Can a middle school science teacher save the world? With Ryan Gosling as the teacher with more potential than it first appears, he just might. In the intelligent, highly-entertaining, often funny science fiction adventure epic PROJECT HAIL MARY, we set out to find out, with a perfectly-cast Ryan Gosling as the science teacher plucked out of his classroom to try to do something incredible to try to save the world. PROJECT HAIL MARY is a film that exceeds expectations of what it could be, with great performance by Ryan Gosling, in a top-notch, visually glorious adaptation of the best-selling novel by the author of “The Martian,” Andrew Weir.
Like the movie adaptation of “The Martian,” this tale is science-forward and a thrilling adventure tale with a good dose of humor, about an unlikely man who finds himself in space, tasked with saving the world by using his brain-power, creativity and scientific skills to figure out how to not only survive, but save the planet – and more. Humor is a bigger part of PROJECT HAIL MARY than in THE MARTIAN, with its quirky main character, but this is still a smart, science-filled adventure that also offers the same uplift as THE MARTIAN.
Reportedly, PROJECT HAIL MARY is largely faithful to the best-selling novel. The film is directed by Phil Lord and Christopher Miller, the Oscar-winning team behind SPIDER-MAN: INTO THE SPIDER-VERSE, and THE LEGO MOVIE. Besides the frequent use of humor, PROJECT HAIL MARY is an optimistic film, offering hope and inspiration, which is a refreshing change from the dystopian science fiction dramas more common now, and making it a call-back to some earlier classic science fiction. Ryan Gosling carries the film as almost a one-man show for most of the film, and does so brilliantly, with charm, humor and heart.
Humor is a bigger part of PROJECT HAIL MARY than THE MARTIAN, often laugh-out-loud funny, but Ryan Gosling’s biology teacher in space, like the stranding astronaut in that previous film, has to uses his knowledge to figure it out on his own. But it is not just his survival at stake but the whole planet – and more – as something is destroying – eating – the sun. An international team has come together to solve the problem before the sun dims too much to sustain life on Earth. They recruit teacher Dr. Rylance Grace (Ryan Gosling), a molecular biologist who was ostracized from the scientific community after publishing a paper with a shocking premise, to help figure out what is destroying the sun, as part of a “try everything” plan to save the Earth.
But we first meet Dr. Grace as he is waking up from an induced coma aboard a spaceship, light-years from Earth. Grace remembers who he is but little else – not where he is, how he got there, or why he’s there, due to the prolonged time spent in an unconscious state for the trip. As Grace comically stumbles around the ship, he starts to figure things and discovers he is the only crew member to survive the journey.
Ryan Gosling is perfect in this role as this smart but quirky, funny and self-deprecating reluctant astronaut. The memories start to come back as this lone scientist starts to figure things out, which allows the film to tell us the backstory in long flashback sequences, of what brought him to space and why, while Grace’s space adventure story in the film’s present moves forward. Like in THE MARTIAN, Gosling records himself in little messages to himself about what he is experiencing, videos that are both funny and helpful narrative.
While it is only Gosling on screen much of the time, he does get some help from a few co-stars. Sandra Huller plays the stone-faced leader of one of the international teams working on the threat to Earth, who recruits the reluctant Dr. Grace to help with the project.
When Huller’s Eva Stratt shows up at Grace’s school, Grace argues that he’s just a teacher, but she counters by pointing to his biology paper with a startling hypothesis about life on other planets. Grace has a PhD in molecular biology, not astrobiology (yes, that’s a real field) but Stratt wants him to give it a shot anyway. Huller plays this character with a deadpan style that is the perfect comic foil for Gosling’s more emotional, oddball, non-conformist Dr. Grace.
Of course, Eva Stratt’s team isn’t the only one working on this problem, as many other teams are trying to solve it from different angles, and presumably, another team is working on this with astrobiologists. After all, it’s called Project Hail Mary because finding the solution is such a long shot – but the alternative is to do nothing and just wait to die.
Throughout the Earth-based part of the film, before he finds himself in space, Gosling’s Dr. Grace is reluctant, due to lack of self-confidence or maybe just aversion to risk, although when backed into the proverbial corner, he shows remarkable resourcefulness. His ability to “figure things out” keeps him on the team as they move towards finding a solution. But once he wakes up in space alone, he has to overcome this innate reluctance because he only has himself.
Gosling’s other major co-star is a space alien he meets when he encounters another spaceship. also with a sole occupant, sent from a different planet with a similar mission. This is no spoiler, as the alien is in the movie’s trailer, and the character is a major par of the story. The alien, which Grace dubs Rocky, is played by a puppet that looks like a rock with legs, winningly operated and voiced by puppeteer James Ortiz. Rocky is enthusiastic and energetic, and his comic bits have Gosling playing the foil, as the two, scientist and engineer, “figure things out” (a repeated phrase in this film).
Yes, the film has a little fun with the title, with Gosling’s Grace aboard a spaceship he calls Mary, but this is a smart if playful film. PROJECT HAIL MARY gets most of the science right and also delivers it in an accessible, engaging way. The most hard-to-believe part is that the world would come together to solve this problem, something that hasn’t happened since nations and businesses worked together to fix and ozone hole, and with current anti-science attitudes and lack of international cooperation generally, seems exceedingly unlikely now.
Visually, the film is marvelous. It shifts between close-in personal sequences, often laced with humor, as the scientists work, and gripping, exciting adventure sequences, moments of danger and tension, often in space. The film is visually astounding, shot for IMAX and with some 70mm versions out there too, so it is well worth seeing on an IMAX screen for sheer enjoyment.
Despite it’s two and a half hour running time, PROJECT HAIL MARY does not feel long, due to its level of excitement and engaging storytelling, but this is clearly an epic story.
