With a spectacular 4K restoration from the original three-strip Technicolor negative, Criterion have reinstated George Pal’s The War of the Worlds (Byron Haskin, 1953) to its place at the pinnacle of 1950s science fiction. While Barre Lyndon’s script, updating the story to the present and relocating it to California, strips H.G. Wells’ novel to its bare essentials, Pal and his production team turned interplanetary destruction into a glorious visual spectacle which hasn’t looked this good since the original Technicolor prints played in first-run theatres.
The label “visionary” gets tossed around far too easily, but it does apply to two filmmakers whose work begins in genre conventions yet rises to explore themes of horror and human fallibility in complex and original way: too long absent from the screen, Richard Stanley and Larry Fessenden have returned with some of the best work they’ve ever done – the former with the H.P. Lovecraft adaptation Color Out Of Space and the latter with Depraved, a modern meditation on the narrative and themes of Mary Shelley’s Frankenstein.
In 1964, Sidney Lumet’s serious movie about nuclear paranoia, Fail-Safe, had a tough time competing with Stanley Kubrick’s manic black comedy Dr. Strangelove, but it holds its own today as a portrait of a particular moment in social and political history. Meanwhile, Franklin Adreon’s pair of no-budget time travel thrillers from 1966, Cyborg 2087 and Dimension 5, are empty-headed entertainment which offer a touch of nostalgia to genre fans.