【投票】美国《娱乐周刊》评出二十五年来最佳科幻影片/电视剧
美国《娱乐周刊》评出二十五年来最佳科幻影片/电视剧，以上是前十名，你最喜欢的是哪一部？police [size=12px][size=4][b]The top 25 sci-fi movies and TV from the past 25 years[/b][/size][img=300,400]http://img2.timeinc.net/ew/dynamic/imgs/070503/scifigallery/v_l.jpg[/img]
[b]25. [i]V: THE MINISERIES[/i] (1983)[/b]
[b]Created by Kenneth Johnson[/b]
Giant fascist lizards from outer space — it sounds like something you'd see on[i]Mystery Science Theater 3000[/i].But this parable of tolerance is far more complexand frightening thanit seems. While the ''Visitors'' say they ''come in peace,''they reallywant to drain Earth's water supply. Just in case you still don't getthepoint, their insignia looks suspiciously like a swastika.
[b]POP CULTURE LEGACY[/b] Besides spawning an equally engaging sequel — 1984's[i]V: The Final Battle[/i] — [i]V[/i] gave Robert Englund (a.k.a. Freddy Krueger) his big break.
[b]THE BEST BIT[/b] In one of the best TV reveals ever, lizard queenDiana (JaneBadler) — still disguised as a sultry brunet human —unhinges her jaw and stuffsan entire guinea pig in her hideouslyelongated piehole. —[i]Kristen Baldwin
[/i] [img=400,300]http://img2.timeinc.net/ew/dynamic/imgs/070503/scifigallery/galaxyquest_l.jpg[/img]
[b]24. [i]GALAXYQUEST[/i] (1999)[/b]
[b]Directed by Dean Parisot[/b]
In this pitch-perfect parody, the castof a canceled cult TV show much like[i]Star Trek[/i]— featuring an egocentriccommander (Tim Allen), his aliensidekick (AlanRickman), and a buxomlieutenant (Sigourney Weaver) — getsenlisted tohelp save an alien race, who,thanks to intercepted broadcasts, thinktheactors are real space-faring heroes.
[b]POP CULTURE LEGACY[/b] It seamlesslystitched together sci-fi clichés withadventure and nostalgia (not mockery).
[b]THE BEST BIT[/b] Sam Rockwell's cocky''red shirt,'' killed in hisfirst and onlyepisode of the TV show, who spendsmost of the filmfretting over whether he'llget bumped off for real. —[i]Erin Richter[/i]
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[b]23. [i]DOCTOR WHO[/i] (1963-Present)[/b]
[b]Developed by Sydney Newman[/b]
The BBC's timeless [i]Doctor Who[/i]is a 44-year argumentfor proper sci-fi priorities: (1) an ecstaticallytangled, infinitelyrenewable story line and (2) an understandingthatall science fiction, however time- and space-spanning,is local.(Top-flight special effects? Not, as it turns out,crucial.) The Doctor,a Time Lord, powerful but dispossessed,hops worlds and epochs likesubway stops, but inspirit he never really leaves London.
[b]POP CULTURE LEGACY[/b] With its playful yet sincerecommitment to social allegory, [i]Doctor Who[/i] has alwaysbeen a post-empire fantasy — unerringly progressive, butwary, dark, and full of doubts about human goodness.
[b]THE BEST BIT[/b] Check out the first season of the newest incarnation,featuring [i]Heroes[/i]'Christopher Eccleston as the ninthDoctor (the best ever — apologies toTom Baker) and the piercing,poignant wit of writer Russell T. Davies. —[i]Scott Brown[/i][/size] [size=12px][img=300,400]http://img2.timeinc.net/ew/dynamic/imgs/070503/scifigallery/quantumleap_l.jpg[/img]
[b]22. [i]QUANTUMLEAP[/i] (1989-1993)[/b]
[b]Created by Donald P. Bellisario[/b]
A stirring drama touching on issuessuch as race, feminism, and homophobia,[i]Leap[/i]cloaked its social commentaryin the guise of time-travelly goodness.Thepremise was uncomplicated: Anexperiment gone awry sends scientistDr.Sam Beckett (Scott Bakula)bouncing through time, inhabiting thelives,and bodies, of folks from thelast 60 years. Only by savingthedowntrodden, with the aid of holographicpal Al (Dean Stockwell),canthe good doc leap into the next adventureand, maybe, leap home.Bakulawas a wonder portraying everyonefrom an elderly African-Americanmanto a pregnant teenage girl to ElvisPresley, but much credit goes tocreatorDon Bellisario, who reminded uswith each nuanced episode thatthehuman condition — and the comic appealof cross-dressing — istimeless.
[b]POP CULTURE LEGACY[/b] The showwas regular-folk friendly: A lackofhigh-tech gizmos, technobabble,and aliens helped ease sci-fi backintothe mainstream after an extendeddrought in prime-time television.