All in all, PROJECT HAIL MARY is a smart, entertaining, not-to-miss science fiction adventure film, with a fabulous performance by Ryan Gosling, a wonderful story, and terrific big-screen visual effects. It is something to see on the biggest possible screen, and it is a film that holds up as entertainment through multiple viewings, while inspiring with a hopeful message that we can use our brains to figure it out.
PROJECT HAIL MARY opens nationally in theaters on Friday, Mar. 20, 2026.
As a lifelong male horror fan, I’ve seen a whole bunch of them, ranging from those made before I was born (not only silents; a couple of decades of talkies preceded my arrival) to the current crop. This documentary put the genre into a different perspective – the points of view a couple of dozen “talking heads”, who were mostly writers and directors of such films, plus a few actresses in the mix. It’s based on a book of the same title by Alexandra Heller-Jones, who wrote and appears frequently on camera in this adaptation. Director Donna Davies does well at balancing the length of each talk bit with clips to keep things moving at a pace that avoids college-lecture tedium.
The horror umbrella is broken down into subgenres, progressing by ages of the principal figures. Scary or victimized girls are the opening group, followed by teens, adults, revenge, women at work, home invasion, and older stars on both sides of good and evil. The coverage is quite comprehensive, with generous amounts of clips to illustrate what the women on camera are saying. This is strictly for those not easily offended or grossed out, since they don’t pull any punches on scenes of nudity and gore (especially the latter). That structure works well. It also includes quite a few non-American films that fit the various categories.
The focus is more on the roles of women and how they might reflect or relate to viewers. Whether the source of menace is a psycho, supernatural, sci-fi or extraterrestrial takes a back seat to the psychology of the stories. It presents women’s points of view and how they were influenced, including how their prevalence behind the camera has mushroomed recently. But don’t assume this is a feminist screed, or overly academic. It’s more of an homage to those behind and in the cited films including nods to early novelists like Mary Shelley and Shirley Jackson, offering encouragement to newcomers and aspirants from hearing about the paths of these presenters.
Perhaps the greatest value of this doc, at least for me, is its spur to watch or re-watch numerous titles proffered. Good thing it’s on home-market release rather than in theaters. I found myself hitting the pause or rewind buttons frequently to note the films I’m adding to my watch lists. I suspect most of you who appreciate this documentary will do the same.
100 WOMEN IN HORROR streams on Shudder starting Friday, Mar. 20, 2026.
Yes, it’s a week past Friday the 13th, but that doesn’t mean that we can’t be part of a fledgling fright franchise. Particularly a horror franchise, a concept that probably goes back to the Universal horror classics of the Golden age, starting strong with 19341’s FRANKENSTEIN (DRACULA was not as prolific, really). Hammer picked up the mantle in the late 1950s and into the early 70s with Christopher Lee as Dracula and Peter Cushing as Baron Frankenstein, though you can argue that American International Pictures had a series with the Poe adaptations from Roger Corman starring Vincent Price. He also did two films as THE ABOMINABLE DR. PHIBES, around the same time as those blood-suckers BLACULA and Count Yorga. At the end of that decade, extremely long-running franchises sprang from HALLOWEEN and FRIDAY THE 13TH. In the last few decades, we’ve gotten our current scary series, SCREAM, along with the FINAL DESTINATION. And then there’s the sub-genre of horror/ SF with ALIEN and PREDATOR. This new one is a bit of a hybrid, as it’s an action-oriented fright fest. So, are you all prepared for READY OR NOT 2: HERE I COME? Ya’ better be ’cause…” ollie, ollie, oxen-free”!
So, this new flick picks up right where READY OR NOT ended (almost seven years ago, c’mon). Bloody and battered Grace MacCaulley (Samara Weaving) is enjoying a smoke as the mansion of her new in-laws, the esteemed Le Domas family, goes up in flames. We hear the arrival of the paramedics and other disaster teams. As they question Grace, she faints from traumatic shock. While she’s “out”, word of the demise of the Le Domas dynasty spreads like wildfire to several other wealthy, influential families, who want to replace them as “Lucifer’s favorites” and rule the globe. It all starts at the Danforth casino/country club, as their trusted Lawyer (Elijah Wood), explains the demands of “Mr. Le Bail” to twin siblings Ursula (Sarah Michelle Gellar) and Titus (Shawn Hatosy). They, in turn, contact the other powerful families across the world. Meanwhile, Grace awakens in a hospital bed…handcuffed. Seems the police have lots of questions for her about that horrific honeymoon. But before the inquiries begin, Grace is reunited with her estranged younger sister Faith (Kathryn Newton), who is still the “emergency contact”, though they haven’t spoken for many years. As Grace is about to leave the hospital, all Hell breaks loose, and the MacCaulley sisters are knocked out by a gas canister. They awaken bound and gagged in the Danforth estate’s conference room, surrounded by members of the four families. The lawyer lays out the rules for a new “game”. Grace refuses to be “it” until Faith is threatened. The new “contest” involves the killing of the sisters before dawn in order for one of the families to become the new reps for the Devil. Can the still-recovering Grace protect Faith from these packs of wealthy predators and live to see a new day?
