Interlocking, futuristic, science fiction tales about space, technology, and family that take place in different dimensions and times.

“Interlocking, futuristic, science fiction tales ” reads the blurb. Science fiction these five shorts may be, but many of them are hardly futuristic and they are in no way interlocking. 5 Galaxies is a repackaging of 4 pre-existing shorts previously released as A.I. Tales, plus one new one, arranged in chronological order.

The first is Seed (2016), directed by Nelson Lee, and takes place in 2056.  Rampant consumerism and overpopulation have resulted in a society where people are executed on their 40th birthday. At least that’s ten years more than Logan’s Run. The story follows a man’s 40th birthday party as he says his goodbyes and his family has one last chance to spend time with him. In 2056 I will be 86. Things look bleak for me.

IN/FINITE (2017) takes place in 2071, and is directed by Kristen Hilkert. Jane (Ashlee Mundy) is the black sheep of the family, and is depicted as somewhat depressive. The story follows a dinner party where she tries to get up the nerve to tell her family that she is leaving on a one-way voyage to Mars. Aside from the Mars trip, there is nothing remotely futuristic about this short, it could have taken place in 2017. And it definitely does not take place in the same universe as Seed, nor does it share any characters, themes or other ways you would expect a story to be “interlocking.”

Phoenix 9 (2014) comes next, set in 2099.  Amir Reichart directs this tale of a hapless group of survivors seeking shelter in a post-apocalyptic desert wasteland. This is the first one to have any characters I cared about, and the first to really look sci-fi. The wanderers find some unexpected resources, but there is a cost. While this short doesn’t really have an ending, it does have some tension and interest, which most of the rest are quite lacking.

Redux (2015) takes place in 2121, but looks like the 1990s. Vitaly Verlov directed this very short piece (under 10 minutes) about a scientist (Russell Bradley Fenton) trying to deliver a life-saving message before uniformed troopers break down his door. If I told you where the message was going, I’d give away the “twist” that makes it science fiction. It’s not particularly surprising, but that lack of knowledge creates the only real interest in Redux.

The final short is called New York 2150 (2017), and the title rather gives away the year.  Directed by Harry Assouline, this short has a distinct Bladerunner feel. It follows a bounty hunter named Jaden (Kalen J. Hall) as he tracks down a man who carries with him the technology to change his face to look like anyone he scans. Other hunters are also on his trail. This was apparently the pilot for an unmade TV series.

These shorts are well-made enough, but overall the movie is dull, and the characters uninteresting. Nothing ties them together aside from their taking place in the future. The alternate title, A.I. Tales is also pretty misleading, as the included shorts have zero indication of artificial intelligence.

It’s confusing why these were put together. And doubly confusing why the blurb refers to them as “interlocking”. Still, not a bad movie to play in the background while you do something more engaging.