Wild Wild Planet (1965)
Criminali della galassia, I

best line: “Watch out for those gadgets on their chests!” – Commander Halstead while wrestling with an alien woman

It’s go go action, when aliens disguised as fashion models start kidnapping people for a mad mad scientist, so he can conduct inhumane experiments and merge himself with the perfect woman! Augh! Yes, it’s so bad it’s great. Spacemen fight with karate-chopping vixens, rockets spew fireworks, and aircars dangle on strings. The budget is so low the miniature buildings are re-used in the next scene as furniture and mod set decor.

The plot? Italians don’t need a stinkin’ plot — just a couple of futuristic cars and a lot of hair pieces! The “perfect” woman gets drunk and spews anti-feminist venom. Then after being spurned by every officer in the room, she runs headlong into a trap. Between the sexist banter men are manly: fighting and rescuing, meanwhile beautiful women pick clothes off the floor and stuff them into designer handbags.

While wrestling with an alien woman Commander Halstead shouts out, “Watch out for those gadgets on their chests!” I’m sure it’s all a metaphore for something.
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Star Trek: The Motion Picture (1979)

Plot Summery: Kirk in mid-life crisis returns to Enterprise selfishly determined to reclaim his former glory. He bumps our young hero from the captain’s chair: the capable Decker who is further complicated when long lost love returns in the form of Lt Ilia, the irresistible Deltan who has been forced to take an oath of celibacy so as not to take advantage of a sexually inferior species.

Meanwhile, Spock has just failed Kolinahr, a grueling ritual to wash away his emotions, and is barely able to communicate with the human crew. Only Bones has enjoyed retirement having grown a long beard and lounging about in disco leisure suits with big gold necklaces. After a bit of grumbling, he sets himself to unraveling the Gordian knot of emotional baggage.

Don’t blame Robert Wise for all the problems of this film. Wise was stuck with the production Gene Roddenberry had proposed for for Star Trek: Phase 2, an aborted TV series that was planned to launch Paramount’s television network. Plenty of money had already been spent, actors cast and signed to contracts, but when StarWars launched Hollywood’s sci-fi sweepstakes at the end of the ’70s, the studio couldn’t wait. Star Trek: The Motion Picture was put on the fast track. Paramount simply added that tab and many of the contracts to this film’s whopping $40,000,000 budget.

It was Douglas Trumbull who was responsible for the much criticized V’ger sequence and also for the Enterprise drydock masterbation scene. He is credited as “Second Unit Director”, but had free reign over the fx — which is most of the film. They were late to be finished, and because of their great expense they were spliced into the film “as is” literally at the eleventh hour, too late to hold screenings or for Wise to trim. In the Director’s Edition commentary, Wise says the studio wanted a specific running time to make good on guarantees to theaters. Paramount execs had set a firm Christmas release date for ST:TMP and prevented Wise from trimming down the over-long fx sequences.
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The Black Hole (1979)

George Lucas once said that movies are binary, ones or zeros, they either work or they don’t… Obviously this quote was early in his career before his own films became a displaycase for a line of toys and merchandising tie-ins, but he makes a good point: you walk away from a film either liking it or hating it.

However, there are things in this world that defy simple explanation, that hover in a twilight between heaven and hell, Möbius loops and unresolvable equations that warp the very fabric of spacetime itself…. There is Disney Studios’ The Black Hole!
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2001: a Space Odyssey (1968)

I’m stunned that people debate the meaning of 2001 ad nauseum without ever mentioning the incredible design of the interiors: the orange chairs in the lobby of the space hotel, the banana leather padding and turban-headed flight attendants of the Pan Am transport, the minimalist meeting room with glowing white walls at Clavius, and of course Discovery’s dizzying interior with the rotating gravity ring. HAL’s unblinking red lens is as iconic as the monolith: a black post-modern slab that keeps turning up in the oddest places. Finally, the Louis XIV furniture in the futuristic zoo cage is such a perfect visual analogy to the time displacements and overlaps Bowman experiences in the alien’s time-space. For the design alone, 2001 is a masterpiece that would be difficult to top in any era.
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The Day the Earth Stood Still (1951)

30 years before Steven Spielberg made E.T., Patricia Neal originated the archetype of a single mother who discovers her son is spending too much time with an alien. “Sci-fi Mom” can be found in the retro animated Iron Giant, and also in Spielberg’s classic masterpiece Close Encounters of the Third Kind. What’s the pattern here? Are fatherless boys more likely to attract aliens because they look for a father in every stranger…? Perhaps over mothering has left the boys gullible and needy, susceptible to the influence of dominating spacemen…. Maybe it’s just because if left unsupervised, boys will get into all kinds of trouble…. Ugh, what’s a single mom to do!

Although an undisputed classic, The Day the Earth Stood Still is a product of its time. It was made in the paranoid Eisenhower-era of wise old scientists and panic-stricken mobs, when suddenly a messianic alien named Klaatu lands in Washington DC (the center of the universe in 1951) with his robot enforcer Gort. Klaatu (née Mr. Carpenter, née Jesus the Christ) delivers a message of universal peace — OR ELSE! He explains that the worlds he represents haven’t so much solved their differences as made violence illegal, enforced by a race of Gorts who will immediately destroy any aggressor. His peace message is actually a warning: Kill each other all you want here on Earth, but if your wars spread to other worlds the Gorts will get you.
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