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Minority Report is still creepy as hell. Cast: Robert Pattinson, Juliet Binoche. Robert Pattinson further cemented his post- Twilight career with this elusive, elliptical sci-fi film. Directed by Claire Denis making her English-language debut , the action takes place on a drifting spaceship occupied by the survivors of a previous mission involving death row convicts who volunteered to help investigate black holes in exchange for commuted sentences.
In one of his earliest big-screen roles, an overbearing Oliver Reed is a grotesque parody of teen rebellion as King, the leather-clad mugger who stumbles upon a cave society of mutant children. A troubling film, and a deeply peculiar one. They call it science fiction, but only too rarely does the cinematic genre tackle a subject which focuses primarily on the science. Thankfully, the US authorities have just built a secret subterranean research facility for exactly such eventualities.
Veteran director Robert Wise, still riding on the box-office bonanza of The Sound of Music , approaches it all with an austere documentary rigour that at first seems to underplay the drama, but builds an almost unbearable degree of claustrophobic anxiety. Colin Clive brings fierce conviction to the role of re-animator Baron Frankenstein and the lab design remains a wonder.
Kudos to English theatre director James Whale for highlighting this startling contradiction in a film with an incalculable influence on subsequent genre cinema. For good or for ill, producer Alexander Korda allowed HG Wells to have creative control over this future-gazing epic and adaptation of his own novel — marking a rare occasion when a literary sci-fi giant has guided their own work on celluloid. To start, he uncannily predicts the ravages of enemy air raids in , then maps out decades of subsequent carnage and disease before a new breed of utopian technocrats put mankind back on track — at the expense of wiping out all resistance.
His absolute certainty that science will provide a better tomorrow delivers an antiseptically dull fate for us. But the results are often breathtaking and brilliantly unique. It may be voiced by Vin Diesel, but the giant itself is a thing of beauty: a distant relative of the robots in Castle in the Sky or The King and the Mockingbird , it conveys a wealth of emotions despite not saying or doing much at all. That directors Mike Rianda and Jeff Rowe manage to slide this zeitgeisty social commentary into a poignant story about the fraught relationship between a queer teenager heading off to college and her.
But beneath the layers of hi-tech delirium and political intrigue lies a fairly simple idea: that human identity is a function of memory, and so in theory indistinguishable from a digital hard drive. Far from a run-of-the-mill slice of millennial angst, Ghost in the Shell abounds in mysteries and paradoxes. A strange and subtle work of anime. World on a Wire was the first, last and only foray into speculative science fiction for New Wave maestro Rainer Werner Fassbinder. So, so much style.
But, typically, Cameron went and did it bigger and better than anyone else. Having come up with the idea in his Titanic days, he literally waited for technology to catch up, requiring seriously sophisticated motion-capture photography and effects to plunge us into planet Pandora, along with the avatar of earthly soldier Jake Sully Worthington.
The results are awe-inspiring, especially in 3D, bagging the film Oscars for Cinematography, Visual Effects and Art Direction, as well as helping it claim the title of the highest grossing movie of all time at the box office. This, of course, helped Cameron realise that there should be numerous sequels there are four more movies currently being worked on, the first of which is due at the end of Big-scale moviemaking embroidered with small human moments and done on Avatar 's canteen budget, Arrival is the kind of cerebral sci-fi moviemaking that scores its director, Denis Villeneuve, a gig like, say, Blade Runner or Dune.
The film marries the cool intellectualism of Kubrick and the heart of Spielberg in a deceptively simple story of communication, family and the need to find common ground in the face of catastrophe. But there's still so much of the movie that really does work: the sail barge escape from Jabba the Hut is glorious swashbuckling action at its finest, the speeder bike chase through the forests of Endor is full-throttle fun and the monumental three-way climax is a Wagnerian crescendo that caps this trilogy of the series in fine style.
Of course, once it was out in the world the whole thing made some kind of twisted, outrageous sense, and it still does. And yet somehow this Technicolor tale of heroic muscle-bound lunks, preening goateed villains, boisterous bird-men Blessed sealed his reputation here , hapless maidens and doomed Blue Peter presenters works like a charm. No money? No problem.