[b]THE BEST BIT[/b] Season 2's ''Catch aFalling Star'' let Bakula flaunt hisBroadway background, as Sam leapedinto an actor playing Don Quixote in[i]Man of La Mancha[/i]. —[i]Paul Katz[/i]
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[b]21. [i]FUTURAMA[/i] (1999-2003)
Created by Matt Groening and David X. Cohen[/b]
[i]The Simpsons[/i] plus sci-fi? This combo is more alluring to a geekthan watching a [i]Twilight Zone[/i]marathon on whippets. With theadventures of Fry, a 20th-century nitwitthawed out of a deepfreeze in 2999, Groening's writers married sharpSimpsoniangags with denser story lines, dazzling animated visuals, andknowingnerd humor. (A voice cameo by [i]Dungeons & Dragons[/i] creatorGary Gygax [i]and[/i]jokes written in BASIC computer language? Talkabout downloading rightinto your pleasure center!) But for all thehilarity of Fry'smisanthropic robot pal Bender, the creativity ondisplay was no joke: [i]Futurama[/i] created a fantastically completeand unique world that rivals anything else in the 30th century.
[b]POP CULTURE LEGACY[/b] While Fox constantly moved theshow (andsometimes dropped it from the schedule for longperiods), the low-ratedcomedy finally got the passionate fanbase it deserved when reruns beganappearing on CartoonNetwork in 2003. Groening and Co. are now workingon four[i]Futurama[/i] DVD movies, which may be broken into episodes andaired on Comedy Central in 2008.
[b]THE BEST BIT[/b] The zippy third season. One highlight:Cyclopswarrior Leela falls for Fry after ''intelligent worms'' infesthisbody, making him smarter and stronger. —[i]Josh Wolk[/i]
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[b]20. [i]STAR WARS:CLONE WARS[/i] (2003-2005)
Directed by Genndy Tartakovsky[/b]
The most painful thing about confining this list to thelast 25 years was that we couldn't include either [i]StarWars[/i] or [i]The Empire Strikes Back[/i], both of which weretoo old. And that left [i]Return of the Jedi[/i] and the prequeltrilogy — which no one in our Brain Trust could work upany enthusiasm for. But then we remembered[i] StarWars: Clone Wars[/i], the series of animated shorts thataired on Cartoon Network. The creation of animatorGenndy Tartakovsky ([i]The Powerpuff Girls, SamuraiJack[/i]), [i]Clone Wars[/i] fills in the story gap between [i]Attackof the Clones[/i] and [i]Revenge of the Sith[/i], and fleshes outhow Obi-Wan Kenobi and Anakin Skywalker battledagainst the separatist forces of evil.
[b]POP CULTURE LEGACY[/b] There's an abundance of styleand storytellingeconomy here that was, sadly, absentfrom the George Lucas-directedprequels. Sometimes, ifyou let the talented kids into the sandboxwithout tellingthem [i]exactly[/i] how to play, the results can be surprising.
[b]THE BEST BIT[/b] Volume 2. Even though volume 1 isalmostwall-to-wall action, the five shorts in volume 2cover a lot moreground, and lead directly into [i]Episode III[/i].(Better yet, just get both. They're pretty cheap.) —[i]Marc Bernardin[/i][/size] [size=12px][img=400,300]http://img2.timeinc.net/ew/dynamic/imgs/070503/scifigallery/starshiptroopers_l.jpg[/img]
[b]19. [i]STARSHIPTROOPERS[/i] (1997)
Directed by Paul Verhoeven[/b]
Easily the most love-it-or-hate-it filmon this list, [i]Starship Troopers[/i]is likeone of those inkblots in a shrink'soffice. Do you see adangerous slab offascist propaganda? Or a deliciouslycampy parody ofmindless jingoism?Plenty of critics thought it was theformer — and theyneed to lighten up.Verhoeven turns Robert A. Heinlein's1959 novel intoa cheeky episode of[i]Beverly Hills, 90210[/i]-in-space, asbeefcakehero Casper Van Dien pitcheswoo to cheesecake heroine DeniseRichardswhile intergalactic doughboys(and girls) reduce a race of giantalieninsects to Day-Glo guts.
[b]POP CULTURE LEGACY[/b] Like theanti-Communist sci-fi allegories ofthe '50s, [i]Starship Troopers[/i] hadmore on its mind than squashingalien bugs. As he did in [i]RoboCop[/i],Verhoevenuses hammy TV clipsand recruitment videos — ''Wouldyou like to knowmore?'' — to showjust how plausible this right-wingfuture is. Butrather than endorsingit, he's satirizing it.
