essay about fantasy films

Why Are Fantasy Films so Popular?

🧚 introduction – why do people like fantasy, 👻 why is fantasy so popular 3 reasons, ↪️ conclusion, 🔗 works cited.

An unprecedented fantasy boom has hit the film industry in recent times, which explains why such genres have been topping the charts of the grossing movies in the last three consecutive years. The once ubiquitous romance genre has been replaced at the top by fantasy and science fiction. Ironically, fantasy films lack practical meaning, but this aspect does not affect their popularity in modern times.

Consumers are obsessed with unrealistic or impossible situations. It appears that the more rational the world becomes, the more people yearn for irrationality. Escapism has been noted as one of the reasons why people are fascinated with fantasy films, but questions abound as to why consumers would want to escape their reality in the first place. Fantasy is hinged on irrationality and it starts where science ends. Perhaps, people are tired and bored of the limited palette that has been around in literary fiction for a long. Similarly, consumers might be attracted to the impossibilities that fantasy offers, because anything is possible with this kind of genre. The only limitation becomes one’s creative ability.

Once people escape into this irrational world of fantasy, they are allowed to wander and question conventions that have been accepted as truths. On the contrary, people may use fantasy, not for escapism, but to address genuine problems facing humanity in contemporary times.

Great religious teachers and philosophers are known to use parables and allegories to express their points. As such, creators of fantasy may be using the same approach to connect with an audience seeking answers to life’s pressing issues. This paper explores the ever-rising popularity of fantasy films in pop culture by highlighting the underlying reasons as to why consumers tend to gravitate towards such a fictional genre.

The reasons behind the popularity of fantasy films are many and varied depending on the audience and cultural context. However, some themes cut across the genre of fantasy in films to highlight some of the major underlying reasons for the ever-rising popularity of these films. This paper discusses four reasons for such popularity including morality, escapism, consumerism, and spirituality.

Reason #1 Escapism

Escapism comes out as one of the major reasons explaining the unprecedented popularity of fantasy films in modern times. The narratives in such movies allow viewers to immerse themselves and escape from their real world. This aspect is one of the explanations of why the theme of impossible situations forms an appealing part of pop culture. Escapism can be approached from two perspectives. People may want to escape their reality due to boredom or to avoid dealing with difficult life situations.

As life becomes predictable and routine, boredom is likely to set in because people feel disenchanted. Max Weber, a German sociologist from the nineteenth century explained how boredom is tied with the concept of disenchantment (Zisook 180). The current world is organized in predictable structures and people are expected to act in a certain manner.

Modern science has given rise to secularism, which makes people question their rationality and lose their sense of wonder or magic. As such, religion is no longer fascinating as it used to be, and thus people turn to fantasy to re-enchant the world. Conventionally, children love mystery, but this sense of wonder is lost as people grow under predictable environments with routine and mundane life experiences. Besides, as people grow, the idea of God becomes questionable given the many ills that plague the world. Therefore, fantasy becomes a surrogate for the traditional religion because people normally yearn for spiritual growth and fulfillment.

Fantasy offers a framework of almost the same ideas as Christianity, without requiring viewers to understand and keep complicated theological ideas. For instance, Christianity is rooted in the idea that the world needs a savior ultimately to escape from the suffering that has been experienced since the first sin. Additionally, the world is seen as a place where evil competes with good. Similarly, fantasy offers the same ideas.

For instance, in the film, Avengers: Infinity War, evil and good are in a constant battle and a savior is needed in the form of a superhero to save the world from dark forces. Thanos is planning to decimate half of the world’s population, and he has to be stopped. Hulk crash-lands on earth from Asgard and he has to come up with a plan to stop Thanos, even if it means sacrificing himself.

The storyline of this movie mimics the Biblical story where Satan was thrown from heaven and he wanders across the world to devour humanity through deception and other tricks. However, Jesus offered the much-needed antidote by dying on the cross as the ultimate sacrifice to save humanity from the bondage of the devil. Therefore, Jesus is the superhero whose sole mission is to save humanity. Muslims have Prophet Mohamed, Buddhists have Buddha, and Jews have Messiah and every other religion has a figure to identify with.

In Avengers: Infinity War, Hulk represents Jesus, as he has to fight Thanos and thwart his plans to eliminate half of the universe’s inhabitants. In most cases, religion lacks practical meaning, just like fantasy films, but believers tend to gravitate towards it by holding dear its teachings and principles. Over 95 percent of people in the world identify with at least one religion. Each religious sect has a central figure that can be termed as a superhero to redeem its believers from suffering and pain. Consequently, believers have faith that one day they would be saved from the troubles and woes of this world.

The popularity of fantasy movies could be likened to that of religion. Once they slid into escapism, consumers of such content enter a secondary world that has projected chaos with villains and heroes. In that simulated environment, viewers of fantasy movies are entrapped in this chaotic world and the only way to escape is to have the superhero come through, crush the villain, and save humanity. Every time this anticipated end is achieved, viewers come out refreshed and reinvigorated to face the realities of their world. Nevertheless, the experience of fantasy re-enchants the world, and this aspect hooks viewers as they look forward to another thrilling episode where the superhero saves the day.

Escapism can also be used to avoid confronting difficult life situations. To some extent, fantasy addresses real-life experiences, such as the loss of a loved one or terminal sicknesses that have become common in modern times. However, despite the complexity of the problem, the superhero overcomes it. People love to identify with such superheroes because they face the same problems in their real life, and it would be exhilarating to overcome them.

Using proxies with superpowers and abilities to face complex life issues can make tragic, abhorrent, or bleak realities more acceptable to human beings. For instance, the movie, A Monster Calls, is a fantasy story about a boy that has to live with the harsh reality of his dying mother due to cancer, and bullying in school, and thus he has to face the life ahead on his own. However, the boy cannot accept the reality of what he has to face in the future until he meets a monster.

Interacting with the monster allows the boy to accept the inevitability of life and that his mother will die ( A Monster Calls) . This acceptance allows him to move on with life albeit with difficulties. Such a story carries a comforting and informing message to people going through the same situations in life. Therefore, viewers may gravitate towards fictional content that addresses their real-life problems, hence the popularity of such genres.

Reason #2 Morality

Humanity has been struggling with the issue of morality because it has become a relative topic based on the context. The definition of good and evil has become blurred in modern times. For instance, pro-life adherents claim that it is evil to abort regardless of the stage of pregnancy. However, the pro-choice proponents argue differently, and thus the morality of evil becomes relative in this context. One of the controversial moral topics that people rarely talk about is the issue of war.

In any war, collateral damage in the form of losing human lives is expected, which complicates the morality of such decisions. Perhaps this aspect explains why audiences are obsessed with fantasy movies where fighting takes place like in the Avengers: Infinity Wars. The moral question that arises from this film is whether people’s lives should be traded to achieve certain goals. In real life, people battle with these questions and they do not seem to get satisfying answers, and thus they turn to fantasy movies to find answers to their complex moral questions.

In the movie, Avengers: Infinity Wars, Thanos possesses several Infinity Stones, and he wants to use them in his mission to wipe out half of the world’s population. However, one of the stones is in Vision’s head and the only way to prevent Thanos from having it is by destroying it and probably kill Vision in the process. However, Captain America disagrees with the proposal by saying, “We don’t trade lives” ( Avengers: Infinity Wars).

This stand raises the moral question of whether one person should be sacrificed for the benefit of many. This scenario resonates well with occurrences in modern times. For instance, when the United States and its allies invaded Iraq to capture and probably kill Saddam Hussein for allegedly having weapons of mass destruction, a decision had to be made to eliminate one person and save millions. Deontological and utilitarian philosophical arguments emerge under such circumstances. In this case, Captain America uses the deontological perspective, which says a person cannot be sacrificed for another because everyone would be sacrificed at the end (Roberts).

Similarly, those that opposed the war on Iraq argued from the same deontological perspective. On the other hand, Thanos wants to reduce the world’s population for the ultimate good of everyone, which underscores the utilitarianism philosophical perspective (Roberts). The proponents of the war on Iraq used this perspective to argue that capturing or eliminating Saddam Hussein would lead to the well-being of many people around the world because they would not face the threat of weapons of mass destruction. These positions appeal to human intuition and people are placed in moral controversies, and they have to decide on the best way out.

The movie highlights one of the morally complicated decisions that people have to make in their day-to-day lives. With the advancement of technology, moral and ethical issues have emerged, especially in the field of medicine. For instance, if an unborn baby were diagnosed with a gene that causes a health condition, such as autism, would it be ethical to edit and delete that gene to have a healthy child. Additionally, in an era where gene editing becoming popular, would one allow his or her child to be genetically engineered to have superior genes.

Ultimately, people have to make these decisions, and this aspect may explain why audiences love fantasy films addressing these problems because ultimately a solution is found, even though it might not be applicable in real life. In the movie Avengers: Infinity Wars, Vision ultimately dies, but after Thanos has taken the Infinity Stone from him.

The question that arises from this scenario is whether Captain America made the right decision not to trade Vision for billions of lives that Thanos is about to destroy. Therefore, people may be drawn to these fictional genres as a way of finding answers to their moral questions or at least get a reprieve when a moral problem that they associate with is solved.

The Fantasy Genre in Film and TV

Want to go on an adventure with magic and mayhem the fantasy genre might be right for you. .

Have you ever looked out the window and wished you were anywhere but here? Maybe suddenly that dreary day turned into a massive storm on the sea, or your wardrobe was the entrance to a magical land, or maybe a wizard knocked on your door and asked you to participate in a quest?

It seems to me that most daydreaming occurs in the fantasy genre. There's something about magical lands, wands, powers, and quests that just feels exciting.

That's why I wanted to dedicate this post to dissecting fantasy. And no, I'm not talking about the ones that occur in Wild Things . I'm talking about the ones in Winterfell, the Shire, Narnia, and even Hogwarts. I want you to pack your dark crystals, grab your dress robes, and make sure you have some clean tunics.

It's time to explore the fantasy genre in film and television.

You have my bow, and my ax, and my research.

Let's go!

Follow the Map to the Fantasy Genre in Film and TV

Let's start with an exercise. What was the first fantasy movie or TV show you saw? Like many of our readers, my first exposure on the big screen was the Lord of the Rings trilogy, but I have a soft spot for the BBC Chronicles of Narnia TV movies produced in the late 80s and early 90s.

These were my gateway into really interesting realms. They helped foster my love of worldbuilding and my appreciation for this genre.

Define the Fantasy Genre

Fantasy is a genre of movies, television, and fiction set in a faraway or fictional universe. These stories usually are inspired by mythology and folklore.

The genre is rooted in oral traditions passed down around the globe. While there is overlap with other genres, fantasy is set in a world unlike our own. While many skew medieval, fantasy has a broad scope that can incorporate many facets of our world and imaginations.

Tropes of the Fantasy Genre in Movies and TV

As I mentioned above, one of the main tropes is the setting in medieval times. Another staple is the adaptation of fairy tales, which is pervasive. Other than that, you have the presence of magic, magical creatures, hidden worlds, and quests. MacGuffins are one of the main tropes within these stories. Many times we see people either in search of something or trying to destroy something.

We also have dark lords, paternal and maternal figures, romances between species, mentors who train people in a skill, powerful familial lines, damsels in distress, magical cities, wise old people, revolutions, and fierce dictators.

You can check out 101 fantasy tropes here .

What Kinds of Characters Inhabit the Fantasy World?

When it comes to character development and arcs , the fantasy genre really shines. I think the reason is that these characters are fun to make up. You're deciding what they do, if they have powers, where they are from... the possibilities are endless.

I mean, look no further than Lord of the Rings for some of the greatest characterizations of all time.

The fantasy genre loves elves, ogres, princes, princesses, wizards, witches, shape-shifters, and talking animals.

Like any other genre, you need to take your time when crafting them. These are people with wants, desires, goals, and motives. I love everything Game of Thrones did to build this world out and show who wanted what, and how they would plan on getting it.

Mashup Potential in the Fantasy Genre

I've said this before, and I'll use this opportunity to say it again—every genre has the potential to be mashed up with another. Fantasy is no different.

There are epic comedies like Shrek and Your Highness . Dramas like Game of Thrones . Science fiction fantasy, like Star Wars . Epics like Mulan . You have a lot of horror fantasy crossover, like Sabrina , and the superhero genre is basically part fantasy as well.

You even have fantasy sports movies like Shaolin Soccer .

There's a ton of elbow room when it comes to fantasy. Let's look at some more examples.