Writer-director-star Cory McAbee used imaginative dodges — such as action sequences filmed as musical numbers in silhouette — to make up for a relatively small budget of between one and two million dollars the exact figure remains sketchy. What major Hollywood star would have felt more at home with the idea of total self-transformation than Rock Hudson? Drawing equally on post-war film noir, countercultural me-generation wish fulfilment and pre-Watergate paranoia, Seconds is one of the most radical, disturbing and downright terrifying thrillers ever released by a major Hollywood studio.
It also benefits from arguably the greatest opening title sequence in film history: a warped kaleidoscope of malformed flesh — directed, of course, by the legendary Saul Bass. The Victorian age was an unprecedented time of scientific discovery, where the impossible was being made possible with every new invention — just like magic. A puzzle of a film, The Prestige opens with a murder and unfolds in flashback. But at what cost? Christopher Nolan pulls a rabbit out of the hat with a gripping, suspenseful ta-da finish.
It all started here. The sprawling multimedia soap opera that is the Marvel Cinema Universe, which now dominates our cinema screens and our end-of-year box office charts — with no signs of slowing. And as a statement of intent, Iron Man is pretty near unbeatable.
Robert Downey Jr has now officially shuffled off the iron suit, but he leaves a pretty feisty legacy behind him. Talk of a remake — possibly overseen by Drive director Nicolas Winding Refn — rumbles on. Twenty-four years before creating Jurassic Park , Michael Crichton directed his own screenplay for the first time with this cautionary tale about another fail-safe theme park attraction going seriously awry. The setup — Arctic scientists find something vast and otherworldly buried in the ice — is magical, and the script doctored by an uncredited Howard Hawks, king of the masculine-archetypes-in-peril movie fizzes with invention.
Best of all, director Christian Nyby creates a genuinely irksome sense of impending dread, keeping the creature in shadow for much of the film. Fresh off the massive success of Aliens , James Cameron spent three years and a boatload of studio cash bringing this daunting pet project to the screen.
The sci-fi set-up is mostly an excuse for Woody to indulge some fairly slapstick physical comedy revolving around a man quite literally out of time and place. As Vietnam raged and global revolution beckoned, a small group of filmmakers found solace in other worlds, whether the chilly future of But when the project goes awry, Ridder finds himself lost in time, reliving the breakdown of his relationship with early-model Manic Pixie Dream Girl, Catrine Georges-Picot.
Like science itself, sci-fi loves to probe the nature of what we call reality — in films as diverse as Blade Runner and Solaris , questions about subjective perception versus objective fact form the core of the story. In the unnamed urban sprawl of the title, a killer is on the loose. Starting from a simple murder mystery and building inexorably outwards from there, Proyas introduces us to a world where — in that overused but here entirely appropriate phrase — nothing is as it seems.
The ending is a stone-cold brain-melter. The first Mad Max had a faint whiff of sci-fi, but that could have been the desolation of the Aussie landscape conjuring up visions of post-nuclear hell. With his follow-up, writer-director George Miller went all out: the world is now a dustbowl populated by rampaging mutants, petrified normals and one brutal lawgiver, and they all have one thing in common — a lust for the black gold.
It opens with engineering works at the fictional Hobbs End Underground station, where workers uncover the remains of early human ancestors. Excavation on the site reveals what the army believe is a massive, unexploded World War Two bomb. But not even the Nazis masterminded explosives containing insectoid alien dwarfs with horns….
The perfect meeting of sci-fi and horror, the Quatermass series influenced everything from The result is one of the great communal movie-going experiences of the modern age, and a gauntlet thrown down to all future sci-fi blockbuster directors: get real, or go home. Regardless, the film found a passionate audience, one that dug the lanky, thoughtful style of breakout newcomer Jake Gyllenhaal and his equally appealing older sister Maggie.
The plot concerns alternate realities, personal sacrifice, a fateful Halloween party and, yes, Sparkle Motion. Donnie Darko works best as a compendium of free-floating high-school anxieties; props to the cameoing Patrick Swayze for so thoroughly puncturing his cool for the sake of something so weird and visionary.
So few films stand entirely alone. Funded by Monkee Mike Nesmith and shot by Cox when he was fresh out of UCLA film school, Repo Man is outsider art at its most accessible, comedy at its most unusual and science fiction at its most absurd. Make Room! Where our food comes from today is more shady and dystopian than ever.
