Georgia Simon

Georgia Simon’s filmography isn’t some random collection—her name pops up on projects that go big on spectacle, action, and the kind of sci-fi that keeps you up way past you meant to. Take *The Tomorrow War* (2021). That movie? Total adrenaline rush. You’ve got time travel, a looming alien invasion, and people getting drafted into a war that hasn’t technically happened yet. Chris Pratt’s running around blasting aliens from the future, and the visuals go hard. Stuff literally explodes every five minutes. It’s the sort of film where you don’t dare blink or you’ll miss something wild. Jump over to *The Meg* (2018), and oh man, you’re in for a ride. It’s basically the ultimate “what if Jaws was even bigger and meaner?” situation. Jason Statham faces off with a prehistoric mega-shark, and the action ramps up to pure summer blockbuster chaos. One minute you’re laughing at the over-the-top dialogue, the next you’re clutching your popcorn because a helicopter almost gets snatched out of the sky by a toothy sea monster. Ridiculous? Sure, but that’s half the fun. And then there’s *The Chronicles of Riddick* (2004), which is just classic early-2000s sci-fi, all dark space opera vibes and Vin Diesel growling his way through armies of baddies. The world-building’s wild—planets with murderous weather, space cults, and just a ton of cool, gritty details. If you’re into bold, visual storytelling with a flair for the dramatic, Georgia Simon’s track record is basically a highlight reel for exactly that.