The “Minority Report” TV series (2015, Fox) changes its focus from the 2002 Steven Spielberg film’s futuristic action to characterization for the three precognitives –
Writer-director Adam McKay’s “Don’t Look Up” (2021, Netflix) makes fun of almost everything in American pop culture and government today. It’s intelligent, but rarely uproariously
“Blade Runner 2019” wraps its run in “Volume 3: Home Again, Home Again” (Issues 9-12 and a Free Comic Book Day issue, 2020) by presenting
If “Carrie” had gone the route of other horror franchises and spawned a slew of cranked-out sequels, “The Rage: Carrie 2″ (1999) would probably stand
“Blade Runner 2019: Volume 2 – Off-World” (2019-20, collecting Issues 5-8) marks many readers’ first experience of the colony worlds of the proper Philip K.
The relationship between Philip K. Dick and cinema has mostly been posthumous. Although he saw the “Blade Runner” sets and admired them before his death
“Ghostbusters: Afterlife” (2021) is the best of the three sequels. That’s a low bar to clear, but it’s also a reasonably impressive achievement. The original
“Looker” (1981) is my second-favorite among writer-director Michael Crichton’s futuristic films, trailing “Coma” (which only gets futuristic in the final act) but coming in ahead
Both “Blade Runner” and comic books have drastically increased in prestige since 1982. When I consider the two-issue movie adaptation (October-November 1982) today, I think
I wonder if “The Terminal Man,” the 1974 adaptation of Michael Cricthon’s 1972 novel, was influenced in its production design and marketing by popular SF