I suppose we need to begin with our only returning “survivor”, the fierce Ms. Weaving. Here she gets to add a few new “layers” to Grace, as the experiences of her “wedding celebration” have left lots of scars, physical and psychological. And she’s had little time to heal either (the hospital did do a pretty decent bandaging job). Weaving’s eyes project the fatigue of battle. But now she’s got a big reason to “soldier on”: the rekindled love for her sibling and a hope for reconnection. This introduces a terrific new character into the mix, sister Faith, played with spunky snark by the engaging Ms. Newton (one of the bright spots of the last dismal Ant-Man flick). At the first reunion of the two, she’s full of anger that masks the despair of rejection. However, when the s#*t goes down, Faith proves that the fighter’s spirit is in her, too. Newton sells both the stunts and the emotions. It helps that the ladies have a formidable “murderers’ row to play and literally bounce off. At the forefront is the eternal “slayer” herself, Gellar, who gives Ursula a ruthless, calculating edge and a razor-sharp wit and intelligence that helps her muzzle and restrain Hatosy as the deadly, demented Titus, the wildest of “wild cards.” Hatosy unleashes a white-hot demon who seemly “springs to life” as he delights in the torture of his prey. Here’s another nuanced role for Wood as the unwavering and enigmatic barrister, who is also a referee and executioner. Most of the other “hunters” are played for laughs by a talented ensemble. Standouts are Dan Bierne as the robe-clad, martini-swigging Danforth cousin, Kip, and Maia Jae as the spurned fiancée with a personal score to settle.
I referred to this as an action/horror entry, but it’s also a very dark, almost pitch-black comedic romp. It’s a satiric spoof of all the “evil rich” tropes, while being unafraid to go for big slapstick set-ups with gore-splattered (Jackson Pollock-inspired) gag pay-offs. This seems to be a “calling card” with the directing team of Matt Bettinelli-Olpin and Tyler Gillett. They directed two SCREAM installments and the equally bloody-fun ABIGAIL since the last tale of Grace. And Matt co-wrote this with returning scribes Guy Busick and R. Christopher Murphy. They supplied the MacCaulleys with lots of verbal burns and zingers that often land with more force than their combat skills. Plus, they concoct a multitude of clever ways for the baddies to commit their carnage with lots of dated devices (part of the family fortune’s past). The filmmakers keep the often convoluted plot from collapsing, while knowing when to slow things down a touch for a bit of sibling angst. Sure, the surprises from the first flick (the offerings to Mr. Le Bail) are absent, but the addition of Faith and expansion of the enemies help to make this a frenetic and still fun follow-up. So if you’re not too squeamish (I wince at the actors trying to get the sticky red goo from their skin and hair… yuck), then you’ll enjoy this “sudden-death” round of the “game” in READY OR NOT 2: HERE I COME. But, is it now “game over”?
3 Out of 4
READY OR NOT 2: HERE I COME is now playing exclusively in theatres
In Ridley Scott’s ALIEN, the audience isn’t introduced to the Xenomorph right off the bat, but to the glorious Nostromo travelling through space. Utilizing industrial scrap and military surplus to create a lived-in, “truckers in space”, the ship was filled with techy stuff like lighting built directly into the walls and ceilings using metal grates and practical fixtures, walls filled with “visual noise” created from banks of circuits and equipment salvaged from old automobiles, radios, and television sets. And best of all – the interior dressing came from scrapped Royal Air Force (RAF) stock. Designers famously used parts from a dismantled Handley Page Vulcan bomber to line the walls and corridors.
We still bow at the altar of ALIEN’s Production Designer Michael Seymour, Art Directors Les Dilley and Roger Christian (Christian is specifically credited with the “industrial” look of the Nostromo interiors, utilizing salvaged scrap metal and aircraft parts) and Set Decorator Ian Whittaker.
Bravo to the genius who really got their Nerd on and published a book titled ALIEN: THE BLUEPRINTS. Its utter rapture filled with all the technical drawings of all the major ships and vehicles from the Alien movies, presented in incredible detail. Includes iconic spacecraft like the Nostromo, the Sulaco and the Covenant.
NASA is now readying the launch of the SLS (Space Launch System) rocket and Orion spacecraft powering the Artemis II from the Kennedy Space Center in Florida to travel to the Moon. Nothing will ever surpass the mighty Saturn V Rocket and the Apollo Missions, but the excitement surrounding the countdown to the Artemis II launch and return to Earth’s closest neighbor is nothing short of fantastic!
In the new film PROJECT HAIL MARY, the filmmakers and production designers had to answer a fundamental question: If humanity truly built a ship to save itself, what would it look like? Production designer Charles Wood (Guardians of the Galaxy, Avengers: Endgame) began that exploration with viability. If the filmmakers would be asking the audience to believe that this is humanity’s last, best effort to save the planet, the Hail Mary itself had to feel engineered as if very intelligent people built it under extraordinary pressure. The default of space-movie environments is steel-and-gray hues with sometimes bland or unarticulated spaces. But directors Lord and Miller wanted to experiment with the palette and create something fresh.
“They wanted it not to feel acrid or too monochromatic,” Wood says. “They wanted to find the color in space.” In addition, instead of sleek metallic minimalism, Wood introduced fabric and insulation as structural elements. Soft materials were woven into walls and padded surfaces were shaped and layered.
Gravity itself became part of the language design. Different areas of the Hail Mary operate under different gravitational states – acceleration gravity, centrifugal gravity, zero gravity – requiring sets that could rotate or reorient.
In the new film from directors Phil Lord & Christopher Miller, Science teacher Ryland Grace (Ryan Gosling) wakes up on a spaceship light years from home with no recollection of who he is or how he got there. As his memory returns, he begins to uncover his mission: solve the riddle of the mysterious substance causing the sun to die out. He must call on his scientific knowledge and unorthodox ideas to save everything on Earth from extinction…but an unexpected friendship means he may not have to do it alone.
And this isn’t Gosling’s first time playing an astronaut. Nope! Check out this clip where he played Neil Armstrong who commanded Apollo 11 becoming the First Man to set foot on the Moon.
To mark the blast-off of PROJECT HAIL MARY, we’ve come up with a list of 14 of our favorite techy, spaceship and gadgets movies.
