Three things should get you to take a second look at both the 2013 movie Snowpiercerand the new behind the scenes book Snowpiercer: The Art and Making of the Film, just released from Titan Books. First, it’s been a really hot summer almost everywhere and the movie is all about freezing cold temps. Second, everyone loves Chris Evans, and it’s time to revisit his work outside of the supersuit and shield. Third, after winning three Oscars in 2020, for Best Director, Best Screenplay, and Best Picture, everyone should also go back and revisit the works of Korean director Bong Joon-ho. After the film suffered a long and clunky path to theaters thanks to the Weinstein scandal, the end result–even if it was far removed from its source material–was an interesting action movie, notable for actor Song Kang-ho, too. It’s been seven years since Snowpiercer, the highly, almost ludicrously improbable story of a train carrying the last humans on Earth akin to Noah’s Ark, finally arrived in wide release (see my review here), but now it gets a thorough investigation in Snowpiercer: The Art and Making of the Film, which was also delayed, this time for the COVID-19 pandemic. In the intervening years a prequel tie-in TV series took off. For all the above reasons, it’s a good time to hunker down and take a look at this book and its one-of-a-kind vision.
It’s always a big surprise when the holiday episode of Doctor Who is a critical not-to-be-missed episode. When we last saw the Doctor, she was trapped millions of light years away in an alien prison. The New Year’s Day 2021 special Revolution of the Daleksis not a filler, out-of-continuity holiday showpiece, instead continuing after ten months have lapsed for the Doctor’s companions back on Earth, and after the Doctor has been imprisoned for years in that same relative time span. If you missed this episode you missed: the return of John Barrowman’s universal fan-favorite character Captain Jack Harkness, another Law & Order/Law & Order UK crossover/reunion, the last we’ll see of some major characters, a new Prime Minister, a preview of a new companion, and one of the best Dalek episodes in the 57 years of the series. As the studio releases word that Jodie Whittaker will be soon leaving the series, Revolution of the Daleks reflects that both her performance as the 13th Doctor and Chris Chibnall’s running of the series has finally arrived. It’s a timeless story full of important, lovely emotional beats, fantastic new sci-fi special and visual effects, and a return to the classic framework and themes of the show’s past.
Let’s take a look at why this episode was superb and offer up some candidates for the 14th Doctor…
No doubt the movies of writer-director Wes Anderson are an acquired taste. Fortunately he exhibits some variety, as we’ve explored before here at borg. Whether it’s Bottle Rocket, Rushmore, The Royal Tenenbaums, The Life Aquatic with Steve Zissou, The Darjeeling Limited, Fantastic Mr. Fox, Moonrise Kingdom, The Grand Budapest Hotel, or Isle of Dogs, at least one of these films will likely appeal to you. For his next big screen venture, Anderson is taking an anthology angle. The lengthy-titled The French Dispatch of the Liberty, Kansas Evening Sun, or just The French Dispatch, for short, doesn’t need to mention Anderson’s name at all. It’s instantly recognizable from his framed cinematography, disturbing bland color hues, and fourth-wall breaking stares from its cast. Yes, there really is a Liberty, Kansas (found in southeast Kansas, population 123). Purportedly inspired by The New Yorker magazine, the film is actually based in a fictional city in France, and follows media types in the latest look at that self-reflective, stark fantasyland found in many Anderson movies.
The anthology element consists of incorporated story threads centered on characters and “stories” played out by Anderson troupe members Tilda Swinton and Frances McDormand, and–new to Anderson-land–Jeffrey Wright. Other Anderson familiars include Owen Wilson, Bill Murray, Edward Norton, Bob Balaban, and Jason Schwartzman. Like Woody Allen movies years ago, everyone seems to be flocking to be in the next Anderson picture, so this time that means the likes of Henry Winkler, Willem Dafoe, Anjelica Huston, Benicio Del Toro, Adrien Brody, Léa Seydoux, Christoph Waltz, Liev Schreiber, and many more. Music is by Alexandre Desplat.
Check out this trailer for the expectedly unusual The French Dispatch of the Liberty, Kansas Evening Sun:
It’s that time of year again, time to take a look forward at what movies should be on your radar for 2020. Are you going to see them all? Heck no. These are the genre films we think borg readers will want to know about to make their own checklists for the coming year–and they are only the films we know about so far. We pulled 85 of the hundreds of films that have been finalized or are in varying stages of final production, slated for next year’s movie calendar.
