Taking a book and turning it into a motion picture is a practice almost as old as cinema itself. Since the days of Georges Méliès, who offered his cinematic takes on literary classics like Cinderella and From the Earth to the Moon, filmmakers have been taking stories from the page to the big screen, experimenting with how the differences between the written word and the cinematic language can be most effectively combined.

Sometimes, the books adapted belong to authors that have since passed away. Other times, the authors are still alive and kicking and commend these cinematic adaptations of their work, no matter how involved they were in their making. On a few noteworthy occasions, however, authors have been quite vocal about their intense dislike for a certain movie adaptation of a book of theirs. From novelists like Stephen King to comic writers like Alan Moore, these are authors who clearly didn’t think the cinematic medium did their work justice. For fairness’ sake, entries will be limited to only one per author. Otherwise, a list of this nature would end up being composed purely of King and Moore adaptations.

10

‘Tales from Earthsea’ (2006)

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Ursula K. Le Guin was one of the greatest and most important American writers of her generation, known mainly for her work in speculative fiction. The collection of fantasy stories and essays known as Tales from Earthsea is perhaps her best-known work, and for good reason. Fans couldn’t have possibly been more excited when a Studio Ghibli adaptation of the first four books in the series was announced, which would be Gōro Miyazaki‘s (son of Hayao Miyazaki) directing debut. The rest is history, just not particularly pleasant history.

There are those who would go so far as to call Ghibli’s Tales from Earthsea one of the worst anime movies of all time. Le Guin herself probably would never have gone that far, but she did state that Miyazaki misunderstood the spirit of her books so terribly that she felt like the film told a completely different story from the source material. You’d be hard-pressed to find an Earthsea book fan who would disagree.

9

‘Charlotte’s Web’ (1973)

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E. B. White, perhaps best-known as the creator of Stuart Little, was one of the greatest American children’s literature authors in modern history. He also wrote Charlotte’s Web, an illustrated book that, before being turned into a live-action film starring Dakota Fanning in 2006, was turned into a Hanna-Barbera musical cartoon in 1973.

Audiences today mostly remember it fondly as one of the movies that proved 1970s animation was by no means bad, but White wasn’t fond of the film at all. On the contrary, though the author was slightly involved in the movie’s story, he was generally displeased with the final product, calling it “a travesty.” He hated the fact that the movie was a musical, which he felt didn’t gel well with what he had written.

8

‘Rawhead Rex’ (1986)

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Legendary British horror author Clive Barker is perhaps best known as the man who wrote the Hellraiser series. When it came time to turn the book into a film, he decided to write and direct it himself. The reason? Rawhead Rex, an adaptation of Barker’s short story of the same name directed by George Pavlou, from a screenplay by Barker himself.

The movie was a colossal failure, and is still remembered as one of the worst horror movies of the ’80s. Barker, obviously, felt that the elements were all there on the page for Rawhead Rex to have been quite a thrilling film. He felt, however, that Pavlou’s direction fell short, failing to provide the stylish oomph that would have made the movie as strong as the source material.

7

‘I Know What You Did Last Summer’ (1997)

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Following the success of Wes Craven‘s 1996 slasher classic Scream, many terrible rip-offs followed. Jim Gillespie‘s I Know What You Did Last Summer may be iconic, but there’s no way of denying that it’s just that: a terrible Scream rip-off. It didn’t have to be that way, though. The movie wasn’t based on a horror novel, but rather a well-regarded 1973 YA thriller by Lois Duncan.

Duncan’s daughter, Kaitlyn Arquette, was shot to dead in 1989. In a 2002 interview, the author revealed that as the mother of a murdered young woman, she was absolutely appalled by the fact that her novel had been turned into a silly, cheap slasher. It’s difficult to blame her, made even more difficult by the fact that the film isn’t even a good slasher to begin with.

6

‘Willy Wonka & the Chocolate Factory’ (1971)

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As one of the most important voices in the modern history of children’s literature, Roald Dahl is someone who needs no introduction. Another person who needs no introduction is Willy Wonka, and fittingly, Willy Wonka & the Chocolate Factory, one of the best fantasy movie masterpieces of all time, has a reputation that precedes it. A lesser-known part of that reputation, however, is that Dahl hated the film.

In fairness, Dahl hated the vast majority of the movies based on his work, thinking that Hollywood had a tendency to twist his stories into things he had never intended. His dislike for Willy Wonka, however, was particularly strong. He disowned the movie and declared himself “infuriated” by its plot deviations, its being a musical, and its shifting the narrative’s focus from Charlie to Wonka. The original book purist, Dahl would have vastly preferred it if director Mel Stuart had stuck far more closely to what was already on the page, even if this has proven to age as one of the best family movies of all time.

