If you are a fan of Star Wars, Blade Runner and Battle Royale, you have the 1927 release of Metropolis to thank. It was the mother of science fiction movies. HG Wells may have ripped into it shortly after release, but the genre would be a sadder place without it.

Made by German director Fritz Lang, the film is a Gothic science fiction masterpiece that has both baffled and intrigued audiences for decades. All the more intriguing because a) it was panned by its contemporary critics, and b) the full length version has only been available since 2010.

Plot

With its mind boggling depiction of a futuristic cityscape, a sexy female robot (no seriously!) pretending to be a trusted character, and city workers moving in unison until they literally become the machine they are operating – this film was ground breaking for the time.

Set in the Utopian city of Metropolis, there is a sharp divide between the working class and the rich thinkers. Freder (Gustav Fröhlich), the son of the City Master, falls in love with the mysterious Maria (Brigitte Helm), who inadvertently leads him to the underground world of the workers. Horrified to find so many men secretly running the machines that keep his blissful Utopia above ground functioning, he witnesses Maria (who also happens to be a prophet) predict a mediator will arrive to settle their differences.

The lost reel

Much of the intrigue about Metropolis is due to the fact that half an hour of the film was lost for decades. The distributors cut footage for the foreign release back in the day. This left an 115 minute film, that was 30 minutes shorter than originally intended.

And it stayed this way, with a tiny minority having seen the feature in its entirety. The trouble was, amidst the chaos that was World War Two, the original version with the additional footage was lost. For decades we all thought we would never know what Lang had to cut. Until 2008, when a copy of the missing footage was discovered in an archive museum in Argentina, so the 16mm print of the original was finally almost entirely intact. Now the digitally re-mastered version of Metropolis, including the long lost footage has been released.

If you haven’t seen Metropolis, it is interesting to watch both the shorter cut of the film and the reconstructed and extended version to see how they differ. The shorter version changes so much of the context and de-mystifies the original message that Fritz Lang had intended.

German Expressionism

One of the reasons Metropolis is hailed as such a triumph is because it is one of the best examples of German Expressionism. I can see you blinking at the screen. German Expressionism was a creative movement in the early 20th century that emphasised subjective experience over representation of the ‘real world’.

When applied to film, Expressionism used symbols and metaphors to express a plot’s underlying meaning, that would be otherwise undetectable on face value. They were intentionally obscure and designed to be unintelligible, the goal ultimately to give the audience an emotional experience rather than a snapshot of a physical reality.

Still confused? You really have to see it to understand. All the more reason to watch Metropolis, eh? In the name of curiosity,  you should also check out the technique in Nosferatu. The vampire’s shadow creeping up the stairs, claws out = shudderworthy German Expressionism at it’s creepiest.

Budget

It is a genuine miracle Metropolis was even completed. The film cost Universum Film AG  (UFA) so much money, at a time when the German economy was in a bad state, that it very nearly sent the company into bankruptcy.

During the era of the Weimar Republic (the parliament set up after World War I), Germany suffered through three years of hyperinflation between 1921 and 1924. This meant that the value of the German mark (currency) decreased rapidly, making everything, including film making more expensive. Metropolis took two years to film. Overall, it cost 5m Reichmarks to make ($1.3million at the time). By today’s standards, according to the German Consumer Price Index that would be around $24 million today. Perhaps not as much as some Hollywood blockbusters, but it still almost sent Germany’s largest studio under.

Critical reception

Some of the most revered art was mocked at first. Vincent Van Gogh is a classic example of a man whose work was under appreciated during his life. Who knows, perhaps in 100 years Twilight will be considered Hollywood genius … yeah, we doubt that too.

Metropolis is no different. Despite its current reputation, the audience of the time did not get it at all. The New York Times’s, Mordaunt Hall dubbed it a “technical marvel with feet of clay”, whatever that means, while author H.G Wells harshly described it as “foolishness, cliché, platitude, and muddlement about mechanical progress and progress in general.” Ouch.

Nowadays critics are far more appreciative. The ideals within the tale have aged especially well. American film critic and screenwriter, Robert Ebert sums it up nicely:

“Metropolis is one of the great achievements of the silent era, a work so audacious in its vision and so angry in its message that it is, if anything, more powerful today than when it was made.”

