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But more importantly, there have been so many good (and even
great) genre efforts released that even the list of runners-up posted
at the end of this article represents a formidable survey of some
really strong pieces of work. And it’s not all expensive, effects-
driven stuff: the cheapest movie on this list cost under $10,000 to
make (can you guess it?).
You might notice that a few rather huge blockbusters are missing
from this list as well, in particular Avatar and recent Star
Wars movies. That doesn’t mean they’re bad films; in fact I
loved The Force Awakens. But all that movie does is resurrect the
brand and sort of restate the original story, while Avatar’s
incredible world-building was let down by the most obvious
narrative James Cameron could have chosen. We’ve also left
superhero films out of the equation: while many of them utilize sci-fi
elements, they’re really a genre unto themselves nowadays.
Sci-fi is above all a genre of ideas, and each of the films selected
below offers up something that arguably expands or bends one’s
mind and in many cases is relevant to the world we live in right
now. That’s truly what the best science fiction does, and that’s why
we believe the movies below are the best -- so far -- of the
21st century.
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The story of a little robot boy (a fantastic Haley Joel Osment) who
looks for love and meaning in the waning days of human civilization
is deeply melancholy, technically superb, and often quite moving.
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Ads by Amazon
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Primer (2004)
Serenity (2005)
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And don’t blame him for the abrupt ending -- it’s right out of Wells.
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Sunshine (2007)
District 9 (2009)
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Its homeless alien refugees -- the “prawns” -- who are settled into a
slum district outside Johannesburg are a painful metaphor that
continues to be relevant today. It’s just a shame that Blomkamp’s
assured storytelling and confident direction have been misplaced in
his next two films, Elysium and Chappie.
Moon (2009)
The movie pays homage to gritty sci-fi efforts of the late ‘70s
like Alien and Outland, while Nathan Parker’s screenplay is an
original and moving take on memory, loneliness and what it means
to be a real human beings. Jones has gone on to make the
excellent Source Code and the less warmly
received Warcraft and Mute; but Moon remains as personal and
pure an example of sci-fi cinema as anything we’ve seen in years.
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It’s simply too dark a vision, even if this tale of an unnamed man
and boy (Viggo Mortensen and Kodi Smit-McPhee, both excellent)
traveling a blasted end-times America retains a glimmer of hope
that some spark of human decency will not be snuffed out no
matter what. But if you’re willing to take the journey, The Road is a
harrowing, deeply affecting experience.
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Inception (2010)
Monsters (2010)
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While it suffers from a few novice mistakes and less than terrific
acting, Monsters tells a startlingly relevant and frightening tale with
large-scale implications, but cleverly keeps the foreground action
intimate and the menace (extraterrestrial life which has been
brought back by a probe and is spreading through the U.S.-Mexico
border area) mostly unseen. The sense of both dread and awe is
palpable and the allegorical aspects are still current -- trademarks
of great sci-fi cinema.
read more: How Attack the Block Redefines the High Concept
Movie
Cornish directs with confidence and the film moves at blast speed,
but best of all is discovering then-unknown John Boyega as the
quiet but steely gang leader Moses -- watch him in this film and
you’ll understand why the future of the Star Wars franchise has
been placed upon his (and Daisy Ridley’s) shoulders.
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Contagion (2011)
Looper (2012)
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Coherence (2013)
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Her (2013)
Spike Jonze’s fourth feature film is perhaps his most personal yet,
exploring themes of loneliness and human relationships that have
permeated all his previous work yet doing so in the context of
genre and making them more universal than ever. Joaquin Phoenix
plays Theodore Twombly, a depressed, isolated, socially awkward
professional writer of personal letters who falls in love with his
computer’s operating system -- an artificial intelligence he names
Samantha (voiced by Scarlett Johansson).
Dawn of the Planet of the Apes didn’t just fulfill the potential laid
out by Rise but surpassed it, as a nascent ape civilization led by
the now mature Caesar grappled with the question of whether it
could exist alongside the remnants of a plague-ravaged human
society. The answer provided by director Matt Reeves’ story was
both poignant and bleak, and the movie itself was in turn gripping,
thrilling, funny and somber…and perhaps the most fully
realized Apesmovie since the 1968 original.
