Bonus DVD incluDeD! i F - i C e S i V o M by RobeRt C. Ring i F - i C e S i V o M by RobeRt C. Ring Copyright ©2011 Robert C. Ring All rights reserved. No portion of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage and retrieval system, without permission in writing from the publisher, except by a reviewer who may quote brief passages in a critical article or review to be printed in a magazine or newspaper, or electronically transmitted on radio, television, or the Internet. Published by Krause Publications, a division of F+W Media, Inc. 700 East State Street • Iola, WI 54990-0001 715-445-2214 • 888-457-2873 www.krausebooks.com To order books or other products call toll-free 1-800-258-0929 or visit us online at www.krausebooks.com or www.Shop.Collect.com ISBN-13: 978-1-4402-2862-9 ISBN-10: 1-4402-2862-0 Cover Design by Shawn Williams and Jana Tappa Designed by Shawn Williams Edited by Kristine Manty Printed in USA Front cover movie stills and posters: main photo: Terminator 2: Judgment Day-Carolco/The Kobal Collection; bottom photos from left: Metropolis-UFA/Heritage Auctions; Godzilla-Toho/The Kobal Collection; E.T.: The Extra Terrestrial-Universal Pictures/Amblin Entertainment/The Kobal Collection; Darth Vader publicity shot-Lucasfilm/20th Century Fox//Heritage Auctions; Blade Runner- Warner Bros./The Kobal Collection; Forbidden Planet-Metro-Goldwyn-Mayer/Heritage Auctions. Back cover: 2001: A Space Odyssey- Metro-Goldwyn-Mayer/The Kobal Collection. Contents page: Star Wars-Lucasfilm/20th Century Fox/The Kobal Collection. Dedication To Lindsey and Kathryn Acknowledgments Thanks to Dr. Jim McKelly of Auburn University for fueling my love for cinema and my understanding of the art. Thanks also to Nate Yapp of Classic-Horror.com, without which my own website, The Sci-Fi Block, likely never would have existed, and to Sci-Fi Block writers John Dubrawa and Eric Miller, who also played vital roles in the growth of the site. If it weren’t for all of you, I probably would never have written this book. A very special thank you to my wife Lindsey and to the most fun baby in the world, Kathryn, for putting up with my long nights of writing and movie-watching. Thanks to Kris Manty and Paul Kennedy at Krause Publications, for placing their bets on me. Also thanks to Heritage Auctions (www.ha.com) and The Picture Desk (www.picture-desk.com), the online home of The Kobal Collection, for the photos used in this book. About the Author Robert Ring has been a science fiction fan ever since his exposure to Star Wars at an age that predates his awareness of his own age. His heightened appreciation of cinema in general started in college, during which time he accidentally enrolled in a film studies course and never looked back. Since then, Robert has enjoyed an insatiable love for movies of all types, though science fiction has remained his unrivaled favorite genre. Robert started the website The Sci-Fi Block in 2008 in order to celebrate the genre through measured, analytical film reviews, and he hopes that Sci-Fi Movie Freak will help to reinforce others’ love for science fiction as well as, with a little luck, create some new genre fans. During his off-hours, Robert consumes literature of practically every medium imaginable, from poetry to comics to yet more movies; plays video games a little too much; introduces his daughter to new movies; and occasionally stumbles upon topics and hobbies which he, against his own better judgment, attempts to add to his areas of full-blown enthusiasm. If you’re into the whole Twitter thing, you can follow Robert at www.twitter.com/Robert_Ring. Just try not to stalk him. He’s a dashing gentleman. contents IntroductIon ..........................................................5 What Is scIence FIctIon? .....................................6 Best of the Best chapter 1 ............................................................8 vital viewing chapter 2 ..........................................................50 further essentials chapter 3 .......................................................100 lesser-known gems chapter 4 .......................................................180 the failures chapter 5 .......................................................204 top 10 lists: the Good, the Bad, and the BeautIFul ....222 top 10 MovIes.................................................222 top 10 dIrectors .........................................229 top 10 FeMale characters ......................235 top 10 roBots ...............................................240 top 10 vIllaIns ...............................................246 Index .................................................................252 4 sci-fi movie freak introDuction In its attempts to broaden our appreciation science fiction, it is meant to serve as an introduction to sci-fi cinema’s many of ourselves and the world around us, science high points (as well as a few of its lowest) and to briefly identify some of the fiction is a genre that removes the boundaries of reasons these works are so great or otherwise important. For the established the