Agreed. Fast forward 85 years, and the political and social issues of the 1920s: recession, unemployment, low pay, resentment of the rich and powerful etcetera are still relevant and emotive subjects and ones that can easily be found within the subtext of Metropolis.

In short, the full feature’s vision has a longevity that has surpassed expectation and silently laughs in the face of its critics. You were no langer, Lang.

Now go find Metropolis, and let us know your verdict.

You can buy Metropolis [Reconstructed & Restored] on Amazon now.

According to iMediaMonkey, Star Wars Episode 1: The Phantom Menace, could be released in 3D on Blu-Ray in just a few months time, thanks to Panasonic’s recent deal with LucasFilm.

Last year, Panasonic was the only AV manufacturer which sold the Star Wars Blu-Ray with their Blu-Ray players and home cinema setups.

A statement on the Star Wars website said: “The cutting edge conversion will take that immersion to the next thrilling level.”

The Phantom Menace has just been released in 3D at the cinema and Lucas hopes to continue releasing the Star Wars saga in this format.

It is thought that he will release one film a year, starting with this year’s, The Phantom Menace.

However, despite how popular the sci-fi films are, the recent 3D adaptation has received mixed reviews.

One of the positive reviews was from British actor Simon Pegg (Star Trek, Shaun of The Dead ) who tweeted ‘Watching TPM (The Phantom Menace) in 3D would be like the car actually crashing into your face as opposed to just unfolding before your eyes’.

Whereas Philip French from the Guardian wrote, ‘It will take more than 3D to save this lumbering Stars Wars prequel.’

It was thought that Lucas delayed converting the galactic adventure films into 3D because he wanted to wait until there were enough screens available to show them.

It was estimated that 3D movies boosted the UK box office takings by 8% last year, with films including Alice In Wonderland, Toy Story 3 and Shrek Forever After, proving to be big hits at the cinema.

It will be interesting to see how popular the 3D, Blu-Rays will be with Star Wars fans. Tell us what you think about the new 3D Star Wars film via Twitter, or on our new Facebook page.

The Irish actor will star in the untitled sequel to the action-packed Taken, which could be released in the States as soon as October 2012.

Neeson (Star Wars, Love Actually) will be returning in the role of former CIA agent Bryan Mills, who uses his brains and brawn to take down the enemy and save the day.

Olivier Megaton (The Transporter 3, The Red Siren) is set to direct the action thriller with Luc Besson (Fifth Element) and Robert Mark Kamen (The Karate Kid) co-writing the screenplay.

The much anticipated sequel will once again feature Maggie Grace (Lost, The Fog) and Famke Janssen (X-Men , Golden Eye) who are set to reprise their characters from the first film. Janssen plays Bryan’s wife, Lenore, while Grace plays their daughter Kim who was kidnapped in the first film.

But this time around, Kim pays back the favour by trying to save her parents when they are taken hostage by Murad – the father of a kidnapper who Bryan killed while rescuing Kim in Paris. But Kim doesn’t do all the cool stunts, as once again Bryan uses his advanced level secret service tactics to free his family and take out the villains one by one. This time, the film is set in Istanbul, where the family are trying to have a peaceful holiday.

If you are desperate for a sneak peek, check out the official trailer below.

Most people tend to hate on Keanu, but I really like his acting and his work in general. But to see him doing a documentary is very interesting – projects like that come from a passion for the subject, not money – one would guess, at least.

Traditional film – that is, non-digital film – is dying, and Reeves has sought out and interviewed everyone from George Lucas (Star Wars, THX 1138) to James Cameron (Avatar, Terminator), Martin Scorsese (Goodfellas, Hugo) to David Lynch (Eraserhead, Mulholland Drive), with the intent of hearing how they feel about film cells passing into history in favour of the digital medium.

It looks interesting, thought-provoking and – if you’re not too well read up on the history of filmmaking – educational. If you were into Channel Four’s recent The Story of Film documentary series, you’re likely to enjoy this. The trailer is below, and the documentary will première at the Berlin International Film Festival in February of this year. Enjoy the trailer.

Now, I make a lot of jokes about George Lucas, as he’s a figure ripe for satire and ridicule, given his penchant for upsetting fans and (as part of that upset) constantly revising Star Wars until all traces of the original trilogy have been destroyed. But I take my hat off to the man – he’s had an amazing career, and has produced some of the most memorable cinema the world has ever seen.