For the movie nerds out there (including us) technically focused space movies are our jam, where we groove on the hard sci-fi films that emphasize realism and scientific concepts – but, okay, mostly for the lights, buttons, knobs, switches and toggles.
A definitive “hard sci-fi” film that uses NASA-endorsed accuracy in botany, engineering, and orbital mechanics to show how a stranded astronaut can survive using existing or near-future tech.
The novel was absolutely brilliant with its schematics and it translated so well to the big screen showing a sophisticated fleet of spacecraft designed for the Ares program to transport the crew and supplies between Earth and Mars. Filled with an Orion capsule, The Hermes (and its ion engines), Taiyang Shen, and the Martian Rover,
There were over 400 interactive screens and many weren’t just random code; they were a “patchwork” of real NASA data. For example, the weather screens used actual Martian atmosphere data, and the Hermes navigation screens used real motion vectors provided by NASA engineers. And the best? Instead of using green screens for monitors, the animations were played live on set. This allowed actors to actually interact with the buttons and data, making their reactions feel authentic. Glorious!
Based on a true story, it celebrates the ingenious problem-solving of NASA scientists who used “square pegs in round holes” and duct tape to bring astronauts home after a technical failure in deep space, never mind a slide rule. The lift off of the mighty Saturn V rocket, mission control in Houston and the crew in the command module made this Oscar nominated movie one filled with realistic physics, engineering, and survival.
Go see it at the Johnson Space Center in Houston TX – its a true marvel, with its original consoles and rotary dials.
Director Alfonso Cuaron’s entire film is a masterclass in the physics of microgravity. It focuses on the “Kessler Syndrome,” where a chain reaction of satellite debris traveling at orbital velocity destroys everything in its path. Technology – specifically Manned Maneuvering Units (MMUs) and various airlocks – is the only thing preventing the protagonist from “drifting” forever into the vacuum.
The mind-boggling tech of this film won 7 Oscars at the 86th Academy Awards including Best Score (Steven Price), Best Visual Effects (Tim Webber, Chris Lawrence, David Shirk, and Neil Corbould) and Best Film Editing (Alfonso Cuarón and Mark Sanger).
INTERSTELLAR
The technological realism is thru the roof. The movie features plausible near-future technologies, such as the Endurance spacecraft, which uses rotation to create artificial gravity, and advanced robotic assistants like TARS and CASE. The interior is compact and practical, with a focus on functionality, including transparent touch screens, crew chairs, and a large main viewscreen.
A seminal work exploring humanity’s relationship with technology – from the first bone tool to the sentient AI HAL 9000 – as a driver for the next stage of human evolution.
The ships were wonders to behold.
Discovery One (USSC Discovery) was the 540-foot-long nuclear-powered interplanetary ship sent to investigate the signal from the monolith at Jupiter. It is controlled by the HAL 9000 computer. The Orion III Spaceplane was a sleek, needle-nosed Pan Am orbital clipper used to transport Dr. Heywood Floyd from Earth to the orbiting space station. The Aries Ib Lunar Lander was a spherical, passenger-carrying moon shuttle that transports Dr. Floyd from the space station to the Clavius Base on the lunar surface and the Space Station V was a massive, rotating “wheel” station in Earth’s orbit that serves as a transit hub for travelers heading to the moon
MOON
Huge Nerd Alert!
Duncan Jones‘s movie uses a futuristic lunar mining operation to examine the ethical implications of cloning and the psychological toll of long-term isolation on a solo worker. It’s so rich to look at due to the lunar base, the space station (or lunar mining base) named Sarang Station located on the far side of the Moon to mine Helium-3, a clean alternative fuel for Earth. The movie stars Sam Rockwell as Sam Bell, the station’s sole human occupant, who is assisted by an artificial intelligence named GERTY.
With the Helium-3 Harvesters and lunar rovers, the miniature models used instead of CGI gave these vehicles their realistic, gritty look.
Okay so it ended up being jump to the “hell” dimension, which many at the time went… “HUH?!” But the awesome “industrial-gothic” design of the S.S. Event Horizon, divided into three primary modules, was connected by a 2-kilometer-long access corridor known as The Neck. The Bridge and the Gravity Drive had sci-fi fans intrigued by all it’s panels filled with monitors, lighted buttons and toggle-switches galore.
Read ASC’s interview visual effects supervisor Richard Yuricich, ASC and visual effects producer Stuart McAra here and cinematographer Adrian Biddle, BSC here — featuring director Paul W.S. Anderson.
Designed to look like a cathedral to evoke a sense of religious dread, the corridors are octagonal, and the lighting is kept low to make the ship feel “alive” and predatory.
Paul W.S. Anderson film has since become a cult movie and there’s even a Event Horizon: Dark Descent #1 – available now from IDW Dark.
Discover what happened to the original crew of the Event Horizon in this all-new cosmic horror graphic novel set in the universe of the terrifying cult-classic film!
This original comic series serves as an official prequel to the film! The Event Horizon was a revolutionary spaceship designed for one mission: faster-than-light travel with a top-secret, experimental gravity drive. But upon activating the device, the ship journeyed across the borders of Hell itself. In a nightmarish realm of torments beyond imagining, Captain Kilpack and the crew of the Event Horizon must resist all manner of demonic forces—including Paimon, the eyeless King of Hell, and their own descents into madness and bloodlust—if they’ve any chance of escaping back to their own world.
Abandon all hope and board the Event Horizon with multiple Eisner Award winner Christian Ward (writer of Batman: City of Madness, Two-Face) and powerhouse sci-fi artist Tristan Jones (Aliens: Defiance, Tales of the TMNT) in this unbelievable story of the true and final fate of the original Event Horizon crew.