5

‘The NeverEnding Story’ (1984)

Wolfgang Petersen‘s first English-language film, The NeverEnding Story is one of the most iconic family films of the ’80s, even if some find it to traumatizingly dark that its “family film” status is not uncontested. It was based on German writer Michael Ende‘s 1979 book of the same title, and it was a hit both with critics and at the box office.

Someone it wasn’t a hit with, however, was Ende himself. The author only got to see the script days before the movie’s premiere, and claimed to have been “horrified” by what he saw. He felt that Petersen completely changed the essence and spirit of the book, and later called the film a “gigantic melodrama of kitsch, commerce, plush and plastic.”

4

‘Percy Jackson & the Olympians: The Lightning Thief’ (2010) and ‘Percy Jackson: Sea of Monsters’ (2013)

Image via 20th Century Studios

Of the many book series that tried to be the next Harry Potter, few came as remarkably close with something as original, fun, and genuinely high-quality as Rick Riordan‘s Percy Jackson & the Olympians book series. But out of every book-to-film adaptation that’s nothing like the books, few cases are as egregious as The Lightning Thief and Sea of Monsters, the movies based on the first two installments in the saga.

Riordan was extremely vocal about how he felt about these movies. He said the writing was terrible, and not just because it deviated tremendously from the source material. He shared email recommendations for script changes that he sent to the people behind the movies—recommendations that clearly went unheard. Most of all, the author was bothered because he knew that these adaptations would anger and disappoint fans. It’s no wonder why Riordan became far more directly involved with the new Disney+ TV series adaptation of Percy Jackson.

3

‘Mary Poppins’ (1964)

Image via Walt Disney Studios Motion Pictures

Mary Poppins is widely recognized as one of the most perfect live-action Disney movies of all time, a marvelously magical and beautifully nostalgic musical bolstered by Julie Andrews and Dick Van Dyke‘s lead performances. It’s based on Autralian-British writer P. L. Travers‘ Mary Poppins book series, and Walt Disney‘s repeated decades-spanning attempts to buy the film rights to her books made for such an arduous production process that it became the subject of the Tom Hanks and Emma Thompson-starring Saving Mr. Banks.

Contrary to what the ending of Saving Mr. Banks depicts, however, Travers did not, in fact, like what Disney did with her books. Travers famously cried at the movie’s premiere due to how distorted and saccharine her story and characters had become as a result of their Disney-ification. She hated the animated segments, she objected to the musical numbers, and she disliked the casting of Julie Andrews in the titular role. Audiences, of course, have disagreed with Travers over the course of the film’s existence; but one can only sympathize with her sadness.

Image via 20th Century Studios

Another author who famously hates pretty much any and every film that’s ever been made about their work is Alan Moore. The writer is of the vehement opinion that it’s impossible to turn a comic book into a film that properly captures its essence, and as a result, adaptations of his work—from Zack Snyder‘s Watchmen to James McTeigue‘s V for Vendetta—rub him the wrong way. But out of every movie adaptation of his oeuvre, Moore had the most contempt for Stephen Norrington‘s The League of Extraordinary Gentlemen.

In all fairness to Moore, this is far and away one of the most abysmal superhero movies ever made, so it’s difficult to blame him for disliking it. What really added salt to the wound, however, was the lawsuit brought forward against 20th Century Studios by Larry Cohen and Martin Poll, who claimed that the studio had plagiarized their script. Moore got tangled up in the whole ordeal, and that only made League all the more of an unpleasant experience.

1

‘The Shining’ (1980)

Image via Warner Bros. Pictures

As one of the authors whose work is most often adapted by Hollywood, and not often with good results, Stephen King is someone with a long track record of being critical of big-screen adaptations of his work. But the most notorious King adaptation that he despised, and perhaps the most notorious case of an author hating a movie based on their work, is Stanley Kubrick‘s The Shining. Based on the third novel King ever wrote, many think of this ’80s classic as one of the greatest horror movies ever made, complete with one of the scariest movie villains of all time—but the author himself disagreed.

King’s dislike for Kubrick’s movie has become a subject of study itself, with fans having spent the last 46 years diving deep into why King might have felt such an aversion to this version of The Shining. He once said that it was the only adaptation of his novels that he could truly remember hating, calling it “maddening, perverse, and disappointing.” He admitted to Kubrick’s brilliance as a director, but felt that the film twisted the message and essence of what he had written as an allegory for alcoholism (with many autobiographical elements) into something he couldn’t recognize. Knowing King’s deeply personal connection to the story, it becomes impossible to blame him for hating what even the film’s biggest fans must admit is vastly different from the source material.