[b]THE BEST BIT[/b] Doogie Howser(a.k.a. Neil Patrick Harris) in anSStrench coat reading the mindof the captured Brain Bug:''It'safraid...it's afraid!'' —[i]Chris Nashawaty[/i]
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[b]18. [i]HEROES[/i] (2006-Present)
Created by Tim Kring[/b]
A living, breathing comic book abouta collection of people whose geneticevolution has led to extraordinarypowers, [i]Heroes[/i]takes the supernaturaland both rationalizes and humanizesit. Thus doesthe office drudge(Masi Oka) bend time and space,the politician (AdrianPasdar) learnto fly, and the cheerleader (HaydenPanettiere) becomeindestructible.As their stories intersect and anapocalypse looms, theblurry linebetween good and evil comes downto a battle forself-control. Can't sayyou don't identify with that.
[b]POP CULTURE LEGACY[/b] If the hallmarkof serial sci-fi on TV is its frequentinability to finish what it starts,[i]Heroes[/i] is groundbreaking for asking[i]and[/i]answering compelling questions.And while it has yet to bedeterminedwhether saving the cheerleader will,in fact, save the world,it's certainlytaken steps toward saving NBC.
[b]THE BEST BIT[/b] The still-in-progressfirst season rolled out flashyeffects,gory dismemberments, and doomsdayvisions, but Oka's gleefulcheerwhen he managed to teleport toTimes Square trumps them all. Itwasthe cry of a normal dude who justrealized his entire world wasforeverchanged...and it's that transformationthat keeps us riveted. —[i]Whitney Pastorek[/i]
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[b]17. [i]ETERNAL SUNSHINE OFTHE SPOTLESS MIND[/i] (2004)
Directed by Michel Gondry[/b]
Sure, you could write this off as a postmodern love story, butanythingthat involves thought-control experiments administeredvia a giantsilver brain scanner is most definitely science fiction.As Joel (JimCarrey) struggles against his hasty decision to erasehis memories ofex-girlfriend Clementine (Kate Winslet), we'replunged into a fluid,shape-shifting universe that only enhanceswriter Charlie Kaufman'sreputation as the King of the Mind-fraks.
[b]POP CULTURE LEGACY[/b] After two similarly experimentalmovies — [i]Adaptation[/i] and [i]Being John Malkovich[/i] — [i]Sunshine[/i]cemented''Kaufman-esque'' as the new ''Tarantino-esque.''More importantly, itcarried on the best this-world-is-not-what-you-think-it-is sci-fitraditions while making thempalatable to fanboys [i]and[/i] their tissue-wielding girlfriends.
[b]THE BEST BIT[/b] All credit to Gondry for using dazzlingtheatricaleffects and the simplest of settings — like a frozen lake —to makeJoel's memory erasure so powerful and poignant. The imagethatpacks the most punch? Joel standing in the living room ofanabandoned beach house, remembering the day he and Clem firstmet, aswalls crumble and the ocean swirls around his feet. —[i]Whitney Pastorek[/i][/size] [img=400,300]http://img2.timeinc.net/ew/dynamic/imgs/070503/scifigallery/totalrecall_l.jpg[/img]
[b]16. [i]TOTALRECALL[/i] (1990)
Directed by Paul Verhoeven[/b]
''If I'm not me, whodahell am I?'' Excellentquestion, Mr. Schwarzenegger.Science fiction has always been agenre steeped in pretzel-logic storylines, but this adaptation of Philip K.Dick's ''We Can Remember It for YouWholesale'' is so Escher-like in itstwistiness, you'll have to watch it morethan once for all the pieces to snap intoplace. Arnold plays a futuristic regularJoe who gets a memory implant tosimulate a Mars vacation. But messingwith his noggin triggers an unknowncloak-and-dagger past involvingbullet-riddled double crosses, a three-breastedMartian prostitute, and arebel leader named Kuato — a Yoda-ishhomunculus growing out of somedude's chest. It makes sense...honest.
[b]POP CULTURE LEGACY[/b] The matingof big-action heroics and headyphilosophical musings in a moviethat went on to make a fortune pavedthe way for other Thinking Man blockbusterslike [i]The Matrix[/i].
[b]THE BEST BIT[/b] It's tough to topSchwarzenegger mind-melding withthe shriveled Kuato...but Arnold pullinga tracking device out of his skull — through his nose — comes close. —[i]Chris Nashawaty[/i]
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[b]15. [i]FIREFLY/SERENITY[/i] (2002/2005)
Created by Joss Whedon[/b]
In 2002, [i]Buffy the VampireSlayer[/i] creator Joss Whedonattempted to reinvent thespace opera with a rough-and-tumble vision of the futureset in an Earth-colonizedgalaxy. Part Western, partsci-fi, wholly unique, [i]Firefly[/i]starred Nathan Fillion as thecaptain of [i]Serenity[/i], one ofthose dumpy old ships thatdon't look like much but getthe job done. The TV seriestracked the misadventures ofhis morally ambiguous crewas they tried to make an occasionallyhonest living by haulingcargo, stealing stuff, andaccidentally helping their fellowman. The show wassmart, funny, and wonderfullyhuman, and because this isJoss Whedon we're talkingabout, it also had a highkicking,superpowered wonderwoman. [i]Firefly[/i] was strange.[i]Firefly[/i] shouldn't have worked.And it didn't. [i]Firefly[/i] was canceledafter 11 episodes...
