Review: Independence Day (dir. by Roland Emmerich)

Posted on July 4, 2026 by Arleigh

“We will not go quietly into the night! We will not vanish without a fight! We’re going to live on! We’re going to survive! Today, we celebrate our Independence Day!” — President Whitmore

If you were around in the summer of 1996, you already know exactly where you were when you first saw the trailer for Independence Day. There was this massive shadow creeping over the moon, followed by that terrifying, booming sound effect, and then the White House just absolutely getting vaporized by a giant laser beam. It was a cultural moment. Director Roland Emmerich hadn’t really made his mark on Hollywood yet, but with this one movie, he essentially invented the modern summer blockbuster template of destroying famous global landmarks. Looking back at Independence Day almost three decades later, it is honestly wild how well this movie holds up, not as a piece of high art, but as a perfectly calibrated, ridiculously entertaining popcorn machine.

The premise is beautifully simple: massive alien spaceships suddenly appear over Earth’s major cities, they don’t come in peace, and humanity has to figure out how to fight back before we go the way of the dinosaurs. What makes the first act of the movie so effective is the slow build. Emmerich doesn’t just start with explosions; he lets the dread simmer. We see the massive ship hover over New York City, casting a shadow that blocks out the sun, and the sheer scale of the thing is awe-inspiring. Then, when the ships finally initiate their attack sequence, the payoff is spectacular. The practical effects combined with early CGI create these massive, rolling walls of fire that tear through iconic buildings. It is destructive poetry, and as a kid watching it, it was the most incredible thing I had ever seen. Even now, the destruction feels heavy and tactile in a way that modern, entirely computer-generated action sequences often don’t.

But a movie is only as good as its characters, and Independence Day has arguably one of the greatest ensemble casts of the 1990s. You have Will Smith playing Captain Steven Hiller, a fighter pilot who is desperately trying to get promoted while also dealing with his girlfriend, her son, and their dog. Smith is at the absolute peak of his early movie star charm here, delivering some of the most quotable one-liners in action movie history. Punching an alien in the face and yelling “Welcome to Earth!” is the kind of ridiculous machismo that only Smith could pull off without making you cringe. Then you have Jeff Goldblum as David Levinson, an MIT-educated cable repairman and environmentalist who figures out the alien signal is a countdown. Goldblum is basically doing his classic Goldblum thing—stuttering, eccentric, highly caffeinated—but it works perfectly because he serves as the perfect foil to Smith’s brute physicality.

The supporting cast is so deep that it feels like an Ocean’s Eleven of sci-fi tropes. Bill Pullman plays President Thomas J. Whitmore, and he gives the role an earnestness that elevates the material. He’s not an action hero; he’s a former fighter pilot who is clearly in over his head but steps up when his people need him most. You also have Judd Hirsch as Goldblum’s cranky, kvetching father, providing fantastic comic relief. Randy Quaid plays Russell Casse, a traumatized former pilot who was abducted by aliens years ago and is written off as a drunk by his small town, giving the movie an underdog storyline. And you can’t forget Brent Spiner as Dr. Okun, the wildly eccentric Area 51 scientist who gets way too excited about the alien biology. Every single one of these actors is fully committed to the bit, no matter how absurd the situation gets.

Now, if we are being completely honest, we have to talk about the plot, which is essentially held together with scotch tape and sheer willpower. The entire third act revolves around Goldblum and Smith flying a captured alien spacecraft up to the mothership to upload a computer virus using a 1996 Apple PowerBook. Yes, an Earth laptop somehow interfaces perfectly with an advanced extraterrestrial operating system, and yes, the aliens apparently don’t have McAfee, Norton or any kind of firewall to prevent a rudimentary human virus from crippling their entire defense grid. It is monumentally stupid if you think about it for even five seconds. But the secret to Independence Day is that it moves so fast and has so much momentum that you simply do not have time to care. The movie dares you to roll your eyes, but then it immediately distracts you with another massive explosion or a great quip from Will Smith, and you just go along for the ride.