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The Shining

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Release Date

June 13, 1980

Runtime

144 minutes

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Director

Stanley Kubrick

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The Valley’s Kristen Doute is opening up about sex with Luke Broderick after baby.

“I mean, we’re trying. It’s just hard,” Kristen, 43, exclusively shared with Us Weekly while celebrating season 3 of Bravo’s hit reality show. “It’s not like I don’t find him to be the most attractive person in the world, which I do, or that I don’t want that for us. But I’m just tired all the time, and I’m in survival mode. I’m just hyperfocused on [our baby] Kaia.”

During the season 3 premiere of The Valley on Wednesday, April 1, viewers watched Kristen’s fiancé open up to costar Jesse Lally about life after becoming a dad.

“Our relationship is completely lacking intimacy, which is tough,” Luke shared in the episode. “She shuts down every advance. At what point do you stop trying?”

Related: ‘Vanderpump Rules’ Cast: Then and Now

While some things never change, the cast of Vanderpump Rules is used to a shake-up … and a touch-up. Vanderpump Rules was introduced to Bravo viewers during a special episode of The Real Housewives of Beverly Hills in January 2013. Season 1 starred Lisa Vanderpump, Stassi Schroeder, Scheana Shay, Jax Taylor, Katie Maloney, Tom Sandoval […]

During a lunch date with Nia Sanchez, Kristen also admitted that she hasn’t had a date night with her man in nearly three months and acknowledged that she isn’t in love with her body after giving birth.

“We’ve always had a healthy sex life,” she explained in a confessional interview. “But sex made a baby, and sex doesn’t exist.”

In a separate interview with Us, Luke acknowledged that things have improved since filming wrapped.

“You know, it’s a roller-coaster becoming new parents,” he shared. “I hope all new parents can identify with that. It’s still an up-and-down thing. We do improve. We move past things and something else comes up. So, overall, yes, things have improved.”

As for wedding planning, Luke said there haven’t been any major updates since welcoming a baby. That doesn’t mean a special ceremony isn’t going to happen in the future.

“Ball’s in her court. I have also put a line in the sand that I am a hard no on a wedding that’s going to cost six figures before we have a house that we own,” he explained. “So that’s my line.”

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Related: Tom Schwartz Weighs In on Amanda Batula and West Wilson Relationship Drama

Getty Images (3) The Valley star Tom Schwartz is weighing in on the drama between the Summer House cast amid Amanda Batula and West Wilson’s controversial — and confirmed — romance. “I hope it’s not crashing down, because they have such a beautiful dynamic in that house,” Tom, 43, exclusively told Us Weekly of his […]

Through all the ups and downs of life, both Luke and Kristen are happy to have the support of their close friends Nia and Danny Booko.

“Nia and Danny, all my friends that have had babies, women online are super supportive,” Kristen shared with Us. “Our relationship took a back seat, but we know that that’s something we have to put more energy into.”

The Valley airs on Bravo Wednesdays at 8 p.m. Stream new episodes the next day on Peacock.

Jen Shah has opened up about serving time at a Texas prison with convicted sex trafficker Ghislaine Maxwell, revealing that Maxwell showed “no remorse” for her late boyfriend Jeffrey Epstein’s victims.

“I had limited interactions with her,” the Real Housewives of Salt Lake City alum, 52, told People in an interview published on Wednesday, April 1. “I chose that. I chose to keep my distance.”

After pleading guilty to conspiracy to commit wire fraud in connection with a telemarketing scheme, Shah served time at the same Bryan, Texas, federal prison camp where Maxwell, 64, and convicted fraudster Elizabeth Holmes were also incarcerated.

Shax described Maxwell’s “experience” in prison as “very different” than anything she or Holmes, 42, endured.

“[Maxwell] is treated very differently there,” Shah said. “I didn’t have a lot of interaction with her … She would come over and talk to us or I would see her … She made it very publicly known, at least to Elizabeth and I, that there’s no remorse there.”

The Bravo star went on, “Again, I obviously don’t know all the details of the case or whatever but we know enough. It was a lot when the [Epstein] victims would be on TV and talking, she [showed] just complete disregard for them. This was when they were pouring their hearts out in front of Congress for the [Epstein Files] to be released.”

“To see that kind of behavior when there are real victims that you’re seeing and what they’ve gone through, and to be so dismissive of that, that just didn’t sit right with me,” Shah added.

Maxwell was sentenced to 20 years behind bars following her 2022 conviction on charges of conspiracy to entice minors to travel to engage in illegal sex acts, conspiracy to transport minors to participate in illegal sex acts, transporting a minor to participate in illegal sex acts, sex trafficking conspiracy, and sex trafficking of a minor. (Maxwell maintains her innocence and has publicly appealed to President Donald Trump for a pardon.)