Examples of the Fantasy Genre in Movies

One of my favorite recent fantasy movies comes from Pixar. It's Onward . This movie takes all the tropes and characters we are used to seeing in these kinds of stories and flips them on their head. Sure, we get a quest, but it's about restoring someone's father for one final day together. At its core, this is a story about brothers and family. Still, it manages to have dragons, a wizard's staff, and more magical elements than I can count.

And trash-eating unicorns. Fun!

Growing up, there was one movie everyone I know saw. It also happens to be animated, where a lot of fantasy movies shine, and that's Disney's Aladdin . This had songs and amazing animation, but it was really the Genie and the rags-to-riches story that made it so fun.

It felt like this movie was part rom-com, part adventure, and all fantasy. Its fantasy elements are on full display, even though it happens in our world. We have touches like the Genie, magic lamp, Carpet, and a pet tiger. But everything else has human stakes, even when Jafar is trying to become a powerful dark lord.

Fantasy also excels outside of the animated world.

Just take a look at Disney's other fantasy switcheroo, Maleficent. This movie tells the story of a good witch gone bad. Again, it's subverting the tropes to give us a fresh look at fairytales. I love how much fun it is to see the other POV in Sleeping Beauty , and I think Angelina Jolie shines in this role.

Let's look at some fantasy that shines on the small screen.

Examples of the Fantasy Genre in TV

It would be easy to use this whole section to talk about Game of Thrones , but I wanted to focus on some other titles you may or may not be aware of in the fantasy realm. First up is Netflix's video game adaptation, The Witcher .

This highly successful fantasy and adventure mashup really works at extrapolating a story over a series and using tropes we've mentioned to highlight quests within episodes.

Another show I love, and one I think many people might have missed, is Wynonna Earp . This is a horror western with obvious fantasy elements. For me, I think it's the perfect showcase for how versatile the fantasy genre actually is, especially in television, where you have more time within the medium to explore every facet.

Lastly, I wanted to see what a half-hour fantasy show would be like. So I nominate the hilarious What We Do In The Shadows for this category. Again, this is a horror-forward show, but I love the idea of these vampires living and working with humans. While horror and fantasy are two different genres, I think there is enough magic in this one to classify it as a hybrid.

Summing up the Fantasy Genre in Film and Television

As you can see, this genre is malleable to any situation. It's primed for mashups, has a ton of cool tropes to subvert, and actually lets you build a world from scratch. Fantasy ebbs and flows when it comes to its acceptance in the marketplace, but as more and more streamers look to capitalize on the successes of Game of Thrones and Lord of the Rings , we're seeing the fantasy genre really take over the marketplace.

I hope this guide will help you in your creative endeavors, and I can't wait to see what you come up with on your own.

Got fantasy questions or tips? Put them in the comments.

And last but not least... if you have seen my magic Ring, please let me know. When thrown on a fire, a magical inscription appears, and it's very... precious to me...

What's next? Learn all about TV and Film Genres !

Film and TV genres affect who watches your work, how it's classified, and even how it's reviewed. So how do you decide what you're writing? And which genres to mash-up? The secret is in the tropes.

Click to learn more!

• fantasy tropes ›
• What Is the Low Fantasy Genre? (Definition and Examples) ›
• What Is the High Fantasy or Epic Fantasy Genre? (Definition and Examples) ›
• Explore The Adventure Genre in Film and TV ›
• Fantasy literature - Wikipedia ›
• What Is the Fantasy Genre? History of Fantasy and Subgenres and ... ›
• Fantasy - Wikipedia ›

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Projecting Fantasy: American culture and the Hollywood Fantasy Film

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4 Tips For Directing Inspiration from Fantasy Movies Into Your Writing

While I was flipping through the news feed on my phone on a fine Friday morning, I stumbled on a story about a young lad who, during his spare time, crafted full-sized costumes of superheroes like the “Iron Man” using just cardboard paper and some locally-made glue. One could observe his enthusiasm as he was talking about his dream to be a robotics engineer in the future. The realization of the positive impact that the science fiction movie had on him struck me, despite the general belief that movies distract kids from learning.  That fantasy movie he watched helped stimulate his creativity and future ambition.

You might be wondering how one could direct inspiration from movies to academic writing. Some wish they had the imagination on how to go about doing it. Others seek assistance by using a college paper writing service . In fact, watching fantasy movies can stimulate imagination and creativity. If you take a moment to study closely the way fantasy world movies are set, you will notice aspects of a movie that could be used as a source of inspiration when writing. Several college paper writing services employ these tips in academic writing for their clients, and one I’d recommend is studyfy .

As to how you could emulate this, here are 4 interesting tips that will help you know how to channel inspiration gotten from watching fantasy movies into writing.

1. Pay close attention to the narrative

No matter how complicated it is, the main plot of the story becomes clearer as the movie progresses. Some fantasy movies challenge well-known societal ideals. For instance, the popular fantasy series Game of Thrones shows that a woman could be trusted to take on a huge responsibility, such as taking charge of the affairs of a nation. Daenerys Targaryen was only seen as a bargaining chip by her brother, yet she rose to become the dragon queen. This example could inspire you to write an essay on why there is a need for women to be given more leadership positions in organizations or even in politics. However, this lesson only becomes evident later on in the series. Hence, the need to focus on the narrative.

2. Observe the main characters in the movie

Every movie has its main characters and fantasy movies are no different. These movies usually have an antagonist and a protagonist who are usually at odds with each other. The plot of the movie is usually centered around these characters. A typical example is the popular marvel movie the Iron Man . This movie embodies a lot of the elements that could help spark your imagination to write an essay. For instance, you could decide to write an essay on a topic about medical robotics, citing the need for more research to provide more treatment options for patients suffering from cardiovascular disease. Another idea is writing an essay on the economic importance of technology to man and the environment. The main character in this movie, the “Iron Man”, can provide the spark you will need to write an article about technology. You can read reviews about a character in a movie to find clues that will help stimulate your imagination and help you in your writing.

3. Take notes of the movie set

Some action fantasy movies are futuristic, and as a result, are not fully appreciated by academicians since the future is seen by many of them as an unknown. However, there are also fantasy movies where the characters attempt to correct mistakes of the past, or even try to avert problems that result from the actions of the present. While this might sound absurd to the academician who deals only with facts, such movies can aid you in writing a science paper, since most scientific publications talk about how to harness current potentials for the benefit of the future or how to find solutions to a current challenge that has resulted because of the actions of the past. If you are looking to write an essay on such a topic, a fantasy series such as The Flash will offer some inspiration for you.

4. Recognize the role of every character in the movie

The primary focus when watching a movie lies in the main characters- the protagonist and the antagonist. While these are the main characters, they would need the assistance of their supporting cast at one stage of the movie or the other just like in the movie Lord of the Rings where Frodo Baggins needed the assistance of his friends to attain his goal of stopping the resurrection of the Dark Lord Sauron. In a lot of fantasy movies, the hero does not attain his full potential until he learns to work with other individuals who help him discover it. The lesson is very inspiring as it shows the need for teamwork in achieving goals or targets. Those in leadership positions should recognize the importance of each member of their team in achieving success.

Fantasy movies have a lot to offer in terms of inspiration if you are working on an essay. You can try out the tips above by watching any movie of your choice. Try to be open-minded and allow your imagination to roam free. These tips will help you to view fantasy movies in a way you never did before and glean vital inspiration that could assist you throughout your academic writing journey.

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The 10 Best Fantasy Movies of the 21st Century So Far

These modern fantasy movies will enchant and fascinate audiences.

Since the very early days of cinema, fantasy has been one of the most popular and prolific genres. Cinema is the perfect home for ambitious stories of magic, wonder, and fictional creatures, offering the perfect tools to absorb audiences into these fantastical worlds. Throughout the 21st century, there have been plenty of outstanding fantasy films, proving that the genre is still as enchanting as ever.

From huge IP blockbusters like The Lord of the Rings trilogy to more experimental arthouse projects like The Lighthouse , 21st-century fantasy is a reflection of how audiences' tastes have evolved during these past few years. More immersive and visually impressive than ever before, fantasy is arguably at its most interesting state in many years. These movies are the best the genre has to offer , reality-defining masterpieces that will take audiences to new and exciting places.

10 'The Lord of the Rings: The Two Towers' (2002)

Directed by peter jackson.

The second entry in the MIddle-eart saga, The Lord of the Rings: The Two Towers finds the Fellowship divided. While Frodo and Sam continue their journey to Mount Doom with the help of the deceitful Gollum, the rest of the team takes a stand against Sauron and Saruman's growing forces.

Although its predecessor and successor usually command more attention, The Two Towers is just as impressive. The visuals are gorgeous, the world-building is fascinating, and the action sequences are beyond gripping — the Battle of Helm's Deep, in particular, is one of movie history's greatest action scenes . The Two Towers is the perfect trilogy middle movie , expanding upon the magic and charm of the first movie while flawlessly bridging the gap to the grand finale.

The Lord of the Rings: The Two Towers

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9 'Harry Potter and the Deathly Hallows: Part 2' (2011)

Directed by david yates.

Generally speaking, the eight entries into the Harry Potter franchise sit among the most popular fantasy movies of all time . However, Harry Potter and the Deathly Hallows: Part 2 , the momentous conclusion of the franchise, truly upped the ante. The film sees the Golden Trio search for Voldemort's remaining Horcruxes in their effort to destroy the Dark Lord as the final battle rages on at Hogwarts.

The most rousing, epic, and action-packed installment of the series, Deathly Hallows: Part 2 represented the end of a story that defined a generation . Even aside from its cultural significance, though, it's an outstanding movie that can stand on its own two feet, closing off character arcs wonderfully and bringing the story to a satisfying close while delivering enough thrills to satisfy casual and hardcore fans.

Harry Potter and the Deathly Hallows - Part 2

8 'crouching tiger, hidden dragon' (2000), directed by ang lee.

Ang Lee has done it all, including one of the best martial arts movies of all time , the masterpiece that is 2000's Crouching Tiger, Hidden Dragon . The story is about a young Chinese warrior who steals a sword from a famed swordsman and escapes into a world of romantic adventure with a mysterious man on the frontier of the nation.

A martial arts fairy tale unlike anything else 21st-century cinema has to offer, Crouching Tiger, Hidden Dragon has some of the most beautiful action scenes ever put on the silver screen . A magical story ties it all together nicely, wonderfully brought to life by a trio of spectacular leading performances. Romantic, elegant, groundbreaking, and a hell of a good time, it's probably Lee's best movie and a must-see for fans of the genre.

Crouching Tiger, Hidden Dragon

Watch on Amazon

7 'The Lighthouse' (2019)

Directed by robert eggers.

In a relatively short time and with a small number of films, Robert Eggers has cemented his creative voice as one of the most exciting in the contemporary realm of horror cinema. The Lighthouse is probably his best project thus far, with Willem Dafoe and Robert Pattinson playing two lighthouse keepers struggling to maintain their sanity while living on an isolated New England island in the 1890s.

Incredibly atmospheric, with some stunning cinematography and a pair of career-best performances from Dafoe and Pattinson, The Lighthouse uses its grim fantasy elements cleverly and with care . At the heart of the narrative lie these two characters and their bizarre dynamic, which lends the story an air of dark comedy that makes its moments of horror all the more impactful. It's one of A24's best horror films , a genuinely original and demanding experience that won't be for everyone.

The Lighthouse

6 'the lord of the rings: the fellowship of the ring' (2001).

Peter Jackson 's Lord of the Rings trilogy is nothing short of the perfect fantasy movie franchise . Grand, epic, and gorgeously told, it's the ideal adaptation of J.R.R. Tolkien 's legendary work. The first film in the series, The Fellowship of the Ring , follows a meek Hobbit and his eight companions, who set out on a journey to destroy an evil tyrant's greatest weapon and save Middle-earth.

Fellowship is a delightful introduction to the world of The Lord of the Rings . It starts with a cozy yet exciting first act that makes it abundantly clear why these characters' fight is important before kicking into high gear, thanks to some of the best visuals in the genre. Jackson and company's translation of Tolkien's world and concepts into film language is simply flawless, making this one of the best first movies in any trilogy ever.

The Lord of the Rings: The Fellowship of the Ring

5 'spirited away' (2001), directed by hayao miyazaki.

Arguably the best winner for the Animated Feature Oscar , as well as the first of only two foreign films to win the award—the other being The Boy and the Heron , another Hayao Miyazaki Ghibli film— Spirited Away is a seminal entry in the animation genre. It tells the story of Chihiro, a 10-year-old girl who, on her family's move to the suburbs, wanders into a world ruled by gods, witches, and spirits, where humans are changed into beasts.

