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The Laser Age examines a rich period in the history of science-fiction filmmaking that began in the late 1960s and faded away by the mid-1980s.

Featured Laser Age

In 1978, a trio of films rushed to feed the craze for science fiction

by Keith Phipps

After Star Wars’ success, the gold rush was on for cheap space adventures from around the world, from a laser-blasting American kid to a Japanese movie with Sonny Chiba and Vic Morrow to an Italian production starring a young David Hasselhoff. 

  • After the doors opened for effects-driven science fiction, Superman, Star Trek: The Motion Picture, and Flash Gordon all looked to the past for inspiration. But not all get the balance between storytelling and effects right. 

    After Star Wars, science fiction tried to reconnect with the past

    by Keith Phipps
  • In the wake of Vietnam and Watergate, the public’s disaffection and distrust for the government found its way into conspiracy- and secret-fueled movies like The Parallax View, Capricorn One, and even Disney’s The Cat From Outer Space.

    Capricorn One and other movies brought 1970s paranoia into science fiction

    by Keith Phipps
  • Steven Spielberg’s UFO film contrasts the humble stuff of 1970s American life with the possibility of otherworldly wonder.

    The mundane and the wondrous met in Close Encounters Of The Third Kind

    by Keith Phipps
  • On its way toward becoming a cultural phenomenon—and altering the direction of big-screen science fiction in the process—George Lucas’ space opera went through some surprising iterations that reflected its era more closely. 

    Why Star Wars?

    by Keith Phipps
  • Only a few years out from the moon landing, 1970s science fiction was already contemplating the tedium and dehumanization of space travel, technological advances, and the future in general.

    Future suck

    by Keith Phipps
  • Nicolas Roeg’s trippy David Bowie vehicle is the fullest flowering of the experimental, thoughtful science fiction that sprouted after 2001, but it arrived too close to the end of its season to thrive.

    The Man Who Fell To Earth erased time and space and ended an era

    by Keith Phipps
  • Some of the most arresting takes on science fiction in the late 1960s and early 1970s came from people who were just briefly visiting the genre, including such disparate figures as Alain Resnais and Sun Ra.

    Visions from the edge of a genre

    by Keith Phipps
  • Day Of The Dolphin, A Boy And His Dog, and Phase IV turned to the relationship between man and super-intelligent animals to comment on politics, men and women, and civilization at large. 

    Talk to the animals

    by Keith Phipps
  • What does it mean when machines and humans look the same? A handful of films in the 1960 and 1970s offered strikingly different takes on the notion.

    Bad robots and metallic temptations

    by Keith Phipps
  • In the years before computers became commonplace, films like Alphaville, Colossus: The Forbin Project, and Demon Seed projected our worst fears on them.

    When computers take control, humanity risks deletion

    by Keith Phipps
  • Long before Jurassic Park restored Michael Crichton to ascendancy, he dominated the 1970s with films like The Andromeda Strain, Westworld, and The Terminal Man, which considered the human cost of progress.

    The technophobic fantasies of early Michael Crichton

    by Keith Phipps
  • After Beneath The Planet Of The Apes, filmmakers redefined the Apes franchise with each successive entry, while maintaining its daring central premise.

    After blowing itself up, the Planet Of The Apes series charted new territory

    by Keith Phipps
  • A string of films, including Rollerball and Logan’s Run, portray frightening visions of paradise, illustrating the danger of getting what we want without considering what we give up to get it.

    In 1970s science fiction, every utopia had a price

    by Keith Phipps
  • Two 1971 science-fiction films build horrific futures from the materials of the present: one overrun by the violent ids of a barbaric younger generation, the other locked down tight enough to squeeze the humanity from its citizens.

    Chaos, oppression, and the grim worlds of A Clockwork Orange and THX-1138

    by Keith Phipps
  • Early-1970s concerns about overpopulation, environmental damage, and resource-depletion bled into the science-fiction films of the time, which considered the desperate measures people might take when faced with an unlivable planet.

    Watching as the world winds down

    by Keith Phipps
  • After Planet Of The Apes blew it up, science-fiction films of the early 1970s looked past The End to imagine an even grimmer future.

    In the early 1970s, the end of the world didn’t look so far away

    by Keith Phipps
  • Two films from 1968, Planet Of The Apes and 2001: A Space Odyssey, sparked a new era of ambitious, mind-expanding science fiction. And they have a lot in common.

    Science-fiction cinema’s richest era began with two films that use the future to talk about the present

    by Keith Phipps
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