Shah insisted that both she and Holmes “definitely” chose to keep their distance from Maxwell once they noticed her alleged ambivalence toward Epstein’s victims. (Epstein died by suicide at age 66 in August 2019 after being arrested on federal sex crimes charges.)

“I just feel like there should be a level of remorse for the victims,” Shah argued. “And she made it very publicly known — at least to Elizabeth and I — that there’s no remorse there. She outrightly said it.”

Shah raised concern over Maxwell’s alleged favorable treatment in prison, claiming that the former socialite received privileges that other inmates had no access to.

“[Maxwell] was treated very well there. She was afforded things that nobody else was afforded, like private workout sessions, special meals, bottled water,” Shah told People. “Everybody witnessed it, and I know that firsthand because I worked in [recreation] so I would have to clean things up. I was also asked for certain equipment because she was going to go work out late at night.”

Shah went on to say, “There’s a process you have to go through to schedule your legal calls. She would not have to go through the same process.”

In response to Shah’s allegations, a spokesperson for the Bureau of Prisons told People that its staff is “committed to maintaining the highest standards of integrity, impartiality, and professionalism in the operation of its facilities.”

“Staff are required to treat all inmates equitably, in accordance with law, policy, and institutional security and safety protocols. Any deviation from this standard undermines public trust and the fair administration of justice,” a BOP statement read. “Violations of this policy are subject to a full range of disciplinary actions, up to and including removal from federal service and potential criminal prosecution.”

Us Weekly has reached out to the Bureau of Prisons for comment.

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Related: Inside ‘RHOSLC’ Alum Jen Shah’s Life After Being Released From Prison

The Real Housewives of Salt Lake City alum Jen Shah is a free woman. After serving less than three years of her six-and-a-half-year sentence for her role in a long-running nationwide telemarketing fraud scheme, the Bravo star was released from the Federal Prison Camp in Bryan, Texas, on December 10, 2025. “Jen Shah has demonstrated […]

Shah seemingly had a much friendlier rapport with former Theranos CEO Holmes, who was found guilty on four counts of fraud and conspiracy to commit fraud against investors in 2022.

“Lizzie and I are good friends,” Shah told the publication. “As another high-profile prisoner, there are just certain things you’re both dealing with, so you naturally come together in those instances.”

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For her part, Shah insisted that she is working to repay the $6.6 million she owes in restitution for allegedly defrauding elderly clients as part of a telemarketing scheme.

“I’d like to say that I’m sorry and I’m here and accepting responsibility and have made it my mission as part of my consequences to make sure that people are paid back through the restitution,” she said. “These people deserve to be made whole.”

If you or someone you know is a human trafficking victim, contact the National Human Trafficking Hotline at 1-888-373-7888.

A well-known reality TV couple is speaking out after a frightening road rage encounter in Los Angeles that they say left them shaken and fearing for their lives. Celebrity designer Pol’ Atteu and his husband Patrik Simpson say they were targeted during a violent confrontation while driving through West Hollywood, sparking renewed concerns about safety and crime in the area. The incident, which unfolded in broad daylight, has since prompted the reality TV stars to call for stronger action against rising crime.

Road Rage Incident Turns Violent In West Hollywood

According to Atteu and Simpson, the ordeal began at the intersection of Melrose Avenue and Vine Street when a man driving a Toyota 4Runner allegedly cut off their Mercedes. What followed quickly escalated into a terrifying encounter, with the man reportedly attacking their vehicle.

The couple says they locked themselves inside as the suspect punched the driver’s side window and kicked the door. “I thought he was gonna kill us. I thought I was going to die,” Atteu told Daily Mail.

Simpson echoed the fear of the moment, adding, “We were literally like trapped rats. And then he came running towards the car, and I saw my life flash before my eyes. I think if he had broken that window, then we would not be here today.”

911 Call Leaves Couple Frustrated

After the suspect fled the scene, the couple attempted to follow from a distance while calling 911 in hopes of identifying the driver. However, they say the response they received from the dispatcher left them stunned.

Instead of assistance, they were reportedly told to stop pursuing the suspect or risk being held liable. “It was like they were trying to turn it around and say that we were in the wrong for following the guy,” Simpson said. “All we were trying to do was to get the license plate, because if I did not have the license plate number, we would not be able to do anything, and we want to catch this man and prosecute him.”

Police Response Raises Questions

Once officers eventually arrived, the couple claims they were instructed to file a report online rather than receive immediate assistance at the scene. “You’d think they would want to take my name down, my information down, like different things that have to do with us so that they can find a way to get back to us,” Atteu said.