Spirited Away is arguably the best work of Miyazaki's career , and there aren't many who would disagree. Its fantastical world of surrealistic rules, gorgeous locales and landscapes, and visually stunning creatures is one of the most atmospheric of any animated fantasy movie, proving that this medium is one whose power cannot be imitated. Enhanced by a profoundly impactful narrative and a hauntingly evocative score, Spirited Away is Ghibli's crowning achievement.

Spirited Away (2001)

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4 'Paddington 2' (2017)

Directed by paul king.

For a while, Paddington 2 was one of the few precious films to hold a perfect 100% on Rotten Tomatoes . It may not hold that record anymore, but it's still one of the most precious feel-good gems that the last decade has graced audiences with. In it, Paddington picks up a series of odd jobs to buy the perfect present for his Aunt Lucy's 100th birthday, only for the gift to be stolen.

Paddington 2 is the kind of low fantasy movie that doesn't need grandiose fantastical tropes or grand magic systems to work. For the most part, its use of fantasy lies solely in the fact that its protagonist is a talking bear , and frankly, fans wouldn't have it any other way. Paddington 2 is a delightful family comedy with an endearing story and an even more endearing protagonist, where the genre is less the focus and more of a support to the narrative.

Paddington 2

3 'everything everywhere all at once' (2022), directed by daniel scheinert and daniel kwan.

Winner of a whopping seven Oscars, including Best Picture, Everything Everywhere All At Once is one of the best and most intensely philosophical existentialist films of recent years. Using a perfect mixture of sci-fi, fantasy, absurdist comedy, and family drama, the film tells a story about a middle-aged Chinese woman who's swept up into a multiverse-hopping adventure where the only hope for reality's survival is for her to learn how to connect to parallel versions of herself.

Ambitious like few films are, Everything Everywhere covers all sorts of themes , from Sisyphean existentialism to mother-daughter relationships and the nightmare that is tax audits. However, it firmly anchors the action in a deeply humane story about self-discovery and connection. Its epic action sequences are exciting and brilliantly choreographed, and its use of fantasy and sci-fi elements is exquisitely creative.

Everything Everywhere All at Once

2 'pan's labyrinth' (2006), directed by guillermo del toro.

The modern master of dark fantasy, Guillermo del Toro has made some of the genre's most spellbinding works during the 21st century. His best, however, is unarguably the masterpiece that is the Mexican-Spanish co-production Pan's Labyrinth , where the bookish stepdaughter of a sadistic army officer from 1944 Falangist Spain escapes into a scary but fascinating world of fantasy.

Quite simply, Pan's Labyrinth is one of the most visually stunning foreign language films of all time , but its visuals aren't the only thing that makes its fantastical world so absorbing. Del Toro is a master of making the dark fascinating and the scary impossible to look away from, and this skill is clearest in Pan's Labyrinth . With iconic monsters, a moving fairy tale story, and highly effective anti-fascist themes, it sees the director at the top of his game.

Pan's Labyrinth

1 'the lord of the rings: the return of the king' (2003).

Tied as the film with the most Oscar wins in history with a grand eleven, The Lord of the Rings: The Return of the King is, without a doubt, the greatest fantasy film of the 21st century—and one of the best of all time. In it, Gandalf and Aragorn lead the armies of Men on a final stand against Sauron, distracting the enemy's gaze from Frodo and Sam, who are about to reach Mount Doom to destroy the One Ring.

The Return of the King is a gargantuan production and a magnificent ending, unafraid to bring all of its character arcs and plotlines to a satisfying close. Every element falls into place to deliver a true cinematic tour-de-force: the action is amazing, the performances are great, the script is perfect, and the fantasy elements are beautifully realized. Return of the King is a representation of every good thing that fantasy cinema is able to achieve and a true game-changer for the ever-evolving Seventh Art.

The Lord of the Rings: The Return of the King

NEXT: The Best Animated Fantasy Movies, Ranked

Fantasy Architecture in Film and Pop Culture

Fantasy has long occupied a special position in the human imagination. It is a world where the impossible is made possible, where the rules of physics give way to the whims of creativity, and where architecture adopts forms and structures that defy the constraints of reality. Fantasy architecture has made a lasting impression on the worlds of film and popular culture, influencing our perceptions of distant cities, castles, and buildings.

Innovation frequently comes from the most unlikely locations in the constantly changing world of architecture. Over the years, it has become clear that fantasy films, video games, and popular culture are wonderful stimulants for architectural creativity. By crafting stories that give life to fanciful cities and structures, these media have advanced beyond mere entertainment, profoundly influencing the real-world architectural scene. This article explores the fascinating path of how fantasy films, video games, and popular culture have profoundly influenced the inventiveness of builders and designers.

Fantasy Architecture

Fantasy architecture is a form of architecture that features eye-catching structures. Such structures can be regarded as works of art. This style was used by architects such as Antoni Gaud, Bruno Taut, and Hans Poelzig. For centuries, fantasy architecture has captivated the human mind with its quirky patterns and gravity-defying buildings. Fantasy architecture emerged from the realms of folklore and mythology as a dynamic force influencing modern design and urban planning. 

The Inception of Fantasy Architecture

Literature was one of the first fields where architectural imagination took root. Visionary authors such as J.R.R. Tolkien, with his Middle-earth, and Frank Herbert, with his desert world of Arrakis in “Dune,” constructed rich plots linked with beautiful architectural aspects. These authors described towering citadels, magical forests, and future cities, allowing readers to immerse themselves in these captivating surroundings.

Tolkien’s Rivendell, an elven retreat hidden in the Misty Mountains’ foothills, exemplifies the balance of nature and architecture. Its waterfalls, terraces, and stately halls are not just scenery, but fundamental components of the plot, demonstrating how architectural creativity can be as important as the characters themselves.

Fantasy architecture has its origins in classic literature and mythology. Fantasy worlds were brought to life by authors like J.R.R. Tolkien, C.S. Lewis, and J.K. Rowling through their detailed descriptions of towns, castles, and landscapes. These literary works provided the framework on which later universes were built by artists and filmmakers.

• Visualizing Fantasy in Film

Fantasy films have long been a source of architectural inspiration. These visual feasts have taken audiences to exotic regions where gravity-defying spires and towering citadels beckon. The Emerald City from “The Wizard of Oz” (1939) is one of the earliest and most well-known examples. It set a bar for innovative cityscapes in film with its glittering green spires and grandeur. 

However, it wasn’t until modern technology and special effects were introduced that filmmakers were able to realize their wildest architectural fantasies. Fritz Lang’s “Metropolis” (1927) introduced spectators to a dystopian metropolitan setting with towering skyscrapers and enormous underground cities—an early insight into the potential of fantasy architecture on film. Hayao Miyazaki’s and Studio Ghibli’s films, such as “ Spirited Away ” (2001) and “Howl’s Moving Castle” (2004), have taken audiences to enchanted regions with wondrous constructions, showing a blend of traditional Japanese and whimsical designs.

Works such as “The Lord of the Rings” trilogy (2001-2003) introduced audiences to the fascinating architecture of Middle-earth, including iconic locations such as Rivendell and Minas Tirith. The spontaneous mixing of these fictitious locales with natural settings has motivated architects to incorporate harmonious design aspects inside real-world landscapes. Similarly, the wizarding world of Harry Potter , with its fantastical constructions like Hogwarts Castle and Diagon Alley, has caught the imagination of builders. The Hogwarts-inspired gothic spires and great halls have been used in the construction of educational institutions all around the world.

More recently, the “ Game of Thrones ” television series (2011-2019) provided a large medieval fantasy world rich with elaborate castles, strongholds, and cities. The towering Red Keep and the Ice Wall became architectural icons that devotees adored.

• Video Games Interactive Dreamscape

Because of their interactive nature, video games have enabled players to become the architects of their visions. Games like “Minecraft” (2011) have changed the way we think about design. Within this pixelated realm, users can build everything from towering castles to entire towns, promoting innovation and the blurring of virtual and real-world building borders.

The role-playing game “The Elder Scrolls V: Skyrim” (2011) enveloped players in a medieval fantasy realm rich with breathtaking architecture. Its beautiful cities, from the majestic White-Gold Tower to the cliffside settlement of Markarth, have inspired architects to explore fantasy design aspects within a medieval framework.

• The Architectural Mark of Pop Culture

Aside from films and video games, pop culture trends have had a significant impact on architectural aesthetics. Steampunk, a subculture that combines 19th-century industrial components with innovative technology, has influenced architects to include retro-futuristic aspects in their designs. Jules Verne’s fantasy equipment has been brought to life in the shape of amusing steampunk structures and interiors.

Meanwhile, the cyberpunk subgenre, most known for its neon-drenched apocalyptic metropolises, has given rise to future architectural conceptions. The fusion of technology and urban landscapes in films such as “Blade Runner” (1982) has inspired architects to rethink cityscapes with verticality, neon lights, and vast megalithic skyscrapers. With its neon-lit megacities and futuristic skyscrapers , cyberpunk has left an indelible mark on how we picture urban landscapes.

Bridging Fantasy and Reality

Fantasy architecture has not been confined to the domain of the imagination; it has also manifested itself in actual structures. Architects, urban planners, and designers have taken inspiration from fictitious cities and structures to construct innovative real-world projects. 

Concepts such as vertical gardens, eco-friendly architecture , and sustainable urban planning have been impacted by the merging of aesthetics and usefulness observed in fictional worlds. Theme parks influenced by mythical realms have become a testament to this blend of fantasy and reality. The Sleeping Beauty Castle at Disneyland and the Wizarding World of Harry Potter at Universal Studios are good examples of how fantasy structures can become real-world attractions, allowing tourists to enter their favorite fictitious universes.

The depths of human imagination gave birth to fantasy building, which has endured over time and cultural barriers to become a powerful force in our world. For architects, designers, and dreamers alike, it provides an endless source of inspiration. Fantasy building serves as a reminder of the value of letting our imaginations run wild in a world that is becoming more complex and linked and that often the most enchanted places are those we conjure up in our thoughts. We can only speculate as to what fanciful architectural marvels will exist in the future as technology develops and inventive minds continue to push boundaries.

These media have an impact that goes beyond simple amusement; it affects the very nature of human imagination. We can only expect more amazing architectural marvels influenced by the enthralling worlds of fantasy as architects push the envelope and combine the fanciful with the practical. It is evidence of the storytelling’s continuing power and the creative imagination’s enduring influence.

Aziz, G.Z.M., Nadeem, S.I. and Munshi, M.B. (2022). Fantastic Architecture in Cinema. Civil Engineering and Architecture , [online] 10(3A), p.102. Available at: https://www.academia.edu/84127145/Fantastic_Architecture_in_Cinema .

• Online Sources

mjtedin (2021). Worldbuilding 102 – Use Fantasy Architecture to Improve Your Story . [online] Michael Tedin Author. Available at: https://michaeltedin.com/worldbuilding-102-use-fantasy-architecture-to-improve-your-story/ .

Pocock, N. (2013). Paper Primacy: fantasy architecture with purpose . [online] Architectural Review. Available at: https://www.architectural-review.com/essays/paper-primacy-fantasy-architecture-with-purpose.

Architect in practice with a desire for new ideas and a distinct design perspective. A meticulous architect who blogs about her poetic experiences. Always willing to take a chance, whether it's tackling a challenge at work or speaking to a friend, a wanderer at heart who carefully observes how people and environments interact to uncover the essence. A critical thinker that enjoys injecting original nuances and novel viewpoints into everything.

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Home » Filmmaking » Making Your Own Fantasy Film: A Field Guide

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Making Your Own Fantasy Film: A Field Guide

So you want to make a fantasy movie? Here’s what you need to know about working in the genre.

Fantasy is old. Very old. Our earliest recorded narratives all contain elements of fantasy, and it’s safe to assume that the oral traditions that informed these ancient tales were themselves chock full of fantasy.

There was a time when the planet was a magical place. Monsters and fairies and capricious beings of all kinds inhabited the forests, caves, and rivers we depended on for food and shelter.

Mysterious or confusing events often had only one explanation—magic. There were forces at work in the world that shaped how people lived their lives, and there wasn’t much else to do at night except tell ourselves stories about it.

And, this was happening everywhere. Cultures across the planet were explaining photosynthesis and meteorology and medicine and just about everything else with tales of magic—the key element of the fantasy genre.

From the Epic of Gilgamesh to the works of Homer to the Panchatantra , fantastic stories about good vs. evil have recorded the development of the human story all over the world.

So what, technically, is “fantasy?” The term itself can mean anything, so does a fantastic story or movie just need a little razzle-dazzle ? Not quite.

Like every other narrative genre, fantasy overlaps with its neighboring categories, so we can split hairs about what is and isn’t fantasy all day. As entertaining as that sounds, we all have work to do, so let’s establish a rough idea of what we mean when talking about “fantasy.”

