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Mansbridge), too, is genuinely jaw dropping, as is the score, by Bond composer John Barry (that main theme kills). The production design (by Peter Ellenshaw and John B. The movie, about a spaceship crew on the precarious edge of the titular gravity mass, is pretty weird too – it follows a similar “derelict space station” motif that “ Alien” would share that same year – and has a stellar cast that includes a spry Maximilian Schell, Anthony Perkins (who gets murdered by robots in the movie’s best scene), Robert Forster, Yvette Mimieux and Ernest Borgnine. The filmmakers also developed a technology that would allow “panning” over a stationary matte painting, after being denied the use of similar equipment from Industrial Light & Magic.
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It was also, maybe most importantly, something of a technological breakthrough, particularly when it came to the computer-generated sequence that started the movie (at the time it was the longest in history). Firstly – it was directed by Gary Nelson, a filmmaker whose most notable contribution to the artform seems to be the Jodie Foster version of “ Freaky Friday.” Secondly, it was the most expensive movie ever produced by Disney up to that point and its first to carry a PG-rating.
While now almost completely forgotten about, despite some idle talk about Joseph Kosinski (“ Tron: Legacy“) hadling a big budget remake, “ The Black Hole” is a true sci-fi oddity, for a number of reasons. And Crichton’s background in medicine shows that, aside from the alien origins of the organism, the whole thing is terrifyingly plausible, at least until it shifts into a disaster movie in its closing stages. While Wise’s film doesn’t include much in the way of spectacle (beyond some impressive production design from Boris Leven, who got an Oscar nomination for his troubles), it’s no less gripping for it, although it’s dry in spots.
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The survivors are brought to a secret underground facility where a team of scientists prepared for this kind of eventuality attempt to find out what happened, and how to stop it.
The movie, efficiently directed by chameleonic veteran journeyman Robert Wise (“ The Haunting,” “ The Sound of Music“) gets underway when a government satellite carrying a microscopic alien organism crashes in a New Mexico town, gruesomely killing all but two of its inhabitants, an old man and a baby. And while there’s an alien threat at work in the film, it’s literally a tiny one, though no less dangerous for its size. Very much the model of the restrained sci-fi film - there’s very little eye candy on display, including the star-free cast who play the rare movie scientists who look like scientists - “ The Andromeda Strain” marks the first movie adaptation of a novel by doctor-turned-novelist-and-filmmaker Michael Crichton, the author who’d later bring us the worlds of “ Jurassic Park,” “ Congo,” “ Sphere” and “ Timeline” among others (and who’ll figure several times elsewhere on this list).
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The Best 36 LGBTQ Movies and TV Shows Streaming on Netflix Right Now The 25 Saddest TV Character Deaths of This Century 'Light & Magic': Lawrence Kasdan Reunites with George Lucas to Tell the Story of ILM - Toolkit 'Holiday Special' Doc Charms as a Reminder of When 'Star Wars' Was Gratifyingly Less Reputable Check out our list below, and let us know your own favorites in the comments section below. And so we thought this felt like a good opportunity to run down 20 of our favorite - or in some cases, least favorite - odd ’70s sci-fi movies.
One such example, Michael Crichton‘s curious western/sci-fi hybrid “ Westworld ,” hits Blu-ray for the first time this week, and celebrates its 40th anniversary this year. The result is one of the most distinctive and self-contained periods of sci-fi movies in the history of cinema, one where the films proved weirder, more distinctive and trippier than at almost any other time. Storytellers, perhaps inspired by the fizzling out of the hippie counter-culture, the still-dragging-on war in Vietnam and post-Watergate disillusionment, began to look at the future in a somewhat darker, more idiosyncratic way than had been the case before, shifting focus to recurring themes of environmental disaster, utopias gone sour, and the end of all things.
Somewhere between 1968’s “ 2001: A Space Odyssey” and 1977’s “ Star Wars,” something happened in the culture.
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