Simpson added, “The fact is, if I’m being accosted or whatever this is that happened, whatever the right legal term is, the police weren’t offering us any help.”

The couple ultimately filed a vandalism report and has since shared video of the incident with their social media followers, where they boast a sizable audience. “I think in this day and age you have to be your own champion,” Simpson said. “I’m not saying that you take justice into your own hands, but you have to seek accountability.”

Past Attack Adds To Ongoing Safety Concerns

For Atteu and Simpson, this isn’t the first time they say they’ve been impacted by violent crime in California. In 2019, Atteu was hospitalized after being attacked during a charity fashion show at St. John’s Cathedral in downtown Los Angeles.

The suspect in that case, identified as Jesus Rodolfo Zepeda, was reportedly upset that his daughter had not been selected to participate in the event. Although he was initially arrested, he was later released due to COVID-related jail constraints.

Years later, in 2024, he was convicted of assault and received a suspended five-year prison sentence, serving only a brief period in custody.

Couple Calls For Action Amid Growing Crime Concerns

Following the latest incident, Atteu and Simpson are using their platform to speak out and call attention to what they describe as a growing safety issue.

Known for their high-profile clientele, including Carrie Underwood, Hillary Clinton, and the late Anna Nicole Smith, the couple has long been part of Hollywood’s social scene. Now, they’re hoping their experience sparks a larger conversation about public safety and accountability.

As they continue to process the frightening ordeal, the couple believes more needs to be done to prevent similar incidents from happening again.

The Love on the Spectrum cast went through a lot of changes throughout season 4, from engagements to breakups.

During the Netflix show’s new season, which premiered on Wednesday, April 1, viewers checked in on the cast as they offered glimpses into their personal lives. Madison Marilla documented her move to be closer to Tyler White, which came shortly before they got engaged.

“We have not even started [wedding planning] yet. We want to wait until the time is right,” Madison exclusively told Us Weekly about enjoying life as a newly engaged couple. “I know we’re going to do a very big wedding. We will have all our family and friends and cast mates there.”

Madison teased plans to wear “a big ball gown with lots of bling and lots of tulle,” while Tyler promised to be sporting his signature cowboy hat.

“With the logistics of TV, we’ve had to keep the engagement a secret, which made it hard to plan,” he told Us, noting that the “entire” Love on the Spectrum family will be invited to celebrate their big day.

Despite getting engaged, there are some milestones they are saving for after their wedding. The pair revealed to Us they are still living “down the road” from each other.

“We’re saving moving in together until we’re married,” Tyler noted, to which Madison replied, “We’re saving all that until marriage.”

While Madison and Taylor prepare to tie the knot, Connor Tomlinson made a different decision about his future when he chose to end his romance with Georgie Harris.

“It was my decision to end things. Georgie and I … this season was the longest time we spent with each other,” he told Us. “The more we did, the more we came to realize we’re just two different people. Good people, yes, but not each other’s people.”

He continued: “What she wanted, I couldn’t give her. What I wanted, she couldn’t give me. We both decided it was for the best.”

The exes have remained in touch, with Georgie reaching out for Connor’s birthday. Looking ahead, Connor is excited to meet his person, who he described as “understanding, kind, smart, sophisticated, talented and pretty.”

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Connor isn’t the only single star on the show — Logan Pereira is still looking for love after briefly finding a connection during season 4.

“I have been thinking about dating after that date,” Logan shared with Us. “I’m looking for somebody that has the same interest as me. Maybe somebody that likes model trains and somebody with really nice hair — even if it’s not curvy or straight. Also somebody that has the same connection with me and likes cheesecake and red velvet cake.”

Love on the Spectrum is currently streaming on Netflix.

Over the course of the 21st century, filmmakers around the world have been treating audiences to some of the greatest, most creative, and most original science fiction movies that the Seventh Art has ever seen. From time travel comedies to dramatic thrillers to massive superhero blockbusters, the 21st century’s greatest sci-fi films are about as close as cinema can possibly come to true perfection.

These films—some of them already considered classics, others guaranteed to achieve that status not too far into the future—display why science fiction has remained one of cinema’s most popular genres since the very beginning of the 20th century, even before cinema was considered an art form or even a storytelling medium. They’re exceptional masterpieces, proof that this is a genre that will never get old.

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‘Nirvanna the Band the Show the Movie’ (2025)

Image via NEON

Canadia’s national filmography is filled to the brim with excellent, often awfully underappreciated masterpieces. One of the country’s most recent international sensations is the brilliant Nirvanna the Band the Show the Movie, a legacy sequel of the web series Nirvana the Band the Show and the mockumentary sitcom Nirvanna the Band the Show.