Show this one to an organics-only freak you love. The most renowned anime film made outside Studio Ghibli opens with an apparent nuclear explosion in Tokyo, ends with a Big Bang and hardly lets up in between. The plot is far too unwieldy to be summarised here; suffice to say that it involves biker gangs, wrinkled little children and psychokinetic mutants wreaking havoc in a post-apocalyptic Japan.
The cityscape, stunningly animated in mostly nocturnal scenes a notorious challenge to animators , reimagines post-war Hiroshima in a Blade Runner guise, all crumbling skyscrapers and mutated life forms. But for all its technical bravura, Akira works because it presents a nasty vision of what military experiments might inflict on mankind, and remains frighteningly plausible even in its wildest moments.
Subsequent entries to the franchise attempted to flesh out the lore of the species in question, but none of them come close to the original, which recognizes this is not a situation that requires much exposition. Neither gets an answer. Fantastic Planet examines what happens when a civilised people tries to subdue and tame a savage one — an allegory of colonialism, if you will.
The world that the characters inhabit, at once futuristic and primordial, looks like a cross between Tatooine and a Dali dreamscape: dinosaurs mingle with tentacled aliens while headless humanoid statues abruptly spring to life. Buy, rent or watch 'Fantastic Planet'. The set-up is fairly simple: an alien lands on Earth and tries to fit in while also having to sate an appetite for human flesh by assuming the form of a beautiful woman Scarlett Johansson and luring keen men to their deaths.
Like much superior sci-fi, the genre elements mainly exist to cast new light on our world as it is. Satire in science fiction is nothing new — but creating a perfect balance of entertainment and politics requires a particular set of skills. To date, the crown prince of ferocious action movies with blunt-as-a-brick subtext has to be Paul Verhoeven, whose three films on this list RoboCop , Total Recall and this gem are the work of an artist equally interested in thrilling his audience, offending their sensibilities and making them think.
The attacks against American imperialism and Hollywood shallowness come thick and fast, culminating in one of the most striking images in all of sci-fi as Neil Patrick Harris, in full Gestapo dress, prepares to send a platoon of terrified teenage boys into battle. Another film that balances on the edge of science fiction — perhaps explaining its relatively low placing on this list. Rumours of a reboot emerge on an almost daily basis.
Is Carl Sagan the unsung hero of modern science fiction? We often hear about the scientists who were inspired by his Cosmos TV series. Joaquin Phoenix plays Theodore Twombly, a middle-aged man who lives alone in an apartment overlooking a skyline of skyscrapers the film was partly shot in Shanghai and whose day job involves writing emotional handwritten letters on behalf of strangers.
Theodore is going through a divorce and falls head over heels in love with an operating system, Samantha, voiced by Scarlett Johansson. Rather than go heavy on developments in technology, Jonze prefers to use them to explore more timeless ideas about love, relationships and what we expect from a partner.
No one saw this one coming. District 9 was a moderately budgeted directorial debut shot in South Africa; it featured no recognisable stars; the accents were impenetrable and the cultural reference points obscure; it was politically aware, brutally violent and filled with extreme body horror. The story of an obnoxious middle-manager — played to the smirking hilt by the magnificent Copley — who becomes infected with an alien spore, District 9 revels in its cutting-edge effects, grotty township realism and the Afrikaans accent.
Only one Star Trek adventure managed to crack our top though First Contact missed out by the slimmest of margins , but then the series never did have quite the same broad appeal as their more easy-to-swallow Star Wars rivals. But is it all just a dream, a memory, a Messianic vision — or all of the above? The script is bursting at the seams with wild ideas.
Never a critical favourite, the French filmmaking magnate Luc Besson has resolutely persisted in following his own idiosyncratic taste, and this wayward fantasy has an individuality distinct from Hollywood formula. But boy, did Besson assemble a crack team to visualise it.
It may have been written and shot in the Reagan era, but God does They Live feel relevant now. Three years before The Artist reminded audiences that silent films exist, Pixar played the neater trick of channelling the pre-talkie era into a luscious computer-animated cartoon. Unable to manage their waste output, humans have evacuated Earth, leaving robots behind to clean up the mess.