Defining the Fantasy Genre

At its most generic, fantasy involves magic—however it manifests. This might be supernatural, otherworldly, alchemical, divine—you name it. From there, the genre breaks down into many sub-genres—we’re only going to cover a few here to help you get your head around your particular project.

As a genre, fantasy is part of the larger speculative fiction family, where it lives with its cousins, science fiction and horror . Typically speaking, fantasy also takes the battle between good and evil as a central theme. Protagonists can often be small parts in much larger machines that pit epically powerful forces against each other.

The earliest fantasy movie is likely Alice Guy ‘s “ The Cabbage Fairy ,” filmed in 1896. In it, a fairy strolls through a garden and plucks infant babies from cabbages, and presents them to the camera.

However, it wasn’t until the 1960s that fantasy films became more frequent staples.

So, let’s look at some fantasy sub-genres that have helped shape what we think of when we think of “fantasy.”

High Fantasy

This is fantasy ‘s fantasy. High fantasy is what most people think of when they think of the genre. (The name comes from a 1971 essay by author Lloyd Alexander titled “High Fantasy and Heroic Romance.”)

High fantasy’s hallmark is the presence of a secondary world . This is a world that looks much like Earth but operates a little differently—even if it is internally consistent as its own system. Think of Tolkien’s Middle Earth or Westeros from Game of Thrones .

The worlds are similar to ours, but there a few things you can do there that you can’t here—namely magic. (If you plop high fantasy onto our own Earth, you end up with low fantasy .)

High fantasy explores some world-threatening problem—something that will kill or enslave everyone and alter life irreparably. Usually, the main character descends from royalty or some other hereditary mystery, and often, high fantasy follows the path of the bildungsroman —a coming-of-age story that takes us from childhood into adulthood as our protagonist assumes their genealogical destiny.

In high fantasy, the stakes are high, the scope is huge, and the fate of everything is on the line. We should feel swept up in the wonder of this secondary world, where magic allows us to be more human than human.

Urban Fantasy

Urban fantasy is to fantasy what cyberpunk is to science fiction . It’s modern, it’s gritty, and it’s nuanced. This sub-genre takes place on Earth (though you could set it in a secondary world if you want the job of extra world-building), typically in the 20th or 21st century, and with elements of the fantastic. Those elements might include supernatural beings, the presence of magic, or something arcane.

If the fantastic exists in urban fantasy in secret, then the rest of the world typically operates just like we’re used to. If, on the other hand, the fantastic exists openly, then the laws of our world will operate slightly differently.

Common conflicts in urban fantasy involve humans vs. supernatural beings or traditionalists vs. magic users. Acceptance, tolerance, and repression are common themes behind inter-character conflict.

Urban fantasy typically explores more sophisticated ideas than high fantasy, as its primary focus is reconciling the supernatural with our modern world.

Sword and Sorcery

When there’s no time to talk things through, sword and sorcery will take care of the problem. Gone are the swelling crescendos and self-sacrifice that are part-and-parcel of high fantasy. Gone are the feelings and relationships and complications of urban fantasy.

Sword and sorcery is usually about one adventurer, maybe two, who’s good at kicking ass. Taking names is optional.

This sub-genre is more interested in adventure, combat, magic, and conflict. Who cares what’s going on in the larger world? This badass has problems of their own.

Sword and sorcery is about excitement, determination, revenge, and cosmic justice. People get what they deserve in this sub-genre, and it’s usually a sword through the gut or a fireball to the face.

The name comes from a letter written by Fritz Leiber in response to legendary fantasist Michael Moorcock , who, in the Amra fanzine, demanded a name for the type of literature written by Robert E. Howard .

Howard, the famous trendsetter from tiny Cross Plains, Texas, more or less invented the sub-genre in the 1920s and ’30s with his now-famous “yarns.” His best-known contribution to fantasy literature is Conan, of “The Barbarian” fame.

Like all narrative sub-genres, sword and sorcery didn’t just appear out of thin air, Howard’s talent aside. It has its roots in mythology, like the labors of Hercules, the heroes of The Iliad and The Odyssey , the Norse sagas, and Arthurian legend (which is, itself, a hodgepodge of oral traditions and histories).

Sword and sorcery tells us stories of men and women living by their wits in simpler times, when a sword or a staff, a horse, and a loincloth were all you needed to conquer the world.

Dark Fantasy

This one is a bit of a pickle. While the bite-sized definitions we’ve been working with here are useful for organizing our thoughts about our fantasy projects, they’re a little short to do true justice to the nuances of these sub-genres.

Writers and filmmakers of all backgrounds, from all over the world, contribute to the body of work that creates a generic consensus. Sometimes, the parts of the whole are largely similar and easy to group. Other times, however, as with dark fantasy, it’s just not that simple.

The easy way to sum it up goes something like this: Dark fantasy explores the horrific side of fantasy by combining the two genres—sometimes in this world, sometimes in a secondary one.

A slightly more sophisticated way to think of it would be to intone Jacques Derrida , the post-structuralist philosopher famous for his theory of deconstruction. That philosophy seeks to erase the differences between binary opposites or expose insight when we de-prioritize how we’ve traditionally received a story or a movie (like giving us a few of the same events through another character’s eyes).

In the deconstruction context, dark fantasy erases the idea that optimistic fantasy and nihilist horror have to exist at two different ends of the spectrum. Instead, let’s package them together.

In short, dark fantasy is a fantasy story with horror tropes and magic.

Magical Realism

This just doesn’t get any easier. If dark fantasy was a challenge to pigeonhole, magical realism is even harder. There’s even a difference between magic realism and magic al realism. We could write a dissertation on this topic (it would take several, actually), but we’re not here for college credit, so let’s just hit the highlights.

Magical realism started in Germany’s Weimar Republic thanks to Franz Roh, an art critic who described the Neue Sachlichkeit (New Objectivity) painting style as magischer realismus (magical realism). José Ortega y Gasset oversaw the translation of Roh’s book into Spanish in 1927, and from there, it made its way to Latin America. It has its roots in surrealism and the fantastic, which is how it ended up, of all places, in this blog post.

History lesson aside, magical realism does just that—it makes the magic real. Telekinesis, prophecy, flight—anything you can think of (and then some) has a place in magical realism. The sub-genre treats these fantastic phenomena as if they’re as normal as gravity. No one thinks oddly about it or even really considers the magic to be magic .

Magical realism is a good way to create symbolism or explore characters via exaggeration. When we normalize phantasmagoric attributes among people and animals, we’re really looking closely at what we already know about them, not what cool feats they’re capable of.

But it’s still cool to watch, and it’s a clever way to bring mystery and wonder into otherwise normal projects.

Portal Fantasy

This is a particular sub-genre of fantasy, but it’s also a famous one. In a portal fantasy, our protagonist leaves our world and enters a secondary world. It differs from the other sub-genres in that it acknowledges the existence of both the primary world and the secondary world, without dwelling in only one of them.

Of course, there’s magic waiting on the other side of the portal. There’s usually some quest or a mission that our protagonist must complete with the help of the magical beings native to the secondary world.

Much like Jason and the Golden Fleece , there is some talisman or some secret that the protagonist must uncover to return to the primary world as a fully-developed person.

Portal fantasies are great ways to combine character growth and adventure. The Goonies , the famous ’80s film about a gang of kids exploring a seemingly magical underworld to save their homes, isn’t quite a full portal film, but it’s a good example.

Once you take your protagonists through the portal, you’ve suspended reality. Mikey sums this up quite nicely in his famous speech about “our time.”

In John Carter , based on the famous novels by one Edgar Rice Burroughs , our hero is capable of magical jumps that are attributed to his development back on Earth. Once you’ve moved your characters into the secondary world through the portal, it’s easy to attribute powers to them that make their journey more exciting.

Superhero Fiction

Speaking of people who can do incredible things once they leave their primary world and enter a secondary one (Superman, anyone?), we have our final sub-genre of the post— superhero fiction .

Unless you’ve been living in an underground apocalypse shelter for the last twenty years (which would be awesome), you already know how big superhero fiction is. Some of the biggest films of the previous two decades have been superhero fiction , and then there’s the comic book industry, the video game industry, TV, merchandise. Superhero fiction is a capitalist dynamo.

Superhero fiction is a bit of a catch-all. It can latch itself onto high fantasy, dark fantasy, magical realism, or portal fantasy. The rules are pretty simple—some people (maybe just one) have abilities that far surpass the capabilities of a normal person. This might be the result of magic, scientific experimentation, alien lineage, or even divine intervention. The backstory about why a superhero is capable of exceptional skills is usually a critical part of the narrative experience.

Giving someone abilities greater than others creates power differentials, which opens all kinds of opportunities for conflict and exploration. Do you tolerate superheroes? What keeps them from becoming supervillains? Should magical people be able to act as judge, jury, and executioner of regular people committing regular crimes? Why is a magical being bound by a particular nation’s laws?

The isolation and prejudice that superheroism causes are prominent themes in the sub-genre, particularly over the last decade. Our superheroes arise out of our cultural fears: nuclear annihilation, foreign subjugation, illness, and death. They are a way to humanize the incomprehensible, just as our forebears did with their myths about gods, monsters, and superhumans.

Fantasy Filmmaking and You

Right, so you have a palette of fantasy sub-genres you can mix to create your own, signature fantasy story. We won’t get into the specifics of camera operation , lighting , editing , and post-production that you need to actually make your movie.

We’ve got plenty of articles for you on those topics, and I’ll bet our plucky editor comes along behind me, your humble author, and links them for you in that last sentence. (Let’s see . . . ). But there are a few takeaways to consider as you get ready to make this movie.

First, the magic is not enough. It should serve your story, not suffocate it. If you just want to make a movie about sexy people doing cool stuff, get into music videos .

If you want us to wonder why you’ve given your character superpowers, why you’ve shoved them through a portal, or even why they’re willing to die in the struggle between mankind and oblivion, then the story must support these decisions. What is it about people, life itself, that you find interesting enough to capture in a film?

Once you figure it out, all of this magic is at your fingertips to bring it to your audience’s attention. You don’t need a huge budget and tons of effects (remember The Boy Who Could Fly ? It wasn’t all that flashy, but he could fly ! And was it about flying . . . or was it about autism?). Practical magic effects on your low-budget or indie project are entirely possible. (Watch the bottom of this post for some suggestions.)

Just remember: The point of fantasy is the wonder . These stories are much bigger than our meager lives. Create accordingly!

Now that Darin’s called me out, I’ve swept through the blog to find you guys some awesome fantasy production elements:

• Go Medieval With These Easy-to-Make Fantasy Props
• Create a Stylish Walkthrough Portal Transition in After Effects
• Tips and Tricks for Harnessing the Lighting Power of Fire
• 15 God Ray Light Overlays for Video Editors and Motion Designers
• Creating Scenes with Audio: Make Your Setting Appear Silent

And, of course, let’s not forget the selection of high-quality fantasy tracks available on the PremiumBeat.com library .

Cover image via Warner Bros .

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In This Article Expand or collapse the "in this article" section Science Fiction Film Theory and Criticism

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Science Fiction Film Theory and Criticism by Ritch Calvin LAST REVIEWED: 29 May 2014 LAST MODIFIED: 29 May 2014 DOI: 10.1093/obo/9780199791286-0088

Defining science fiction is a difficult task. The origins of the term reside in the scientific fantasies of technological developments. However, science fiction can be defined as characteristics of the text (or film), as the speculation on or extrapolation from current events, or as a set of reading (or viewing) protocols. However, in common usage, the term science fiction often encompasses a wide range of concerns, including fantasy and horror. Arguably, the origins of all film lie in science fiction. Many of the early, short films by George Méliès, Gaston Velle, Max Fleischer, and others were depictions of trips to the moon or Mars. They speculated about other planets and offered fanciful technologies in order to reach them. However, these early films often had little to do with actual science, technology, or the laws of nature, but were fantastical in nature. Consequently, some critics argue that science fiction film came of age in 1950 with Irving Pichel’s Destination Moon by ushering in a more scientifically grounded age of science fiction films. In actual practice, science fiction film remains quite varied in its focus and topic. Much of the early writing on science fiction film dealt with techniques, with lineage, and with plot summary. A great deal of science fiction film theory and criticism has been rooted in the auteur ; that is, it is focused on the creative mind behind the work. Over time, the criticism of science fiction film shifted toward genre theory, a focus on the generic characteristics of science fiction film that both delineates the history of the genre and develops the definitive characteristics. As the number of science fiction films proliferated, and as the number of texts dedicated to its study proliferated, science fiction film theory and criticism has also become more specialized. Some texts consider the history of the genre; some undertake particular thematic considerations (such as a particular author or a particular trope); some utilize and develop a particular ideological or theoretical framework (such as feminism or Marxism); and some analyze significant films within the genre. As the number of science fiction films continues to grow each year, the number of analyses of those films and the number of approaches to those films also increase.

