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BONUS SCREENPLAYS TO READ: You can download five more of the best screenplays to read in each genre in this post. Read as many movie scripts as you can and watch your screenwriting ability soar.
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Hi, I read a commentary by Robert Towne, who said that the narrative skills in older movies is superior. He said more about how it costs the characters a lot to do the right thing in them, which makes it more believable, enjoyable, and funny. For this reason I think Billy Wilder is essential reading, especially:SOME LIKE IT HOT and THE APARTMENTHe was able to make the story turn on very simple plot-points without the need to thread endless spaghetti.
The battles behind Francis Ford Coppola's surreal war movie are well-documented: the nightmarish, multiyear shoot; star Martin Sheen's heart attack and recovery; a cackling press corps that sharpened its knives for a turkey of epic proportions. Coppola would have the last laugh. So much of the vocabulary of the modern-day war picture comes from this movie, an operatic Vietnam-set tragedy shaped out of whirring helicopter blades, Wagnerian explosions, purple haze and Joseph Conrad's colonialist fantasia Heart of Darkness. Fans of the Godfather director, so pivotal to the 1970s, know this to be his last fully realized work; connoisseurs of the war movie see it (correctly) as his second all-out masterpiece.
Pervy Dutch director Paul Verhoeven is better known for Basic Instinct and Showgirls, but war movies are his true métier. In this deliciously plotted WWII survival tale (a comeback of sorts for the Hollywood exile), a hotcha Jewish singer becomes a spy, a freedom fighter and a bed partner of Nazis. Talented Carice van Houten commits fully.
The last of the Avengers film was an epic in almost every sense. A $356 million budget, three-hour run time, over 50 MCU chracters and box office takings of 2.8 billion: movies don't get much bigger. It's also considered one of the best superhero films to date, with a Rotten Tomatoes freshness score of 94%. That's usually the kind of score you get from an arthouse flick not a juggernaut blockbuster.
The sadly departed film critic Roger Ebert saw the odd movie in his esteemed career, so for him to assert that Spider-Man 2 was the best superhero movie since Superman was some claim. And he had a point. After getting the introductions out of the way with Spider-Man, the sequel could get really complex. Director Sam Raimi paid homage to his own Evil Dead 2, while Alfred Molina brought lashings of complexity to what could easily have been a cartoonish portrayal of Dr Otto Octavius/Doctor Octopus. Tobey Maguire again convinced as the conflicted webbed hero, with no idea the next decade and a half would see him rebooted twice.
A veritable treasure trove of science fiction is available to watch on Amazon Prime; much is free to view with your standard subscription and even more is available if you feel like paying a little more. So settle back and soak up some superb sci-fi from the safety of your sofa.
Why you should watch: Hmmm. There is a reason...just let me remember what it was. Ah yes, maybe to watch New York City flood, then freeze over. This is a mildly entertaining end-of-the-world disaster flick with a good cast on paper at least. The problem is that the actual character played by Jake Gyllenhaal is incredibly annoying. And in fact, so is his entire story arc. Dennis Quaid makes up for it a little bit, but not enough to ever watch this movie more than about three times.
Why you should watch: This is truly classic science fiction and should be held in similar regard to other epic, groundbreaking sci-fi movies of the late 50s, including "The Day The Earth Stood Still," "The Day the Earth Caught Fire" and "The Thing From Another World." It's actually based on a serialized story by Jack Finney that appeared in Collier's magazine in November 1954 and was published in book form the following year. An uncomplicated plot together with incredible performances from McCarthy and the angelic Dana Wynter make this a case study in how to produce a thrilling sci-fi/drama screenplay featuring an early and extremely effective example of flashback storytelling.
Why you should watch: Who isn't a fan of "Galaxy Quest"? It's often called the second best "Star Trek" movie ever made (after "The Wrath of Khan" of course) and you might think you know all the trivia connected with the making of "Galaxy Quest," but this documentary made by the Screen Junkies team will still surprise you. The cast talk about their experiences making the movie and how close the TV series actually came, before the tragic, untimely departure of the great Alan Rickman. You'll laugh and you'll cry a little bit, but most of all, you'll enjoy the best movie about fandom in another, new way as a result of watching this documentary. Tim Allen, Sigourney Weaver, Sam Rockwell, Tony Shalhoub, Justin Long, Wil Wheaton, Brent Spiner, Rainn Wilson, Missi Pyle and Dean Parisot, all share their thoughts on this epic sci-fi comedy.