Eventually both of the key creators behind Dark Star would be involved in significantly scarier movies — one directed Halloween , the other wrote Alien Soon enough, though, they have other problems to worry about, like the bouncy alien — who looks like a beach ball with claws — wandering the corridors, or the malfunctioning talking bomb that tries to existentially justify its need to explode and kill everyone onboard.
The next time you hear a friend bemoaning the Hollywood remake factory, send them a link to this list. As the film progresses, the clammy hand of paranoia tightens its grip — and the final shot is a sucker-punch like no other. The film admirably credits the audience with the intelligence to decipher the clues in its elliptical narrative, gradually picking its way towards a state somewhere between paranoid anxiety and head-spinning dizziness.
For this story, Page and co are employed on an upping-the-ante mission: to insert rather than remove an idea into the head of a corporate bigwig Cillian Murphy in order to sate the ambitions of a business rival Ken Watanabe. Most memorable are some jaw-dropping set pieces where Nolan and his team ostentatiously flex their special-effects muscles, most notably a scene that sees Page and DiCaprio walk through Paris as the streets appear to fold up and over before their eyes.
With his orange hair and a perceptible coked-up jitteriness, Bowie is perfect as the alien, Thomas Jerome Newton: spiky, awkward, uncomfortable in his own skin. But the real stranger in this strange land was cult director Nicolas Roeg, fascinated by the American Southwest — its listless nurses the brilliant Candy Clark and bored college professors a fearless Rip Torn. The movie is filled with daydreamers desperate for a sense of purpose.
They instead find television, guns, alcohol and inertia. Star Trek fandom was a phenomenon just begging to be lampooned, as that wonderfully dry, mismatched original cast grudgingly surrendered their lives to a legion of mega-nerds in jumpsuits with Plasticine stuck to their faces. An object lesson in the art of the affectionate pastiche, Galaxy Quest rounds up the usual sci-fi serial suspects — the macho captain Tim Allen , the window-dressing female Sigourney Weaver , the Shakespearian thesp Alan Rickman — and pulls the old Three Amigos trick of plunging them into a real intergalactic war.
The result is wickedly smart and knowingly in-jokey without ever ahem alienating the non-nerds. The fact that it placed higher on this list than any of the official Trek movies speaks volumes, although we await the furious comments… TH. In a future where plants have become extinct on earth, a handful of starships act as greenhouses, preserving the few remaining specimens in the hope of eventually reforesting the planet.
He rebels, kills his co-workers and heads off to tend to his plants with a couple of trusty robots in tow. The film may not have aged perfectly we can live without those willowy Joan Baez numbers , and Lowell is a bit of a blowhard.
But the message is eternal: whatever the risks, man must be his own saviour. This being Hollywood, suave Michael Rennie was perfectly cast as the angular alien — after all, he came from the distant galaxy of Bradford. All well and good until the security system failsis tampered with and a T-Rex and friends go on a chomping rampage. The cast, led by Sam Neill as a gruff, kid-hating paleontologist and Jeff Goldblum as a chaos-theory rockstar, is an absolute delight.
And Spielberg knows how to build a nail-biter of a set-piece, like the now iconic but ever so tense velociraptor kitchen sequence or the central tyrannosaurus attack that was a landmark showcase for then-nascent CGI technology and which, over 25 years later, still looks pretty impressive.
While the film's numerous sequels hagve varied in quality — definitely avoid the third outing — Jurassic Park remains a gold standard when it comes to huge Hollywood blockbusters. Effectively, the film splits society into three species: warlike gorillas, intellectual orangutans and cautious chimpanzees what happened to the gibbons? A recent run of entertaining prequels have only served to enrich the original.
Don't despair, struggling filmmakers: you can make your sci-fi classic without a James Cameron-sized budget or any budget, really. Nor do you need a feature-length running time or, amazingly, a motion-picture camera. Inspired by Hitchcock's hypnotically romantic Vertigo , French New Waver Chris Marker created this minute photo-roman composed almost solely of black-and-white stills, coupled with haunted narration.
In it, Paris is reduced to radioactive rubble, but scientists living underground hope to send a dreamer back in time via his strong memories of an alluring woman. The guy sees her in his mind, they begin to flirt and fall in love, and who can blame him if he never wants to return?
