Starring Alexander Skarsgard as a mute bartender, alongside Paul Rudd and Justin Theroux, the film screams out its Blade Runner influences, and no better time to release a futuristic
dystopia coming off the heels of Blade Runner 2049.
Not exact matches
It's not hard to imagine the
dystopia that would
come to pass if Chen's suggestion were to be considered with any seriousness:
Yes, it's the big push for Katniss, Gale (Liam Hemsworth), Finnick (Sam Claflin) and the rest and Julianne Moore's President Coin decides that the time has
come for one last effort to destroy the evil, scheming President Snow (Donald Sutherland) and his fashion - obsessed
dystopia.
It
Comes at Night may disappoint some hardcore horror fans with its artful avoidance of genre pleasures, but its grim, tough - minded
dystopia will prove hard to shake for many.
Though Sacred Deer makes more of an attempt to resemble real life (The Lobster was set in a heightened
dystopia), it's like a warped version of a scary story told to children around a campfire, a cautionary myth in which a seemingly perfect family
comes up against an inexplicable force of darkness.
Cinematographer Roger Deakins made light
come alive in this fictional dark
dystopia world with contrasting pools of light moving and transforming differently in almost every scene.
And while Gandhi wasn't a bad biopic, its near domination of the technical awards stole the spotlight from pioneering scifi flicks such as Blade Runner - whose set design set the template for cinematic
dystopias to
come - and Tron, whose now - hokey light - bright costumes framed how future audiences would perceive virtual reality worlds.
With the Hunger Games franchise
coming to an end with Mockingjay — Part 2, The Movie Show team look back at the quadrilogy and ahead towards the future of the «Young Adult
Dystopia» genre.
After more than a year of surviving this
dystopia, the Abbotts continue on with their lives; Lee's wife Evelyn (Emily Blunt) is preparing to give birth, their hearing son Marcus (Noah Jupe) is learning the ropes from his father, and their deaf daughter Regan (Millicent Simmonds) is still struggling to
come to terms with her role in a tragedy that struck the family, several months earlier.
For some, the
dystopia might not be «dystopian» enough - the disconnect between what we know and what Lepucki imagines
coming across as incongruous at best.
«On Amazon.co.uk, self - published works regularly show up in the top 100 bestselling books list, which this month includes The Girl Who Never
Came Back by Amy Cross, a 30 - year - old self - published writer of paranormal and fantasy,
dystopia and erotica; and The One You Love by Paul Pilkington, the first in his Emma Holden suspense mystery trilogy.
Coming to PlayStation 4, Xbox One, PC, Mac and Linux in 2015, Homefront: The Revolution throws players into a near future
dystopia where catastrophic events have brought the USA to its knees...
Indeed, the creative liberties taken in the construction of Horizon Zero Dawn's future
dystopia are hardly subtle, but it's still strangely comforting to know that the experts in the inspired subject matter are willing to recognize the value of poetic license, even if it
comes at the expense of scientific accuracy.
UK notable past solo exhibitions include Somebody's
Coming That Hates Us, Wilkinson Gallery, London (2010); The Heavenly Machine, Spike Island, Bristol (2005); and Utopia
Dystopia, Tate St. Ives (2004).
2011 Sculpture Now, Galerie Eva Presenhuber, Zurich, Switzerland The Language of Less, Museum of Contemporary Art, Chicago / IL, USA The Art of Narration Changes with Time, Sprüth Magers, Berlin, Germany ILLUMInations (curated by Bice Curiger), 54th International Art Exhibition — La Biennale di Venezia, Venice, Italy The Shape of Things to
Come: New Sculpture Part 1, Saatchi Gallery, London, Great Britain Tableaux, Le Magasin, Grenoble, France THE WAY IT WAS N'T, Culturgest, Porto, Portugal After Images (curated by Fionn Meade), Musée Juif de Belgique, Bruxelles, Belgium Isabelle Cornaro, Nikolas Gambaroff, Oscar Tuazon, Eli Hansen, A Palazzo Gallery, Brescia, Italy Fragments Americana (curated by Hedi Slimane), Almine Rech Gallery, Brussels, Belgium
Dystopia, CAPC Bordeaux, Bordeaux, France Art In The City, Art Brussels, Brussels, Belgium Under Construction, SAKS, Geneva, Switzerland Light In Darkness, Western Bridge, Seattle, Washington, USA Poste Restante (curated by Eric Fredericksen), Artspeak, Vancouver, Canada You and Now, Balice Hertling, Paris, France
Paul Clay, Salon 94, New York, NY, United States Silence and Time, Dallas Museum of Art, Dallas, TX, United States The Shape of Things to
Come: New Sculpture, Saatchi Gallery, London, England Greater L.A., SoHo Loft (483 Broadway), New York, NY, United States
Dystopia, CAPC Musee D'Art Contemporain De Bordeaux, Bordeaux, France, (cat.)
What's needed is a sobering reminder that forces all of civilization to look at the
coming dystopia we made ourselves and ask, «Okay, what's next?
[NOTE: The creeping
dystopia will
come upon us so gradually that virutally nobody will even notice, and it won't happen overnight.
We just passed Super Tuesday, when the picture of who will be our 2016 presidential candidates becomes a little bit clearer, and with that
comes people wanting to flee the country before it becomes a socialist breeding ground or a gilded authoritarian
dystopia.
Best Defense: Rosa's
Dystopia: The Moral Downside of
Coming Autonomous Weapons Systems Rosa's
Dystopia: The Moral Downs...
«Rosa's
Dystopia: The Moral Downside of
Coming Autonomous Weapons Systems» by Lt. Brendon Mills for Best Defense, Foreign Policy, 18 Jun. 2013.