Astronaut Sam Bell has a quintessentially personal encounter toward the end of his three-year stint on the Moon, where he, working alongside his computer, GERTY, sends back to Earth parcels of a resource that has helped diminish our planet's power problems.
In 2074, when the mob wants to get rid of someone, the target is sent into the past, where a hired gun awaits - someone like Joe - who one day learns the mob wants to 'close the loop' by sending back Joe's future self for assassination.
Set in a future where a failed climate-change experiment kills all life on the planet except for a lucky few who boarded the Snowpiercer, a train that travels around the globe, where a class system emerges.
London, 2027. In this dystopian world, humans have been incapable of reproducing for eighteen years for an unknown reason, meaning the imminent extinction of the species. Britain is the one remaining civilized society on the planet, which has resulted in people wanting to immigrate there. As such, it has become a police state in order to handle the immigrants, who are placed into refugee camps. Lowly government bureaucrat Theo Faron, once an activist, is approached by the Fishes, deemed a terrorist group, led by his ex-wife Julian Taylor, who he has not seen in close to twenty years, their marriage which disintegrated following the death of their infant son Dylan during the 2008 flu pandemic. Although the Fishes did use terrorist means in their on-going revolution against the state in the fight for immigrant rights, Julian vows that they now garner support solely by speaking to the people. What she wants is for Theo to use his connections to get transit papers for a young immigrant ...Written by
The computer used in Jasper's hideout to show the video feeds of intruders breaking in, is an Apple Twentieth Anniversary Macintosh, released in 1997. In this movie it would be thirty years old. See more »
When Theo has agreed to help the Fishes by getting transit papers for Kee and follows an agent to what turns out to be a meeting with Julian on a Double Decker Bus, the bus he chases and presumably boards is a thinly disguised MCW Metrobus, dating from circa 1982, with characteristic boxy, old-fashioned appearance. However, when we cut to the bus interior, it is that of a Wrightbus Gemini model, dating from 2003 or later - this model is much curvier in shape than the Metrobus. Once Julian and Theo leave the bus, it passes by, and we see that it is indeed now the modern vehicle from which they have alighted, carrying the manufacturer's stylised 'W' moulding on the rear panel. See more »
Day 1,000 of the Siege of Seattle.
The Muslim community demands an end to the Army's occupation of mosques.
The Homeland Security bill is ratified. After eight years, British borders will remain closed. The deportation of illegal immigrants will continue. Good morning. Our lead story.
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At the very end, one can read "Shanti, Shanti, Shanti" with children shouting and laughing on the soundtrack, which can be heard repeatedly throughout the end credits. This is the last line of T.S. Eliot's 1922 poem "The Wasteland." "Shanti" means "peace" in Sanskrit. See more »
I've had a particularly bad film year, especially after having seen one particular over-hyped vacuous mess earlier in the year which all but killed my desire to see any films, no matter how interesting they looked or what the critics said about them. So, it was with a little trepidation that I went to see this, especially given that it starred Clive Owen (IMHO, the George Lazenby of British acting).
Well, I loved it and I'm not ashamed. It's unremittingly bleak and violent, but so beautifully filmed and realised that, at one point, I damn nearly burst into tears that someone could have created something so fresh and so moving, so provocative, so disturbing and so grimly beautiful. I thought it brought a real sense of imagination to the screen and that it was possessed of a fantastic visual flair. I felt that it ended on a note of hope, however uncertain and unclear, and certainly a note of redemption for the hero. I'll admit that Owen, while he still hasn't convinced me that he's a great actor, pulls off this role with a hangdog...um, doggedness that I found believable and often even moving.
I left the cinema strangely elated, relieved that cinema still has the power to move.
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