What looks to top the list for most fanboys and fangirls? Ghostbusters: Afterlife! Scarlett Johannson solo in Black Widow! A new James Bond movie, No Time to Die. Vin Diesel in Bloodshot and a new Fast & Furious. The original Tom Clancy novel series is finally continuing with an adaptation of Without Remorse. Comic book adaptations are in less supply in 2020, but look for Venom 2, Wonder Woman 1984, Eternals, The New Mutants, Morbius, Birds of Prey, The Old Guard, and did we mention Black Widow? Compare the below list to our 2019 list and even the 2018 list, 2017 list, 2016 list, 2015 list, or 2014 list, and your takeaway may be seeing the studios moving genre content from the big screen to the small screen via streaming services.
Do you like sequels? There are far less coming to theaters in 2020 than in 2019, but many more remakes of movies, books, and TV shows are on the way. In fact, with all the blockbusters in 2019, 2020 looks pretty tame as the cinema marquee is concerned. Some films don’t have locked in release dates yet: Amazon Studios and Netflix haven’t revealed dates for the following 2020 releases (those we know you’ll find on the calendar below):
7500, a film about a highjacked airplane, starring Joseph Gordon-Levitt (Amazon Studios)
The Dig,a film about a woman finding archaeological treasures on her land, starring Ralph Fiennes, Lily James, and Carey Mulligan (Netflix)
Horse Girl, Alison Brie stars and directs this story about an awkward girl who fuses her dreams with reality (Netflix)
Jingle Jangle, an animated Christmas story with the voices of Forest Whitaker, Keegan-Michael Key, and Hugh Bonneville (Netflix)
Louis Wain, biopic of the 19th century artist starring Benedict Cumberbatch, Claire Foy, and Andrea Riseborough (Amazon Studios)
The Old Guard, adaptation of comic book story, starring Charlize Theron and Chiwetel Ejiofor (Netflix)
Radioactive, a film about Marie Curie, starring Rosamund Pike and Anya Taylor-Joy (Amazon)
Rebecca, adaptation and remake of the Daphne Du Maurier classic novel, starring Lily James, Keely Hawes, Kristin Scott Thomas, and Armie Hammer (Netflix)
Welcome to Sudden Death, sequel to Jean-Claude van Damme 1995 movie starring Michael Jai White (Netflix)
The Willoughbys, animated adaptation of the Lois Lowry book, with voices of Maya Rudolph, Martin Short, and Jane Krakowski (Netflix)
Wonderland, murder conspiracy mystery starring Mark Wahlberg, Allan Arkin, and Colleen Camp (Netflix)
Some of these films will have revised release dates, or get pushed to 2021.
So grab your calendar and start making your plans–here are the movies you’ll want to see in 2020 (and some you might not!):
January
The Informer – Thriller, starring Joel Kinnaman, Rosamund Pike, Ana de Armas, Common, and Clive Owen – January 10.
Underwater– Thriller, stars Kristin Stewart in underwater horror story – January 10.
Dolittle– Family/Comedy, stars Robert Downey, Jr. in remake of the classic, with voices of Tom Holland, Rami Malek, Octavia Spencer, Emma Thompson, Antonio Banderas, Ralph Fiennes, and Michael Sheen – January 17.
In that niche area of dystopian dog movies (that’s the adaptation of Harlan Ellison’s A Boy and his Dog and… ?), Wes Anderson’s Isle of Dogs not only soars to the top of the list, it’s a great film in all sorts of categories: it’s new, yet a classic children’s story, it’s a timely political allegory, and it’s a solid movie about dogs. We knew Anderson had a grasp on animals in his surprisingly good Fantastic Mr. Fox, but audiences will soon learn he also understands dogs and dog behavior. The trailers don’t really prepare moviegoers for what lies ahead. Sure, it’s about an island of exiled dogs so of course audiences are in for a bleak ride, complete with at least one dead canine, lots of dogs in peril as well as many mutilated and diseased. Yet Isle of Dogs is surprisingly grand in scope, thought-provoking, and even heartwarming. And epic–don’t be surprised if you start thinking about the closest Martin Scorsese or Stanley Kubrick movie while you’re glued to the screen. Despite some witty dialogue in places from Anderson’s smart script, this is less comedy and more drama than his past efforts.
