Sarah Welch-Larson 9/19/21 Sarah Welch-Larson 9/19/21

Strange Days (1995)

I oscillated back and forth between my horrified reaction and my fascination with that reaction, which left me feeling profoundly dissociated from the film.

Sarah Welch-Larson 6/22/21 Sarah Welch-Larson 6/22/21

Pitch Black (2000)

I mean this sincerely: I love science fiction from the late 90s/early aughts, especially when it’s kind of bad.

Sarah Welch-Larson 6/6/21 Sarah Welch-Larson 6/6/21

The Time Machine (1960)

I love science fiction, but science fiction hasn’t always loved people like me.

Sarah Welch-Larson 2/27/21 Sarah Welch-Larson 2/27/21

Invasion of the Body Snatchers (1956)

One of the crucial ingredients in good horror is pacing—and Invasion of the Body Snatchers runs through all its paces, desperately and beautifully.

Sarah Welch-Larson 2/13/21 Sarah Welch-Larson 2/13/21

Coherence (2013)

When I praised a certain flavor of low-budget science fiction in my post about The Endless, I didn’t know at the time that I was actually writing about Coherence.

Sarah Welch-Larson 1/31/21 Sarah Welch-Larson 1/31/21

Akira (1988)

I’d heard so much about how influential Akira is; what I wasn’t expecting was to see how seamlessly Akira folds its own influences into its story without ripping off the originals or cheapening itself in the process.

Sarah Welch-Larson 1/24/21 Sarah Welch-Larson 1/24/21

First Man into Space (1959)

Icarus by way of 1950s propaganda.

Sarah Welch-Larson 11/28/20 Sarah Welch-Larson 11/28/20

Children of Men (2006)

Children of Men would be true in any other place and setting. But it works so well in part because it understands its own place and that setting in a visceral way.