Armed with only an RV, a bottle of Orbitz, and a flawless understanding of fair use laws, Matt Johnson and Jay McCarrol created a love letter to Toronto and late-2000s pop culture, a genius parody of Back to the Future, and one of the best sci-fi masterpieces of the last 15 years. Full of man-on-the-street-type moments bound to make anyone and everyone go “how the hell did they pull that off?”, Nirvanna the Band the Show the Movie has already joined the ranks of the greatest Canadian films ever made.

9

‘The Prestige’ (2006)

Image via Warner Bros. Pictures

No list of the best sci-fi anything of the 21st century could possibly be complete without at least mentioning Christopher Nolan, a man who has re-defined the genre and constantly set a new standard for all Hollywood blockbusters. Between Batman Begins and The Dark Knight, he made The Prestige, a sci-fi thriller that’s always been hugely acclaimed yet still somehow underrated.

It’s the perfect film for people who love thrillers packed with plot twists. A rousing tale of rivalry and revenge fueled by strong yet subtle steampunk elements, it’s undoubtedly one of Nolan’s greatest works. Christian Bale and Hugh Jackman‘s fantastic performances are the perfect foundation for this character-driven story, made all the more fascinating by one of the strongest endings in its director’s filmography.

8

‘Spider-Man: Across the Spider-Verse’ (2023)

Image via Sony Pictures Releasing

After Spider-Man: Into the Spider-Verse took the world by storm in 2018, expectations for its sequel rose sky-high. Somehow, Across the Spider-Verse managed to surpass those expectations and then some. It’s downright one of the most perfect movies of the last 5 years, simultaneously a love letter to the Spidey mythos and a nuanced study of the superhero genre as a whole.

Of course, it doesn’t hurt that the movie has the most impressive and jaw-dropping visuals of any animated film ever made. The excellent sound design and Daniel Pemberton‘s score definitely don’t hurt, either. In fact, almost everything about Across the Spider-Verse is pretty much perfect, making it a must-see for Marvel fans, Spidey fans, and virtually anyone who enjoys a well-made sci-fi film.

7

‘Interstellar’ (2014)

Image via Paramount Pictures

As if he still had anything to prove in regards to being one of the leading voices of Hollywood sci-fi going into 2014, Christopher Nolan decided to further enshrine himself in that title by making Interstellar. It’s one of the most perfectly-directed sci-fi epics ever made, but the main reason why it works as well as it does is that it is, first and foremost, a character-driven story about a girl and her father.

But though Interstellar is certainly most interested in its characters’ internal conflicts, it’s also a technically impressive epic that leaves nothing much to be desired. The visual effects, the performances, the sound design, the delectably long runtime, the best score of Hans Zimmer‘s career… What more could a diehard fan of sci-fi cinema possibly want from a movie?

6

‘Arrival’ (2016)

Image via Paramount Pictures

Denis Villeneuve was already a well-established filmmaker going into 2016, but the movie that established him as one of the most exciting voices in Hollywood sci-fi was Arrival. This is an alien invasion flick unlike any other, dealing with themes of language, communication, and memory with a deeply emotional story. By the time Arrival cuts to the credits, there won’t be a dry eye in the house.

Villeneuve’s direction is pretty much flawless, which makes it unsurprising that Arrival earned him his first Oscar nomination. It’s also one of the most perfectly-written sci-fi movies ever, with some enthralling character writing and a plot that keeps growing increasingly mind-bending as it goes on. It doesn’t feel like any other alien invasion film in history, and that uniqueness is enough to make it obligatory viewing for fans of the genre.

5

‘Everything Everywhere All At Once’ (2022)

Image via A24

There are Oscar winners that feel like frontrunners in the awards race since months before they even come out; but then, there are others which feel like they come out of the blue and end up sweeping. There’s no contemporary example more perfect than Everything Everywhere All At Once, a quirky and ambitious indie sci-fi action dramedy that ended up winning a whopping seven Academy Awards.

On paper, Everything Everywhere seems like it shouldn’t work. Its thematic breadth is enormous, its sense of humor is undeniably offbeat, and its elements of campy silliness are potent and abundant. But what soon proved to be one of the most chaotic movies of all time also proved to be one of the greatest sci-fi epics of the 21st century, a thrilling and beautifully touching tale about parenthood, love, aging, and everything bagels.