The dystopian world is better realized, bigger in scope, and yet more personal than typical futurist visions, beyond that dismal hopeless doom of Mad Max, The Postman, Escape From New York, Twelve Monkeys, Snowpiercer, Looper, Logan’s Run, and District 9. Isle of Dogs is probably closer to WALL-E and Planet of the Apes in feel. Isle of Dogs is gloomy and dark and bleak, but it offers a ray of hope for the future from a 12-year-old Japanese boy named Atari Kobayashi (Koyu Rankin) and a freckle-faced, high school exchange student named Tracy from Ohio (Greta Gerwig), both out to defy an autocratic government’s ban on dogs. That’s thanks in major part to the vivid, eye-popping world of future Japan filmed by celebrated Aardman Animations stop-motion cinematographer Tristan Oliver (A Close Shave, The Wrong Trousers, Chicken Run), and the encompassing sounds from this year’s Oscar-winning composer for The Shape of Water, Alexandre Desplat (Harry Potter series, Valerian and the City of a Thousand Planets, The Golden Compass). As to the stop-motion, audiences can marvel at how far Hollywood has come since the Ray Harryhausen era. The film follows Anderson’s design choices first seen in his Fantastic Mr. Fox and only continues to add to the unbelievable magical movements carried forward by Aardman’s achievements. And instead of a typical Romantic, programmatic score, Desplat’s best choices can be found in his use of loud, almost frightening Japanese taiko drums, Fumio Hayasaka’s haunting theme from Seven Samurai, the more celebratory bits from Prokofiev’s Lieutenant Kije, and a simple recurring dog whistle.
Anderson offers up admirable tributes to Japanese culture and film, everywhere from costume design to modern TV reporting stylings, to Hayao Miyazaki themes and Akira Kurosawa landscapes, to traditional imagery like beautiful ukiyo-e on walls and cherry blossoms floating by at the right time. Isle of Dogs finds a firm footing on the children’s classics shelf of your film library, alongside Roald Dahl’s Mr. Fox but also his Willy Wonka. It also has much in common in tone with Ian Fleming’s Chitty Chitty Bang Bang, and Jim Henson’s The Dark Crystal. The political allegory is thick and layered, a mix of the nuanced and the obvious, a mirror reflection of society that you’d have found years ago in a Frank Capra movie. Science is mocked, scorned, and worse. Experts are traitorous and immigrants are exiled. It’s also graphic in parts at a baser level, showing an animated meal from a dumpster with creepy crawlies that may make your stomach turn, plus an open chest surgery, bloody, torn body parts, and dogs with missing eyes and open wounds.
This week the Saturn Awards crowned the best of genre film and television, selecting the best works on the screen for the 43rd year. As with last year’s selections, although the start and end dates vary from our own calendar year list, this year’s winners aligned in the major categories with our own borg.com picks of the Best of 2016 from film and television. If the Academy Awards, Golden Globes, Emmys, and all those other award recognitions leave you wanting, you can always depend on the Saturn Awards to come through for genre fans.
So we’re happy to see the Academy of Science Fiction, Fantasy and Horror Films name Rogue One: A Star Wars Storyas Best Science Fiction Film, Best Direction in a Film (Gareth Edwards) and Best Film Visual/Special Effects (John Knoll, Mohen Leo, Hal Hickel, Neil Corbould), Doctor Strange as Best Comic-to-Film Motion Picture and Tilda Swinton for Best Supporting Actress in a Film, and Star Trek Beyond for Best Film Make-up (Monica Huppert and Joel Harlow). Star of our favorite superhero sequence of 2016, Spider-man Tom Holland was awarded Best Performance by a Younger Actor for Captain America: Civil War. In the television categories, Riverdalewas named Best Action/Thriller TV Series and star KJ Apa won The Breakthrough Performance Award for his work as the iconic comic book character Archie Andrews.* The Best New Media TV Series was a tie, shared between Stranger Thingsand Marvel’s Luke Cage—and Stranger Things star Millie Bobby Brown was named Best Younger Actor on Television. Even a borg.com Hall of Famer won major kudos this year, Six Million Dollar Man actor Lee Majors was awarded The Life Career Award. We couldn’t agree more with all these selections.
Other works we liked last year that won honors included 10 Cloverfield Lane for Best Thriller Film, Best Actress (Mary Elizabeth Winstead), and Best Supporting Actor (John Goodman), Deadpoolfor Best Actor (Ryan Reynolds), Arrival for Best Film Screenplay (Eric Heisserer), and Fantastic Beasts and Where to Find Them for Best Film Costume (Colleen Atwood).
