FantasticFest is the largest genre film festival in the U.S., specializing in horror, fantasy, sci-fi, and action movies from all around the world. Here's a list of some of our favorite movies at FantasticFest.
A human-looking indestructible cyborg is sent from 2029 to 1984 to assassinate a waitress, whose unborn son will lead humanity in a war against the machines, while a soldier from that war is sent to protect her at all costs.
A family heads to an isolated hotel for the winter where an evil and spiritual presence influences the father into violence, while his psychic son sees horrific forebodings from the past and of the future.
Luke Skywalker joins forces with a Jedi Knight, a cocky pilot, a wookiee and two droids to save the universe from the Empire's world-destroying battle-station, while also attempting to rescue Princess Leia from the evil Darth Vader.
In a cyberpunk vision of the future, man has developed the technology to create replicants, human clones used to serve in the colonies outside Earth but with fixed lifespans. In Los Angeles, 2019, Deckard is a Blade Runner, a cop who specializes in terminating replicants. Originally in retirement, he is forced to re-enter the force when four replicants escape from an off-world colony to Earth. Written by
Graeme Roy <firstname.lastname@example.org>
Only days away from the beginning of principal photography, production company Filmways Inc., who had promised to provide $15 million for the production, withdrew from the project, investing the money in Brian De Palma's Blow Out (1981) instead. In only a matter of days, producer Michael Deeley was able to broker a $22 million three-way deal with Tandem Pictures, the Ladd Company (through Warner Bros.) and Hong Kong producer Sir Run Run Shaw (20th Century Fox, United Artists and Universal all turned the project down). The Ladd Company provided $7½ million and took domestic distribution rights. Sir Run Run Shaw also provided $7½ million and took international distribution rights. Tandem Pictures provided $7 million and took ancillary distribution rights (TV, home video etc). Tandem also provided the completion guarantee on the proviso that if the film went over its $22 million budget by 10% or more, they would pay for it but they could assume complete artistic control of the project. Ultimately, the film cost $28 million, and executive producers Jerry Perenchio and Bud Yorkin did indeed take over the project. See more »
When Deckard finds Zhora in the back room of the photograph, and zooms in on her face, the person he sees is clearly not Joanna Cassidy (the actress who plays Zhora). Additionally, when he prints out the close up of her face, the hard copy is at a completely different angle to the image on screen. The first goof was corrected in the 2007 Final Cut; the image on screen is now that of Cassidy. The second goof however remains. See more »
Female announcer over intercom:
Next subject: Kowalski, Leon. Engineer, waste disposal. File section: New employee, six days.
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The opening credits sequence features a detailed, dictionary-style definition of the word Replicant. See more »
This is a film that is so deep, rich, and multi-layered, it may require more than one viewing to fully absorb the brilliance of what you've just seen. At first glance, it can be a bit slow. It's told in a classic film noir fashion, so this is to be expected. Director Ridley Scott seems to want to savor every shot, and an astute audience will be able to sense this.
Now, I say the film is told in a classic Noir style, but this can be misleading. There is no Humphrey Bogart in Blade Runner, snapping off brilliant one-liners once a second. Only hopeless people, in many ways victims of the merciless world of which they are all a part. Deckard is a typically downbeat protagonist, a hard-boiled cynical leading man with a weakness for heavy drinking. The plot is a mystery in name only, as the audience is allowed to know what Roy Batty, Pris and Leon are all up to before Deckard ever finds out. This only lends to the dread and inevitability of the film, lending further to its pervasive gloom. There is no final scene at the end where the bold detective puts all the pieces together and says "Ah-Ha!". Instead, we find Rick Deckard questioning his own existence and drinking away his constant doubts, all the while embroiled in a romantic relationship with someone he's sworn to kill.
Blade Runner requires audience participation, particularly in the Director's Cut, which is entirely devoid of some rather necessary exposition provided by the Original Cut's much-maligned voice-over. Certain facts will not be clear even at the end of the film, requiring personal interpretation in order to be appreciated fully. Other facts will be given away in much more subtle ways than in most modern cinema, such as through visual cues and tenuous dialogue.
Finally, visually, this movie is quite simply a science fiction triumph. It looks better than modern computer effects in every way that counts. Superimposed special effect objects don't give off that unnatural, clearly computer-generated "Lord of the Rings" sheen common in today's effects-driven blockbusters. This, of course, is because Blade Runner - while a gorgeous movie - is not effects driven in the least. Rather, it is a visually driven story that doesn't rely on special effects. This is an important distinction to make in today's Hollywood.
"Touch of Evil" really wasn't the last of the Great Film Noirs!
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