[b]POP CULTURE LEGACY[/b]...only to be revived in 2005as the feature film [i]Serenity[/i] (pictured),thanks to the tenacity ofWhedon, the surprise successof [i]Firefly[/i] on DVD, and asmall army of Internet-basedsupporters.
[b]THE BEST BIT[/b] Saddle up forthe show, to see how it allstarted, [i]and[/i] the movie, tosee the ending. Then praythat someday, some studioexec will have the guts tomake more. —[i]Jeff Jensen[/i]
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[b]14. [i]CHILDRENOF MEN[/i] (2006)
Directed by Alfonso Cuarón[/b]
It probably wasn't Universal's bestdecision, releasing [i]Children of Men[/i]on Christmas Day 2006. How manypeople want to spend their holidaywatching a dystopian nightmare,even if it [i]is[/i] a work of art? That's sortof like showing [i]A Clockwork Orange[/i]to your grandma on her birthday. Setin 2027, [i]Men[/i] is a dark, ripping roadmovie that follows Clive Owen as hetries to lead the world's first pregnantwoman in 18 years to safety. Somenaysayers called it too bleak, but — more than any movie in recent memory — we believe this sci-fi thriller willbe rediscovered as a true classicdown the line.
[b]POP CULTURE LEGACY[/b] What standsout is the way [i]Y Tu Mamá También[/i]director Cuarón uses his futuristicsetting to evoke today's world, withscary allusions sprinkled throughoutto the Iraq war, Abu Ghraib, theHolocaust, and more.
[b]THE BEST BIT[/b] Aided by a little CGtrickery, Cuarón and his cinematographer,Emmanuel Lubezki, deliversome of the coolest tracking shots inthe history of cinema — the best beinga jaw-dropping, four-minute actionsequence built around a carjackingattempt on a remote forest road. —[i]Gregory Kirschling [/i] [img=300,400]http://img2.timeinc.net/ew/dynamic/imgs/070503/scifigallery/terminator_l.jpg[/img]
[b]13. [i]THE TERMINATOR/TERMINATOR 2[/i] (1984 /1991)
Directed by James Cameron[/b]
Oh, if only all sci-fi action movies could be as kick-assas the first two [i]Terminator[/i]s. There's something sohardcore about the original, the merciless chase picturethat expertly cast Arnold Schwarzenegger as the scariestkilling machine ever seen. [i]Terminator 2[/i], meanwhile,is warmer and more accessible — if just as bloody. Atfirst it seemed wrong that Arnold was now playing thehero, until you settled in and realized that this timeCameron was out to deliver a richer and more layeredexperience, while still blowing you to the back of thetheater with awesome action set pieces.
[b]POP CULTURE LEGACY[/b] By spending a then-record$90 million-plus to make [i]T2[/i], Cameron and his liquid-metalT-1000 revolutionized the use of CG technology.
[b]THE BEST BIT[/b] So many killer sequences to choosefrom! For the way it presages the coming effects revolution,we're tempted to highlight the scene in theoriginal when the Terminator tends to his wounds infront of the bathroom mirror. The true winner, though,is the first big chase in [i]T2[/i], featuring a semi tractor-trailercareening off an overpass into a river basinbelow. You can't beat that. —[i]Gregory Kirschling[/i]
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[b]12. [i]BACK TO THEFUTURE[/i] (1985)
Directed by Robert Zemeckis[/b]
The space-time continuum is a delicateconcept, especially when MartyMcFly (Michael J. Fox) travels back to1955 and saves his Peeping Tomfather (Crispin Glover) from gettinghit by a car. As a result, Marty's randymother-to-be (Lea Thompson) developsthe hots for him, threatening hisentire future existence. Twenty-twoyears later, this timeless sci-fi comedyoffers twice the nostalgia: 1985 isnearly as foreign as 1955. (DeLoreans?Jokes about Tab?) Sci-fi hasnever been as user-friendly as it ishere, but not once does the cleverscript betray the rigid cause/effecttenets of time-travel fiction. (Yes,by ''inventing'' rock & roll, Martyensures that his parents fall in love.)
[b]POP CULTURE LEGACY[/b] With [i]Future[/i],Fox became more than just [i]FamilyTies[/i]' cute Republican — he was a legitimatemovie star. Plus, the movie enshrinedthe phrases ''flux capacitor''and ''1.21 jigawatts'' in the zeitgeist.
