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Almost a decade later, “Star Wars” used a similar array of special effects to cultivate more weightless sensations. The film’s grandeur was undeniable, and so was its gravitas: It was an epic punctuated with a question mark.
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Following the pulp fictions of the ’50s, if there was one movie that represented a great leap forward for cinematic science fiction, it was Stanley Kubrick’s epically scaled, narratively opaque 1968 film “2001: A Space Odyssey,” which not only featured a massive, mysterious monolith but also came to resemble one in the eyes of critics and audiences alike. Whether the summer of ’82 represented the gentrification of cinematic sci-fior its artistic apex, the genre’s synthesis of spectacle and sociology had been underway for some time. How could five such indelible movies arrive at the same time? Whether giving a dated prime-time space opera new panache or recasting 1940s noir in postmodernist monochrome, the filmmakers (and special-effects technicians) of the summer of ’82 created a sublime season of sci-fi that looks, 40 years later, like the primal scene for many Hollywood blockbusters being made - or remade and remodeled - today. The range of tones and styles on display was remarkable, from family-friendly fantasy to gory horror. Not all of these movies were created equal artistically, but taken together, they made a compelling case for the increasing thematic flexibility of their genre. On July 9, Disney’s technologically groundbreaking “Tron,” set in a virtual universe of video-game software, completed the quintet. June 25 brought the competing releases of Ridley Scott’s ambitious tech-noir thriller “Blade Runner” and John Carpenter’s R-rated remake of “The Thing,” visions several shades darker than “E.T.” both flopped as a prelude to their future cult devotion. Seven days later, Steven Spielberg’s “E.T.: The Extra-Terrestrial” debuted to $11 million but proved to have stubby, little box office legs, eventually grossing more than half a billion dollars worldwide. After its June 4, 1982, opening, “Star Trek II: The Wrath of Khan,” set an unexpected record by grossing about $14 million on its first weekend. The peak of this trajectory came in the summer of 1982, in which five authentic genre classics premiered within a one-month span. The final lines of movie were prescient about the rise of the American science-fiction film, out of the B-movie trenches in the 1950s and into the firmament of the industry’s A-list several decades later. This plea for eagle-eyed vigilance suited the postwar era of Pax Americana, in which economic prosperity was leveraged against a creeping paranoia - of threats coming from above or within.