WHICH BRINGS US TO ITS UNOFFICAL SEQUEL, ACCORDING TO FANS….
SUNSHINE
In Danny Boyle’s 2007 film Sunshine, the technology and spacecraft represent a blend of near-future industrial realism and high-concept scientific theory, developed with guidance from physicist Brian Cox.
The Icarus II is a massive vessel designed for a singular, suicide-mission-style objective: delivering a payload to reignite the dying Sun. Solar Shield: The most prominent feature is a one-mile wide refractory gold-leaf shield that protects the ship from intense solar radiation and heat. The Spine: A long, delicate central armature connects the shield to the living quarters and engines. In the film, this spine rotates slowly to provide a degree of stability. Living Quarters: Designed to feel claustrophobic and utilitarian, contrasting with the vastness of the exterior. The Payload: A massive stellar bomb roughly the size of Manhattan, constructed from dark matter and uranium.
The techy part is the Computer on The Icarus, an AI with a natural-language interface that communicates verbally with the crew. Its mainframe is kept in a coolant bath to prevent overheating and the Observation Deck, a room that allows the crew to view the Sun directly through attenuation filters.
EUROPA REPORT
This “found footage” style film focuses on plausible mission design and the scientific process involved in a private mission to find life on Jupiter’s moon, Europa.
The user interfaces (UIs) in the film are minimalist and data-heavy. Transparent displays and helmet Heads-Up Displays (HUDs). Instead of flashy animations, the screens show telemetry data, oxygen levels, and orbital mechanics. This “functional” design makes the technology feel like it was built by engineers, not graphic designers.
THE BLACK HOLE
We love this film! It saw two Oscar nominations for Best Cinematography and Best Visual Effects and still one of our favorite sci-fi films ever.
The Black Hole combines gothic horror with sci-fi, centering on a massive spacecraft (the USS Cygnus) perched at the edge of a black hole, exploring the technological hubris of a scientist obsessed with entering it. The ship utilized powerful anti-gravity projectors (powered by a fictional element called Signium) that allow it to hover motionless on the edge of the black hole’s event horizon. Due to its immense size, the crew used a manually controlled, one-way tram system to travel between major sections like the docking bays and the control tower – a magnificent room filled with computer monitors.
The interior of the tower features one of the most elaborate sets in 1970s science fiction, designed to emphasize both the ship’s massive scale and its gothic atmosphere.
A dominant feature is a massive star map and holographic display used for mapping and studying the black hole, the former crew turned into mindless cyborgs. The tower is designed with multiple levels and catwalks, allowing Reinhardt and his primary sentry, Maximilian, to oversee operations from elevated positions.
We also loved V.I.N.CENT voiced by an uncredited Roddy McDowall. He was a robot aboard the U.S.S. Palomino. Great score too by composer John Barry.
AD ASTRA
Where do we start with this futuristic film that explores the vastness and silence of the solar system through a journey to Neptune, using realistic depictions of lunar bases and commercial space travel to reflect on a son’s search for his father.
This was a dream for space enthusiasts – A space elevator, an International Space Antenna, Mars underground base, Vesta IX and Lima Station and the Cepheus – the SpaceCom transport vessel travelling to outer space. It made us believe Space exploration and tourism was a common event.
SILENT RUNNING
Director Douglas Trumbull’s amazing film focuses on environmental tech in space, where a botanist maintains the last of Earth’s plant life in geodesic domes attached to a spacecraft after all plant life on Earth has gone extinct. Named the Valley Forge, Berkshire, and Sequoia, these several massive American Airlines Space Freighters were tasked with carrying Earth’s last botanical samples. They were great to look at and were based the geodesic design on the Climatron dome at the Missouri Botanical Garden. These freighters are approximately 2,500 feet long (nearly half a mile) while the filming miniature for the Valley Forge was a 26-foot-long masterpiece built over six months using parts from over 80 different model kits.
But it’s the three little robots – originally designated as Drones 1, 2, and 3—that are the heart of the film’s emotional journey. Freeman Lowell (played by Bruce Dern), re-programs the clunky, box-shaped service drones to give them distinct personalities and nicknames them after Donald Duck’s nephews, Dewey, Huey and Louie.
THE CLOVERFIELD PARADOX
To start, this has to be the greatest example of pure marketing genius. To have kept it a secret, revealing it during the Superbowl eight years ago, followed by the surprise debut on Netflix immediately afterwards that Sunday night was unbelievable! We bow low on that drop!
Now to the tech stuff. The Cloverfield Station is a massive space station orbiting Earth in the year 2028. It is a modular, high-tech habitat designed to house the massive particle accelerator at its core. The Bridge/Cockpit features a mix of traditional physical controls and modern multi-functional displays.
GDP-07952.raf
The Shepard is the station’s primary experimental device, a particle accelerator described as being “one thousand times more powerful” than any on Earth.Its goal is to provide a sustainable, infinite energy source to save humanity. When finally successfully activated, the Shepard overloads and creates a “power curve” that rips the fabric of space-time. The device doesn’t just generate power; it causes the station to jump into a parallel universe and move to the opposite side of the sun. The firing of the Shepard shattered reality across multiple dimensions and timelines.
SATURN 3
The film is set at a remote base in the asteroid belt of Saturn, and crewed by 2 scientists, and was filled with futuristic gadgets featuring detailed props and computer consoles that serve as the “tech parts” of the station’s life support and research systems. The base was equipped with numerous wall-mounted consoles and interactive displays used for monitoring life support, research data, and internal security.
For we geeks living in the early 80’s this was the perfect movie – the evil robot Hector, spaceships and a space station… this was the ultimate Nerdvana
The first trailer for SPIDER-MAN: BRAND NEW DAY launched with a first-of-its-kind 24-hour worldwide fan relay that followed the sunrise across the globe.