A child may not yet know their times table, but there’s a fair likelihood they could recognise a lightsaber. Lucas’ work has permeated all layers of our society like few others, and his running symbol in his work (the code THX 1138) is one of my favourite things to spot in film, television and videogames based on his work.

What he’ll do now is anybody’s guess. If I was him, I’d head up into the countryside on Skywalker Ranch, take a wooden lightsaber, and become an Obi-Wan for the next chosen director who wishes to make the jump from talented youth to cinema legend. All the best to you, George, you pedantic, weird fellow.

Last year it was announced that George Lucas has been a busy man, digitally enhancing all six films in the franchise, ready to bring them back to theatres next month.

The move is yet another example of Hollywood’s attempt to make more money out of former releases. The Lion King 3D and Beauty and the Beast 3D have already been released, while James Cameron’s Titanic is coming to the big screen again in April.

The trouble with Lucas releasing all six films is, he’s releasing them in order. And I don’t mean the order of their original releases. If only that were true.

First up are the prequels, beginning with 1999′s Episode One: The Phantom Menace, which so happens to be the least popular of the entire franchise.

Yes, we have to sit through the first three in order, before we can enjoy the original classics in even greater glory. And while yes, Episode Three: Revenge of the Sith was a decent film, The Phantom Menace and Episode Two: Attack of the Clones, were not.

Despite the prequels being widely agreed to be inferior to the originals, Star Wars fans will no doubt flock in their thousands.

At the very least we can admire the posters, which are admittedly rather cool. The Phantom Menace promotion has placed emphasis on the best moments in the film: Darth Maul, the big race and the characters we know and love.

Perhaps they hope we will forget the existence of Jar Jar (who is noticeably absent from all advertising) and the slow moving plot?

The Phantom Menace opens 10th February 2012. The release dates of the other five films are yet to be announced.

So which release are you most looking forward to? Let us know!

Here is one of the posters! Click to view full size:

Harrison Ford is probably one of the most prolific sci-fi actors in history. Known best for playing Han Solo in the original Star Wars trilogy, he seems perfectly geared towards taking up the role of the commander of a Battle School, where young humans are trained to become hardened warriors. Not quite the roguish smuggler of Star Wars, or Blade Runner‘s Rick Deckard, but definitely a role he’ll relish, having taken slightly more serious and responsible characters on board in later years – Cowboys and Aliens featuring a particularly good example.

As a film, it’s shaping up to be something special, with Ben Kingsley, Asa Butterfield and a wealth of acting talent turning their skills towards bringing the novel to the big screen. All that remains is the classic “did they do the book justice” dilemma that propels fan conversation to angry heights on a regular basis – Akira fans, here’s looking at you (although I’d say you’re justified – if Ender’s Game sounded as bad as the new Akira, it’d be set in MacDonald’s). More on this as it comes.

I like George Takei. He’s a funny guy, and hearing that he had waded into the fight between Star Wars and Star Trek fans to try and calm everyone down was welcome news. However, he seems to have attempted to align them against a common “threat”: the Twilight series.

As someone who enjoys all three universes, I’m going to offer something of a rebuttal. George, you have clearly no knowledge of the Twilight franchise. It’s not science fiction. You also seem to be under the impression that Star Wars and Star Trek are as culturally relevant now as they were in the seventies. They’re not.

Takei proceeds to then jump on the Stephen King bandwagon and claim the main theme of Twilight is the question “does my boyfriend like me?” This is odd, given that the series deals with puberty, teenage pregnancy, avoiding violence, teamwork and friendship, and that the main morals of Star Wars are that incest is cool and nothing you do can ever possibly have any consequences, with Star Trek putting forward the bonus “kill or copulate” rule when dealing with alien races, but there you go.

I’ve embedded the video below, and I look forward to watching a video of R-Patz and Robo-Shatner teaming up against the next popular franchise in 2041.

With the Transformers film on its way to cinemas soon (I know, we prefer the cartoons as well), everyone’s going to be very robot-happy. But there’s been a long tradition of robots appearing in films, so we thought we’d see how robot-savvy you are.