Although encyclopedias of film can be extremely useful, they can also vary greatly in scope and focus. Some encyclopedias attempt a comprehensive overview of the genre ( Henderson 2001 , Maxford 1997 , Young 2000 ), some offer an examination of only significant or canonical films ( Costello 2004 , Scalzi 2005 , Scarratt 2008 ), and others provide encyclopedic looks at particular topics within the genre ( Rovin 1995 ). Finally, pParticularly after the introduction of the videocassette, the DVD, and the Internet, some encyclopedias detail the availability of films ( Schwartz 1997 ).

Costello, John. Science Fiction Films . New York: Pocket Essentials, 2004.

A short volume (96 pages) that describes blockbusters, international films, and cult classics.

Henderson, C. J. The Encyclopedia of Science Fiction Movies: From 1897 to the Present . New York: Facts on File, 2001.

An alphabetical catalog of approximately 1,300 science fiction films. Includes studio and personnel information and plot summaries. It also notes the availability of the films on DVD or other media. Also includes the author’s opinions on the worth and watchability of each film.

Maxford, Howard. The A-Z of Science Fiction and Fantasy Films . London: B. T. Batsford, 1997.

An alphabetical catalog of science fiction films, actors, directors, and studios.

Rovin, Jeff. Aliens, Robots, and Spaceships . New York: Facts on File, 1995.

Descriptions of all manner of devices (spaceships, robots, computers, and aliens) that have appeared in science fiction film and television.

Scalzi, John. The Rough Guide to Sci-Fi Movies . London: Rough Guides, 2005.

From the science fiction novelist Scalzi, this collection offers a history of science fiction film, descriptions of fifty “canonical” science fiction films, and then several short sections on “Icons,” “Crossovers,” “Science,” “Locations,” and “Global” science fiction film.

Scarratt, Elaine. Science Fiction Film: A Teacher’s Guide . New York: Auteur, 2008.

Provides a history of science fiction film, a primer on media studies, and an analysis of science fiction film within the broader film context. It also offers discussions of several iconic films, and a section on teaching students to create and market science fiction film.

Schwartz, Carol A. Videohound’s Sci-Fi Experience: Your Quantum Guide to the Video Universe . Detroit: Visible Ink, 1997.

A guide to the science fiction films available on videotape. Now dated in terms of available films, but certainly of interest to the historian.

Young, R. G. The Encyclopedia of Fantastic Film: Ali Baba to Zombies . New York: Applause, 2000.

An alphabetical catalog of nearly nine thousand films. Includes information on writers, directors, and other studio personnel. Also includes plot summaries.

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Fantasy Films Analysis

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Fantasy Films in Hollywood and China

Today, defamiliarization is widely used in literature and cinematography, especially in fantasy films, all over the world. It helps to reveal the hidden messages and meaning behind the background story. The Chinese film Hero (2002) by Zhang Yimou and the Hollywood movie The Wizard of Oz (1939) by Victor Fleming also apply the concept of defamiliarization to comment on the contemporary society and politics. Even though the movies emerged with the time interval of nearly 60 years, they demonstrated numerous common features in terms of genre, plot, main characters, and the manner of presentation of information. In these conditions, the analysis and comparison of the themes of the films Hero and The Wizard of Oz as well as the utilization of the notion of defamiliarization in them become especially interesting and meaningful. The evaluation and contrast of the films from so culturally, socially, economically, and politically different countries can provide the thought-provoking and important conclusions.

In general, there are usually several factors, which determine the fantasy films. First, there is iconography the concepts of magic, general sense of the past, a variety of non-human characters, and development of the world without technologies. The second factor is impossibility; the fantasy films do not follow all the laws of logics. The themes are the third important component, and the most popular of them are morality, hope, childhood, power, and the symbolic value of a journey. Finally, defamiliarization is an essential factor as well; the imagined past is used for discussing the modern problems of the people.

The film Hero is definitely a fantasy movie since it has all of the above-mentioned characteristics. In terms of iconography, it presents a set of fictional characters and provides the viewers with the general sense of the past. Concerning the impossibility component, the film uses magic to demonstrate the skills of the protagonists. In addition, the themes of Hero correspond with the fantasy ones. For example, the film owns moral message connected with the confrontation between the good and the evil and happy ending, which the King and the whole country face. There is also the journey component the main character experiences a symbolic journey of understanding of his own role in the country and the place of the King in it. The concept of power is also available here: the King and the protagonists of the story were losing and gaining power many times during the film. Finally, Hero allows the viewers to see the real world from the new perspective and change their minds about the Chinese society. The audience travels to the past in order to comment on the present.

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The film The Wizard of Oz is also a proper example of fantasy cinema. Concerning iconography, it includes magic and the wide variety of non-human characters. Regarding impossibility, the film does not rely on realism or logic. On the contrary, it focuses on magic, which is a core unifying element of the film that creates the sense of mystery and wonder. At the same time, there are few common fantasy movie themes in the film. The first of them is morality the confrontation between the good and the evil forces. The second theme is hope that leads to the happy ending. Childhood is another theme of The Wizard of Oz: the main character is a young girl. The themes of power some characters of the story are gaining or losing power and the symbolic value of a journey – both literal and symbolic one are also present in the film. Finally, The Wizard of Oz allows looking on the real world differently and rethinking the concept of society people live in. Fantasy in general and The Wizard of Oz in particular help to rediscover the wonders and joy of the surrounding world through the complicated processof defamiliarization.

The films Hero and The Wizard of Oz have many common characteristics. Both of them are classical fantasy films. Hero presents original fantasy interpretation of the story of King of Qins assassination by Jing Ke, and The Wizard of Oz tells the magical story about the traveling of Dorothy Gale to the Land of Oz. The analyzed films have all the necessary characteristics of the genre including themes, utilization of magic, happy ending, and role of hope, power, and journey among others. In addition, in both movies, the use of the concept of defamiliarization helped to make ordinary world, people, and events extraordinary ones. Thus, the viewer is encouraged and motivated to see common things in the new light and from the unexpected perspective in numerous ways (Etherington-Wright & Doughty 57). The application of defamiliarization in both of the above-mentioned films gets further discussion below.

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Generally, the film The Wizard of Oz is one of the classical examples of defamiliarization use. According to Ebiri (2013), the movie actually represents the political issues of 1800 in the United States of America. Each character presented in the film had certain symbolic meaning while all characters together demonstrated the general situation in the country. According to this theory, the protagonist of the story Dorothy represents American people and values. The director shows her as a determined, resourceful, and loyal person. However, some academics claim that Dorothy is the representation of Theodore Roosevelt. Toto (the dog) is a friend and companion of Dorothy and can be seen as a symbol of average American. Tornado may be a symbol of the political upheaval in the country since at that time, the farmers greatly suffered from federal deflation and requested the government to fix the ratio of silver and gold to the dollar. In other words, the farmers searched for the support from the state; however, the latter did not react appropriately. The Lollipop Guild is supposed to show the presence of the child labor in the country. Silver Slippers may represent the monetary political issues of that time, which concerned fixing dollar to gold or silver. Oz, which is a standard abbreviation of ounce, also relates to the important financial and political debate described above. One can consider Yellow Brick Gold a symbol of the gold standard; the latter leads to power. Tin Woodman represents dehumanized industrial workers. When numerous businesses started to close due to the economic crisis, after losing their jobs, the workers of the different factories felt just like Tin Woodman did: immobile, rusted, and helpless . Finally, the flying monkeys clearly demonstrated the Native Americans. In the film, Dorothy and her friends discovered that in the past, monkeys were free creatures who happily lived in the forest, ate nuts and fruits, and did whatever they wanted to without the need to call somebody the master. However, unfortunately, later, Oz appeared from the clouds to rule over the land (Fleming, 1939). It is obvious that this story directly correlates with Native Americans one. They had to suffer from the arrival of new Americans and subsequent establishment of their rule. Thus, all the examples presented above can be united into one picture the political and economic situation in the United States and serve as defamiliarization case. In these conditions, it is possible to state that the Land of Oz symbolizes the United States.

The film Hero also actively applies the concept of defamiliarization to distort the history of China and present the messages and conclusions that are politically correct. Many foreigners do not notice it due to the lack of knowledge of the Chinese history. However, the majority of the native citizens of the country definitely understand it. One can clearly see this fact through noticing different reactions to the film in foreign and national audience. Zhang made the protagonist a political character who is supposed to show that the government is good regardless of all the horrible actions it takes. He justifies violent governmental actions and initiatives by achieving the greater public good. At end of the movie, Nameless gives up at the last second and refuses to kill vigilant emperor. He sacrifices own life to support this idea. At the same time, the following words of emperor about his importance to the life of humanity correlate with nowadays country management: If you kill me now, all the remnants of those warlords will come back again to fight each other. Who will suffer the most then? The multitude of people. So you see, I killed to stop killing. I burned to bring order. I conquered to unify the country (Zhang, 2002). From these words, the viewers may understand that even those who kill many people can be the greatest pacifists, and those who conquer foreign lands do it for the future unity, peace in a country, and the so-called higher interests. Finally, one can reveal the key message of the movie: a country may achieve prosperity only through the full submission to the rulers (Lee, 2007). However, Zhang refers not only to the present but also to the past. Through Hero, he wanted to show that one of the bloodiest Chinese emperors was also the biggest hero of the country. The interview with one of the film actors Tony Leung supports this idea; he stated the following: I agree with the message of peace and human kindness in the film. For example, during the June 4 incident, I didnt join in any demonstrations, because what the Chinese government did was right to maintain stability, which was good for everybody (Kahn, 2003). However, later, the actor apologized for his comments because the human rights activists sharply criticized him for those words. In these conditions, certain filmmakers even condemned the given historical drama for its fascist tendencies and ideology complicity especially in terms of reunification of the country.

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The defamiliarization in the film Hero is reached through the constant juxtaposition of the moral-cultural search for transcendence and higher meaning and the bureaucratic-political rationality (Hom & Ping, 2005). Thus, the main challenge of the film is not the conflict of these elements but their coexistence that constantly forces the protagonists to make important decisions. In addition, technically, the director achieves defamiliarization through showing the wish of a human to bring justice and peace and the philosophical understanding of the emptiness and senselessness of the own actions. At the end of the film, the viewer may see the shot of the Great Wall of China. It actually means that Zhang openly compared the King with the historical figure Qin Shi Huang, the Chinese leader who managed to unify the nation and become its first emperor. In fact, it can be regarded as the humanization of the violent monarch and his dictatorial regime. Zhang decided to present it in order to please the highest authorities of China. Thus, one must not wonder why some scholars state the following: What Zhang Yimou presents to us is the imaginations of a new world that transcends the particular context of China (Zhu, 2013). In addition, the analysis of the film may demonstrate that Chinese authorities connected Nameless with Taiwan. Thus, the film can be regarded as the advice to Taiwan to refuse from its independence and follow the example of Nameless in the name of unity and higher interests. Other theories claim that Maggie Cheung, Tony Leung, and Jet Li represent Hong Kong, Taiwan, and Tibet. According to this point of view, Nameless is a symbol of Hong Kong. In other words, the story presented in Hero is the reflection of the Chinese authorities view of country relations with subordinate states: none can ruin unbreakable and close bonds between them. At the same time, many critics believe that the Communist Party of China funds the films like Hero in order to make the image of the county authorities perfect and shift the attention from the corruption problem to the fanatic nationalism. All these examples clearly demonstrate that the concept of defamiliarization was utilized in the movie.

Taking into account the fact that all the films produced in China face censorship and must get the approval of the special commission, one can claim that it would be impossible to create and show a film that would demonstrate the government in unfavorable light or go against the party line (Rawnsley, 2011). When analyzing Chinese cinematography in general and the film Hero in particular, it is important to remember that on practice, only those films that get the consent of the government receive financial support and the possibility of demonstration in cinemas all across the country. In China, these films usually have political, cultural or educational direction. Due to it, they get the right to distribution in the country. In these conditions, it is not surprising that nationalism becomes a usual theme in fantasy, blockbusters, and other mainstream films in China. The nationalistic movies of this country are aimed at spreading the civilized thought, improving social integration, and demonstrating the interpretation of the historical events that the state proposes. Even though individualism exists in the Chinese movies, its main goal is to serve the collective unified needs. Thus, one may see that the cinematography in general is a primary vehicle of political expression while the film Hero in particular is the proper representation of the controlled and nationalistic Chinese cinema (Fung & Chan, 2010). On the contrary, Hollywood almost does not promote such type of films for the national and global audience. The United States of America, similarly to other Western states, has liberal approach to moviemaking and does not consider it dangerous. Consequently, it almost does not use censorship.