[b]THE BEST BIT[/b] Glover steals everyscene as the bullied dweeb, and sci-fifans everywhere can relate to his sincerehorror at the prospect of having''Darth Vader'' (of the planet Vulcan)melt his brain. —[i]Jeff Labrecque[/i]
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[b]11. [i]LOST[/i] (2004-Present)
Created by J.J. Abrams and Damon Lindelof[/b]
A mysterious island that'shome to a shape-shiftingsmoke monster, a weirdscience project tasked withsaving the world, and asecret society of sinister''Others'' who can't makebabies — yes, [i]Lost[/i] certainlyhas its fair share of sci-fistuff. And yet, like the bestexamples of the genre, thisunfolding saga about plane-crashsurvivors trapped in atropical twilight zone doesn'twallow in its genre elements,but uses them to embellishan exploration of identity,community, and reality itself.Coyly sublimating everythingfrom Jules Verne and H.G.Wells to [i]Star Trek[/i] and [i]StarWars[/i], [i]Lost[/i] aspires to be animportant entertainment fora pop-soaked, soul-searchingage. Now, at the risk ofmissing the point, how aboutsome damn answers?!
[b]POP CULTURE LEGACY[/b]Building on pioneers [i]TheX-Files[/i] and [i]Buffy the VampireSlayer[/i], [i]Lost[/i] helped tousher in a new era of serializedstorytelling and showedHollywood how cult-pop TVcan be leveraged into cashcowfranchises. [i]Heroes[/i], sayhello to Daddy.
[b]THE BEST BIT[/b] The Emmy-winningfirst season, withits perfect pilot and getting-to-know-you characterflashbacks, is an objectlesson in capturing theimagination. —[i]Jeff Jensen[/i] [img=400,300]http://img2.timeinc.net/ew/dynamic/imgs/070503/scifigallery/thething_l.jpg[/img]
[b]10. [i]THE THING[/i] (1982)
Directed by John Carpenter[/b]
Recently, there's been talk in Hollywoodof remaking [i]The Thing[/i]. Pleasedon't. For the love of God, we're beggingyou. After all, this streamlinedexercise in subzero paranoia cannotbe improved upon. A badass andbearded Kurt Russell stars as R.J.MacReady, the unofficial leader of ateam of scientists in the Antarcticwhose camp is infiltrated by an alienwho kills, then inhabits the bodies ofits victims. As the crew is offed oneby one, Carpenter's movie becomes awar of attrition — and a gory war atthat. When one of the eggheads(Charles Hallahan) is body-snatched,his severed head sprouts spider legsand scurries across the room, whileone of the scientists looks on indisbelief: ''You gotta be f---in'kidding!'' A flop when it wasreleased, [i]The Thing[/i] has, with time,been reappraised as a masterpiece.A masterpiece that Tinseltownshouldn't even think of messing with.
[b]POP CULTURE LEGACY[/b] Rob Bottin'strailblazing gross-out effects workis still the holy grail for monster-makeupgeeks everywhere.
[b]THE BEST BIT[/b] Wilford Brimley'scrotchety Blair going loco whenhe's quarantined. You'll never lookat a bowl of Quaker Oats the sameway again. —[i]Chris Nashawaty[/i]
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[b]9. [i]ALIENS[/i] (1986)
Directed by James Cameron[/b]
Seven years after Ridley Scott's creepy, chest-thumping spacethriller [i]Alien[/i], James Cameron instilled war-movie testosterone inthe sequel, as Sigourney Weaver's Ripley leads a pack of gung-hoMarines to an inhospitable planet now swarming withvicious, acid-bleeding critters. Ripley was the first of a new breedof female action hero, one who can lead a team of frightenedmen and get the job done on her own terms. And for her efforts,Weaver not only became the first action heroine to strike boxoffice gold, she landed a Best Actress Oscar nomination as well.
[b]POP CULTURE LEGACY[/b] In the wake of [i]Star Wars[/i], outer-spacefolk were routinely depicted as quirky, fuzzy creatures. Look nofurther than Tatooine's infamous cantina. But Cameron — buildingon Scott's lead — set the cinematic standard for grotesque intergalacticcreatures that could (and would) tear your lungs out.
