Soylent Green (1973) - News Poster



10 Fun Facts about the Movie “Soylent Green”

Soylent Green is a little too close to home really despite being a far more desperate dystopian society than we have at this moment. The scarcity of supplies in this world is so bad that people riot in the streets when they’re told they can’t rations, and the rich seek to cover up the truth about where foods such as Soylent Green come from. Unfortunately it’s among the only source of food that people can really rely on in a world that’s been stripped just about bare. New York alone is a barren wasteland where people have to scratch and

10 Fun Facts about the Movie “Soylent Green
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Film Review: ‘The Humanity Bureau’

Film Review: ‘The Humanity Bureau’
Though not so long ago nearly every Nicolas Cage movie was a big-budget, wide-release affair, these days his movies are mostly so low-profile you might be forgiven for not knowing he still makes ’em — let alone that he’s done some of his best-ever work very recently. The gonzo displays of blackly comedic quasi-horror pics “Mom and Dad” and “Mandy” fall into that category (though recent thriller “Looking Glass” served no one particularly well), and new Canadian feature “The Humanity Bureau” is none too shabby a showcase, either.

This dystopian road movie is very specifically set in a near-future U.S., but in character couldn’t be more Canuck: more interested in character dynamics and shaggy humor than spectacle, more picaresque than action-driven. Still, director Rob W. King and screenwriter Dave Schultz’s engaging effort has enough standard genre elements to satisfy more open-minded sci-fi fans, and its political-allegory angle
See full article at Variety - Film News »

'Soylent Green': THR's 1973 Review

On April 18, 1973, MGM unveiled Richard Fleischer's dystopian, 98-minute sci-fi drama Soylent Green in Los Angeles at Red Carpet theatres. The Hollywood Reporter's original review of the Charlton Heston starrer is below.

Soylent Green, produced by Walter Seltzer and Russell Thatcher and directed by Richard Fleischer from a screenplay by Stanley R. Greenberg, conjures up a terrifying vision of the future that is made all the more urgent by today's inflationary food prices and fast approaching energy crisis. 

Soylent Green is a food, something like a green cookie; it feeds the 40 million inhabitants of New York City in 2022. Everything...
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Tuesday Blus: Anguished Oppressors in Fleischer’s The New Centurions Richard Fleischer

While he maintained a curiously uneven track record throughout his five decades as a director, Richard Fleischer’s career was speckled with as many underrated gems as camp misfires, which perhaps explains why he’s probably best remembered today for the latter portion of his career, which included the B-grade bombast of Soylent Green (1973) and a couple mid-80s Schwarzenegger vehicles (Conan the Destroyer; Red Sonja). Worse, he was also responsible for that 1980 revamp of The Jazz Singer, a shameless franchise entry with Amityville 3D (1983), and the cringey distinction of adapting Ken Onstott’s controversial Mandingo (1975). Still, he’s an Oscar… Read the rest

Continue reading...
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Blade Runner 2049 movie review: a rickety retro replicant

MaryAnn’s quick take… Visually, this dying future world is immersively hellish. Intellectually, though, its ideas haven’t kept up with the rapidly evolving science-fictional conversation. I’m “biast” (pro): love the original film; big science fiction fan

I’m “biast” (con): nothing

(what is this about? see my critic’s minifesto)

You may have heard something about the instructions to critics from director Denis Villeneuve that were passed along at some press screenings of Blade Runner 2049. One critic shared a redacted version:

Concerned this was handed out to critics following #BladeRunner2049 screening this a.m. @akstanwyck @erickohn @AwardsDaily @kristapley

Dustin Chase (@TexasArtFilm) October 2, 2017

(Click here for a screengrab if the tweet has been deleted.)

This is bizarre for many reasons; for one, filmmakers should not be dictating how critics frame their reviews or structure their sentences. (I attended a public multiplex screening,
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‘I’ve seen things you people wouldn’t believe’: what Blade Runner 2049’s dystopia tells us about 2017

The best sci-fi films hold up a mirror to the age in which they are made. So what can we learn from the future – and what it means to be human – in Denis Villeneuve’s film?

