Clarke (whose novel, conceived alongside the screenplay, saw release not long after the film’s premiere), 2001: A Space Odyssey begins with the origins of the human race and ends with the dawn of whatever comes after us-spinning above our planet, god-like, a seemingly all-knowing, hopefully benevolent fifth-dimensional space fetus-spanning countless light years and millennia between. Stars: Keir Dullea, Gary Lockwood, Douglas Rain, William Sylvesterįifty years ago, Stanley Kubrick told the story of everything-of life, of the universe, of pain and loss and the way reality and time changes as we, these insignificant voyagers, sail through it all, attempting to change it all, unsure if we’ve changed anything. Here are the 50 best movies on HBO Max right now: 1. ![]() You’ll find a lot of French gems here, not to mention an essential selection of documentaries, silent films, sci-fi staples, psychedelic monster movies, musicals and every shade of Oscar bait in between. Welcome HBO Max: You get a piece of us too. Whereas once these streaming services represented a more accessible alternative to an overpriced cable TV package, now we’re given no alternative, even though pretty much every movie imaginable is available for us to watch right now. ![]() Even Hayao Miyazaki, notoriously against having his movies available on streaming services, finally gave in. Like most other streaming services that aren’t owned by, say, the House of Mouse, there is no real overarching theme to what HBO Max presents, which is exactly why HBO Max represents such a powerful urge to just roll over and let it all happen. Basically, it’s like Criterion Channel Lite in some of its more highbrow corners. Ostensibly, this is a good thing: Below you’ll find masterpiece after masterpiece from the likes of Stanley Kubrick, Agnes Varda, Alfred Hitchcock, David Lynch, Barbara Kopple, Jacques Demy, Akira Kurosawa, the Maysles, Pennebaker, Ingmar Bergman-those looking for a crash course in world cinema can pretty much single-handedly thank Turner Classic Movies’ folding under the HBO banner for the bounties they’re about to inhale. Harris.uh-oh, film karma for his role in HOW TO MAKE A MONSTER!).The best movies on HBO Max reflect nothing if not the culmination of our streaming dystopia. and, though not truly horror/sci-fi in nature, there's "The Greatest Monster of Them All" (Season 6, another Bloch-scripted episode), with Sam Jaffe as a legendary horror film actor, starring in a low-budget vampire flick, who turns on his producer (Richard Hale) and director (Robert H. "The Changing Heart" (Season 6), from Robert Bloch and director Robert Florey, in which master clockmaker Abraham Sofaer builds a clockwork duplicate of his daughter (or a clockwork artificial herat for her, I forget which). "Design for Loving" (Season 4), Ray Bradbury's tale of a man (Norman Lloyd) who builds a robot double of himself, so he can leave his wife without her knowing, only to have the robot get ideas of its own. We never see the ghost, but the denoument suggests the American did. "The Gentleman from America" (Season 1), in which a visiting American (Biff McGuire) makes a bet at an English pub that he can survive the night in a nearby haunted manor. The Ray Bradbury-penned mushroom caper was "Special Delivery" (Season 5). The Steve McQueen-as-a-martian episode was "Human Interest Story" (Season 4). Poor Jane Wyatt acts her ass off to save it, Collin Wilcox is cast against type in it and you get to see both Stuart Margolin and Lee Majors (actually well cast and doing a good job) in their early (Spencer Gill) You can see the ending coming a mile away but there’s some interesting performances and a racial subtext that bears some examination.Ī God awful, padded version of the classic short story. I'll leave it to others to suggest borderline episodes to include here.Īdequate adaptation of John Wyndam's short story and the only real sci-fi episode. Of the out and out genre stuff there were but a few episodes. ![]() I mean really, who but a total nutcase like myself would notice? It's interesting that in the scene where Chris Lee is summoned from the dead they went to all the trouble to do an elaborate traveling matte composite with an optical zoom and the actress’ hand matted over a background containing Chris Lee so that when they ran the scene again it was exactly the same but they used a background without Chris Lee.
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