[b]THE BEST BIT[/b] While the first film took a less-is-moreapproach to revealing the gnarly beast, the sequel's queenalien gets her close-up, most memorably in the mano a manoclimax. When the queen corners a young orphan, Ripleyannounces her arrival with Schwarzeneggerian brio: ''Get awayfrom her, you bitch!'' —[i]Jeff Labrecque[/i]
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[b]8. [i]STAR TREK: THE NEXTGENERATION[/i] (1987-1994)
Created by Gene Roddenberry and Rick Berman[/b]
It probably shouldn't have worked, resurrecting [i]Star Trek[/i]as a TV series. Lightning is hard enough to bottle once,but twice? Just the same, [i]Trek[/i] godfather Gene Roddenberrygave it a go, and in doing so allowed us to take TVsci-fi seriously again. And the masterstroke was castingPatrick Stewart. By signing on as Capt. Jean-Luc Picard,the Royal Shakespeare Company veteran gave [i]The NextGeneration[/i] a gravitas-laden foundation to build on.(Having Brent Spiner as Data and Jonathan Frakes asCommander Riker definitely helped.) As time went on,the writers and producers erected a sci-fi gold standard,tackling subjects as varied as homosexuality, euthanasia,and slavery — all while flitting around the cosmos doingbattle with Romulans, Klingons, and the Borg.
[b]POP CULTURE LEGACY[/b] [i]The Next Generation[/i] resuscitatedthe dormant [i]Star Trek[/i] television franchise,spawning [i]Deep Space Nine[/i], [i]Voyager[/i], and [i]Enterprise[/i].
[b]THE BEST BIT[/b] Season 3 brought landmark episodeslike the time-travel gem ''Yesterday's Enterprise,'' theclassic [i]Trek[/i] touchstone ''Sarek,'' and one of the bestseason-ending cliff-hangers in TV history: the Borg-centric''The Best of Both Worlds, Part I.'' —[i]Marc Bernardin[/i] [img=400,300]http://img2.timeinc.net/ew/dynamic/imgs/070503/scifigallery/et_l.jpg[/img]
[b]7. [i]E.T.[/i] (1982)
Directed by Steven Spielberg[/b]
Twenty-five years ago, [i]E.T.[/i] inventedthe sci-fi weepie. And consider this:Have we seen another one since?Until [i]Star Wars[/i] was rereleased in1997, [i]E.T.[/i] was the highest-grossingfilm of all time, and it's easy to seewhy. The movie is basically [i]A NewHope[/i] crossed with [i]Casablanca[/i], amixture as perfect as the chocolateand peanut butter in Reese's Pieces.The bond between Elliott and E.T., oneof the most touching film friendshipsever, showed that sci-fi was capableof real, glowing heart underneath itsfantastical, otherworldly trappings.
[b]POP CULTURE LEGACY[/b] The movie'sother major accomplishment? RevealingSteven Spielberg as an auteurwho was capable of much more thanwhiz-bang thrills. If not for [i]E.T.[/i], therewould likely be no [i]Saving PrivateRyan[/i] or [i]Schindler's List[/i].
[b]THE BEST BIT[/b] A boy, a bicycle, analien, a full moon, and John Williams'swelling score: Elliott's bike ridethrough the night sky, with E.T. stuffedin the front basket, will keep givingaudiences goose bumps until muchnastier extraterrestrials come along anddestroy the earth. —[i]Gregory Kirschling[/i]
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[b]6. [i]BRAZIL[/i] (1985)
Directed by Terry Gilliam[/b]
A slapstick version of [i]1984[/i] sounds like a bizarre hybrid, butthe frantic tale of ambition-free drone Sam Lowry(Jonathan Pryce), who takes on the totalitarian governmentfor the sake of his fantasy woman (Kim Greist), is aperversely devastating mix of hilarity and shock. Gilliamcreates a depressing, shoddy futurescape of tubes andwires, where the creativity that was supposed to give usrobots and jet packs has been channeled into expanding anoppressive bureaucracy that charges suspected dissidentsfor their own torture.
[b]POP CULTURE LEGACY[/b] Echoing the film's David-and-Goliathplot, Gilliam won the fight to release his original version of themovie only after an epic struggle with Universal, the unhappystudio that had repossessed [i]Brazil[/i], cut over 40 minutes fromit, and added a happy ending. (Both versions are now availableon Criterion's superb three-DVD set.) Like Lowry, who dreamsof being a brave knight battling evil, the iconoclastic directorwould repeat this underdog clash against his backers on manyof his later pictures, although never to such thrilling results.
[b]THE BEST BIT[/b] In a quintessentially dark comic moment, Lowryvisits the office of his genial chum Jack (Michael Palin), who,in a blood-smeared smock, babysits his cherubic daughterwhile putting the screws to some rebels. —[i]Josh Wolk[/i]
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[b]5. [i]STAR TREK II: THE WRATH OF KHAN[/i] (1982)
Directed by Nicholas Meyer[/b]
Klingons. Romulans. The Borg. Overthe better part of four decades, thecrew of the Starship [i]Enterprise[/i] hastangled with many a pesky intergalacticfoe. But none had as muchgenetically bred wit, wiliness, and...well, wrath as Ricardo Montalban'sKhan. Abandoned years earlier byCaptain Kirk (William Shatner) on abarren planet (for trying to shipjackthe [i]Enterprise[/i]), Khan survived, sustainedby his hunger for vengeance.The parallels between Montalban'sleathery-pec'd Khan (Corinthianleather, of course) and [i]Moby Dick[/i]'smaniacal Ahab elevate what could'vebeen just a bloated [i]Trek[/i] episode. Ifrevenge is a dish best served cold,then this movie is one chilling feast.