On the face of it, dystopian movies are the hardest sell in cinema. Who wants to see a film telling you that everything goes wrong and we all live miserably ever after? But increasingly, it seems, that is what we want to see, looking at recent hit sagas such as The Hunger Games, Planet of the Apes, Divergent and now a Blade Runner sequel. The pill has to be sugared with spectacle and romance, but dystopian futures perform a function. They are the canary in humanity’s coal mine. They show us where we are going off-course and what we are afraid of – not in the future, but in the present. In the same
See full article at The Guardian - Film News »

Horror Highlights: Exhumed Films’ 35mm Marathon, Escape Room, Paperbacks From Hell, Godzilla Faq, Ghastlies, Mountain Fever

Exhumed Films is resurrecting some beloved horror favorites from the 1970s and ’80s and projecting them onto the big screen at Alamo Drafthouse Yonkers, including Friday the 13th Part III, starring my original horror crush and maybe yours, too, Jason Voorhees! And also, we have release details for Escape Room, Paperbacks From Hell, Ghastlies, and Mountain Fever, as well as information on the new book Godzilla Faq.

Exhumed Films' Guilty Pleasures IV Marathon: Press Release: "Exhumed Films Presents: Guilty Pleasures IV--in 3-D!

Exhumed Films is pleased to return to the Alamo Drafthouse Yonkers to present the fourth edition of The Guilty Pleasures Marathon, our annual assault of cinematic insanity. For this year’s marathon, we present some of the greatest 3-D films of all time, projected from original 35mm prints using state of the art technology! The 1970’s and 1980’s saw a resurgence of three-dimensional movies, particularly in the realm of genre cinema.
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War For The Planet Of The Apes – Review

And just a week after the highly entertaining reboot of the web-slinger, here comes another franchise reboot, but rather than a first entry, here’s the third chapter, the rumored final one (only the grosses will tell) of a trilogy launched six years ago. But its roots go back nearly 50 years (we’re getting into Bond territory). Oh, and this is really the second reboot (first one didn’t…take). That original ancestor is that 1968 classic Planet Of The Apes, the movie that gave Charlton Heston an iconic role not from biblical times, rather it established him as a science fiction star (mainly in dour futures as with The Omega Man and Soylent Green). Sure Chuck brought the adults in and made it “respectable”, but for the younger set, the flick was all about the fabulous simian make-ups enveloping some great character actors. Those John Chambers designed prosthetics continued on
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The Beautiful and the Damned Dirty Apes: A History of The Planet of The Apes

Author: Cai Ross

The original Planet of The Apes movies occupied a curious netherworld of critical opinion. With each film, the budget was sawn in half, leading to a successive pattern of diminishing returns that led to a cheapening of its esteem. The spin-off TV show was quickly cancelled, further dulling the lustre and few people even remember the animated series that finally put the Apes to bed until a rude awakening in 2001.

However, for all their child-pleasing capers (the family-friendly G rating was a mandatory stipulation from the studios), the Apes movies deftly juggled important themes and arguments about slavery, free-will, nuclear war, vivisection, racism and oppression, and man’s innate capacity for cruelty. In pure storytelling terms, the circuitous plot links the first five movies (and the new post-Rise cycle) into a pleasing, if relentlessly pessimistic, self-perpetuating full-circle.

Enormous box office successes in their early stages, they spawned
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War For The Planet Of The Apes & The Rise & Rise Of Intelligent Sci-Fi

Author: Dave Roper

Science Fiction has been with us for as long as we’ve had cinema. Méliès made his Trip to the Moon, Lang built and displayed his dystopian Metropolis and Jules Verne’s rich science fiction novels fed into cinema’s early efforts to showcase the fantastical.

Thankfully, cinema’s relationship with science fiction has also generally proved to be intelligent and thought-provoking. Spectacle, as with the disaster epics of Irwin Allen’s 1970’s heyday, has always had its place, but alongside that films as diverse as Planet of the Apes, The Day the Earth Stood Still, Metropolis, Soylent Green and Invasion of the Body Snatchers gave us much to consider about human nature, society and our relationship with our fragile planet.

More recently, Independence Day, Armageddon, War of the Worlds, Mars Attacks, Men in Black and even more sci-fi inflected comic book entries like Guardians of the Galaxy,
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Interview, Audio: Director Ana Lily Amirpour Stirs up ‘The Bad Batch’

Chicago – The dystopia – or negative future world – is a genre staple, from “Soylent Green” to “Max Max.” The latest film to ponder the possibilities is “The Bad Batch,” from writer/director Ana Lily Amirpour. This is her sophomore feature, after “A Girl Walks Home Alone at Night,” and features Suki Waterhouse in the lead role.