conventional. In doing so, it creates an allure science fiction fan, the book’s goal is to add to the discourse of why we love that is two-fold: On the one hand, it allows itself these movies so much. The films included in this book are not all necessarily to create surface-level dynamics, mostly in the form science fiction’s best; rather, they are a mixture of the genre’s best, most of visuals, that only the horror and fantasy genres important, most influential, and, in a brief final chapter, endearingly worst. are prepared to approach. On the other hand, by Sci-Fi Movie Freak’s goal can be summed up thusly: to celebrate science reaching beyond the realm of modern possibility, fiction cinema. science fiction is able to raise questions that non- The movies in the book are divided into five chapters: Best of the Best, genre works are rarely able to consider. When either Vital Viewing, Further Essentials, Lesser-Known Gems, and The Failures. one of these explorative abilities is used properly, the Within each chapter, movies are listed chronologically. Some movies also result is a work that is fun or intriguing. In the cases have icons related to the author’s Top 10 lists starting on P. 222 and which in which both of these attributes, the superficial denote the following: and the substantial, are present, the genre reaches Movies with a red star are included in the author’s art’s highest calling in ways that, though at times Top 10. surpassed, are always unique. Looking at cinema specifically, the 1950s will no doubt go down as the heyday of science fiction. Movies with a gold star are included in the American However, the genre seems to have experienced a Film Institute’s Top 10 science-fiction films. renewed public perception throughout roughly the latter half of the past decade. This is revealed Movies with a dollar sign are Box-Office blockbusters through, along with a general feeling of heightened that earned at least $200 million. preference for science fiction within the pop culture community, a cursory analysis of factors A camera denotes a movie directed by one of the such as record attendee numbers at sci-fi-heavy author’s Top 10 directors. conventions like San Diego Comic Con, greater recent acceptance by the Academy of Motion Picture Arts and Sciences, and, for better or worse, A female silhouette denotes a movie with one of the the increased number of blockbuster films that are author’s Top 10 female characters. being made within the genre. Regardless of the reasons behind this revitalization, it indeed seems A robot head denotes a movie with one of the that recent years have seen a growing public interest author’s Top 10 robots. in science fiction. During what is hopefully still the beginning of A Darth Vader mask denotes a movie with one of this revitalization of the genre, Sci-Fi Movie Freak the author’s Top 10 villains. is here for two types of reader. For newcomers to introDuction 5 what is science fiction? Attempting to define any genre in absolute terms constitutes a “phenomenon”), at least one of these criteria should apply is a dangerous, if not futile, pursuit, as there always to each film included in Sci-Fi Movie Freak. (Note that, according to this seem to be works that fall outside of definition yet definition, “science fiction” is not synonymous with “fantasy.”) feel perfectly fitting for a given categorization. Then Two opposite examples of films that fall near the border of these guidelines there are fringe works that fall into subjective areas are Sunshine and Ghostbusters. Though Sunshine involves a crew of astronauts of the definition, leaving them straddling the line. coming into unprecedentedly close proximity with the sun, Dr. Brian Cox, The criteria for determining what films could be consulting physicist for the film’s writing team, has stated that we are actually included in this book, therefore, are not definitive; currently capable of constructing a vessel that could come quite close to the rather, they serve only as guidelines. sun without burning up, should we ever need to build such a thing. Still, it With this approach to “defining” science is not something we have ever attempted, and the phenomenon that spurs fiction, the criteria are relatively simple and slightly the action of the film (the sun dying) is one that we have not experienced, fluid. For our purposes, in order for a film to be thus it is included in Sci-Fi Movie Freak. Ghostbusters is an example of a considered science fiction, it must utilize, in a way borderline movie that does not quite fit our classification. With its many that significantly affects the film’s style or substance ghost entrapment and ghost elimination devices, there is a fair dose of science and with respect to the time the film was made, at infused with some of the film’s elements, but these items ultimately serve as least one of the following elements: mere plot devices for dealing with the exclusively supernatural and fantastical threats faced by the characters. Thus, any of these elements that could be • A technology that mankind is not currently considered