The climax of the movie is a masterclass in cheesy, triumphant blockbuster filmmaking. Before the final aerial assault on the alien ships, President Whitmore gives a speech to the troops that has become completely ingrained in pop culture. “Today we celebrate our Independence Day!” he yells, and it is so incredibly corny, but I challenge you not to get at least a little bit pumped up when the music swells. The dogfight that follows is chaotic and thrilling, culminating in Randy Quaid’s character making the ultimate sacrifice by flying his jet directly into the alien weapon. It is exactly the kind of melodramatic, heroic moment that Emmerich excels at, and it hits the emotional beats it needs to hit, even if you saw it coming from a mile away.

You also have to appreciate how unapologetically intense the movie feels despite skating by with a PG-13 rating. People get vaporized, cities are leveled, and there is a genuine sense of apocalyptic dread that permeates the middle of the film. When the aliens first attack, Emmerich actually takes the time to show the aftermath, including cars blowing up in tunnels and people desperately trying to outrun the fireballs. Harvey Fierstein’s character dramatically dying while just sitting in his car, rolling up the window as if that’s going to stop a giant wall of alien fire, is a weirdly specific, dark comedy beat that you rarely see nowadays. The movie has real stakes, and you genuinely feel like humanity is on the brink of extinction.

It is crazy to think about the legacy of Independence Day and how it changed Hollywood. Before this, disaster movies were mostly relegated to B-movie status or Irwin Allen productions from the 1970s. Emmerich proved that you could blend disaster spectacle with sci-fi action and make an absolute fortune. This movie paved the way for Armageddon, Godzilla, The Day After Tomorrow, and essentially the entire concept of the modern cinematic destruction porn genre. They did eventually make a sequel, Independence Day: Resurgence, in 2016, but it completely missed the point of the original. It was too slick, too reliant on weightless CGI, and it lacked the ragtag, underdog charm that made the first one so special.

At the end of the day, Independence Day is just pure, unadulterated cinema comfort food. It does not demand anything from you as a viewer other than to sit back, suspend your disbelief, and enjoy the fireworks. It captures a very specific mid-90s vibe where movies could be big, dumb, loud, and incredibly fun without taking themselves too seriously. Roland Emmerich has directed a lot of movies since then where he has destroyed the world in various different ways, but he has never quite managed to capture the lightning in a bottle that he did here. Whenever the Fourth of July rolls around, or whenever you just need a reliable, edge-of-your-seat action movie to kill a couple of hours, Independence Day is always there, waiting to welcome you to Earth one more time.

Lifetime Film Review: Danger on Party Island (dir by Danny J. Boyle)

Posted on July 4, 2026 by Lisa Marie Bowman

My best friend Evelyn and I have a long-standing pact. If either one of us dies mysteriously or suddenly disappears, the surviving friend will investigate the crime and bring those responsible to justice.

It’s the type of pact that you make when you realize how much your best friend actually means to you. Fortunately, I’ve never had to keep up my end of the pact because nothing has happened to my best friend. The truth of the matter is that it seems like it would actually be very difficult to independently solve a crime. I know that a lot of people thought that Michelle McNamara did that when she investigated the Golden State Killer but, if you actually read I’ll Be Gone In The Dark and then research the actual facts of the case, you can’t help but notice that all of McNamara’s theories were wrong. It’s not easy investigating a crime without a crime lab or a search warrant or the power to arrest people. There’s a reason why most crimes are solved by detectives and not by well-meaning civilians. Add to that, with my ADHD, there’s no way I’d be able to keep track of whatever clues I did find. Seriously, I fear that I would be useless in that situation.

If only life were a Lifetime movie!

In 2o24’s Danger of Party Island, Mel Dale (Lindsey Dresbach) is a lawyer who is stunned to learn that her carefree sister, Georgia (Andrea Prevatt), has apparently washed up dead on the island of Fang Key. While her anxious mother waits for word in the States, Mel heads down to Fang Key and tries to figure what could have led to her sister’s death. The local police suggests that Georgia was on drugs and trying to cliff dive. Mel says that Georgia never drank or used drugs. (Why would you go to a “party island” if you didn’t drink or use drugs?) The police say that Mel should just go home and let them handle it. Mel says that she has to discover the truth. The police mention that Georgia’s best friend is missing too. Around this time, Mel finally figures out that the police aren’t going to be much help.

Mel’s investigation leads her to darkest corners of a party island. She befriends hunky club owner Jever (James Bobo), despite everyone telling her that Jever is actually bad news. She comes to suspect that Georgia might not even be dead. This suspicion seems to be confirmed when Georgia suddenly starts posting cheerful videos to her social media accounts. Again, everyone tells Mel that she should just go home but Mel is convinced that someone is holding Georgia against her will. Meanwhile, Mel and Georgia’s mother keeps threatening to come to the island and take over the investigation herself.