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To conclude, it is important to state that due to comparing and contrasting similar films from different systems Hollywood and China one can notice more details of their content and meaning as compared to analyzing the films from only one system. The films Hero and The Wizard of Oz demonstrate numerous common and distinct features. For example, concerning the unifying features, it is important to mention that both of the movies utilize the notion of defamiliarization to reveal the hidden messages and meaning behind the background story and comment on the contemporary society and politics. Regarding the distinct features, one should state that Hero is an example of nationalistic and state-approved cinematography while The Wizard of Oz represents independent and liberal cinema that the state does not control. In general, the films give the viewers the possibility to see and analyze the present and future basing on the fictional past, learn on the mistakes of others, and apply the successful principles in their own lives.

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Focus Features

Dark Fantasy Films for Children

June 24, 2021

Frights and Delights

Scary films are often unsuitable for children. Children’s films are meant to be light, happy with only temporary dangers. However, many children seek out films designed to scare them, indulging in the horror genre, as an act of childhood rebellion or a rite of passage. Dark fantasy films such as Labyrinth , Return to Oz, and Coraline offer threatening villains and a creepy atmosphere while speaking directly to children and tapping into their fears and anxieties. Scary films, and the act of being scared, are as pleasurable to children as to adult horror movie fans. Why do these films appeal to young audiences?

Dark fantasy films create alternate worlds, distinct from our own, that explore the inner fears and anxieties of their protagonists. These worlds are threatening, with creepy aesthetics and a sinister atmosphere. By placing the adventures within an alternative world the fear is less direct.

Compare, for instance, the difference between the 'real world’ of Depression-era Kansas and the fantasy world of Oz in Return to Oz. The real-world horror of Dorothy being institutionalized is particularly scary as it is based in reality – children did undergo electro-shock therapy in an attempt to cure them.

By contrast, the horrors in Oz – the sinister Wheelers or the head-switching witch – may be genuinely frightful but are distanced from the child audience’s experiences. These scares are not based in reality, but abstracted, so a child viewer can process these emotional responses in a safe environment, where the horror is removed from their everyday world.

While these fantasy worlds are hostile and dangerous, they also are escapist in nature. The heroines want, at least initially, to be there. Coraline journeys to another world where she is adored as an escape from her real-life where she is ignored by her parents. In Labyrinth , Sarah travels to the land of the goblin king after she tries to escape her responsibilities. Dorothy wishes to return to Oz because it’s the only place where she is believed.

The other worlds may be dangerous and scary, but they offer a space where these heroines, who often feel small and powerless, are important. Everyone, even (and especially) villains care about and want them. These narratives offer a power fantasy where the child is the most significant person in the world; they are special, they are integral, and they matter.

These films take aspects relatable and familiar to children and warp them, making what was comforting unfamiliar and sinister. Take, for example, the use of games in Return to Oz and Coraline. The climax of both these films has the villain challenge the young protagonist to a game to save their friends.

In Coraline, she must play hide and seek to find the souls of the ghost children and her parents, traversing the twisted and decomposing utopia the Other Mother had created for her. Return to Oz similarly put Dorothy in a situation where she must sort through clutter and knick-knacks to find her transformed friends.

While these games may be familiar to child audiences, the stakes are much higher, and the rules difficult and arbitrary. The villains are in control, able to create new obstacles or change the parameters of play at a whim, and it is up to the heroine to adapt to these challenges and outwit them.

It is inherently unfair, with the child powerless compared to the villainous adult, but they have no choice but to play. The way these villains act reflects and validates children’s fears and anxieties. As adult figures of responsibility and authority, they contrast the powerless child protagonist.

However, what is significant about these films is that in the end, the children win. While these films are at times scary with elements of danger, the villains can be defeated. Dark and difficult emotions such as fear, powerlessness, and anxiety are a part of children’s existence as much as adults. These films provide a safe space for children to experience and work through these emotions.

Despite an attempt to assume children are innocent and must be shielded from darker media, in fact, many children seek it out and are drawn to such films. While they may scare or upset them, they also show that these emotions are not inherently negative. Dark fantasy films in particular don’t ignore the so-called bad emotions that children may feel but instead acknowledge them and help children work through them. No matter how scary the film is, the evil is defeated, and they are safe.

More From Forbes

‘rebel moon’: why does kora in zack snyder’s netflix films look so familiar.

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Kora (Sofia Boutella) in a scene from "Rebel Moon - Part Two: The Scargiver."

Zack Snyder’s space fantasy Rebel Moon is back for a second round with Rebel Moon – Part 2: The Scargiver .

The film is new on Netflix NFLX Friday. Among the familiar faces in the film is the warrior leader Kora, who leads the band of warriors in their fight against evil in Rebel Moon – Part One: A Child of Fire . If she looks familiar, it’s because the performer has appeared in several high-profile projects over the years.

Kora is played by Sofia Boutella, whose breakthrough role came in the 2014 movie hit Kingsman: The Secret Service . In director Matthew Vaughn’s spy adventure, Boutella plays Gazelle — a deadly personal assistant to billionaire bad guy Richmond Valentine (Samuel L. Jackson).

What makes Gazelle unique is the absence of her lower legs, which have been replaced by blades. Essentially, Gazelle looks like a female version of the infamous “blade runner” Olympic athlete Oscar Pistorius, who was released on parole from prison in January more than 10 years after killing his girlfriend Reeva Steenkamp.

Kingsman: The Secret Service wasn’t the only time Boutella played a force to be reckoned with. After appearing in makeup to play Jaylah, an alien adversary of the crew of Starship Enterprise in director Justin Lin’s hit 2016 Star Trek Beyond , Boutella starred opposite Charlize Theron in director David Leitch’s 2017 hit spy thriller Atomic Blonde .

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In Atomic Blonde, Boutella plays Delphine Lasalle, a French undercover agent who develops an intimate relationship with Theron’s atomic blonde character Lorraine Broughton.

Also in 2017, Boutella teamed with Tom Cruise in what became the first and last film in Universal Studios’ planned Dark Universe of monster movies with The Mummy .

Playing a female version of the title character originated by Boris Karloff in 1932’s The Mummy , Boutella stars as Ahmanet, who is reawakened after centuries when Nick Morton (Cruise) and his crew discover the Egyptian princess’ tomb and inadvertently bring her back to life.

The Mummy’s underwhelming box office take, however, led to the cancellation of Universal’s shared universe of characters harvested from their famed Universal Monsters vault.

NEW YORK, NY - JUNE 06: Actress Sofia Boutella attends "The Mummy" New York fan event at AMC Loews ... [+] Lincoln Square on June 6, 2017 in New York City. (Photo by Jim Spellman/WireImage)

Boutella Got Her Start As A Dancer In Music Videos

Born April 3, 1982, in the Bab El Oued district in Algiers, Algeria, Sofia Boutella’s screen career kicked off in earnest in films or television shows, but as a dancer in several music videos. Among the artists Boutella worked with was Madonna, having appeared in the pop star’s music video for 2005’s Hung Up , 2006’s Sorry and 2009’s Celebration .

In addition, Boutella was billed as the lead dancer in a 2011 music video set to the late Michael Jackson’s song Hollywood Tonight.

Boutella even wears a Jackson-inspired costume, fedora and right-hand glove in the last part of the Hollywood Tonight video, in addition to recreating some familiar dance moves and poses as a tribute to the King of Pop. The next year, Boutella scored a leading role in the dance drama Street Dance 2 .

After The Mummy in 2017, Boutella nabbed a key supporting role as the assassin Nice in the dystopian action thriller Hotel Artemis opposite Jodie Foster, Dave Bautista and Sterling K. Brown.

Before she was cast by Zack Snyder in the lead role of Kora in Netflix’s first Rebel Moon movie in 2023, Boutella appeared in such projects as the Foo Fighters’ music video Shame Shame and the 2022 Netflix streaming anthology series Guillermo del Toro’s Cabinet of Curiosities .

Most recently, Boutella reunited with her Kingsman: The Secret Service director Matthew Vaughn for a supporting role in the spy thriller Argylle opposite Bryce Dallas Howard and Sam Rockwell.

Rebel Moon – Part Two: The Scargiver is now streaming on Netflix.

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The 2024 Watches & Wonders Fantasy Draft

By Cam Wolf

Want more insider watch coverage? Get Box + Papers, GQ's newsletter devoted to the watch world, sent to your inbox every Friday.  Sign up here.

I’m still coming down from my annual bout of Watch & Wonders fever . The only cure, naturally, is more watches . So this week, I orchestrated a meeting with three other Watch Illuminati members to conduct a draft of the very best pieces that debuted during the fair . I could have made this super straightforward—a simple selection of our favorite watches—but that’s not what I did.

The draft was conducted snake style, meaning the order was reversed from round to round.

Of course, a watch could not be selected more than once.

Over the draft’s five rounds, each of the draftees were asked (forced) to fill the following categories:

• One watch over $100,000 : The piece you would choose if you had a fairy-watch-mother in the Palexpo.
• One watch under $5,000: Because everyone needs an affordable daily driver in the rotation.
• One watch from a brand that didn’t show on the main floor : This includes makers from the Carré des Horlogers section, where the smaller (and often independent) brands show, as well as companies who held presentations off the grounds entirely. (I disqualified Bulgari—which presented in a hotel suite overlooking Lake Geneva—from this category, since it’s owned by LVMH.)
• Two wild card selections: Meaning any watches you please!

While introducing the draft to the participants, I explained the categories might lead to some gamesmanship. For instance: If you believe the Nomos Tangente is by far the best under-$5,000 watch, you might choose to pick it first to keep it from someone else. As you’ll see, I may have given my competitors too good of an idea with that example.

Meet our participants:

A very huge thank you to our draftees, who endured my many emails and pestering DMs this week. I’ll list them in the order that they drafted:

• Charity Mhende , @ pulseonthewrist , watch collector and content creator
• Chris Hall , @ chrisjameshall , Mr Porter's senior watch editor and founder of “ The Fourth Wheel ” newsletter
• Austen Chu , @ horoloupe , Wristcheck founder and CEO

After much ado:

Under $5,000: Nomos Tangente

“The Nomos Tangente is a playful and adaptable watch that adds a little personality to your collection. Simple, elegant, with beautiful pops of color, it offers something for everyone, making it a perfect way to celebrate 175 years of Glashütte watchmaking.”

Over $100,000: Vacheron Constantin Traditionelle Tourbillon Chronograph

“Damn. Cam, I blame you for planting that Nomos idea. [Ed. note: Sorry!! ] This Vacheron fills my ‘showstopper’ slot. There was a lot of platinum on show in Geneva—as well as a lot of monopusher chronographs—and this was one of the most impressive on both fronts. I'm really not a tourbillon guy, but if you’re going to have one, a Vacheron Constantin is it. I’m a big fan of the Maltese cross tourbillon cage.”

Wild Card: Parmigiani Fleurier Toric Petite Seconde

“I love the new Toric petite seconds in platinum with the green dial. Personally, my favorite dress watch from W&W. I love the hand graining on the dial and the architecture of the 18-karat gold movement.

Wild Card: Cartier Tortue Platinum Time-Only

“I was just about to pick that exact watch, Austen! Instead I’ll ‘settle’ for what is probably the watch from the fair I most want to add to my personal collection. The Tortue shape captures the magic of all great Cartier pieces by drumming up a distinctive shape—one that’s instantly recognizable as the Parisian jeweler’s—that can be worn every single day.”

Under $5,000: Tudor Black Bay 58 “Coke”

“Honestly, more strategy than anything. I'm leaving some pieces I really love up for grabs here. I like this watch a lot, though, and it ranks way higher in my under-$5,000 category than anything else on the board. Even the mini Cartiers are $7,000!”

Wild Card: Rolex Cosmograph Daytona “Le Mans” in Yellow Gold

“The Daytona is such an incredible watch that pays tribute to the past (with the Paul Newman dial), but also looks into the future with the new 24-hour chronograph and open caseback. I wish the subdials were champagne like the [ John Player Special ] though.”

Off the Main Floor: Angelus Instrument de Vitesse

“Another monopusher! I like the idea of a one-minute chrono with a tachy scale. It's focused, sleek, allows for a cleaner dial, and sidesteps the question of whether you'd ever really use a chronograph to time anything for hours and hours.”