When Brad Pitt has another winning performance you find you’re glued to the screen. From Twelve Monkeys to Meet Joe Black, Ocean’s Eleven to Inglourious Basterds and Moneyball, Pitt has range, plus the charisma and presence that translates to star power. As with Tom Cruise and Johnny Depp, if you can strip away the celebrity and focus on the performance, Pitt seems like he just can’t fail. Pitt is just as mesmerizing as any character in his past body of work in the new film War Machine.
In another time War Machine would be a theatrical release–it carries the production values, cast, script, and studio support as much as any other movie, and is produced by Pitt’s own Plan B Entertainment, the same company that garnered a Best Picture Academy Award for 12 Years a Slave. But we’re now in No Man’s Land. With Netflix making not only its own competitive, award-winning shows for the small screen, it has moved on to the theatrical film that simply isn’t intended for a theatrical release. War Machine is based on Rolling Stone writer Michael Hasting’s book The Operators, a biographical account of now retired General Stanley McChrystal that was expanded from the piece he wrote when he was embedded with the general and his men. You’ve heard the story, the one that took down the general’s career as he was attempting to gain traction in his efforts in Afghanistan in 2010. McChrystal’s was an American story, one that has plagued leadership in wartime notably since World War II– how do you win a seemingly unwinnable war? You’ll be hard-pressed not to find story elements from Vietnam days in War Machine, but also echoes of the Persian Gulf War, and other actions where data, facts, politics, economics, miscommunication, and personalities muddled direction and purpose. Only War Machine isn’t about McChrystal really–Brad Pitt’s character is only based on McChrystal. For storytelling purposes it’s close enough, and fortunately allows the viewer to enjoy the fictional story being told without the effort of comparing the story to the real events the underlying book was chronicling. So throw out your own politics for a few hours and get ready for an interesting character study.
Were War Machine released in theaters, there’d no doubt be discussion of the film as the next chapter in a line of films with Twelve O’Clock High, The Best Years of Our Lives, Apocalypse Now, Patton, Full Metal Jacket, and Born on the Fourth of July. Pitt’s General Glen McMahon is Pitt aged a decade or so, sporting gray hair and a fixed sideways sneer, a raised eyebrow, and a stature (especially when running exercise laps before the other troops awaken) that makes him almost unrecognizable. McMahon is smart, fierce, determined, and strong–the perfect selection for someone who has been appointed to complete an impossible task–in essence, do all that needs to be done to fix Afghanistan and get ready to leave without bringing in more troops–when he should have known he was doomed to failure from the beginning. Don’t we want our generals to be confident, strident, and to a certain extent, bold risk takers? McMahon is quirky, just a little bit off, while exhibiting a bravado and charisma–albeit awkwardly packaged–that entrenches the picture in believability. Pitt believes in his character so we do as well. This includes the loyalty of his men, which begins to form the movie’s all-star cast, including McMahon’s obnoxiously loyal, angry, and mouthy#2 man played by Anthony Michael Hall (the film’s take on then-Maj. Gen. Michael Flynn, who served 24 days recently as national security adviser) and an image guy played by Topher Grace. The cast is rounded out on all sides by Ben Kingsley as President Karzai, Alan Ruck and Griffin Dunne as Administration policy wonks, Tilda Swinton as a German politician, and Meg Tilly taking on the role (brilliantly) of McMahon’s wife (plus a nicely handled cameo by Russell Crowe).
In a year with Deadpool, X-Men: Apocalypse, Captain America: Civil War, Batman vs. Superman: Dawn of Justice, and Suicide Squad, only one really knocked our socks off beginning to end with no caveats. Doctor Strange, our pick for last year’s best superhero movie, began with a hotshot medical whiz played as smartly as ever by Benedict Cumberbatch, who embarked on an intriguing story arc with the help of a mystic brilliantly played by Tilda Swinton. Along the way Cumberbatch introduced us to the next great character of the Marvel Cinematic Universe, a dead ringer for the classic comic book character who sports the coolest cloak ever, and wields otherworldly special effect powers that really look great in 3D. Plus, we had a great villain in Mads Mikkelsen’s Kaecilius, humor, and a solid supporting cast. Next week Doctor Strange makes its way to online streaming services with the 3D Blu-ray, Blu-ray, and DVD release scheduled for February 28, 2017.