The Bad Batch” is set in Texas, where persons branded with the film title are banished into a desert-like existence. A young woman name Arlen (Waterhouse), struggles to survive after her banishment, and finds out that a renegade society has formed within the harsh environs. She is captured, and is tortured into bodily harm, but manages to escape to another place-within-the-place, run by a leader named The Dream (Keanu Reeves). Arlen becomes intent on revenge, and in that state of emotion gains an enemy, the mysterious Miami Man (Jason Mamoa). The world is also populated with characters portrayed by Diego Luna, Giovani Ribisi and Jim Carrey, which means the Bad Batch just got badder.

Suki Waterhouse of ‘The Bad Batch

Photo credit: Neon

The mind of writer/director Ana Lily Amirpour is awash in alternative subjects. Her first feature film, after a number of short film efforts, was “A Girl Walks Home Alone at Night” (2014), and was described as “the first Iranian vampire Western.” Amirpour’s family has roots in Iran, but she was born in England and raised in the United States. She had been making films since she was 12 years old, and graduated from the UCLA School of Theater, Film and Television. talked to her during a promotional tour of Chicago for the film, and divides that talk between a Q&A transcript and an audio portion, that both delve into her one-of-a-kind perspective. There have been many dystopian societies in art, from ‘Brave New World’ to ‘Mad Max.’ When you were creating your take on it, how did you want to characterize it that distinguished it from any other fictional dystopia?

Ana Lily Amirpour: I don’t consider it dystopia, I look at it as reality. Everything is dystopia, and there is no such thing as utopia. Works like ‘Brave New World’ and ‘The Handmaiden’s Tale’ develop their atmosphere from a movement or a revolution, as if the world has ended and has come out to this other side. When I wrote ‘The Bad Batch,’ I thought that the world outside the gates that confine the ‘bad’ characters is simply our world today. So if we’re pushed a little bit farther, in the sense of protection or resources, who are we? How do we define what is good or bad? What is the morality of human behavior? There are parallels to ‘Alice in Wonderland’ in this film. What do you think is most surreal in this particular rabbit hole, and what instinct do you believe Arlen uses best in her need to survive?

Amirpour: I only noticed this after I had finished the film, and watched it again a few months later… she is kind of like a shark because she keeps on moving forward. I do feel that in modern society that still is the best way to survive. Whatever it is, just keep doing something, because complete stillness or inactivity is more like death than death. But sometimes it’s reckless, and sometimes Arlen moves forward before thinking, that is the thing about her. The lead role of Arlen needed a lot of particular performance qualities. What did Suki Waterhouse bring to you in her audition that nailed those undefined qualities that was necessary for Arlen, as you created her?

Amirpour: I don’t personally do that many castings, in this film and in my first film. But I did get involved in “The Bad Batch,” because we couldn’t think of an actress that was a 3-D embodiment of the character. But when I saw Suki on tape, I knew she was ‘it.’ And I can’t describe that any more than to say that I never had to really express to her the the ideas that were on the page, she just instinctively embraced it. She was Arlen, and I didn’t want to f**k it up. Her instinct was just it.

Director Ana Lily Amipour (in Pink) Sets the Scene in ‘The Bad Batch

Photo credit: Neon One of the more interesting lines in the film is in regard to the ‘economy of comfort’ that develops in the bad batch society. Since that economy also makes a fortune for pharmaceuticals, the liquor industry and legal/illegal marijuana trade in our current society, what do you think the economy of comfort says about us?

Amirpour: That’s a big question, and I don’t have the answers, even though I ask the question in the film. It involves human colonization, how it develops, and it’s an observation based on that development. I don’t have an answer, but it just the way things work. It’s cool that you bring it up, because I find that most participants in that economy don’t think beyond it. You had many notable stars in smaller, almost cameo roles. What intrigued them all about participating in this film, did you get feedback as to why, for example, Jim Carrey decided to take the role?

Amirpour: I believe that every character I create is in their own film, that happens to overlap with the main film. There are complete and real characters, even though we only spend only a little time with them. In the approach to what those entities are, that always appeals to an actor. What are they, since they are going to embody this character? I knew that Jim was going to do it, for example. It’s that thing about the character, where he was that thing. He became the kind, gentle soul of this universe.