[b]POP CULTURE LEGACY[/b] The genesisof the ''even-number theory'' (e.g.,the only good [i]Trek[/i] flicks are theeven-numbered sequels), [i]Khan[/i] is thebenchmark against which all [i]Trek[/i]films are measured.
[b]THE BEST BIT[/b] The prize goes toan outwitted Shatner, frothing atthe mouth and bursting with rage,bellowing ''[i]Khaaaannnnn![/i]'' at thetop of his lungs. —[i]Chris Nashawaty[/i] [img=400,300]http://img2.timeinc.net/ew/dynamic/imgs/070503/scifigallery/xfiles_l.jpg[/img]
[b]4. [i]THE X-FILES[/i] (1993-2002)
Created by Chris Carter[/b]
Once upon a time, the FBI sent no-nonsense specialagent Dana Scully (Gillian Anderson) to debunk thecrackpot theories of special agent Fox ''Spooky''Mulder (David Duchovny). What they got instead wasa conspiracy-fighting team so powerful it threatenedto bring down the shady men who'd infiltrated thehighest levels of government with their dreams ofalien/human hybrid technology. What did we get? Onehell of a TV show — even if we never quite got the truth.
[b]POP CULTURE LEGACY[/b] For the first time since[i]The Twilight Zone[/i], viewers could ponder the mysteriesof the universe and get scared silly. From inbredmutants to satanic cults, Mulder and Scully's dartingflashlights lit up some seriously freaky darkness.And like [i]Twin Peaks[/i] before it, [i]Files[/i] made conspiracy-theorizingan addictive couch-potato pastime.
[b]THE BEST BIT[/b] For the perfect balance of mythologyand monster-of-the-week, pick up season 3.You'll get plenty of geeky goodness — the blackoil, the Cigarette Smoking Man, the chip inScully's neck — but you'll also get brilliant stand-aloneepisodes like ''Clyde Bruckman's FinalRepose.'' When guest star Peter Boyle, playing awinsome psychic, tells Scully she'll never die, it'shard not to wish the same could have been said forthis show's heyday. —[i]Whitney Pastorek[/i]
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[b]3. [i]BLADERUNNER[/i] (1982)
Directed by Ridley Scott[/b]
[i]Blade Runner[/i] follows cop RickDeckard (Harrison Ford) — who mayor may not be human — as he attemptsto terminate four bioengineeredandroids, called replicants, on thestreets of 2019 Los Angeles. Adaptedfrom a novel by noted writer and nutcasePhilip K. Dick, the film, particularlyin its Director's Cut incarnation,asks big questions — namely, ''Are youreally who you think you are?'' And itdoes so against the backdrop of astunningly designed near-futureworldscape whose many nods toglobalization make it seem moreprescient with every passing day.
[b]POP CULTURE LEGACY[/b] Scott'srain-lashed, dystopic film offered ahugely influential vision of a future.In subsequent films, this, more oftenthan not, is what the future looks like.
[b]THE BEST BIT[/b] The genuinely heartbreakingpre-death speech by thereplicant played by Rutger Hauer (''I'veseen things you people wouldn'tbelieve. Attack ships on fire off theshoulder of Orion...'') is also the mostgeeked-out, hardcore sci-fi sequencein the pantheon of all-time greatmovie moments. —[i]Clark Collis[/i] [img=400,300]http://img2.timeinc.net/ew/dynamic/imgs/070503/scifigallery/galactica_l.jpg[/img]
[b]2. [i]BATTLESTARGALACTICA[/i] (2003-Present)[/b]
[b]Developed by Ronald D. Moore [/b]
You remember the show,right? Lorne Greene in ashiny cape leading a band ofwell-coiffed thirtysomethingsas they flee fromextras in shiny suits? GlenA. Larson's original '70s[i]Battlestar Galactica[/i]: notthe worst by-product of the[i]Star Wars[/i] juggernaut, butclose. So one could viewthe unmitigated brilliancethat is Sci Fi Channel'sreimagined [i]BattlestarGalactica[/i] series two ways:(1) They had no place to gobut up or (2) it's amazingthey did so much with solittle.
