THE MONSTER AND THE CITY have been symbolic in Larry Cohen’s Q–– The Winged Serpent, 1982, the sort of film normally dismissed with a tolerant smile by critics who would have you consider more serious matters, the essentials of science fiction cinema can be identified more subtly––and more knowingly––than Steve Spielberg and George Lucas, Cohen fingers the exact pulse of fearful speculations that has throbbed in twentieth-century fiction since Mary Shelley conceived it and Jules Verne and H.G.
