Five Sci-Fi Movies to Stream Now | ET REALITY


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Hideaki Anno is everywhere these days. In addition to leading a multi-feature “remake” of his “Neon Genesis Evangelion” anime series, he has been writing recent reboots, including “Shin Ultraman,” of figures in Japanese pop entertainment. The last of those films, which Anno also directed, centers on Hongo (Sosuke Ikematsu), a motorcycle-riding hybrid of a man and a grasshopper. With the help of his creator’s daughter, Ruriko (Minami Hamabe), Hongo fights a series of similar “augmented” hybrids (think Bat-Aug (Toru Tezuka), Wasp-Aug (Nanase Nishino), etc., who They fight on behalf of a fascist organization.

As delirious as this brief introduction may seem, “Shin Kamen Rider” (titled “Shin Masked Rider” on Amazon) somehow manages to surpass it and venture into the realm of “What did I just see?” Anno’s style as a filmmaker is sui generis and it is often impossible to distinguish what is uncomfortable and what is poetically surreal. Scenes are shot at strange angles, the edits look messy but they work (the film moves at a constant pace almost in spite of itself). The music underlines almost every scene, but it’s mixed very low and never quite matches the mood on screen, as if someone accidentally turned a playlist on shuffle. One of the most wonderful touches is that the most powerful enemy (Mirai Moriyama) turns out to be inspired by a butterfly. What trip.

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Josh Hutcherson’s new movie is the horror-tinged “Five Nights at Freddy’s,” which is now in theaters and on Peacock, but Hutchersons who prefer sci-fi should head to “57 Seconds,” which opened last month past. The actor plays Franklin Fox, a tech blogger who, thanks to the B-movie gods and Morgan Freeman, gets a time travel device. Or rather he puts said device on his hand, because it is a ring. Every time Franklin presses him, he is transported 57 seconds earlier. As time goes on, this is a temporary blip, but it is still useful. Franklin, for example, is able to create a perfect date with the cute Jala (an excellent Lovie Simone) because she figures out what she likes and doesn’t like on the spot, then rewinds the scene and gets it right.

Director Rusty Cundieff, who made the hip-hop mockumentary “Fear of a Black Hat” in 1993, is clearly more comfortable with that part of the film. His position becomes more unstable once Franklin attempts to take down an evil pharmaceutical magnate (Greg Germann, always known as the smiling Tom Koracick on “Grey’s Anatomy”). Hutcherson doesn’t seem entirely comfortable when it’s supposed to be intense and action-packed, but the movie has a goofy appeal perfect for late-night viewing with a family-sized bag of Doritos.

Stream it on Tubi.

David (Steve Laplante), a lanky, mild-mannered gym teacher, dreams of going to space. Unfortunately, the first manned mission to Mars already arrived without it. Fortunately, early psychological tests revealed that he has exactly the same mental profile as one of the astronauts, so he is chosen to be part of a shadow team stationed on Earth, with the bait dangling that this could lead to a real trip to space. day. David’s four crewmates on the ground echo the other interstellar travelers. Abducted in a secluded desert habitat that duplicates the distant base (they eat the same diet and even go out in space suits), the quintet recreates the personal conflicts that arise millions of miles away to help resolve them.

The setting may remind some viewers of the dark Showtime comedy. “Moonbase 8” but the film by Stéphane Lafleur, from Quebec, has a drier comedic touch. As the Earthbound team continues its sad routine, its members develop problems of their own: their gender or race, for example, does not necessarily match that of their Mars counterparts, leading to different results for the same premises ( Larissa Corriveau is especially good as a woman who doubles for a male astronaut). It turns out that no matter how similar people are, they simply can’t help but be themselves.

Stream it on Netflix.

Juel Taylor’s shocking satire has been compared to “Get Out,” but the way it addresses agency, free will, and large-scale nefarious plans also connects it to something like “Westworld.” The timeline here is deliberately vague, creating constant disorientation and questioning for the viewer. There are references to current artifacts like blockchains, but we glimpse television commercials that seem straight out of the 1980s. The main characters emulate the Blaxploitation archetypes of the 1970s, as well as their fashion sense: Fontaine (John Boyega) is a drug dealer, Yo-Yo (Teyonah Parris) is a prostitute and Slick Charles (Jamie Foxx) is her pimp. They stumble upon a secret operation (the film’s title is a pretty big clue) that is even more widespread than they think. The plot may not be the tightest, but “They Cloned Tyrone” plays cleverly and often comically with cultural stereotypes (fried chicken, hair straightening products and grape drinks play a central role) and notions of identity while tearing down unhinged ambitions for dominance and control. The clincher is the central trio, who carry the film with charismatic enthusiasm. You just want to see these three actors team up over and over again.

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All over the world, the horizon is dominated by gigantic black spheres. The mysterious spaceships are there, floating just above the Earth’s surface, and have been doing so since they appeared out of nowhere in 1993. People have gotten used to their presence, but so have not: anyone under 29 years is suspected of being an alien having infiltrated the human population.

Because Korean-Canadian filmmaker Jude Chun’s debut feature has a decidedly artistic and absurdist streak, it doesn’t tell us whether those suspicions are justified or the product of a paranoid reaction to an inexplicable phenomenon. Some people, for example, believe that they themselves are aliens, but we don’t know if they really are or if they are delusional, or maybe even members of some kind of cult. Shot in black and white, “Unidentified” is composed of seemingly unconnected, often dreamlike scenes (some of them musical) that suggest a general feeling of anomie that somehow fits the malaise of our modern society.

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