In the new Calendar Year of 392, in Neo-Tokyo, a young man, Agino Jiro, steals a time synchronization system and tries to escape to the past. The authorities give chase and damage his ship in the pursuit, forcing him to land in modern day Tokyo, Determined, he breaks into a van and attaches the device, recklessly kidnapping Nobucho, Shinichi, Teko and their teacher, Hokubei. Their initial resistance force lands them in Tokyo on March 9th 1945, during the US bombing campaign. Escaping again to the past the group eventually arrives at the Warring States period. There the future and the past collide as factions from Jiro's era seek to alter their past at a pivotal moment at Honnoji.
It's not love. It's Obsession. The hook of this movie is the tension between wanting to be loved and the fear of being all-encompassed by that love. It plays on men’s typical (though certainly not universal) inner-conflict
I have talked with founder of Red Nation Television Network, Joanelle Romero, and the future of Indigenous representation looks bright.
There’s been a longstanding criticism of sci-fi films about its lack of Black characters. For the past few years, Anthony Mackie has been successfully representing Black masculinity in the otherwise homogenous genre and I am here for it.
"65" (2023) is the latest Dino flick to try and answer "what else can we do with dinosaurs?"
This film manages to be simultaneously topical and timeless. Without being preachy, it highlights society’s flawed relationship with tech; insights into the complex ideas of family struggle are expertly dispersed among a perfectly paced and balanced story.
All in all, “Event Horizon” is a cinematic misfire, begging to be perfected in the future. While it possesses an array of admirable visuals, the film leaves much to be desired. If only we could see Anderson’s preferred cut, which featured more character development and tortuous imagery. In the meantime, I have a catchphrase for this film: In space no one can hear you snore.