Over $100,000: Piaget Swinging Sautoir

“Who doesn’t love a timepiece that doubles as a pendant? This convertible masterpiece transcends the ordinary by transforming from a dazzling necklace to an elegant wristwatch, offering unparalleled versatility.”

Off the Main Floor: Buci x Seconde/Seconde

“These watches elevate timekeeping to an art form. Crafted with poetry in mind, they offer something special and personal. The unisex watches have a very accessible price point and versatile design, which makes them perfect for any wearer, adding a touch of artistic expression to any style.”

Wild Card: Grand Seiko SLGW002/SLGW003 “White Birch”

“Talk about one for the purists: A high-beat, hand-wound Grand Seiko caliber is, in the right circles, something of a grail. I have to admit I fell for it on more superficial grounds: The eponymous tree-bark pattern of the dial hooked me instantly. Somehow rotating the direction of the grain 90 degrees has made a world of difference.”

Off the Main Floor: H. Moser & Cie. Streamliner Tourbillon Skeleton

“Moser absolutely crushed it with this watch. I’m a sucker for skeletonized pieces and absolutely love the symmetry of the movement. This watch wears like a 38- or 39-mm watch, and it’s great value for money considering the craftsmanship and the complication.”

Wild Card: Chopard L.U.C Quattro Spirit 25

“For the second consecutive year, Chopard left Watches & Wonders with one of the fair’s biggest hits. Last year it was the salmon-dial L.U.C 1860. This year, for me, it’s this Quattro Spirit with its tidy jumping hours display. The pared-down design really allows the hypnotizing black dial to shine. Bilal Khan, a senior editor at WatchTime magazine, really captured it the best in this photo . The dial almost has the appearance of wet paint.”

Off the Main Floor: De Bethune Kind of Grande Complication

“I went back and forth between this and DB’s other novelty, the Purple Rain. This fulfills the off-Palexpo category for me, for which I also heavily considered H. Moser’s new Pioneer Centre Seconds Concept Citrus Green. Ultimately, the Kind of Grande Complication’s ability to offer two great watches in one won me over. One side is classic high horology, while the other offers a taste of DB’s futuristic flavoring.”

Under $5,000: Beda’a Eclipse

“Such an incredible watch for the money. I love the design of this watch, and the unique way of displaying time (the seconds-hand animation is really cool). At 37 mm, it wears fantastic on the wrist.”

Under $5,000: Raymond Weil Millesime

“On the back of last year's GPHG ‘Challenge’ award, I was excited to see Raymond Weil—not a sentence I've written for a long time. The continued rollout of the Millesime collection didn't disappoint: No one is reinventing the wheel here, but slim, tidy everyday watches with above-average dials are going to work for me any day of the week. The green feeds my ongoing addiction to green-dial watches.”

16. Charity

Wild Card: Rolex 1908

“While Rolex isn't traditionally known for dress watches, this timepiece is a remarkable exception. The interplay of platinum, a rich brown leather strap, and a mesmerizing turquoise dial creates a stunning composition. The guilloche adds another layer of sophistication, solidifying it as a true knockout.”

17. Charity

Wild Card: Hermès Cut

“This watch is visually interesting and offers a perfect blend of elegance and functionality with its minimalist design and beautiful aesthetics. The size is also accessible and easily makes it a versatile companion for everyday adventures. It transitions effortlessly from casual to dressy, complementing any look.”

Wild Card: Czapek Antarctique Green Meteor

“I’ve been a fan of the Antarctique since it first arrived, and have been waiting for the particular reference that would feel like ‘the one.’ I might have found it in the Green Meteor: I love the color, and the Namibian meteorite beneath it catches the light sensationally. I wanted something in my draft on a really elegant bracelet. And with the exception of the Raymond Weil, all my picks have movements I consider interesting and, at their price, well finished. Plus, I have always had a soft spot for the micro-rotor and coated, textured finish to Czapek’s calibers.”

Wild Card: Cartier Santos Dumont “Rewind”

“Love the poetic way of telling time by challenging conventional norms. Such a Cartier thing to do.”

Over $100,000*: Patek Philippe 5089G-129 “Morning on a Beach”

“The only scenario in which this watch would be picked last for anything. I only saved it for my final spot because there were so many watches in my blow-the-bag category I would have been happy with. It was really tough to not choose Hermès’s Arceau Duc Attelé, the minute repeater that uses tiny horses as gongs (!), A. Lange & Söhne’s Datograph ‘Lumen,’ or TAG Heuer’s new Split Seconds. Ultimately, I couldn’t resist Patek’s high-high-high-end take on a surfer heading out into the waves.”

* Price upon request—which is pricey enough for me

THE FINAL TEAMS

Wild Card #1: Rolex 1908

Wild Card #2: Hermès Cut

Wild Card #1: Grand Seiko “White Birch”

Wild Card #2: Czapek Antarctique Green Meteor

Off the Main Floor and Almost Over $100,000: H. Moser & Cie. Streamliner Tourbillon Skeleton**

Wild Card #1: Parmigiani Fleurier Toric Petite Seconde

Wild Card #2: Rolex Cosmograph Daytona “Le Mans” in Yellow Gold

Wild Card #3: Cartier Santos Dumont “Rewind”

**Flag on me for poorly enforcing my own rules, but at $86,000 this certainly isn’t in the bargain bin.

Under $5,000: Tudor Black Bay 58 GMT

Over $100,000: Patek Philippe’s Reference 5089G-129 “Morning on a Beach”

Wild Card #1: Cartier Tortue Platinum Time-Only

Wild Card #2: Chopard L.U.C Quattro Spirit 25

Vote for who put together the best collection here.

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Screen Rant

10 greatest board game movies, ranked worst to best.

From tabletop RPG fantasy films to intense dramas of world cinema, there have been so many incredible board game movies over the years.

• Board games have inspired a range of blockbuster movies, from epic sci-fi thrillers to comedic murder mysteries.
• Battleship and Ouija failed to live up to the cinematic potential of their board game origins, disappointing audiences.
• Films like Pi and Zathura successfully incorporated board games into their plots, creating unique and engaging movie experiences.

For thousands of years, board games have entertained and enthralled players of all ages and, because of this, they have also served as the inspiration for several great movies. From role-playing fantasy adventures to strategy-based puzzles, board games were excellent cinematic fodder as the existing worlds that they brought to mind were fleshed out with characters, storylines, and spectacular visuals in many acclaimed films. While film studios were often rolling the dice when it came to how successful a board game movie would be, every once in a while, they came out on top and emerged victorious.

The greatest board game movies were categorized by their sheer variety and have included everything from epic science fiction thrillers, intense fantasy adventures, and even classics of world cinema. While murder-mystery comedies such as Clue immediately hinted at the story the board game movie would take, other films were more cryptic and infused board games into part of the narrative. With plenty of varied films to choose from, there were so many great board game movies over the years.

10 Battleship (2012)

Battleship was based on the board game of the same name.

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Rihanna, Liam Neeson, and Taylor Kitsch star in the 2012 action movie adaptation of the board game Battleship. They play a group of Navy SEALs who confront an invading fleet of alien ships. As humanity's only hope, they must use all their training and resources to fight the alien invasion and save the planet.

Of all the board games that could have received a movie adaptation, Battleship was the most cinematic due to its strategic concept of sinking warships and carefully thought-out shots. The movie version of Battleship took this concept and ran with it by including an extraterrestrial threat that a small group of warships were forced to battle against or face utter destruction. However, with over-the-top visuals and a lackluster script, Battleship did not live up to its potential and was a mostly forgettable blockbuster disappointment.

A classic example of Hollywood studios adapting any recognizable property they possessed, Battleship came across as a misjudged cash grab that highly overestimated the public’s desire for a movie based on the Battleship game . While the corny and over-the-top spectacle of Battleship may be a guilty pleasure for some, it failed to impress critics and grossed a disappointing $303 million against its $209 million budget (via Box Office Mojo .) Sadly, Battleship was a sunken flop that underperformed at the box office and was best left to decay at the bottom of the ocean.

9 Ouija (2014)

Ouija was based on ouija boards.

Ouija follows a group of friends who play with an Ouija board and accidentally awaken an ancient dark spirit. The 2014 supernatural horror film was critically panned upon release but did well enough at the box office to warrant a sequel. In 2016, Ouija: Origin of Evil was released, acting as a prequel to the original film.

Anyone with a genuine belief in the paranormal or supernatural would swear that Ouija boards were best left well enough alone and this fear was effectively explored in the horror movie Ouija . A Ouija board was a flat board that contained numbers and letters which some believed could be used to contact spirits and have interactions during a séance. Although these boards have gained a highly suspect reputation, the name Ouija was actually a trademark of Hasbro and was originally branded as an innocent parlor game.

The film Ouija told the story of a group of teenagers who unleashed spirits using an Ouija board and were forced to confront their most terrifying fears after awakening dark and ancient powers. Although Ouija was not well received it led to the development of a prequel called Ouija: The Origin of Evil which critics deemed an improvement over its predecessor. An interesting concept for a horror franchise, Ouija explored the superstitious beliefs many held about this highly feared board game .

8 Dungeons & Dragons (2000)

Dungeons & dragons was based on the tabletop roleplaying game of the same name.

While the fantasy roleplaying game Dungeons & Dragons may be one of the most popular RPGs the world has ever seen, the same cannot be said about its movie adaptation Dungeons & Dragons from 2000. Telling the story of an empress seeking a mythical rod to aid her fight against an evil wizard, Dungeons & Dragons was a convoluted fantasy film that bombed at the box office and disappointed many of the game’s players. With subpar directing, a shoddy script, and a cheap aesthetic, Dungeons and Dragons did not do its source material justice.

Despite the significant star power of Dungeons & Dragons , which featured Jeremy Irons among its cast, the performances were bad, and the CGI was underwhelming. Considering that the cinematic wonder of The Lord of the Rings: The Fellowship of the Ring was released just one year after Dungeons & Dragons truly highlighted just how poor the presentation of this film was. While there have been several adaptations of Dungeons & Dragons over the years, this one stood as the poorest of them all.

7 Pi (1998)

Pi featured the chinese strategy board game go.

The directional debut of Darren Aronofsky, Pi was a highly conceptual psychological thriller that heavily featured the Chinese strategy board game Go . A vast game that dated back more than 2,500 years this board game was infinitely more complex than chess and it made sense that Max Cohen, the maths genius at the center of Pi , would have an affinity for it. Throughout Pi, Max was shown playing Go with his mentor Sol, who explained the game as a microcosm of the complex and chaotic nature of the world.

As Max tried to understand the mathematical equals that governed the universe, the game Go acted as an effective metaphor for the infinite and unknowable qualities of existence. Pi was a frighteningly smart movie that addressed thrilling themes on a shoestring budget. Produced for just $134,815 (via Filmmaker Magazine ), Pi won Aronofsky the Directing Award at the 1998 Sundance Film Festival and kickstarted Aronofsky’s incredible body of work .

6 Zathura: A Space Adventure (2005)

Zathura: a space adventure put kids into the world of a board game.

The Jumanji series received a standalone spinoff with the release of Zathura: A Space Adventure , which was a highly underrated adventure sci-fi movie that transported into the world of a space-based board game. Directed by Jon Favreau, Zathura was an early indication of Favreau’s innate understanding of sci-fi that he would utilize so well in later years when he created The Mandalorian . With dazzling special effects and a solid story, Zathura was a movie that could be enjoyed by audiences of all ages.

With a witty script with fully realized characters, Zathura was an adaptation of a children’s picture book by Chris Van Allsburg. Zathura featured a talented cast that included Tim Robbins and Dax Sheppard , as well as Kristen Stewart, and Josh Hutcherson in younger roles. While Zathura was a disappointment at the box office that barely broke even, grossing $65.1 million against its $65 million budget (via Box Office Mojo ), it has been reappraised in recent years as a forgotten classic.

5 Game Night (2018)

Game night featured a group of friends game night that went awry.

Written by Mark Perez and directed by John Francis Daley and Jonathan Goldstein. Starring Jason Bateman, Billy Magnussen, Rachel McAdams, and Sharon Horgan, the 2018 Comedy sees a routine game night turn into a mystery when one of the regular members is kidnapped.

Game Night was far more entertaining than an average evening of playing Monopoly.

The action-comedy Game Night focused on a group of friends who regularly got together to host play board games, charades, and other lighthearted activities. However, this good-natured fun was soon turned on its head after the friends found themselves entangled in a real-life mystery after one of them was seemingly kidnapped by dangerous gangsters. Full of action, adventure, and many twists and turns, Game Night was far more entertaining than an average evening of playing Monopoly .