The cool thing about Danger on Party Island is that all Mel really needs to launch an investigation is a lap top and a good search engine. That certainly gave me some hope because, if I ever do have to solve a crime, I know all of the best search engines. The other good thing about Danger on Party Island is that the island was really pretty. This was a film where the plot was so-so but the scenery was lovely. Director Danny J. Boyle did a good job of contrasting the beauty of the island with the darkness of some of the things going in the shadows.

I just wish that the film had been a little bit more fun. This is a film that did indeed embrace the melodrama but I still found myself wishing that it had embraced it even more. Instead, the film’s big finale felt anti-climatic and things just never got as over-the-top as they should have. Danger On Party Island had a beautiful island but it still needed to be more of a party.

In the end, this Lifetime film held my attention. It didn’t quite live up to the melodramatic promise of its name but at least it suggested that solving a crime isn’t as hard as it looks.

I can only hope!

April Morning (1988, directed by Delbert Mann)

Posted on July 4, 2026 by Jedadiah Leland

Adam Cooper (Chad Lowe) is a teenager growing up in Colonial Massachusetts. His father, Moses Cooper (Tommy Lee Jones), is a stern man who believes that rights come from men and not God and who, despite believing in negotiating instead of fighting, is willing to take arms against the British if necessary. Adam has a pretty girlfriend (Meredith Salenger) and tries to please both his religious mother (Susan Blakely) and his agnostic father. When Paul Revere makes his famous ride, both Adam and Moses are thrust into the Battle of Lexington and, over the course of one long night, Adam is forced to grow up and become the man of the house.

Based on the classic novel by Howard Fast, April Morning was made for television and first aired in 1988. The novel and the movie provide a look at the American Revolution through the eyes of the people who actually fought in the battles. The movie emphasizes the coming-of-age aspect of Fast’s novel and downplays the political subtext. The novel presented a much more complex view of both war and religion while the film definitely simplifies things. Chad Lowe comes across as being too contemporary to be totally believable as someone growing up in the 1700s but Tommy Lee Jones is the perfect choice for Moses Cooper and, even though her role is small, Meredith Salenger once again demonstrates that she was one of the best young actresses of the era. In the film, Rip Torn plays the man who fires the first shot of the battle and it’s hard to think of a better actor for the role.

At its best, the movie recreates the confusion of being in battle. Even though the Battle of Lexington was the start of the American Revolution and April 19th, 1776 was one of the most important dates in American history, Adam Cooper just wants to survive the night so that he can return home. War may sometimes be necessary but it’s never easy.

Icarus File No. 30: Here (dir by Robert Zemeckis)

Posted on July 4, 2026 by Lisa Marie Bowman

I really wanted to like Here.

Released in 2024, Here is the type of movie that I usually would like. It’s ambitious. It’s experimental. It’s about history and how certain patterns will always repeat themselves no matter what. It features Tom Hanks and Paul Bettany, two of my favorite actors. Also, unlike a lot of people, I haven’t turned on Robert Zemeckis. For the most part, I usually enjoy his movies, including the more recent ones. (Of course, when I say more recent, I’m thinking of The Walk, which came out eleven years ago. But still….)

Here has an intriguing concept. Over the course of 104 minutes, Here covers several thousand years of history. The stationary camera focuses on a single plot of land, which goes from being an area dominated by dinosaurs to being the road outside of Colonial Governor William Franklin’s house during the American Revolution to eventually becoming the living room of a house that is occupied by several different families. The story plays out in a nonlinear fashion with the marriage of Richard and Margaret Young (played by Tom Hanks and Robin Wright) ultimately dominating the narrative. We watch as people fall in love, sometimes fall out of love, and eventually die. With the exception of one key moment, the camera never moves. Instead, we watch as life plays out in front of the camera and it’s often left to our imagination as to what’s happening on the other side of the lens. When Margaret, at one point, complains about how she can’t stand to keep looking at the same couch day-after-day, we know exactly how she feels.