sci-fi-esque in themselves have no significant bearing on the story capable of creating and thus do not necessitate a sci-fi classification. Finally, there is a frequently held sentiment, for whatever reason, that • A scientific process that mankind is not the science fiction and horror genres (as well as, presumably, others, such as currently capable of carrying out comedy) are mutually exclusive – that for a film to be one means it cannot also be the other. There is no reason this should be considered the case. The • A scientific phenomenon that mankind has terms “horror” and “science fiction” are merely means of identifying the never witnessed, encountered, or experienced types of content contained within the film (or whatever literary medium is being discussed). If a film contains elements of both, therefore, it simply • A scientific finding that mankind has not falls within both genres. There’s no reason that Alien, for instance, should discovered be considered only horror, with its deep-space setting, alien life form, and themes of extra-terrestrial life and artificial intelligence. Likewise, it should • The setting of a future society that is never be considered purely science fiction when it is phenomenally effective significantly different from our own at scaring its audiences. In this book, such films as these are generally termed “sci-fi/horror” films. This term is not used to say that the movie Broadly speaking, though there is some room being discussed could be considered either science fiction or horror but to for subjectivity here (particularly with the use of denote that it should be considered both simultaneously, with no crisis of the term “significantly,” as well as what exactly identity. 6 sci-fi movie freak Alien, with its setting in deep space and alien monster, falls within both the science fiction and horror genres. See more on P. 38. introDuction 7 In this promotional shot from the 1933 classic King Kong, Kong is depicted against the New York skyline and holding Fay Wray. RKO Radio Pictures/Heritage Auctions Chapter 1 BEST of ThE BEST We start with the best of the best. These are the films that effects techniques that were new and shockingly realistic (not stand out not just as great but as borderline perfect. Each special to mention painstakingly labor-intensive), in order to create a in its own way, these “Best of the Best” are masterworks that were story that essentially becomes a fable of capitalism. written, filmed, and polished so carefully that the filmmakers These are the movies we feel compelled to revisit even if seemed to be channeling some pure understanding of the art. we can’t initially pinpoint their allure. Upon one’s first viewing, It is difficult to break down the areas in which these particular 2001 and Blade Runner can remain enigmatic and obscure. films excel. Some of them do one thing unimaginably well. In Others, like Star Wars, are so viscerally entertaining that the other cases, it seems like every element of the film contributes attraction is obvious. But they are all alike in that they demand to its mastery. If there is a commonality among these movies, to be watched repeatedly, either because of layers of meaning it is the profuse care that went into their making. These are that are revealed upon subsequent viewings or because of a sheer unmistakable works of love. beauty that we can’t ignore (and sometimes both). These are the Movies like 2001: A Space Odyssey and Blade Runner movies that make us proud to be fans of the genre. combine provocative storytelling with unmatched visuals and music. Frankenstein and Bride of Frankenstein inject a rendition of a classic story with great acting, stunning sets and makeup, and an expressionism that constantly fuels the emotions at play. Alien is like The Birds of science fiction, instilling fear through a combination of measured pacing, claustrophobic atmosphere, and startling images. Then there are movies like Metropolis (1927) and E.T.: The Extra-Terrestrial, which focus on one element. Metropolis contains such strong visuals that it could almost exist without a story at all. E.T. is a simple story about love and friendship, but it’s told in such an earnest and endearing manner that it can move viewers to tears. Though not nearly all technical wonders can be considered masterpieces, this chapter does contain a handful of such films, elevated beyond the status of “groundbreaking” by not only pushing filmmaking technology but by combining advancements in that technology with superb storytelling. Star Wars is the chief example here, as it ushered in technology that made various special effects possible for the first time ever and at the same time enhanced the kinetics of perhaps the most exciting coming-of-age tale of modern time. King Kong, Han Solo (Harrison Ford), with his co-pilot Wookiee Chewbacca (Peter though surpassed by Star Wars in both its story and effects Mayhew), becomes a reluctant hero in Star Wars. LucasFilm/20th Century breakthroughs, achieves masterwork status by utilizing special Fox/Heritage Auctions BEST of ThE BEST 9