Marker lived long enough to see his fatalistic vision become a Bruce Willis movie, 12 Monkeys , but the original can't be beat for sheer elegance. Kubrick and Burgess were satirising new forms of psychotherapy, while Cold War totalitarianism was also on their minds. Sci-fi fans will also appreciate that a minor character, Julian, is played by Dave Prowse, aka Darth Vader. Establishment scaremongering about the communist threat against American freedom of conscience seemingly underpins this drumhead-tight B-thriller about sinister extraterrestrial pods taking over small-town California in its sleep.
Buy, rent or watch 'Invasion of the Body Snatchers'. Bruce Willis plays a low-level criminal in a future earth destroyed by disease, sent back in time to trace the roots of the plague. In the process he manages to fall in love with Madeleine Stowe fair enough and gets banged up in a mental institution where he stumbles upon Brad Pitt in one of his first and finest roles as a demented, jittery environmental terrorist.
But this is such a bizarre mind-fuck of a film that it hardly matters. Plus, you get to see our Bruce wearing a blonde wig and Hawaiian shirt, which is a huge bonus. Oscar Isaac chills as Nathan, the psychopathic yet charismatic billionaire founder of the search engine company that protagonist Caleb, played by Domhnall Gleeson, works for.
Circumstances send David on a dangerous journey to discover his maker, a nightmarish trek with many allusions to that other lost boy, Pinocchio that includes a sinister mechanical gigolo Law , a tech-phobic Flesh Fair, a visit to a half-submerged Manhattan and a controversial, highly emotional climax that lingers in the heart and the mind.
Gondry became more capable than his usual craftsy music videos, and Charlie Kaufman, the screenwriter, proved himself deeper than his reputation suggested. The biggest revelation comes in the shape of Jim Carrey and his turn as the squirmingly uncomfortable Joel. Meanwhile, Kate Winslet plays Clementine, one of the great sphinxes in modern movies: voluminous, punkish, soulful, cherishable.
She would be hard to forget after a breakup. Let it be stressed: at the root of every great sci-fi film is a killer script, not special effects or lasers. It helps when your star is Michael J Fox, captured at the peak of his youthful heroism. Add to this some still-impressive effects, a wonderful swooping electronic score and the dry, ironic presence of that mechanical icon Robbie the Robot, and the result is a film that stands up to modern scrutiny at every turn.
Is there another film that leaves audiences as sick to the stomach as The Fly? You watch Children of Men with a sinking feeling. Everything in this nightmare vision of the future is recognisable. What qualifies it as sci-fi is the setting and global infertility crisis — no child has been born since Like the city, Clive Owen, a pen-pusher at the Ministry of Energy, is a shell of a man, talked by his ex, the leader of a terrorist guerrilla group, into aiding an African refugee.
Our human protagonist is Kris Kelvin Donatas Banionis , a grief-stricken scientist still mourning his long-dead wife, Hari. After an earthbound prologue that culminates in a mesmerising drive through an otherworldly metropolis, Kelvin journeys to a space station orbiting Solaris, a sentient planet that apparently has the power to resurrect dead beings. In the midst of investigating these claims, his spouse Natalya Bondarchuk miraculously reappears, and things only get stranger from there.
With Aliens , James Cameron proved his mastery of the stakes-raising sequel. But in terms of budget, scope and epic action, Terminator 2 took it to a whole new level. Cameron had pioneered CGI in The Abyss , but T2 went a step further: limbs transform into swords, machines assume the forms of men and that final shape-shifting freakout, while undeniably dated, is still wildly inventive.
Forget all the time-hopping, helicopter-exploding and banging on about destiny — at heart, this is a story about people, whether real or fabricated: their loves, their friendships, their failings and their regrets. It may have been loosely based on a science fiction novel — Roadside Picnic by Boris and Arkady Strugatsky — but Stalker pushes the definition further than just about any other film on this list. But it also deals with the sheer overwhelming monotony of everyday life and the crushing depression of solitude.
We only wish that more contemporary sci-fi emphasised ideas over explosions. Even the sequels, which were maligned at the time, are worth a revisit and still provide an edge-of-you-seat popcorn experience. Two decades later, The Matrix remains sci-fi at its smartest.