Tom Holland spearheaded the launch, inviting a select group of Spider-Man fans from around the world to share personal stories about what Spider-Man means to them before debuting an exclusive piece of the official trailer. Each participant then tagged the next fan in the sequence, encouraging audiences to follow the relay across time zones as Spider-Man fans around the world came together to celebrate a “Brand New Day.”
See the Global Fan Participant List at the bottom!
The event culminated in a celebration at the top of the Empire State Building in New York, where Tom Holland and local fans revealed the full trailer and announced that the building would light up in Spider-Man’s iconic red and blue this evening, marking the first time the landmark has illuminated in honor of a trailer launch.
Check out the first trailer for SPIDER-MAN: BRAND NEW DAY now! Exclusively in Movie Theaters July 31, 2026.
After the record-breaking global success of Spider-Man: No Way Home, Spider-Man: Brand New Day marks an entirely new chapter for Peter Parker and Spider-Man. Four years have passed since the events of No Way Home, and Peter is now an adult living entirely alone, having voluntarily erased himself from the lives and memories of those he loves. Crime-fighting in a New York that no longer knows his name, he’s devoted himself entirely to protecting his city — a full-time Spider-Man — but as the demands on him intensify, the pressure sparks a surprising physical evolution that threatens his existence, even as a strange new pattern of crimes gives rise to one of the most powerful threats he has ever faced.
Stars Tom Holland, Zendaya, Sadie Sink, Jacob Batalon, Jon Bernthal, Tramell Tillman, Michael Mando and Mark Ruffalo.
Directed by Destin Daniel Cretton, written by Chris McKenna & Erik Sommers and based on the MARVEL Comic Book by Stan Lee and Steve Ditko.
LIMA, PERU – Cliver Huaman– a 15-year-old boy passionate about sports commentary. On his social media, he is often seen reporting live events with his microphone.
For the Copa Libertadores final, Cliver traveled 18 hours from his hometown and decided to broadcast the final from the hill next to Universitario’s stadium.
His stream went viral not only because of the unusual location, but also due to his accurate and technical commentary about the match. He has now become a professional reporter for sports matches in Peru and Latin America, inspiring other young people to follow their dreams, and an avid Spider-Man fan.
OHIO, COLUMBUS – Philip Re – “Spidey Nurse” an Ohio State University registered nurse who gained popularity by wearing a Spider-Man suit to spread joy and kindness on campus and in hospitals. Recognized on Good Morning America for his community impact, he acts as a “friendly neighborhood” figure to support patients.
MEXICO CITY, MEXICO – Alex Arellano – Mexican content creator, online social media personality, and TikTok star who is known for his passion for all things Spider-Man. Some of his most popular TikTok videos are room tours and reveal his tremendous amount of Spider-Man collectibles.
LAS VEGAS, NEVADA – Shiyah Ridgle and the Family – A 3-year-old Spider-Man superfan and her family, The Ridgles – Shiyah is obsessed with all things Spider-Man and as the youngest of 3, brings her love for the character to everything the family does.
HAWAII – Keone Young– Spider Man super fan and kid surfer, who surfs in Spider-Man wetsuit and surfboard.
AUCKLAND, NEW ZEALAND – Ben Boyce – Dad and content creator in New Zealand who often creates content with his teenage daughters. They’re all huge fans of all the Spider-Man films.
MELBOURNE, AUSTRALIA – Bianca and Christian – Bianca is a mental health advocate who has worked with numerous charities to provide joy to children dressed as characters from Spider-Man, along with her friend Christian Pillirone.
TOKYO, JAPAN – Shido Nakamura – Kabuki actor and well-known Spider-Man fan
SEOUL, SOUTH KOREA – Mark Lee – Member of Kpop group, NCT. Known as a huge Spider-Man fan with fans calling him “Spider-Mark” – his solo song, “200” is about the character and portrays him as Peter Parker discovering his powers.
JAKARTA, INDONESIA –Spider-Verse-ID – The largest Spider-Man fandom account dedicated to sharing Spider-Man updates and participating in charity for fans around Indonesia
ALMATY, KAZAKHSTAN – Dastan Mukhamedrakhim– Travel content creator who is passionate about spreading the love and awareness about his home country and is a big Spider-Man fan
MUMBAI, INDIA – Ashish Chanchlani– Prominent Indian YouTuber known for his love of Spider-Man, notably interviewing Tom Holland for Spider-Man: Far From Home and attending the No Way Home premiere. As the first Indian YouTuber to collaborate with Marvel India, he has produced content revolving around the character.
ISTANBUL, TURKEY – Burak Goktas – Spider Man super fan and cosplayer
HELSINKI, FINLAND – Henry Weckström – A Spider-Man fan and content creator. He has had a very rough life story and he explains that when something bad or terrifying was happening to him he imagined Spider-Man jumping or swinging around the room and that helped him to get through the rough events. The video is very touching and has gathered 2M+views and was picked up by the media in Finland. He has been an important role model for many and encouraged people to ask and seek for help.
LIMPOPO, SOUTH AFRICA –The Ndlovu Youth Choir is a South African musical group founded in 2009. Their debut studio album Africa (2019) debuted number one in South Africa. Towards the end of 2019, they auditioned on America’s Got Talentseason 14
MUNICH, GERMANY – Daniel (Dannero) – is a content creator and a Spider-Man fan since he was a child. He’s a social issues advocate – active participant of non profit advocating for clean water supply to communities around the world (Viva con agua).
