The age of irony.
The dawn of meh-ism.
Without stating any of the obvious flaws—quite a hard task—there are a few moments that would make a genre fan mad. Once a film creates ideas too awesome, it can become quite a task to handle it enough in regular running time. Or so it seems, leaving disaster in the paced sections. Good sci-fi is something to delight to once you come across one.
On the other hand, the creations are the spectacle expected by the viewer, but it will matter less if it was too fantastic in a way that it’s easy to kill the entity than effectively create one — without making the origins or its explanations seem like a patch-job for the story to proceed.
Event evolution. So crucial in making suspense of disbelief worthwhile.A good example being Transit, regardless of genre, as nothing unfolds reading like coincidence. So fucking good.
The science is handled pretty well—a classification hypothesis can only be rectified with actual experimentation—and the doctor’s presence can not be argued out — just that his unrolling is pretty jabbed-in. Conspiracy theories are great morsel for a good story if handled well. The main reason being they are not bound to a single story-line or explanation. Is the take here the best one yet? In reel-life?
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The exploration costumes were great but it is up for debate if they can serve the purpose of underwater navigation; other than alien-atmosphere navigation. A dual purpose seems impossible, yet underwater suits would ruin the only tolerable scene!
As far as comparisons go, if still bad yardsticks for leveling a case, the pulps—at least—were proponents of genre progression. It appears sci-fi is doomed for its own merit. Should there be good concepts, shitty FX ruin — I, Frankenstein. Should the FX be great, acting etc. ruin — Skyline.Perhaps beyond the self-aware retrogradations of some The Asylum productions, if that is really a focus point because sci-fi is known for some entry-level ideas.
Bad sci-fi is better than no sci-fi…
A maxim can only cater for so much.