The opening sequence of The Thing is unbeatable — a relentless, ice-cold nerve-jangler. A helicopter flies in low over an American scientific research station in the Antarctic. The dog turns out to be a parasitic alien organism that can imitate any life form, and which proceeds to pick off the Yankees one by one.
John Carpenter prolongs this gut-twistingly tense paranoia throughout the whole film, and Kurt Russell leads an ensemble cast of totally believable, blue collar guys, bored to death and stir crazy. Not anymore. When the Frenchman found out that said family flick would also involve a stranded alien, he laughed out loud. We reckon he was laughing on the other side of his impish visage when ET went on to become the most successful film of all time.
Minute in scale, intimate in tone, it is one of the finest films ever made about how kids think and how families fit together. The Empire Strikes Back is truly wonderful: a textbook example of how to take a successful but fairly simplistic sci-fi formula and transform it into something emotionally absorbing, philosophically rich and — most importantly — deliriously enjoyable.
Nowhere is this more true than in the feisty Bogart-Bacall interactions between rakish rogue Harrison Ford and ice princess Carrie Fisher — their on-set dust-ups may be legendary, but their on-screen chemistry is unmistakable. While promoting that quickie horror sequel, a dream of a metallic torso pulling itself from an explosion sparked his imagination.
The story is blissfully pulpy: a killer robot in synthetic skin Schwarzenegger, then best known for playing a sword-wielding comic-book barbarian is sent back in time from a ruined Earth to the present day. His task is to murder Sarah Connor Hamilton , the mother of the future saviour of humanity. But over time it has become perhaps the most imitated sci-fi film ever. In a densely packed and towering city of the future, Freder, the son of a wealthy industrialist, falls in love with a girl from the hellish underground slum where workers toil to fuel the lives of those above.
The ex-Python and Time Bandits and 12 Monkeys director conjures up a discomforting retro-futuristic world, setting much of his story in vast warehouse-like offices and cathedral-like industrial spaces. Lowry dreams of soaring high like a mechanical bird and sweeping a beautiful mystery woman Greist off her feet.
In reality, he finds himself at the heart of a confusing scandal involving presumed terrorists and a case of mistaken identity, reluctantly taking up a job at a government department called Information Retrieval so he can seek answers. But this is something altogether more majestic, ambitious and troubling. A pop masterpiece that redefined an industry, Star Wars updated sci-fi with unfashionable positivity, taking home a massive global haul that had studio execs salivating.
Suffice it to say, the stakes were raised and the space blockbuster was born. But chiefly, this was a film that launched a million toys — and, not insignificantly, a million dreams. Harrison Ford became a megastar overnight; ditto the black-masked Darth Vader, whose synthesised breathing noises entered the lexicon. Almost three decades on, Aliens still looks like some kind of miracle. How did James Cameron, the veteran of precisely two films one of which was unwatchable manage to match, some would say improve upon, one of the most inventive sci-fi movies ever made?
Where did that script spring from, so streamlined and propulsive yet at the same time so sharp and quotable? And how, on a budget that would barely have covered the on-set sandwich trolley for Avatar , did he manage to create such an all-encompassing world, such dangerously droolsome hardware, such repulsively believable xenomorphic monsters?
Within hours, the site has received more than 20, hits and crashes the Harvard server. Soon it becomes Revenge of the Nerds, writ large. Or does he? These competing claims, both in the deposition room and in flashback, make up the heart of the movie. The second lawsuit is filed by Tyler and Cameron Winklevoss, twins who are everything that Zuckerberg and Saverin are not: socially skillful, preppy and successful athletes.
They rowed crew at Harvard and later in the Olympics. The Winklevoss twins claim that Zuckerberg ripped them off after, following the Facemash incident, they approached him about designing a dating website that would trade on the Harvard name. He, instead, strung them along, even as he was frantically building Facebook. Basically, Zuckerberg, as written and portrayed here, is a brilliant jerk.
He is so driven by his vision that it outweighs any social or ethical considerations. Who owns an idea? Is it the person who first has it? The person who runs the farthest with it? The person who finances the dream rather than the dreamer? And what is the cost of success? Those questions are timeless. What I like most about the movie is that, without ever actually articulating them aloud, it raises all these questions about innovation, idea ownership, capitalism, friendship, loyalty and the reach and scope of the internet.
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