ROME, ITALY – Mattia Villardita is a young man who brings smiles and joy as a hospital volunteer, wearing his inseparable Spider-Man costume. In 2022, he published a book entitled Io e Spider-Man: Storia vera di un superhero normale (Me and Spider-Man: The True Story of a Normal Superhero), in which he recounts his social commitment, which earned him the title of Knight of the Republic and a meeting with Pope Bergoglio, for which he strictly wore his superhero costume
PARIS, FRANCE – Esteban Ocon– a French Formula One driver known for his consistency and racecraft. He achieved his first F1 victory at the 2021 Hungarian Grand Prix and has established himself as a reliable and competitive presence on the grid.
He is a passionate Spider-Man fan and has worn several helmets inspired by Marvel heroes, including one fully branded in Spider-Man’s colors and another combining the worlds of Spider-Man and Venom.
OVIDEO, SPAIN – Santiago Jiménez Treviño – a pediatrician at the Central University Hospital of Asturias (HUCA) and known as Dr. Spiderman, his alter ego to alleviate the suffering of hospitalized children. Santiago Jiménez Treviño is a pediatrician specializing in pediatric gastroenterology.
WALES, UK – Dylan Hughes – known as The Welsh Spider Man, climbed Snowdon 141 times in 2025, raising money for Hope House Tŷ Gobaith children’s hospices. The Bangor fundraiser, who became a familiar sight on the mountain in his superhero costume, crossed the Crib Goch ridge 108 times during his challenge, which he hopes will set a new Guinness World Record.
RIO DE JANEIRO, BRAZIL – Wirley – Wirley is the official voice talent of Spider-Man/Tom Holland in Brazil very beloved by Brazilians and Spider-Man fans, and he lives in Rio de Janeiro.
BUENOS AIRES, ARGENTINA – Ruben (SpiderGaucho) – A folkloric Spider-Man from northern Argentina has gone viral after performing at a children’s birthday party in full gaucho attire. In a video posted by TikTok creator Rubén Ojeda, the character dances traditional folk steps to “Amor Salvaje” by Los Nocheros while playing the bombo drum, captivating the crowd.
Ojeda created the character to “merge worlds and universes,” blending Spider-Man with Argentine gaucho culture. His version swaps web-shooters for boleadoras and pairs the classic suit with traditional clothing. Ojeda now performs at festivals, parties, and events across Argentina.
Lionsgate has your first look at the brand new trailer for BEAST, starring Daniel MacPherson, Luke Hemsworth, and Oscar winner Russell Crowe (Actor in a Leading Role, Gladiator, 2000).
After years away from the cage, a once-feared MMA champion is pulled back in for the fight of his life when his younger brother is put in danger. Reuniting with the trainer who once made him a legend, he commits to one final showdown against the reigning title-holder — a brutal fighter determined to dismantle the ex-champ’s legacy in front of the world. Pushed to his breaking point, the contender’s stakes are simple: win, or lose everything he’s built.
Directed by Tyler Atkins with a screenplay by David Frigerio and Russell Crowe, BEAST opens in theaters April 10, 2026.
R for language throughout, some violence/bloody images and sexual material/nudity.
[L-R] Russell Crowe as “Sammy” and Daniel MacPherson as “Patton James” in the action/drama, BEAST, a Lionsgate release. Photo courtesy of Lionsgate.
Today, Apple Original Films unveiled the trailer for director Jonah Hill’s upcoming dark comedy “Outcome,” starring Keanu Reeves, Jonah Hill, Cameron Diaz, Matt Bomer, Susan Lucci, Laverne Cox, David Spade, Martin Scorsese, Atsuko Okatsuka, Roy Wood, Jr., Welker White, Kaia Gerber and Ivy Wolk, premiering globally on Apple TV on Friday, April 10, 2026.
“Outcome” is a dark comedy that centers on Reef Hawk (Reeves), a beloved Hollywood star who must dive into the depths of his hidden demons after he is extorted with a mysterious video that’s sure to shatter his image and end his career. With the support of his lifelong besties Kyle (Diaz) and Xander (Bomer), along with his crisis lawyer Ira (Hill), Reef embarks on a soul-searching journey to make amends with anyone he could have possibly wronged in hopes of identifying the blackmailer. Co-writer and director Hill brings a unique lens to Reef’s wild but spiritually cleansing, nostalgic and eye-opening trip down memory lane, where confronting his past might be the only way to rescue his future.
Directed by Jonah Hill, the Apple Original Film “Outcome” is written by Hill and Ezra Woods, produced by Matt Dines, Alison Goodwin and Hill under their Strong Baby banner, with Adam Merims serving as executive producer.
Directed by Denis Villeneuve and written by Villeneuve and Brian K. Vaughan, Dune: Part Three is based on the novel Dune Messiah by Frank Herbert and delivers the epic conclusion to Villeneuve’s trilogy.
The film stars Timothée Chalamet, Zendaya, Jason Momoa, Florence Pugh, Rebecca Ferguson, Isaach De Bankolé, with Charlotte Rampling, with Anya Taylor-Joy, and Robert Pattinson, and Javier Bardem, and features newcomers Nakoa-Wolf Momoa and Ida Brooke.
In 2021, DUNE: PART ONE originally grossed roughly $402 million during its initial run. A 2024 re-release intended to build hype for the sequel added approximately $30 million, bringing its lifetime global total to $431–$433 million. Its theatrical earnings were notably impacted by a “day-and-date” release strategy, where it premiered simultaneously on HBO Max and in theaters.
DUNE: PART TWO opened to $82.5 million domestically in 2024, more than double the opening weekend of the first film. The sequel was a massive hit in premium formats, with IMAX screenings alone accounting for over $145 million of its total global gross. It became the highest-grossing film of 2024 during its initial release period.
DUNE: PART THREE will be in theaters and IMAX on December 18, 2026.