Why you should watch: During the second half of the 80s and the first half of the 90s, a whole slew of truly epic sci-fi movies were produced, including "Predator," "Total Recall," "RoboCop" and "The Running Man" to name just a few. This is actually based on a Stephen King novel, back when he was starting out and still wrote under the pseudonym Richard Bachman. It doesn't take itself too seriously and yet is frighteningly prophetic. There's a healthy dose of gratuitous violence and solid performances from an impressive cast, including Maria Conchita Alonso, Yaphet Kotto, Marvin J. McIntyre, Richard Dawson and of course, Arnold Schwarzenegger. Even "Star Trek: Discovery" borrowed heavily from it in the episode "Scavengers" (S03, E06).
So there you have it! A look at our picks for the best sci-fi movies and TV shows on Amazon Prime. You can sign up for Amazon Prime here (opens in new tab). After the 30-day free trial, a subscription costs $12.99 per month or $119 for the year.
Painting simply is in no position to present an object for simultaneous collective experience, as it was possible for architecture at all times, for the epic poem in the past, and for the movie today. Although this circumstance in itself should not lead one to conclusions about the social role of painting, it does constitute a serious threat as soon as painting, under special conditions and, as it were, against its nature, is confronted directly by the masses. In the churches and monasteries of the Middle Ages and at the princely courts up to the end of the eighteenth century, a collective reception of paintings did not occur simultaneously, but by graduated and hierarchized mediation. The change that has come about is an expression of the particular conflict in which painting was implicated by the mechanical reproducibility of paintings. Although paintings began to be publicly exhibited in galleries and salons, there was no way for the masses to organize and control themselves in their reception. Thus the same public which responds in a progressive manner toward a grotesque film is bound to respond in a reactionary manner to surrealism.XIIIThe characteristics of the film lie not only in the manner in which man presents himself to mechanical equipment but also in the manner in which, by means of this apparatus, man can represent his environment. A glance at occupational psychology illustrates the testing capacity of the equipment. Psychoanalysis illustrates it in a different perspective. The film has enriched our field of perception with methods which can be illustrated by those of Freudian theory. Fifty years ago, a slip of the tongue passed more or less unnoticed. Only exceptionally may such a slip have revealed dimensions of depth in a conversation which had seemed to be taking its course on the surface. Since the Psychopathology of Everyday Life things have changed. This book isolated and made analyzable things which had heretofore floated along unnoticed in the broad stream of perception. For the entire spectrum of optical, and now also acoustical, perception the film has brought about a similar deepening of apperception. It is only an obverse of this fact that behavior items shown in a movie can be analyzed much more precisely and from more points of view than those presented on paintings or on the stage. As compared with painting, filmed behavior lends itself more readily to analysis because of its incomparably more precise statements of the situation. In comparison with the stage scene, the filmed behavior item lends itself more readily to analysis because it can be isolated more easily. This circumstance derives its chief importance from its tendency to promote the mutual penetration of art and science. Actually, of a screened behavior item which is neatly brought out in a certain situation, like a muscle of a body, it is difficult to say which is more fascinating, its artistic value or its value for science. To demonstrate the identity of the artistic and scientific uses of photography which heretofore usually were separated will be one of the revolutionary functions of the film.
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Europe to the Stars takes the viewer on an epic journey behind the scenes at the most productive ground-based observatory in the world, revealing the science, the history, the technology and the people. Discover the European Southern Observatory in a story of cosmic curiosity, courage and perseverance; a story of observing a Universe of deep mysteries and hidden secrets; and a story of designing, building and operating the most powerful ground-based telescopes on the planet. The movie focuses on the essential aspects of an astronomical observatory, while offering a broader view of how astronomy is done. From site-testing to locate the best places in the world for observing the sky, to how telescopes are built and what mysteries of the Universe astronomers are revealing.