Based on the Japanese light novel All You Need is Kill, this
elegant future war thriller finds Tom Cruise caught in a seemingly
endless time loop, dying in battle against alien invaders and then
waking up the day before to do it all over again. A commentary on
the futility and repetitive, insane nature of armed combat, Edge of
Tomorrow benefits from a sense of humor, typically strong work
from Cruise and an outstanding action turn from Blunt (doing her
second time travel movie in two years and showing why she’d be a
kick-ass Captain Marvel).
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Interstellar (2014)
It’s also perhaps Nolan’s most emotional film, as the clan led by
Matthew McConaughey is slowly torn asunder by those same
distances as McConaughey leads a team of astronauts through a
wormhole in search of a new home for humanity. Flawed yet still
majestic, Interstellar literally reaches for the stars.
Ex Machina (2015)
George Miller’s Mad Max films -- this, the fourth, arrived 30 years
after the last of the original trilogy was released -- have always
been a blend of pyrotechnic action thriller and post-apocalyptic
parable, and he pushes both aspects to the extreme in this hyper-
kinetic, jawdropping tornado of a movie.
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We admit it -- a lot of this century’s sci-fi has been rather bleak and
grim, but can you blame it with the state the world is in? That’s
why The Martian is so enjoyable to watch: this is a movie (adapted
from the book) that feels as optimistic about science and
intellectualism as the peak years of the actual space program must
have been.
Matt Damon’s stranded astronaut must get home from Mars, and
the movie follows both his struggle to survive and the pursuit of a
rescue plan in crisp, instantly engaging style, making this director
Ridley Scott’s best movie in years.
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Writer/director Jeff Nichols' second genre offering (following 2011's
brilliant apocalyptic tale Take Shelter) is a humane and deeply
moving story of parents and children, featuring another fantastic
central performance by Michael Shannon. As a father on the run
with his gifted son, Shannon balances exhaustion, anger and,
above all, unconditional love as he tries to stay one step ahead of
the forces massing to take his son away from him.
While many plot elements are familiar, the film has a keen sense of
wonder and mystery, with the narrative driven by the ideas and the
characters. It's only in the end, as the film's climax takes a
somewhat more conventional route, that Midnight Special falters
a bit. But it's still an ambitious piece of work that keeps the people
at the heart of the story.
Arrival (2016)
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read more: Explaining the War for the Planet of the Apes
Ending
If the storytelling didn’t seem as tight and focused, with the movie’s
second half featuring a number of loose ends, it still brought the
saga home with a deeply emotional finish. The new Apes films
have been one of the most surprising success stories of this
decade, and we’ll be curious to see if they continue from here.
Perhaps the most divisive science fiction film of its year (or perhaps
second most divisive after a certain movie about a Jedi) was also
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one of its most visionary. Blade Runner 2049swung for the fences
in terms of its design, scale and world-building, and mostly hit it out
of the park; it took the dystopian future brilliantly realized in Ridley
Scott’s 1982 original and added new layers of imagery and
invention to it.
Even at its extended length (165 minutes), the movie was never
less than eye-popping to look at. But was the storyline equal to it?
That’s where the debate will continue to rage for years, we
think. Blade Runner 2049 may or may not be a truly great sci-fi
movie, but like the original, it will be one we continue to talk about.
Annihilation (2018)
The way that Area X transforms a familiar and bucolic setting into a
haunted house of mutations and decay, while also working its way
into the psyches of the women, is the stuff of
ecological/psychological nightmares. Garland wrings the situation
for maximum dread -- both metaphysical and visceral -- while the
women dig under the surface of their ambiguously drawn
characters. Garland freely changes the details of VanderMeer’s
story while retaining its tone and meaning, with masterful results.
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Solaris (2002)
Timecrimes (2007)
WALL-E (2008)
Cloverfield (2008)
Avatar (2009)
Melancholia (2011)
Gravity (2013)
Snowpiercer (2013)
Oblivion (2013)
Predestination (2014)
Godzilla (2014)
That’s our list -- did we miss any of your favorites that you’d like to
add? Let us know below!
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