When I read the brief summary for the action film, FORBIDDEN CITY, I expected a standard search and avenge tale, rife with martial arts mayhem. A young Chinese woman named Mei (Yaxi Liu) comes to Rome to find her missing sister, and wreak havoc on any what done her wrong. We get that in fine style, plus a whole lot more.
The tale opens with the sisters as children in China’s era of the one child per family law, requiring one sibling to be hidden from public view. Dad manages to teach kung fu to both, in secret, of course. Fast-forward. An adult Mei, who can’t communicate in Italian without her hand-held translator, starts combing Rome’s Chinese district to find Yun (Haijin Ye), who she fears may have landed in some sort of trouble… or worse. She soon finds a bordello run by a Chinese crime gang where Yun had been forced to work. That group shares dominion over the turf with a Roman gang, headed by Annibale (Marco Giallini). The two have a fragile truce, buoyed by their disdain for, and oppression of, every other ethnic group that’s emigrated to their city.
Mei learns that Yun left her servitude to wind up living with a much older restaurant owner named Alfredo (Luca Zingaretti), who seemingly abandoned his restaurant named Forbidden City (Don’t ask why. Either they never explained, or I missed it.), now run by his wife (Sabrina Farilli) and adult son, Marcello (Enrico Borello).
The ambitious script, co-written by director Gabriele Mainetti, covers a lot of thematic territory in its 140 minutes. The action sequences are first-rate. Yaxi Liu is a legit martial artist, with more credits for stuntwork than acting. This is her first leading part. Despite her slight frame, the attractive artist carries off every aspect of what her role calls for, and is likely headed for success as a featured player, following the career arcs of Zoe Bell, Michelle Lee, Clint Eastwood, Burt Reynolds and others who earned their shots at stardom the hard way. Literally.
The surprise for me came from FORBIDDEN CITY’s Minotaur’s maze of subplots and social issues they worked into the protagonist’s quest. Atypically, there’s long-lasting suspense in who is responsible for whatever happened to whom. The plot dips into racial prejudice, abuse of immigrants, criminal enterprises, romantic sidebars and the fleshing out of more characters than usual for the action genre. Though most of the proceedings occur in sketchy areas of the city, they toss in one long sequence that serves as a travelogue for the Eternal City. That part may have been subsidized by the Department of Tourism, since it didn’t do much to advance the plot. And they squeezed in some humorous bits to relieve the tension. Otherwise, some of the drama seemed nearly operatic in its emotional depth.
There’s only a small amount of sex and nudity, minimizing the bordello element. Action abounds, with Mei kicking ass bigtime, despite taking her lumps along the way. It’s mostly hand-to-hand, using weapons other than guns. They stay rather light on the gore, considering the body count. As is often the case, I thought it could have been 10-20 minutes shorter without losing anything essential, while enhancing the flow of the rest. Mostly, I’m looking forward to whatever else will be coming from Yaxi Liu after this breakout performance.
THE FORBIDDEN CITY, in Italian, Mandarin and English, with subtitles, is available on Digital formats from Well Go USA on March 17, 2026.
Of the several hundred Asian martial arts films I’ve seen, LONE SAMURAI may be the oddest. Even when the Samurai of the title is ethnically unlikely – such leads ranged from Richard Chamberlain to Tom Cruise, among others – one expects the script to lean heavily into swordplay and other action. This one spends most of its time in moody silences before cranking things up to a long, rousing fightfest.
It’s set in 13th Century Japan. Kublai Khan had just been rebuffed in his second naval assault on the country, by a combination of defending warriors and a typhoon that wrecked much of both fleets. We learn that from the opening narration. Our nameless titular samurai (Shogen Ito) washes ashore on some remote island, presumably the only survivor of his vessel’s complement. He sees a few natives, but makes no attempt to engage, possibly because they aren’t really there. He decides to commit ritual suicide – first on the beach, then after schlepping logs and ropes to the top of a mountain to erect a torii – gateway to the afterlife. Just before he plunges his sword into his abdomen for the act of seppuku, he’s kayoed and snatched by a tribe of primitive folk who turn out to be sadistic cannibals. They take him to their own nearby island. The locals like playing with their food, maiming the menu and killing them slowly… but far from softly. Pain on the platter presumably puts pleasure on the palate.
There’s little dialog in the first 90 minutes. We learn mostly from flashbacks that our guy yearns to return to his wife and sons, but despairs of ever doing so. He’s taken to a cave with other future snacks and entrees, some of whom have already had body parts removed – presumably for appetizers. As they’re preparing to start dismantling the star’s anatomy, he manages to kill a couple of guards, escape, and grab a dugout to return to the first place he landed. Thus, he dares them to come and get him.
And that’s when the good times roll for fans of on-screen mayhem. A whole scheisseload of loinclcoth-clad, handmade weapon-wielding dudes frantically row their fleet of canoes in pursuit. Our samurai lays in wait as 50, or so, man-munchers comb the jungle for him. He picks off a bunch of them, one by one. Then the horde assembles back on the beach.
That’s when the one-man army thing really takes over. It’s all swords, spears, clubs and hatchets, with a few arrows in the mix. There’s a generous amount of splatter with some beheadings, though the cannibal catering sequence is generally more gruesome than the later killings.
Writer/director Josh C. Walter made good use of his Indonesia locations. And why not? The country has over 17,000 to choose from. But his script lingered too long on moody silences and time alone with Shogen before getting to the adrenalin stuff. That part is decently staged, with a handful of unique methods of offing his foes.
So, if one has the patience for the dry slog with periodic wistful musings, there is a payoff. Whether one concludes it was worth the time could go either way.
From Well Go USA Entertainment, LONE SAMURAI debuts on Digital, 4K Ultra HD, Blu-ray™ & DVD March 17.