As I said, I really wanted to like this movie but, unfortunately, it just fell flat. We meet a lot of characters but no one really feels human. Instead, all of the dialogue and the action has the shallow snappiness of an old sitcom. It’s easy to imagine this film being aired with a laugh track and an audience going, “Awwww!” after every emotional moment. As a result, watching Here feels less like witnessing history unfold and more like flipping around the nostalgia channels and trying to pick which old sitcom you want to watch. Do you want to watch the show about Ben Franklin not liking his son or the show that features Paul Bettany as a veteran dealing with PSTD? Do you want a show about a pilot who dies during the Spanish Flu epidemic or about a masked-up husband during the COVID lockdowns? One of the film’s final scenes features a character who is suffering from Alzheimer’s visiting the house and suddenly announcing that they remember everything about living there. It’s a moment that is meant to be heartfelt but, instead, it feels insulting to anyone who has ever taken care of a loved one with dementia. Alzheimer’s is never cutesy, regardless of what the movies may tell us. In the end, very little of the film’s vision of humanity feels authentic.

The other big problem is that the film occasionally uses digital de-aging to try to convince us that Tom Hanks and Robin Wright are both teenagers and it just doesn’t work. Hanks is playing Paul Bettany’s son but, whenever the two actors appear at the same time, it’s obvious that Hanks is considerably older than his screen father. Unlike The Irishman, which had a strong story and enough good performances to convince the viewer to suspend their disbelief and accept the imperfect de-aging technology, the de-aging in Here just emphasizes how inauthentic the film’s story feels.

As I said earlier, this film had potential but, unfortunately, most of that potential goes unrealized.

And that really is a shame.

Previous Icarus Files:

Film Review: The Patriot (dir by Roland Emmerich)

Posted on July 4, 2026 by Lisa Marie Bowman

First released in the year 2000, The Patriot stars Mel Gibson (back before the arrests and scandals) as Benjamin Martin.

Benjamin Martin is a planter living in colonial-era South Carolina. When he was younger, he fought in the French/Indian War and was infamous for his ferocity as a combatant. However, in the year 1776, he is devoted to working the land and peacefully caring for his children. When, as a member of the South Carolina General Assembly, he is called upon to cast a vote for or against independence, he abstains. He’s no fan of the British but he’s also seen the harsh reality of war and doesn’t want his sons to have any part of it. However, the Assembly still votes for Independence and Martin’s oldest son, Gabriel (Heath Ledger), is among the first to enlist in the army.

Four years later, the British come to the Martin farm and demand that Benjamin had over a wounded Gabriel to them. When Benjamin resists, the arrogant Col. Tavington (Jason Isaacs) kills one of Benjamin’s other sons. After Tavington has Gabriel arrested, Benjamin and two of his remaining sons track down the British convoy transporting him. While his two youngest sons look on in horror, Benjamin savagely shoots and hacks to death all of the British soldiers and rescues Gabriel.

The Patriot may be a film about the American Revolution but it’s also definitely a Mel Gibson film. That means that Benjamin is man driven as much be revenge as by a desire to win his country’s independence. The British killed his son and burned down his house. Benjamin responds by grabbing his musket and packing his axe and soon, it’s more common than not to see Benjamin covered in blood. Benjamin attacks like a feral beast who is determined to dominate anyone and anything that would invade his territory. Two of his sons go from being honored to be asked to come along to being terrified at the sight of their father murdering soldier after soldier. It’s probably the most emotionally honest moment you’ll ever find in a Roland Emmerich film. Of course, whether Emmerich meant for it to be so is open to debate.

And indeed, it should be noted that The Patriot is very much a Roland Emmerich film. The running time is an epic 165 minutes. The battle scenes are long and loud and carefully choreographed. Gibson was still rugged and handsome when he played Benjamin Martin. (Both before his downfall and after, Gibson has always been best cast as people who just want to be left alone and who finally snap once it becomes obvious that’s not going to happen.) Heath Ledger almost appears beatific in his scenes. The film looks great without ever quite looking authentic. It’s like a fever dream that is less about how the American Revolution was actually fought and more about how we imagine it was fought.

And you know what?

