. Practically cliché now, the crew is made up of various personality traits aboard an inter-galactic mining vessel that looks like it would smell like High Karate and cheap beer. The horror elements are reasonably sure-fire, but Scott meticulously, along with his production designer, created a sci-fi universe that looked like the adult version of Star Wars-used, worn, lived in and in this case, dirty. The look still holds up as one of the best ever put to film. Once the alien intruder is introduced, dinner will never be the same again; the movie’s tension is tightened to unbearable limits creating a modern masterpiece that seamlessly straddles two genres- horror/science-fiction. Plenty of themes sprinkled throughout, the film has an undercurrent of twisted sexuality; from the alien homeworld’s production design resembling vaginas, and the creature’s phallic-shaped head to Lieutenant Lambert’s implied rape by the alien. Sigourney Weaver’s first starring role is her best as she gives Ripley an unheard of, at the time, amount of strength and capability, a role that could have just as easily been played by a male, but less effective lending credence to the film’s treatise on female sexual empowerment. The films alien; an iconic, sexually infused creation by artist H.R. Gieger, is more than just a killing beast, but a thinking, cunning being that keeps Ripley on her toes leading to a great woman-o-e-creature-o showdown. The rest of the cast is a fine one lead by Tom Skerritt as Captain Corbin Dallas, John Hurt as Kane the astronaut with something extra, Veronica Cartwright as Lt. Lambert, proving she might be uglier than Shelly Duvall-two of the ugliest women on this earth. Supporting players include: Ian Holme as Ash, who may challenge your like for milk, Yaphett Koto as Parker and Harry Dean Stanton as Bret, two “Space Truckers” who meet with a grisly, but a memorable demise. Jerry Goldsmith’s score is one of his best evoking a haunting, dream-like impending doom. Three direct sequels and one spin-off franchise followed. "The Planet of the Apes" (1968)
Rod Serling’s politically charged screenplay still resonates as one of the most socially perceptive films of the 1960’s commenting astutely on racial injustices and religious hypocrisies. Charleston Heston stars as Taylor, an astronaut from earth’s present who is transported 2,000 years in the future where apes rule and humans are treated worse than cattle. Stuck on an “unknown” planet, Taylor’s discovery of the truth leads to one of the most shocking twist endings in sci-fi history. Director Franklin Schaffner creates a world of brilliant believability an exploring critical, relevant racial themes and social hypocrisy. A dazzling cast sucks you in; Roddy McDowell and Kim Hunter as chimpanzee Doctors, Cornelius and Zira, use exaggerated expressions to give convincing, sympathetic performances behind their monkey make-up. Jonathan Daly as the pious Dr. Zaius makes a great villain for Taylor’s good guy in search of his “past.” Jerry Goldsmith creates his most unique score ever with its evocative, raw, animalistic atmosphere. An unlikely franchise was born, four sequels would follow, “Escape From the Planet of the Apes” and “Conquest” being the standouts. "Close Encounters of the Third Kind" (1977) After the invasion boom created in the 1950's by "War of the Worlds", "Invaders from Mars" & "Earth Vs. The Flying Saucers" Spielberg decided aliens should play nice instead of wanting to blast humanity to bits and write a film about a childhood experience. Released just six month after "Star Wars", "CEOTK" and it made the perfect couple. An exciting film full of mystery and hope, and it asks us to see what’s out there. The second of Spielberg's four masterpieces, (the first being "JAWS", the third "Raiders of the Lost Ark", the fourth "E.T.-The Extra Terrestrial") tells the story of Roy Neary, played with equal parts obsession and wonder, by Richard Dreyfeuss, who has a close encounter and appears to go insane as he figures out what and where his psychic messages are coming from. Melinda Dillon plays a distraught mother looking for her lost son. Bound together as they are psychically drawn to the Devil\'s Tower in Wyoming where the film introduces the mother ship in one of many of its stunning special-effects. The film is stacked with great supporting performances from Terri Garr as Dreyfuess\'s frustrated wife and French film director Francois Truffaut as an equal-obsessed UFO seeker. Don't blink or you'll miss Lance Henriksen as one of the scientists during the Devil's Tower sequence. John Williams brings his Midas touch to make five of the most memorable notes in movie history. A thought-provoking, magical film that stays with you is a feast for the eyes as well as the soul, an enormously appealing as well as stirring UFO adventure. This one sealed the deal as it finally put to rest any other notion besides the obvious that Spielberg is the cat's pajamas. Honorable Mentions
Aliens Alien 3 The Abyss Titan A. E. Jurassic Park The Day the Earth Stood Still Colossus: The Forbin Project The Andromeda Strain Transformers Futureworld Fantastic Planet Fantastic Voyage Time after Time The Hidden Predator The Matrix Blade Runner Sunshine Them! The Incredible Shrinking Man The Time Machine Donnie Darko TRON Outland Ghost in the Shell Metropolis (1999) Illustrated Man