It was the same with Keanu. When I came up with the concept of ‘The Dream,’ on the surface he just seemed like another creepy bad man or villain. It had to be played by someone larger than life, but not malicious. And Keanu is that person to me, and he was The Dream like I wanted The Dream. [laughs]

In the audio portion of the interview, Ana Lily Amirpour talks more in-depth on the themes in her created society of “The Bad Batch,” her family background from Iran to America, and the source of her personal philosophy.

The Bad Batch” has a nationwide release on June 23th, including in Chicago at the Music Box Theatre, 3733 North Southport. See local listings for theaters and show times. Featuring Suki Waterhouse, Diego Luna, Jason Momoa, Yolanda Ross, Keanu Reeves and Jim Carrey. Written and directed by Ana Lily Amirpour. Rated “R”

By Patrick McDONALDWriter, Editorial

© 2017 Patrick McDonald,
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Blood Drive is Balls to the Wall Madness in the Best of Ways

Ho-ly Shit. Have you ever gone into something thinking, this'll probably suck, but I'm game to sit through it, and then it blows your fucking Mind? Well, that's what I just experienced watching the first episode of Syfy Channel's original series Blood Drive.

What started out as research for an article about whether or not Blood Drive is a prequel to Pixar's Cars, (Maybe it is. Check out this article on Jalopnik for more), turned out to be an hour or so of me enraptured by a ridiculous, yet thrilling concept. It's Wacky Racers meets Soylent Green with a whole helping of Mad Max. SyFy has really shown that if you crank crazy up to a high enough level, you don't need a huge budget to come up with something special.

I'll start with the cons and get those out of the way. Cheesy? In some parts, yes. I'm not
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20 Conspiracy Theory Movies That Came After the Assassination of JFK (Photos)

  • The Wrap
20 Conspiracy Theory Movies That Came After the Assassination of JFK (Photos)
The belief that a conspiracy of sinister forces was behind the assassination of President John F. still provides the basis for many Hollywood films. JFK would have been 100 today, and while these films are not JFK conspiracy theory films, they do reflect viewers’ more suspicious attitudes since his assassination. Blow-Up (1966) This Michelangelo Antonioni film starred David Hemmings as a photographer who discovers the clues to a potential murder in the photos he took of a beautiful woman. Soylent Green (1973) In a dystopian future, Charlton Heston discovers that the new and vital food supply from the government isn’t what they claim.
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Movie Review – Dead Awake (2016)

Dead Awake, 2016.

Directed by Phillip Guzman.

Starring Jocelin Donahue, Jesse Bradford, Jesse Borego, Brea Grant, and Lori Petty.


After her estranged sister Beth dies suddenly while suffering from sleep paralysis, Kate is plagued with guilt after dismissing her initial claims that she was being regularly haunted in her sleep by a sinister force that kept threatening to kill her. After experiencing the same paralysis that killed her sister, Kate begins to look deeper into the world of sleep paralysis and the supernatural, coming up against a demonic entity that feeds on its victims fear and always strikes them as they hover between the world of the waking and the sleeping.

We all love to sleep, don’t we? There is nothing better in this world than coming home from a hard day’s toil and collapsing into a comfy bed for a lovely quiet night of shut-eye. However, imagine
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Doctor Who series 10: Smile review

Simon Brew Apr 22, 2017

Peter Capaldi and Pearl Mackie head off to the future, in Frank Cottrell-Boyce’s Smile. Here’s our spoiler-packed review…

This episode contains spoilers. Our spoiler-free review is here.

See related Better Call Saul season 3 episode 2 review: Witness Better Call Saul season 3 episode 1 review: Mabel The subtle rise of good prequels

10.2 Smile

“You can’t reach the controls from the seats, what’s the point in that?”