The film works for me. This is one of Emmerich’s best films, which admittedly is not a high bar to clear. Yes, it’s a bit simplistic. Yes, it’s not historically accurate. Yes, all of the British are portrayed as being one-dimensional villains. Who cares? Whether he realizes it or not, Roland Emmerich has always been a B-movie maker at heart and The Patriot is effective in much the same way that many crude but shameless B-movies are. The mix of Mel Gibson’s madness, Heath Ledger’s beatific earnestness, and Jason Isaac’s arrogance transforms The Patriot into a triumph of the pulp imagination. Much like America itself, The Patriot is big and loud and it makes absolutely no apologies.

We Watched When Sparks Fly (2014, Dir. by Gary Yates)

Posted on July 4, 2026 by Dazzling Erin

Growing in the small town of Lakeview, Amy Petersen (Meghan Markle, before she became a part of the Royal Family) helped her family run their fireworks store. She also fell in love with Hank (Christopher Jacot). But she left Hank and her family so that she could go to the big city and try to be a big time print journalist. Now, she’s dating Phil (Lochlyn Munro), who always wears a suit and likes to dine at exclusive French restaurants.

When her editor finds out that Amy is an expert in fireworks, he tells her to go back home for the 4th of July and to write a story about it. Amy’s family is struggling to keep the fireworks business going and when the town announces that it won’t be able to put on a fireworks show on the 4th, it looks like the business is going to close unless Amy can come up with a way to save the day. Amy has another reason for returning to Lakeview. Her best friend Sammie (Kristina Pesic) is getting married and Amy is going to the maid of honor! The only problem is that Sammie is marrying Hank and, as soon as she sees him, Amy starts to wonder if she made the right decision leaving home.

This is a Hallmark film so you already know everything that is going to happen. I watched this movie with my sisters and we spent the entire time wondering when they were finally going to get to the fireworks. It takes nearly the entire movie to reach the 4th and then it ends before the fireworks show even really got going. I was disappointed. I really wanted to watch the sky light up.

I know what you really want to know, though. How was the performance of the Duchess of Sussex? It’s hard to really Meghan Markle’s performance because Amy isn’t that likable of a character. It’s hard to really cheer for someone who would ruin their best friend’s wedding just because they dated the groom in high school. Everyone in the film is very forgiving of Amy, no matter how self-asborbed she is. Even Phil is strangely unbothered by her being in love with someone else. Almost the entire film is just Amy and Hank being the two most self-centered people in the world and no one holding it against them. As for Meghan Markle’s performance, the best description that I can come up with is boring.

I was disappointed with When Sparks Fly. At least I know that, later tonight, I’ll get to watch a full fireworks show.

Guilty Pleasure #121: The Angry Red Planet (dir by Ib Melchior)

Posted on July 4, 2026 by Lisa Marie Bowman

1960’s The Angry Red Planet opens with the return of the first manned space flight to Mars. When the rocketship reaches Earth, NASA is stunned to discover that only two members of the crew — Iris “Irish” Ryan (Naura Hayden) and Colonel Thomas O’Bannion (Gerald Mohr) — are still alive and that O’Bannion seems to have been infected by an intergalactic fungus of some some sort. Iris tells the story about what happened during their fateful trip to Mars.

I always enjoy the cheap science fiction films of the 50s and 60s, especially the ones that were made before America even conquered the Moon or really even went into space. Not having anything to really guide their vision of space travel, these films almost always trotted out the old war movie stereotypes and dressed them in a shiny space suit. In The Angry Red Planet, there’s gravity in space and Prof. Theodore Gettell (Les Termayne) smokes a pipe on the ship. Warrant Officer Sam Jacobs (Jack Kruschen, who, the same year this film came out, gave an Oscar-nominated performance in The Apartment) reads comic books and wonders if there will be any life on Mars. Meanwhile, O’Bannion flirts outrageously with Iris and everyone drinks coffee.

The film starts out as a standard low budget sic-fi flick, complete with sexist humor and scientific gobbledeegook, but things pick up once the crew actually reaches Mars. Of course, the Mars that they find has plant life and looks absolutely nothing like the Mars that we all know and love. That’s a part of the film’s charm. Whenever the crew leaves their rocket and explores the Martian landscape, the film suddenly becomes red-tinted. The tinting works far better than it really has any right to. That said, I did look away from the screen a few times. My eyesight is already bad enough without burning it up by watching a tinted movie.

The highlight of the film is…. well, sometimes it’s better just to let the visuals do the talking.

As soon as this fellow showed up, I knew that I was watching some sort of classic.

