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Idaho Transfer (a failure of film making but an interesting failure)
Millennium (lousy adaptation of Varley's bizarro novel)
Grave of the Fireflies (some people have lived through the end of their world)
and of course the expensively bad Day After Tomorrow (yaaaawn, weary Oedipal drama amid gee-wow SFX and questionable physics)
Fahrenheit 451 (the end of our cultural world)
Rapa Nui (easter island drama, schlocky but at times somewhat engaging)
when you think about it the whole Star Trek mythos as fully developed via the movie series and TNG, is a post-apocalyptic redemption story (as someone insightfully pointed out on another thread): humanity wrecks itself and is rescued by benevolent aliens (Vulcans as I recall) who offer (here we go) clean miracle-energy technologies and moral guidance. it's a happy ending grafted onto an implicit crash-n-burn story. The difference between theory and practise in practise ...
And when he's being euthanized while watching a movie of nature long gone, Charlton Heston's character bursts into the room. The old man turns to the young one, momentarily slack-jawed at the beauty we take for granted, and they have the following exchange (courtesy of Google):
Can you see it? Yes. Isn't it beautiful? Oh, Yes. I told you. How could I know? How could I... How could I ever imagine?
Fear of leaving a world like that to my children keeps me going, day after day, doing my bit to oppose the current regime in DC... What is the use of a house if you haven't got a tolerable planet to put it on? - Thoreau
If you don't keep a book and a film separate, as in "two presentations on similar themes" then you're unlikely to enjoy any film where the book is decent. There's just a lot more narrative room in a normal book vs. a normal film.
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