4

‘Children of Men’ (2006)

Image via Universal Pictures

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Mexican filmmaker Alfonso Cuarón is no stranger to genre cinema, but his strongest genre work happens to be in science fiction. Children of Men is a masterpiece, a dystopian action thriller that unfortunately underperformed at the box office, but has since become a cult classic so huge that it’s arguably more mainstream that it is cult by this point.

It’s one of the most thrilling movie masterpieces of all time, full of impressively shot sequences and permeated by a nail-biting atmosphere of suspense. Bleak though its tone may be, it’s also beautifully hopeful, celebrating faith and humanity’s resilience in the face of a crisis. Excellently performed and strikingly shot by frequent Cuarón collaborator Emmanuel Lubezki, it’s dystopian science fiction at its ver best.

3

‘Mad Max: Fury Road’ (2015)

Image via Warner Bros. Pictures

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After three decades away from the action genre and from the Mad Max franchise that he revolutionized low-budget Australian cinema with, George Miller made his triumphant return with Mad Max: Fury Road. This wasn’t just a return to form for the filmmaker, nor was it just the best installment in the franchise thus far: We’re talking about one of the most perfect sci-fi action movies of the 21st century.

The over-the-top world-building is a delight, the non-stop adrenaline shots that are all the action sequences (which comprise the vast majority of the film’s relentless runtime) are a blast, and the visuals prove that the sky’s the limit when Miller is given a proper budget. Exciting, emotionally compelling, and packed with some of the most memorable action scenes of the century, Fury Road is one for the cinematic history books.

2

‘Dune: Part Two’ (2024)

Image via Warner Bros. Pictures

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For the longest time, it seemed that it was simply impossible to turn Frank Herbert‘s world of Dune into a film franchise that lived up to the source material’s legacy. Along came Denis Villeneuve and proved that belief embarrassingly wrong. But while the Canadian director’s first Dune is already amazing enough, it’s Dune: Part Two that smashed every expectation any fan might have had going in.

It’s this generation’s The Empire Strikes Back, a stunning sci-fi franchise epic that expands the scope of its world tremendously and has the guts to conclude with an ending that’s nothing if not dark-toned. Just two years after its release, it can already be considered one of the best sci-fi movies of all time, one with virtually no flaws to talk about. Greig Fraser‘s stunning cinematography, Hans Zimmer’s haunting score, all the amazing performances, the flawless way in which Villeneuve and co-writer Jon Spaihts understand the essence of Herbert’s work, and—of course—Villeneuve’s hugely imaginative direction. There’s basically nothing not to love about this masterpiece.

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‘Eternal Sunshine of the Spotless Mind’ (2004)

Image via Focus Features

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By the time 2004 rolled in, Charlie Kaufman had already established himself as the greatest, most intelligent, and most talented screenwriter working in Hollywood. But as if any more proof were needed, he wrote what some may call the single greatest sci-fi screenplay ever written, Eternal Sunshine of the Spotless Mind, directed by Michel Gondry. The result? The most perfect science fiction movie of the 21st century thus far.

Rather than focusing on its sci-fi elements, Eternal Sunshine leverages them as tools to elevate its story about a crumbling relationship and the power of memories. It’s a raw, emotionally powerful, thematically hard-hitting exploration of the very concept of romantic love, concluding with one of the best endings of any sci-fi film from the 2000s. Many great sci-fi movies have been released since, but none quite as exceptional as this 21st-century masterpiece.

When XO, Kitty first released, fans were excited to watch one of the most bubbly and chaotic characters from To All the Boys I’ve Loved Before set off on her own romantic journey halfway across the world. But the spin-off was plagued with issues and disappointment, dulling the charm of Kitty Song Covey (Anna Cathcart), to no fault of Cathcart herself. Season 2, however, subtly branched away from contrived storylines and romantic tropes, fleshing out its characters and tone so much that it seemed to finally be paving its own identity. Season 3, however, has fallen right back into all the show’s old traps.

Kitty is embarking on her final adventure at KISS: senior year. She’s dealt with the heartache of losing her first love (over miscommunication, no less), navigated the nuances of her sexuality, fallen for the cold, rich, secretly-sweet boy, and has reconnected with her heritage in the most heartwarming ways. In Season 3, the show’s focus shifts to the future, where Kitty is adamant about savoring senior year but is forced to think about college plans or whether she and Min-ho (Sang Heon Lee) could become a real couple. But with Kitty, nothing is straightforward.

‘XO, Kitty’ Season 3’s Central Romance Hits the Same Old Roadblocks

Gone are the days of love triangles (for Kitty, at least), as this season’s central romance is between her and Min-ho, giving the show plenty of space and potential to do something exciting, sweet, or complex with the arc. However, XO, Kitty can’t seem to let go of the poorly-used miscommunication trope, where any of the pair’s problems could be cleared up with a single conversation, one that is constantly delayed by phone calls or interruptions. It makes the first half of the season drag along at a dull pace, and the finale feels far less satisfying than it could’ve been. There are a couple of episodes in the middle of the season that capture interest, but that’s because they focus less on the problems between Kitty and Min-ho, and more on their individual insecurities.