The Angry Red Planet is a thoroughly silly and implausible movie but, like most guilty pleasures, it’s also a lot of fun. It’s one of the least accurate science fiction films ever made and I love it.

Previous Guilty Pleasures

The Eric Roberts Collection: Stand Your Ground (dir by Fansu Njie)

Posted on July 3, 2026 by Lisa Marie Bowman

In 2025’s Stand Your Ground, Eric Roberts plays the role of Earl.

When we first meet Earl, he’s an alcoholic who lives in an RV that is parked near the childhood home of former Special Forces operative Jack Johnson (Daniel Stisen). Jack was born in Norway but grew up in the United States. That’s enough to make him and his pregnant wife the target of the local xenophobe, Bastion (Peter Stormare). When Bastion’s sons attack Jack’s house, they kill his wife. Jack kills one of the sons but, because the killing occurred outside of the house, the state’s stand your ground law does not apply to Jack and Jack is sent to prison for six years.

When Jack gets out of prison, he wants revenge. But first, he gets caught up with Earl. Earl, who tried to warn Jack on the night of the attack, is still living in the RV but, otherwise, he’s turned his life around. He’s sober and he’s a member of law enforcement!

The film follows a familiar path. Jack goes out for revenge. There’s a lot of gun battles, one of which is impressively staged. For the most part, though, it’s pretty forgettable and, with a 100 minute run time, almost painfully slow. Daniel Stisen is a Norwegian bodybuilder who can’t act and Peter Stormare is a Swedish character actor who can act but who apparently didn’t feel like doing so for this movie. (Listen, I don’t blame him. He showed up and he lent his Fargo/Armageddon cred to the film. As far as I’m concerned, he earned that paycheck.) The whole movie is pretty dumb.

But, here’s the good thing! Eric Roberts actually gets to do stuff in this movie. He’s in multiple scenes. He talks to the other characters. He actually stands up a few times. (You can always tell when Roberts is actually invested in one of his cameos because he’ll stand up and deliver his lines instead of just sitting behind a desk.) Roberts doesn’t have a big role in this film but he still does a little bit more than usual.

Stand Your Ground may not be good but still …. all hail Earl! And all hail Eric Roberts for continuing to hold the record for the most screen credits for an American actor. 700 roles and counting!

Previous Eric Roberts Films That We Have Reviewed:

Mission Galactica: The Cylon Attack (1979, directed by Vince Edwards and Christian Nyby II)

Posted on July 3, 2026 by Jedadiah Leland

While on a routine scouting patrol, Starbuck (Dirk Benedict) and Apollo (Richard Hatch) are captured, not by Cylons but instead by the crew of the Battlestar Pegasus. The Pegasus and its legendary commander, Cain (Lloyd Bridges), were assumed to have been lost during the Cylon sneak attack but instead, Cain survived and the Pegasus has been in deep space ever since, waging his own war against the Cylons. At first, both Cain and Adama (Lorne Greene) are both happy to discover that the other is still alive. But it turns out that Adama and Cain both have very different plans and visions for the future. Adama wants to steal fuel from a nearby Cylon base so that he and his fleet can continue their journey to Earth. Cain wants to launch a full-out attack on the Cylons and he expects the Galactica to help him. Though they both share the same enemy, the crews of the Galactica and Pegasus find themselves divided over which commander to follow. Is it better to go down fighting or to survive to find a new home?

Sold overseas as a sequel to the first Battlestar Galactica feature film (which itself was just an edited version of the show’s pilot), Mission Galactica was cobbled together from three episodes of the television series. Because the TV show was expensive to produce and not the ratings hit that NBC was expecting, the show’s producer, Glen Larson, was asked to edit several episodes together so that they could be released as movies in Europe and Asia. Larson took a two-part episode featuring Commander Cain and added some scenes from an unrelated episode that featured an injured Apollo undergoing surgery while a fire raged in the Galactica. All things considered, Larson did a good job of cleanly assembling the movie without making it too obvious that it was stitched together out of three episodes, though some of the best parts of Cain’s storyline did get left on the cutting room floor.