The core of the[i]Galactica[/i] plot — the lasthuman survivors of a catastrophicgenocide are onthe run from their attackers,the Cylons — carried a newresonance in the wake of9/11. And in keeping withscience fiction's grandesttradition, [i]BSG[/i] tapped intothe power of allegory toenrich its outer-spacedogfights and militarypomp with the gravity ofissues like abortion, terrorism,stem-cell research,racism, even the war inIraq. The dysfunctionallyawesome cast gives it allthe ring of authenticity:from Edward JamesOlmos' crusty warhorseAdmiral Adama and MaryMcDonnell's tender-as-nailsPresident Roslin toKatee Sackhoff's bedeviledpilot Kara Thrace and TriciaHelfer's glacially threateningCylon known only as NumberSix. But the real MVPs ofthe ensemble are MichaelHogan, who plays Adama'sboozy right-hand man SaulTigh, and James Callis, whomakes you feel for GaiusBaltar, the best, mostconflicted villain on TV.
[b]POP CULTURE LEGACY[/b]The damned thing won aPeabody award for itssecond season. It's provingwhat sci-fi fans have knownfor decades: Sciencefiction is as legitimate avehicle for human dramaas any other genre.
[b]THE BEST BIT[/b] While anygiven episode of [i]Galactica[/i]is better than 90 percentof what's on the air, thethrill of discovery makesthe first season (includingthe miniseries) the way togo. —[i]Marc Bernardin[/i]
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[b]1. [i]THE MATRIX[/i] (1999)
Directed by the Wachowski brothers[/b]
Heading into 1999, there was one movie that was supposed to be thesecond coming. The culmination of an extended sci-fi moment that hadhelped hardwire the culture for mythic, stargazing escapism. By all rights,it should be sitting atop this list. But [i]Star Wars: Episode I — The PhantomMenace[/i] turned out to be a case study in empty pop idolatry. Fortunately,there was a movie released the same year that was able to play that part,a film as unexpected, groundbreaking, and capture-the-imagination entertainingas the first [i]Star Wars[/i]: [i]The Matrix[/i].
Written and directed by Larry and Andy Wachowski — a pair of hyper-erudite,super-shy comic-book writers-turned-filmmakers who becameovernight cult icons for their trouble — [i]The Matrix[/i] was one geeky gumbo ofbrainy mumbo jumbo; a multi-megabytecompression of mythological andtheological ideas, Hong Kong action-filmaesthetics, and videogame specialeffects. Somehow, it worked. Brilliantly.Keanu Reeves was Neo, a spirituallynumb computer programmer who learnsthat not only is his life an illusory sham — the world as he knows it is a virtual-realityprison, created by sentientmachines who had won an apocalypticwar against humanity — but that he isdestined to become a hero-messiah.[i]The Matrix[/i] crackled with late-'90smillennial angst and tech-boomdelirium — a freaky-fun fable for a ghost-in-the-machine culture. Bottom line:[i]The Matrix[/i] was just...whoa.
[b]POP CULTURE LEGACY[/b] With itscutting-edge effects, balletic fightsequences, and leather-dusters-andblack-shades wardrobe, [i]The Matrix[/i]redefined the look of Hollywood action.It sparked a moviegoing crush onAsian wire-fu (see: [i]Crouching Tiger,Hidden Dragon[/i]) and set the stage forour current moment of superhero popand thoughtful science fiction (see:[i]Battlestar Galactica[/i], [i]Lost[/i]). It alsospawned two sequels that sucked.Nonetheless, [i]The Matrix[/i]'s accomplishmentremains undiminished.
[b]THE BEST BIT[/b] The moment thatbrought bullet time to the movies:Neo's rooftop gunfight with a nefariousAgent. Slow motion has neverbeen so kinetic. —[i]Jeff Jensen[/i] Star wars排那么后面，真让人有些意外……] 还是最爱萤火虫!!!!!!!!!!!!!!!!!!!!!!! 最爱温馨的E.T.外星人love2 ETERNAL SUNSHINE OFTHE SPOTLESS MIND ....也算科幻
我最喜欢的电影之一though [quote]原帖由 [i]Nebula[/i] 于 2007-5-6 05:55 发表
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7. E.T. (1982)
Directed by Steven Spielberg
Twenty-five years ago, E.T. inventedthe sci-fi weepie. And consider this:Have w ... [/quote]
love2 love2 love2 ....................
以下是我看过的科幻片:
1. THE MATRIX4. THE X-FILES (部分)
5. STAR TREK II: THE WRATH OF KHAN (部分)
7. E.T.
8. STAR TREK: THE NEXT GENERATION (部分)
11. LOST (正准备看)
12. BACK TO THE FUTURE (在Disney看的哟!)
13. THE TERMINATOR / TERMINATOR 2
16. TOTAL RECALL
19. STARSHIP TROOPERS
20. STAR WARS 不过印象最深的,还是Back to the Future.
要知道,十多年前,在Disney的三维电影院里面看这个片子,是很刺激的.
记得观看片子前,排队时大幅大幅的提示和警告,都是如有心脏病,高血压等等等等,是不能看的! 最爱x档案love2 love2 love2 没有Jurassic Park,只好选ET了 看到结果大吓一跳
不禁感叹这里毕竟是美剧阵营啊
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