10 Best Science Fiction Movies of All Time
Sometimes patronized as kids’ stuff, the sci-fi genre seeks to look beyond the most realist drama, exploring new territories and possibilities. Some movie buffs might be obsessed with the idea of worlds where anything—and everything—is possible and, and then there are some who want a logic in everything and fictional fantasies cannot amaze them. But for those who wish to dive deep into their world of imaginations, the science fiction genre is a big amusement. That’s why, if done right, a science fiction film can offer a really amazing cinematic experience where science and technology meets drama, horror and humor.
List of 10 Best Science Fiction Films In Hollywood
1902’s “A Trip To The Moon” is usually regarded as the first precedent of science fiction movies — but the sci-fi genre became hugely popular in late 20th-century in the aftermath of Star-Wars series. Ranking the best science fiction films of all time is a tough task. There’s a good chance your favorite movie isn’t on this list, or isn’t ranked high enough for your taste. While we bring you a list of 15 most iconic sci-fi movies, if you find us missing some great movies on the list, please suggest us in your comments below.
Blade Runner (1982)
A hard-headed agent gets roped into one last job, rousted from retirement to catch a deadly gang of badmen. You’ve heard this one before, right? Not like this. In Blade Runner, Harrison Ford slips through noodle stands, genetic design shops, and eccentric parties as he hunts for android “replicates” in the rainy, packed Los Angeles of 2019.
Even 34 years after Blade Runner’s cinema debut, it’s still a captivating concept of a dark doom that travels from action to conception. Rutger Hauer’s concluding “tears in rain” scene is as iconic a scene as endures in the sci-fi genre.
The Day the Earth Stood Still (1951)
The absolute “well-meaning visitors come to Earth and we approach them like crap” movie. Friendly humanoid alien Klaatu attempts to urge us to halt nuclear weapons in this Cold War metaphor, so naturally, we drive tanks at him. I don’t know, Klaatu, maybe you should have radioed ahead first before docking your spaceship in the middle of the city.
The direction and score may be a little arduous for modern viewers, but The Day the Earth Stood Still is one of those concepts that’s so copied, so fundamental, and so exaggerated that it feels more like it was discovered than produced. Director Robert Wise’s enormous career included everything from editing Citizen Kane all the way to directing Star Trek: The Motion Picture, with two Oscars in between.
Who does not love sci-fi and fantasy? The last decade has seen a flourishing of pretentious, imaginative sci-fi movies, as well as some glaring giant-scale examples with more ideas per se than volcanic explosions and laser fire. Reasonably one of the most hotly argued films, sci-fi or otherwise, in fresh memory, Christopher Nolan’s “Interstellar” welcomed a host of polarizing and emotionally furious responses. Some declared the picture his worst, some believed it was a concept from the heavens, and as usual, when the dirt has fallen, more posed judgments have taken root.
Christopher Nolan swings for the fences in “Interstellar” and perhaps does not equate in the same home run style he has for so many movies in a series now. The conversation can be really on the nose, while the closing some see as jumping the shark. Interstellar is still a glaring, pretentious vision of love, time, space, and some distant, possibly hazier portions of the universe. It’s the point where the heart and quantum physics meet. While that might admittedly be a bit of an unwieldy junction, its love-letter sincerity to mankind inspired by Nolan’s own kids is at least visually awe-inspiring and seldom breathtaking.
District 9 (2009)
When a gigantic UFO floats out over Johannesburg, South Africa, the local governments have to deal with hordes of extraterrestrial refugees in appalling need of food, healthcare, and safe shelter. Wikus is a government servant leading an effort to relocate the aliens to a far off camp, but the situation abruptly spirals out of control.
It turns out the government wants to use the aliens’ army tech and is willing to sacrifice humans to do it. An emotional indie flick that combined unimaginable battle effects with sharp political subtext, District 9’s take on an alien intrusion tale is rivetingly told.
The innovative Japanese flick about a giant, radioactive ancient beast is gloomy and horrifying. This is no fun-time kaiju bout romp like Pacific Rim. Instead, Godzilla interprets the events of World War II firebombings and nuclear blasts by imagining a monster who embodies the most brutal human impulses. Watch the primary cut, with subtitles, and you’ll find out why this iconic movie spawned an entire industry.
Mad Max: Fury Road (2015)
Who could have thought that we’d get a great, mind-blowing action-drama out of the fourth flick in an apocalyptic action series that last left us with Mel Gibson facing off against Tina Turner? Anyhow, it happened—the fourth Mad Max movie is something fairly exceptional. In a world that has hit peak oil and collapsed under global warming, our hero Furiosa (Charlize Theron) drives a fuel truck for Immortan Joe, a car cult leader whose devotee worship all that is “shiny and chrome.” When Furiosa rebels, unleashing Immortan Joe’s breeder slave girls, we follow her and unwilling good guy Mad Max across the wastelands in search of sanctuary with a feminist biker gang.
The pursuit scenes shot on big rigs and blade-studded cars in the vast Australian desert are so dramatic and impressive that they exceed what we normally see in action flicks and instead become pure art. And the hero Furiosa, with her metal arm and weaponized truck, is the ideal incarnation of rebellion and hope in the face of tyrannical madness.
The Matrix (1999)
The Matrix has been parodied into amnesia and its series was straight-up lousy, but the original Matrix still holds up. It has a rock-hard sci-fi vision and a world that makes a perfect balance between “fully discern” and “queer”. And if its enormous computers and phones and late-’90s CGI escort it a little, the effect is mostly charming.
The Quiet Earth (1985)
The Quiet Earth came forward at a time (1985) when the American cinema was leading in a new age of sci-fi and fantasy flicks aimed at an audience that wanted something unpausingly entertaining. Call it the post-Star Wars effect. The Quiet Earth, nevertheless, is not an example of that fashion.
The Quite Earth revolves around a scientist who believes that the conclusion of a major project he has been working on has led to the end of life on Earth as we know it. The truth is not so inane.
The Empire Strikes Back (1980)
This second installment of the ‘Star Wars’ series, directed not by George Lucas but by his former USC tutor Irvin Kershner, is the sharpest- an extended bounce from one insurgent set-piece battle to another which still finds time to revisit to the plot, pace and form. The force – Buddhist conception meets sci-fi occultism, as delivered by the universe’s tiniest sage and then the empire strikes back literally.
It’s a flick that thumps an excellent balance between representation, character, humor and emotions. It abruptly moves through land battles and asteroid collision, spiritual arousal and romantic affairs, all on the way to a truly wonderful climax, the one-two punch of Han Solo’s heroic sacrifice trailed by Darth Vader’s unexpected admission is still one of the greatest turns and twists in cinema.
World on a Wire (1973)
It’s long been the hunt of many sci-fi directors to exhibit some portion of our world in a way that will conceivably reignite the dialogue regarding it. More often than not, movies that have been attributed for predicting the fate really just showcased the evolution of some then-modern notion to its next most reasonable points. It’s possible that that was part of the impulse behind Rainer Fassbinder’s World on a Wire.
The film revolves around a technical executive that begins to speculates that the program he is working on is really just a fancy cover for a fake world he may very well already be in the midst of. The logic that there is some enigma regarding Fassbinder’s objective is somewhat due to the fact that most people are still obsessed with how wonderfully shot the film is. It’s a justified distraction.
However, even a slight glance at the plot unveils a story that marks both the philosophical delineation of life and the idea that technology is eventually going to be used by man to play God. Imagine if The Matrix comprises more scenes of existential dilemma and fewer slow-motion gunfights, and you’re on the right track.