My thoughts on Smile, the second episode of this year’s Doctor Who run - and the second-ever story to be written by Frank Cottrell-Boyce (previously behind series 8’s In The Forest Of The Night) - aren’t too far away from my thoughts on the series opener, The Pilot. That Pearl Mackie’s Bill is a breath of fresh air, that the interaction between her and Peter Capaldi’s Doctor feels different, and that the more relaxed pacing is
See full article at Den of Geek »

Ghosts of Futures Predicted: How Hollywood Imagined We’d Be Living Now

Author: Cai Ross

Earth’s future has always proved a playground of possibility for scriptwriters and directors. Artists are rarely content to make do within the confines of what is merely possible. Setting a movie years in the future is a way of letting their minds off the leash, while usually offering an allegorical reflection of the times in which we currently live. As one fictional time-travel expert once said, “The future is not set. There is no fate but what we make for ourselves.”

Snow White & The Huntsman director Rupert Sanders is the latest in a long line of visual soothsayers who has made his own fate in the form of Ghost In The Shell, which offers us a metropolitan futureworld full of gymnastic augmented cybernetic agents, colossal 3D advertisements and the increasingly regular sight of Juliette Binoche in a lab-coat.

Like many futuristic sci-fi movies, Ghost In The Shell
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The Future of Food: 5 Ominous Trends in Science Fiction Cuisine

The way to a sci-fi’s heart is through its stomach.

At the beginning of Mad Max: Fury Road, Max Rockatansky crushes a double-headed gecko beneath his heel, wipes it off his boot, and eats it. It is a perfect moment — the panicked scuttling of the gecko over the sand as it fatally scurries towards Max’s foot; the crunches; the way the squirming lizard dangles helplessly from Max’s mouth as he turns to the camera. It’s a brief lull before we’re whisked away into 120 minutes of high-octane car theatrics — and it tells us everything we need to know about Max, ever the opportunist, and his hostile, crusty world. As NPR’s Jason Sheehan notes, a similar scene takes place in Road Warrior, in which Max chows down on some dog food; “a history of lack and desperation completely told with nothing more than a hungry stare, a
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Colony Season 2 Episode 2 Review: Somewhere Out There

  • TVfanatic
Does anybody really know what's going on?

One thing I know for sure after watching Colony Season 2 Episode 2 is that we're a touch away from reuniting four of the Bowmans again. But not the four we've gotten to know as a unit.

The elusive Charlie and daddy Will have finally been reunited, but with Bram slaving away in a labor camp, the Bowmans will still be one shy of a full load. Other than that? Alien filled sky is the limit!

The extended family unit is still in tact, and pulsating. While we lost Beau last season, we've picked up Devon, and she grew on me during the hour. She's not only feisty, but she knows how to get around in a world that's very foreign to Will.

Jennifer was back, and she's not someone you really miss until she's right in front of you. Kathleen Rose Perkins is a gem.
See full article at TVfanatic »

Incorporated Season 1 Episode 1 Review: Vertical Mobility

Stop me if you've heard this one before: In a world where evil corporations rule a future dystopian Earth, an ordinary man fights to find the one he loves against insurmountable odds!

Yeah, sounds Very familiar. That basically sums up Incorporated Season 1 Episode 1, and that's not a good thing.

The "Evil Corporation" trope is tired and worn out, but it keeps cropping up like a bad penny. From Rollerball, Soylent Green, Robocop, the Alien films, Elysium, and Snowpiercer, the list goes on and on.

Sci fi has always been, at it's best, a drastic take on our societal fears, going all the way back to the 1950's nuke mutated bug movies to today's fear of technology shows like Black Mirror.

The devil, as they say, is in the details. It's an old show pony, but if the story is well done, then we can at least enjoy a new take on the same old,
See full article at TVfanatic »

AFI Fest: The Most Encouraging and Discouraging Filmmaking Trends

  • Indiewire
There are many paradoxes to being an indie filmmaker in 2016. Never has it been easier to make a quality movie, while at the same time it’s never been harder to maintain a stable career as a movie director. Equipment, viewing habit and the world are all rapidly changing, resulting in both opening and narrowing the opportunities for creative expression.

IndieWire checked in with the indie directors behind the “New Auteurs” and “American Independent” feature films at this year’s AFI Fest and asked: What is the most exciting and discouraging thing happening in filmmaking today?

Read More: 13 Lessons From Making a Film Festival Breakout: AFI Fest Directors Share Their Tips

Asaph Polonsky, “One Week and a Day”

Encouraging: That the miniseries “Olive Kitteridge” exists.

Discouraging: In Israel, where I made “One Week and a Day,” the Prime Minster, Bibi Netanyahu is now trying to shut down (before it even
See full article at Indiewire »
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