With a sharp script and excellent cast that featured Jason Bateman and Rachel McAdams, Game Night was high-octane fun that expertly delivered on its unique concept . Game Night was consistently funny as the stakes of its story were upped with every subsequent scene and its unwilling participants were thrust ever further into the chaos of it all. While Game Night left things open-ended for a sequel, the directors John Francis Daley and Jonathan Goldstein recently gave a disappointing update surrounding Game Night 2 .

4 Dungeons & Dragons: Honor Among Thieves (2023)

Dungeons & dragons: honor among thieves was based on the tabletop roleplaying game of the same name, dungeons & dragons: honor among thieves.

Dungeons & Dragons: Honor Among Thieves is a fantasy action-comedy film based on the popular tabletop game and set in the Forgotten Realms campaign by the original creators. Chris Pine stars as a song-slinging thief named Edgin Darvis, who is hired to find a lost relic but manages to anger the wrong people along the way. With his mismatched crew, each inspired by a race and class from D&D lore, Edgin will lead his team to complete their task - and many innocent lives depend on it.

The fantasy heist film Dungeons & Dragons: Honor Among Thieves managed to right the wrongs of the past and deliver a movie adaptation that was worthy of its source material. Despite underperforming at the box office, Dungeons & Dragons: Honor Among Thieves was a truly good-spirited comedy that offered a fun, fantasy adventure that was propped up by a solid script and an effective emotional core. Telling the story of a charming thief and a band of adventures caught up in an epic quest for a lost relic, Dungeons & Dragons: Honor Among Thieves was an enjoyable cinematic spectacle.

Dungeons & Dragons: Honor Among Thieves avoided the mistake made by so many fantasy adaptations before it and did not take itself too seriously and imbued its story with plenty of comedic fun. By focusing on the experience of the adventure rather than the story itself, Dungeons & Dragons: Honor Among Thieves captured the most important aspects of the board game it was based on and reveled in its over-the-top sense of adventure. As a feel-good, family-friendly heist movie, Dungeons & Dragons: Honor Among Thieves, like the best board games, could be enjoyed by the whole family.

3 Jumanji (1995)

Jumanji put kids into the world of a board game.

Jumanji is an action-adventure comedy film by director Joe Johnston and starring Robin Williams. Two orphan siblings move into a home occupied by the former Parrish family, whose son disappeared years ago. When the two start playing a mysterious board game known as "Jumanji," they unknowingly release the missing Alan Parrish later, along with various other jungle-themed dangers that can only be stopped if they finish the game.

While the world of Jumanji has been expanded into an entire franchise, it all started with the 1995 fantasy adventure film that starred Robin Williams in one of his most entertaining roles in a kids' movie. Jumanji told the story of two children who found themselves entered into the world of a magical board game , only to discover a man (Williams) who had been trapped in it for decades. With lots of light-hearted fun, and an infectious sense of adventure, Jumanji was the best board game adaptation for a movie aimed at children.

While Jumanji received mixed reviews upon its release it was a major financial success that grossed $262.8 million against its $65 million budget (via Box Office Mojo .) With an animated television series, spin-off movie, and two indirect sequels, Jumanji was a highly creative concept that provided endless potential for subsequent stories of kids transported into fun-filled worlds of adventure. A fourth film in the Jumanji series has also been announced as the long-running series has continued to enthrall audiences.

2 Clue (1985)

Clue was based on the board game of the same name.

Based on the classic board game, Clue features an ensemble cast that includes Tim Curry, Eileen Brennan, Madeline Kahn, Christopher Lloyd, Michael McKean, Martin Mull, and Lesley Ann Warren. In the film, six strangers, each with a dark secret, are lured to a mansion by a mysterious blackmailer who is then killed when everyone has arrived. The group, accompanied by the butler and the maid, must work together to determine who the murderer is before it's too late. 

The comedic mystery Clue may have a lot in common with the whodunnit stories of Agatha Christie but it was an adaptation of the board game of the same name, which was known as Cluedo outside of North America. With a star-studded cast that included Tim Curry and Christopher Lloyd, Clue paid homage to the original board game by including three separate endings that mimicked the numerous potential murderers in the game. A hilarious murder mystery, Clue has developed a cult following in the years since its release.

Clue included the same iconic characters seen in the board game, such as Mrs. Peacock, Wadsworth the butler, and Colonel Mustard, which featured many allusions and references to the game. An enjoyable ensemble comedy that did its source material justice, Clue was full of wit and intrigue as it progressed toward its multiple conclusions. Although a new film based on the game was first announced in 2011 (via Variety ), the remake never came to fruition.

1 The Seventh Seal (1957)

The seventh seal heavily featured the game of chess.

The greatest board game movie ever made also held the honor of being one of the best films of all time.

The greatest board game movie ever made also held the honor of being one of the best films of all time as Swedish director Ingmar Bergman’s The Seventh Seal stood as a classic of world cinema. Set in Denmark during the Black Death, The Seventh Seal featured a medieval knight playing a game of chess against the personification of Death who had come to take his life. A truly iconic movie, the imagery of The Seventh Seal has been parodied countless times across books, other films, and television.

With heavy themes related to fate, religion, and the inevitability of death, The Seventh Seal has come to be regarded as a masterpiece of cinema in the nearly 70 years since its release. With intensely beautiful cinematography and a dark, brooding atmosphere, The Seventh Seal was one of Bergman’s greatest achievements on screen and stood as his most instantly recognizable movie. With a bold narrative and striking visuals, The Seventh Seal has maintained its innate power, and its reputation has only continued to grow in the decades since its release.

Sources: Box Office Mojo (Battleship), Filmmaker Magazine , Box Office Mojo (Zathura), Box Office Mojo (Jumanji), Variety

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Guest Essay

The New Movie ‘Civil War’ Matters for Reasons Different Than You Think

By Stephen Marche

Mr. Marche is the author of “The Next Civil War.”

“Not one man in America wanted the Civil War, or expected or intended it,” Henry Adams, grandson of John Quincy Adams, declared at the beginning of the 20th century. What may seem inevitable to us in hindsight — the horrifying consequences of a country in political turmoil, given to violence and rived by slavery — came as a shock to many of the people living through it. Even those who anticipated it hardly seemed prepared for its violent magnitude. In this respect at least, the current division that afflicts the United States seems different from the Civil War. If there ever is a second civil war, it won’t be for lack of imagining it.

The most prominent example arrives this week in the form of an action blockbuster titled “Civil War.” The film, written and directed by Alex Garland, presents a scenario in which the government is at war with breakaway states and the president has been, in the eyes of part of the country, delegitimized. Some critics have denounced the project, arguing that releasing the film in this particular election year is downright dangerous. They assume that even just talking about a future national conflict could make it a reality, and that the film risks becoming a self-fulfilling prophecy. This is wrong.

Not only does this criticism vastly overrate the power of the written word or the moving image, but it looks past the real forces sending the United States toward ever-deeper division: inequality; a hyperpartisan duopoly; and an antiquated and increasingly dysfunctional Constitution. Mere stories are not powerful enough to change those realities. But these stories can wake us up to the threats we are facing. The greatest political danger in America isn’t fascism, and it isn’t wokeness. It’s inertia. America needs a warning.

The reason for a surge in anxiety over a civil war is obvious. The Republican National Committee, now under the control of the presumptive nominee, has asked job candidates if they believe the 2020 election was stolen — an obvious litmus test. Extremism has migrated into mainstream politics, and certain fanciful fictions have migrated with it. In 1997, a group of Texas separatists were largely considered terrorist thugs and their movement, if it deserved that title, fizzled out after a weeklong standoff with the police. Just a few months ago, Texas took the federal government to court over control of the border. Armed militias have camped out along the border. That’s not a movie trailer. That’s happening.

But politicians, pundits and many voters seem not to be taking the risk of violence seriously enough. There is an ingrained assumption, resulting from the country’s recent history of global dominance coupled with a kind of organic national optimism, that in the United States everything ultimately works out. While right-wing journalists and fiction writers have been predicting a violent end to the Republic for generations — one of the foundational documents of neo-Nazism and white supremacy is “The Turner Diaries” from 1978, a novel that imagines an American revolution that leads to a race war — their writings seem more like wish fulfillment than like warnings.

When I attended prepper conventions as research for my book, I found their visions of a collapsed American Republic suspiciously attractive: It’s a world where everybody grows his own food, gathers with family by candlelight, defends his property against various unpredictable threats and relies on his wits. Their preferred scenario resembled, more than anything, a sort of postapocalyptic “Little House on the Prairie.”

We’ve seen more recent attempts to grapple with the possibility of domestic conflict in the form of sober-minded political analysis. Now the vision of a civil war has come to movie screens. We’re no longer just contemplating a political collapse, we’re seeing its consequences unfold in IMAX.

“Civil War” doesn’t dwell on the causes of the schism. Its central characters are journalists and the plot dramatizes the reality of the conflict they’re covering: the fear, violence and instability that a civil war would inflict on the lives of everyday Americans.

That’s a good thing. Early on when I was promoting my book, I remember an interviewer asking me whether a civil war wouldn’t be that terrible an option; whether it would help clear the air. The naïveté was shocking and, to me, sickening. America lost roughly 2 percent of its population in the Civil War. Contemplating the horrors of a civil war — whether as a thought experiment or in a theatrical blockbuster — helps counteract a reflexive sense of American exceptionalism. It can happen here. In fact, it already has.

One of the first people to predict the collapse of the Republic was none other than George Washington. “I have already intimated to you the danger of parties in the state, with particular reference to the founding of them on geographical discriminations,” he warned in his Farewell Address. “This spirit, unfortunately, is inseparable from our nature.” This founder of the country devoted much of one of his most important addresses, at the apex of his popularity, to warning about the exact situation the United States today finds itself in: a hyper-partisanship that puts party over country and risks political collapse. Washington knew what civil war looked like.

For those Americans of the 1850s who couldn’t imagine a protracted, bloody civil war, the reason is simple enough: They couldn’t bear to. They refused to see the future they were part of building. The future came anyway.

The Americans of 2024 can easily imagine a civil war. The populace faces a different question and a different crisis: Can we forestall the future we have foreseen? No matter the likelihood of that future, the first step in its prevention is imagining how it might come to pass, and agreeing that it would be a catastrophe.

Stephen Marche is the author of “The Next Civil War.”

Source photographs by Yasuhide Fumoto, Richard Nowitz and stilllifephotographer, via Getty Images.

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‘My soul mate’: Warwick Davis pays tribute to wife Samantha who has died aged 53

Harry Potter star described wife, who founded dwarfism charity Little People UK, as ‘greatest love of his life’

Samantha Davis, the campaigner and wife of the Harry Potter star Warwick Davis, whom he called his “soul mate”, has died aged 53.

Davis, who founded Little People UK – the dwarfism charity known as “ an essential resource for little people and their families ” – was described by her husband as “the greatest love of his life”.

The couple met on the set of Willow, the 1988 fantasy movie where they both starred alongside Val Kilmer, although Davis had actually seen Samantha when they were on the set of another fantasy film, David Bowie’s Labryinth . He had “admired her from afar”, according to his autobiography.

They did get together, eventually marrying and raising two children, Harrison and Annabelle.

Speaking about his wife, who died on 24 March, Davis said: “She was a unique character, always seeing the sunny side of life. She had a wicked sense of humour and always laughed at my bad jokes.

“Without Sammy, there would have been no Tenable quizshow, no Willow series. No Idiot Abroad series 3.”

Warwick said Samantha was his “most trusted confidante and an ardent supporter of everything I did in my career” and that having her by his side felt “like having a superpower”.

Harrison and Annabelle added: “Mum is our best friend and we are honoured to have received a love like hers. Her love and happiness carried us through our whole lives.”

The couple have been described as being responsible for changing “ the way people with dwarfism are represented on screen ” and also worked to raise awareness of sepsis after Samantha had a close brush with death in 2019 after surgery .

Samantha Davis’s dwarfism was caused by a condition called achondroplasia , whereas Warwick Davis’s is caused by spondyloepiphyseal dysplasia congenita .

The Davis family lost two babies, Lloyd and George. When asked about their loss by the Guardian in 2015, Samantha said : “You have a choice, don’t you? Let’s use it to make our family stronger, closer. Life is for living.”

“Being angry,” added Warwick Davis, “would be a waste of time. A waste of the life that you do have. Yes, between the two of us, I suppose there are moments where sometimes, we just go, aargh – everything is that little bit more difficult. But I only get angry about twice a year.”

Two years later, during an interview with the Guardian, Davis was asked who the greatest love of his life was. He answered: “ My wife, Sam. ”

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