Doctor Strange includes the best recent use of 3D in the theater, so if you have the 3D player and compatible TV the 3D Blu-ray will be the way to go. Viewing it in 3D in the theater was a must, from Doctor Strange’s spell weapons to a world colliding with an amped up Spirograph meets Kaleidoscope-infused reality, from conflicts on Salvador Dali paintings come to life and M.C. Escher and Labyrinth-inspired battlefields, to journeys through distant outer space and beyond time. Crisp clarity and beautiful cinematography reveals modern effects at their best thanks to the production of Kevin Feige–who has coordinated everything Marvel for both Disney and Twentieth Century Fox–and director of photography Ben Davis (Guardians of the Galaxy, Avengers: Age of Ultron, Kick-Ass, Stardust, Layer Cake).
Look forward to some great costume work from Academy Award-winning costume designer Alexandra Byrne (Hamlet, Elizabeth, The Phantom of the Opera, The Avengers, Guardians of the Galaxy). And Michael Giacchino is finally back with a superb musical score more on par with his work on The Incredibles than more recent soundtrack efforts. Giacchino really hedged his bets last year, producing soundtracks to 2016 releases Star Trek Beyond, Zootopia, Doctor Strange, and Rogue One: A Star Wars Story. Giacchino really justified his place as an Oscar-winning composer with his brilliant score for Doctor Strange, a score we think was on par with his superb work on The Incredibles.
After the break, check out all the extras for the home edition release and an unusual–unusually cute–trailer for the home release of Doctor Strange:
What better way to celebrate the strong, determined leader Leia Organa made famous by actress Carrie Fisher than to celebrate her legacy in the genre heroines of today? What do most of the characters on this year’s list of Best Kick-Ass Genre Heroines have in common? Most have roles that could easily be swapped with a male. Sure, you can have heroine characters who are written to largely rely on traditional female qualities, but women characters bending gender roles are breaking new grounds. We met characters this year who were held back in their place in time by their status as women, and it is often that role that prompts them to gain the fire and passion necessary to become the heroine of their stories. So we have both a dress-wearing, well-read 19th century Jane Austen character on our list, but also a space-faring criminal in combat boots, a sea captain, an alien survivor, an alien visitor, a warrior, a sorcerer, a group of clones, a gunslinger, two cops, a zombie, and a supernatural assassin.
In past years we were able to select our Best Kick-Ass Genre Movie Heroine and Best Kick-Ass Genre TV Heroine, but this year the studios gave us more to cheer about than ever, and instead of ranking them we’re highlighting the very best from an unprecedented slate of heroines, with characteristics to learn from and emulate. Determined, decisive, loyal, brave, smart, fierce, strong. You’ll find no one here timid or weepy, but all rely on their individual skills to beat the odds and overcome any obstacle that comes their way. Some may be frazzled, put-upon, war-weary, very human, resulting from trying circumstances, personal losses, and even death of friends and family. But they all mustered up the strength to rise above it all. These are the Best Kick-Ass Genre Heroines of 2016:
Sara (The Huntsman: Winter’s War). Heroines can be medieval or fairy tale warriors, a trained Huntsman quick with a bow and arrow or two-handed swordplay. Jessica Chastain’s Sara was never seen in Snow White and the Huntsman, but we quickly learned why Chris Hemsworth’s Eric was filled with despair when learning of her supposed death. A loyal warrior to her queen, she must decide whether to join her excommunicated secret husband against the forces of evil or stand with Queen Freya and her manipulative sister. A powerhouse trio of actresses, Chastain’s Sara rises above them all opposite Emily Blunt and Charlize Theron in this great fantasy film.
Elizabeth Bennet(Pride and Prejudice and Zombies). You already know Elizabeth Bennet as the eldest sister in the classic Jane Austen novel Pride and Prejudice. An obnoxious mother harassing her, unlikely prospects for marriage, and an oppressive society with little opportunity to make her own choices. Readers finally get to witness how the classic character might react when given opportunity–opportunity to learn Eastern mysticism and Japanese martial arts, and a role where she and her sisters and friends can fully defend their family and home from a zombie onslaught. Lily James couples lacy dresses, Regency manners, and in-your-face, Quentin Tarantino-inspired kicks, with classic swordplay–and bloody beheadings. If a war is coming, you want the likes of Elizabeth Bennet on your side of the battle lines.