How does Mission Galactica work as a movie? Even though it opens with a voice-over narration explaining the Cylon attack and the Galactica’s mission to find Earth, I imagine that someone watching this with no previous knowledge of the show would be lost. As well, it’s obvious that the special effects were designed with the small screen of television in mind. However, Lloyd Bridges transcends the script’s limitations as the charismatic but obsessive Command Cain. This is actually one of Bridges’s best performances and his scenes with Lorne Greene work surprisingly well. They’re both believable as two proud commanders who are both convinced that they’re doing the right thing. The rest of the cast is adequate. I’ve always liked Dirk Benedict’s performance as Starbuck, even if he was essentially just playing a variation on Han Solo. For all of its flaws as a series, Battlestar Galactica usually did a good job of capturing the vastness of space and the epic scope of Galactica’s journey and that’s the case here. Mission Galactica doesn’t escape its television origins but, for fans of the series, it’s an enjoyable space opera.

In the end, I recommend watching the original episodes that were used for this movie — Parts One and Two of The Living Legend and Fire In Space. The Living Legend was the original Battlestar Galactica at its best.

Battlestar Galactica (1978, directed by Richard A. Colla and Alan J. Levi)

Posted on July 3, 2026 by Jedadiah Leland

In a distant galaxy, the humans and the robotic Cylons have been at war for a thousand years. Due to the diplomacy of Count Baltar (John Colicos), it appears that a peace agreement has finally been reached. On their homeworld, President Adar (Lew Ayres) and the leaders of humanity prepare to welcome to the Cylons to a signing ceremony. Amongst the commanders of the fleet of ships that orbit and defend the homeworld, only Commander Adama (Lorne Greene) fears that the Cylons may be plotting a sneak attack.

Adama turns out to be correct. Baldar betrays humanity and the Cylons launch a sudden attack, wiping out the human leadership and almost the entire fleet of Battlestars. Only Adama’s Galactica survives. After picking up the refugees who survived the attack, the Galactica sets out to find a legendary planet that might be home to more humans. With the Cylons pursuing and brave men like Starbuck (Dirk Benedict) and Adama’s son, Apollo (Richard Hatch), fighting to protect the last of the human refugees, the Galactica searches for Earth.

With Star Wars still a cultural phenomenon in 1978, it made sense that a television network like ABC would greenlight a science fiction series. When producer Glen A. Larson pitched the idea for Battlestar Galactica, ABC was eager to move forward with it. However, when the pilot cost $8,000,000 to produce (which was then a record-setting amount for a television show), ABC decided to recoup their costs by releasing an edited version of the pilot in theaters. In Canada and the United States, the “film” hit theaters before it was subsequently aired on television. The film was then later released in Europe, where it was a huge hit.

In fact, it was such a hit that 20th Century Fox sued Universal Studios, claiming that Battlestar Galactica stole the majority of its ideas from Star Wars. Universal responded by filing a countersuit, claiming that Star Wars stole the majority of its ideas from Flash Gordon. The case was eventually settled in 1983, long after the original Battlestar Galactica television series had been canceled.

And while that is all very interesting, it doesn’t answer the question that is probably on your mind right now. Is the edited theatrical release of the Battlestar Galactica pilot any good?

Yes and no. The first part of the movie, which deals with the Cylon sneak attack and Starbuck and Apollo rescuing the human refugees is an excellent work of science fiction, a space opera that can stand up with the best of them. Even after all this time, the special effects are still effective as is Lorne Greene’s authoritative performance as Adama. Richard Hatch and Dirk Benedict are also strong as the two main fighter pilots, even if both of them are obviously meant to be television versions of Luke Skywalker and Han Solo. (Benedict’s Starbuck was the coolest character on Battlestar Galactica. He was the best pilot, he was the best poker player, and he even smoked a cigar.) The Cylons are chilling victims and the pilot even features some effective human drama along with all of the space battles. After the Cylon attack, the story follows the Galactica as it makes a stop on a planet that’s also a casino that’s being run by untrustworthy space insects. That part betrays the film’s television origins and feels like one of those episodes of Dr. Who that people try to forget. The pilot features everything that made Battlestar Galactica work but, unfortunately, it also features everything that didn’t work.

Watching it today, though, it’s impossible not to feel the welcome pull of nostalgia. In a time of cynicism, the pure idealism of Battlestar Galactica and its quest for Earth provides a nice and needed relief. To quote Commander Adama:

“Fleeing from the Cylon tyranny, the last battlestar, Galactica, leads a ragtag fugitive fleet on a lonely quest… a shining planet known as Earth.”