Apart from the fact that XO, Kitty is supposed to be a romance show, the real crime in failing the central couple is how Min-ho is written. The show gives him the same treatment as Dae (Choi Min-yeong) in Season 1, where, in shaping the perfect love interest, any character flaws that made Min-ho interesting and beloved are smoothed out into a blank slate. Where Dae was passive, Min-ho is now a mannequin. This is no slight to Lee’s performance, who does what he can under the constraints of the newly bland character, but Min-ho goes from a scene-stealer in Season 1 to a mere accessory in Season 3.

‘XO, Kitty’ Season 3 Is Strongest as a Coming-of-Age Tale

Where XO, Kitty Season 3 finds its wins are on the sidelines, among the supporting cast who tend to have storylines that outshine the central character. In particular, Yuri (Gia Kim) is navigating the fallout from the lawsuit against her family, and Kim portrays the complexity of finding one’s new identity without the crutch of wealth in a wonderfully compelling way. Meanwhile, Q (Anthony Keyvan) is wrapped up in his own messy situation that becomes the beacon in the first half of the season, the reason we stick with the show until the more well-rounded episodes come along. This season also introduces us to Gigi (Christine Heesun Hwang), a character who adds some much-needed spark to the show.

Although the chemistry between Kitty and Min-ho is diminished this season, by the halfway mark, their individual stories actually garner some interest. One thing we can applaud XO, Kitty for is how Cathcart represents turning points in Kitty’s character development. There are scenes after Episode 4 that quickly elicit sympathy thanks to Cathcart’s performance, as Kitty is always ready to admit mistakes on her part and welcomes growth. On the other hand, Min-ho has a handful of scenes of interest when he is worried about his relationship with his father. Hints of his former self emerge here, but in a more vulnerable form that rounds off his personal character arc.

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As a coming-of-age tale between friends, XO, Kitty is a feel-good show, even if the romance is contrived, and the storylines are repetitive and nonsensical at times. Teenagers are supposed to be messy, dramatic, and have room to grow, which is where the show succeeds — there just needs to be an internal logic to the chaos. It’s also a pity that Season 3 didn’t involve more of the adults who delivered some of the stronger storylines in Season 2. There was only one of substance this season that involved Kitty’s cousin Jiwon (Hojo Shin), which develops into something beautifully moving in the later episodes.

‘XO, Kitty’ Season 3 Once Again Relies Heavily on ‘To All the Boys’ Nostalgia

Image via Netflix

Like always, XO, Kitty never quite lets go of its roots to To All the Boys I’ve Loved Before and heavily relies on nostalgia at times. Last season, Peter (Noah Centineo) made a special appearance, and this time, Lara Jean (Lana Condor) returns to the story. On the surface, inviting Condor to the show seems like an easy way to play on fans’ nostalgia, but it arguably works better this season than it did before. Family and sisterhood have always been an endearing undercurrent in the franchise, and XO, Kitty Season 3 is no exception. That being said, these scenes make it a tad more glaring that the aspects of the show without nostalgia are losing the identity it managed to form in Season 2.

It’s a shame that XO, Kitty didn’t manage to maintain the momentum created in Season 2, and instead returns to the formulaic, forced nature of Season 1. The comparatively strongest parts of the show are rarely the romances or the chemistry, and instead live between the friendships and the personal growth of the supporting cast. As Kitty finishes off her senior year at KISS, it’s a bittersweet moment that leaves us longing for a more memorable final year in Seoul.

XO, Kitty Season 3 is now streaming on Netflix.

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Release Date

May 18, 2023

Network

Netflix

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Showrunner

Jenny Han

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Directors

Jennifer Arnold, Katina Medina Mora, Anna Mastro, Jeff Chan, Steven K. Tsuchida, Pamela Romanowsky, Sherwin Shilati

Writers

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Jessica O’Toole, Sarah Choi, Alanna Bennett, Hanna Stanbridge, Chris Martin, Emily Kim, Siobhan Vivian

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  Anna Cathcart

  Katherine ‘Kitty’ Song Covey

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Pros & Cons

• The supporting cast have storylines to fuel interest throughout Season 3.

• The central romance loses its charm along with Min-ho’s vitality.
• Season 3 doesn’t pick up until the second half, then loses momentum at the end.
• The storylines remain nonsensical and are difficult to invest in.