What a year! The world’s a changing place and no less so than with the welcome onslaught of new movies, television shows, books, comics, and everything else that entertained us in 2016. All year long we tried to keep up with the best of what Hollywood had to offer and honed in on the genre content we thought was worth examining. We went back and looked at it all and pulled together our picks for our annual Best of the Best list. We watched all of nearly two dozen TV series, and enough of others to know we’d seen enough. We watched dozens of new movies, reviewed more than three dozen books (and read even more), and kept up with dozens of comic book titles. We witnessed the 75th anniversary of Wonder Woman, Green Arrow, Archie, and Captain America, the 50th anniversary of Star Trek and Charles Schulz’s Great Pumpkin, Rocky turned 40, and it was the 30th anniversary of Aliens and Labyrinth. And the Cubs finally won the World Series.
Today we reveal the best genre content of 2016–with our top categories from movies and television Best Sci-Fi Fix, Best Fantasy Fix, Best Superhero Fix, Best Animated Fix, and Best Borg, followed by our Best in Movies picks. The big winner was Rogue One, taking 13 spots, followed by Doctor Strange with three. Come back later this week for our TV and print media picks, our special look at Kick-ass Heroines of 2016, followed by our annual borg.comHall of Fame inductees.
Best Sci-Fi Fix – Rogue One: A Star Wars Story (Lucasfilm). Although the franchise is more space fantasy than science fiction, all the elements of the best sci-fi were crammed into Rogue One. Epic space battles, aliens, and loads of sci-fi technology. A compelling story. We’re wagering this film will be a classic we go back to for years to come, upsetting Star Wars: The Force Awakens as the third best of the eight films in the series. It’s everything a sci-fi fan could want.
Best Fantasy Fix – The Huntsman: Winter’s War (Universal Pictures). Like Rogue One it was a prequel that was also a sequel. Better than the original Snow White and the Huntsman, this early 2016 release provided a high-fantasy story rooted in the classic fairy tale, rewarding viewers midway with a surprise change-up. Three tough female leads, four brave (and funny) dwarves, two epic quests, a fairy tale romance, and elaborate costumes and sets made for a perfect fantasy film.
Best Superhero Fix – The Magnificent Seven(MGM/Columbia Pictures). When we first reviewed The Magnificent Seven we were surprised it had adapted the Yul Brynner version and Akira Kurosawa’s earlier Seven Samurai so well.We were even more surprised at how well the cast, and cast of characters, worked together to create a true ensemble piece. It rivaled every attempt by the studios to make a great superhero team-up, and, but for the Western garb and setting, it rates as the year’s best of the superhero genre. Runner-up, a close contender for the win was the second appearance of Evan Peters as Quicksilver doing his speedster business slow-motion style again in X-Men: Apocalypse.
Best Retro Fix – Stranger Things (Netflix). It’s a TV series that would have made a solid movie hit in 1982. So many series appear unexpectedly these days with a full season ready to stream immediately. Most demonstrate why they couldn’t cut it with the networks or a major cable channel. Not so with some of Netflix’s series, especially the surprise hit Stranger Things. With a nicely eerie soundtrack, title font, a Twin Peaks-meets Steven Spielberg coming of age film cul-de-sac for the setting, and John Carpenter meets Stephen King vibe, it’s no wonder Stranger Things was the #1 talked about series this year. Our favorite part, besides the young heroine of the show, was the attention to throwback clothes, toys, posters, and 1980s pop culture references. It’s a series we’ll revisit in the future, and look forward to in its second season.
Best Borg/Best Movie Villain – Darth Vader (Rogue One: A Star Wars Story). Darth Vader returned in his best scene of the franchise outside of The Empire Strikes Back in Rogue One: A Star Wars Story. It wasn’t James Earl Jones’s return to voice one of the best villains in the history of cinema that grabbed us, but the full-on rampage Vader takes to pursue the stolen Rebel plans in the film’s finale. Director (and lifelong Star Wars fan) Gareth Edwards gave fans exactly what they wanted, utilizing an impressive UK creature actor Spencer Wilding to do his bidding as the imposing Lord of the Sith. We also got a peek at what little of the man remained years after his battle with Obi-Wan Kenobi. We saw inside his cybernetic suit of armor via a scene featuring him floating in a bacta tank. Darth Vader remains one of the greatest borgs of all time.
Want to know who we picked for best in effects, soundtrack, and best sci-fi, fantasy, comedy, and horror movies of the year? Take a look after the cut…
