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Ask any science-fiction movie fanatic what their go-to films are, and you’ll get a lot of great answers back: Metropolis, Blade Runner, 2001, The Day the Earth Stood Still, the original Godzilla, The Thing etc. But let’s face it – those answers are so last century. Great sci-fi movies didn’t decide to party like it’s 1999 then call it a day; a host of thrilling, intelligent, offbeat, funny and frightening SF films have hit art houses and multiplexes since Y2K.In 2014, we concocted a list of the Best Sci-Fi Movies of the 21st Century — a quick and dirty survey of the best the genre has had to offer since the millennium’s beginning. More than a few major science-fiction flicks, however – from franchise-expanding blockbusters to arthouse headscratchers – have dropped since then, so it was time for an overhaul and an update. We’ve now expanded our list to 40 titles, to better highlight the best and brightest SF films of our still-new–ish millennium. Some noteworthy favorites of ours just barely missed the cut (very sorry, Alex Rivera’s Sleep Dealer) or some major titles were dinged on quality-control issues. ( Avatar may have been a gamechanging film for 3D, but “unobtainium”?
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Really?!?) We’re confident, however, that there’s a place in the canon for these relative latecomers. It’s probably best not to know too much about this sci-fi–inflected indie before you watch – though it’s okay to be aware ahead of time that director Charlie McDowell’s relationship dramedy doubles as a genre piece, and not just some run-of-the-mill story about a bickering married couple (played by Mark Duplass and Elisabeth Moss). There’s a big twist, which arrives after the spouses head off for a therapeutic weekend at a country estate. In a switcheroo worthy of The Twilight Zone, some supernatural mojo grants both husband and wife the opportunity to get exactly what they want from each other – provided that they’re willing to accept some dire consequences.
In Mike Cahill and Brit Marling’s quiet indie drama, a mirror Earth is hurtling slowly but surely toward our own. The main focus, however, is on Rhoda (Marling), a young woman struggling to come to grips with the consequences of a terrible mistake from her past. As Earth 2 looms closer, so does the inescapability of our heroine’s actions. The concept is an exciting one: If we could come face to face with another version of ourselves, what would we say? Another Earth never answers the question, but it doesn’t need to; it simply has to spin a moody web around the hope and the anxiety inherent in the asking, which it does in spades. Take Groundhog Day, sprinkle in a bit of Inception and throw in several decades’ worth of space-time continuum headscratchers – and voila, you’ve got this zippy techno-mystery anchored by a strongJake Gyllenhaal performance.
The actor plays a soldier forced into awonky secret project, in which his consciousness is projected back intime, repeatedly, to the minutes just before a terrorist attack. WriterBen Ripley and director Duncan Jones blessedlykeep the scientific explanations to a minimum and instead focus on thetiny clues the hero gradually uncovers, and the doomed passengers hebegins to care about for as he fights to save their lives – over andover.
In a dystopian future overrun by the walking dead (because of course!), pre-teen Melanie may be humanity’s last hope. She’s also a second-generationzombie – an offspring of the “hungries” who are being experimented onby a group of teachers, scientists and soldiers, including Glenn Closeand Gemma Arterton. The hope is that their behavior (or just their brainstems) holds the key to an antidote. Scottish director Colm McCarthy’s adaptation of M.R.Carey’s book reverses the classical subgenre’s narrative that portrays the undead as a state of devolution, returning man to thebase desires of hunger and destruction. Gifts asks: What if zombies are simply the next phase of mankind? And how can we all coexist without having our brains eaten?
Thanks to Michael Bay’s soulless, endless Transformers franchise, we thought we’d had more than our fill of giant robots punching the crap out of each other. That is until the visionary Guillermo del Toro ( Pan’s Labyrinth, Hellboy) tried his hand at the kaiju genre – and gifted the world with a movie that gave mecha behemoths a beating heart. Sea monsters from another dimension! Pilots who have to soul-bond with their fighting robots! Martial arts!
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Idris Elba and that one dude from It’s Always Sunny in Philadelphia! In terms of summer blockbusters, it brought all the ingredients: stunning visuals, big knockout fights and characters you actually care about. Plus, it’s just gosh-dang fun. Set the controls for the heart of the sun: Danny Boyle’s sci-fi opus – about a motley crew aboard the spaceship Icarus II (symbolism alert!) jumpstarting our life-giving star – is a throwback to the genre’s cerebral era, when interstellar journeys doubled as metaphysical head trips (see Solaris, 2001, etc.).
If it works better as a chin-scratcher about our place in the universe than it does as an in-space-no-one-can-hear-you-scream thriller, Boyle’s underrated film still provides a few genuinely chilling moments – and, of course, plenty of heat. Superhero movies may be a zeitgeist-defining genre in and of themselves, but most of these colorful characters and concepts have straight-up science-fiction roots. This was never more clear than in the Marvel Cinematic Universe’s elaborate homage to the rollicking space operas of yesteryear.
As a veteran of the Troma sci-fi schlock factory, co-writer/director James Gunn kept the action properly boisterous, the aliens suitably weird (go ahead, say it: “I AM GROOT”), and the tone fun and frothy. A star-making performance from Chris Pratt as displaced human space-pirate Peter “Starlord” Quill and a cast of crazy characters previously relegated to the margins of Marvel comics sure didn’t hurt, either. Call it the In the Aeroplane Over the Sea of sci-fi flicks – a personal, dense, left-of-center work that time (and a fervent fan base) helped turn into a modern touchstone. Richard Kelly’s gloriously odd cult film about time travel, toothy rabbit-costumed doomsayers, and a misfit named Donnie may not be the masterpiece that some claim.
But its skewed look at suburban America and scarred psyches do make it an intriguing and eerily prescient work, one that had the misfortune of coming out right after 9/11 yet somehow anticipated the PTSD mindset of that moment’s aftermath. In this sequel to the rapturously romantic In the Mood for Love, Hong Kong filmmaker Wong Kar-wai goes back to the future, examining the emotional fallout of journalist Chow Mo Wan (Tony Leung Chiu-Wai), who’s exorcising his unrequited love, in part, by writing a sci-fi novel. 2046 ambitiously shifts between timelines and genres, going from the 1960s to the fictional world of Chow’s book, which is set in a sleek, dystopian mid-21st-century landscape where the characters’ ennui mirrors that of their heartbroken author. Although not commonly found on lists like this, the movie reflects what’s best about science fiction: recalibrating how we see the world thanks to its groundbreaking vision of the fluidity of the past and the present – and the fragility of our hold on reality.
If this movie was made today, with exactly the same leading men and exactly the same premise, it would be a summer-season tent-pole. It might not be better though: Reign of Fire, released to little fanfare in 2002, is a thrillingly loopy, classic B movie – with dragons. Set in the not-so-distant future of a post-apocalyptic 2020 England terrorized by flying, fire-breathing beasts (who have awakened, ornery, from a eons-long hibernation), the film features an intense, shaven-headed Matthew McConaughey as an obsessive dragon hunter and Christian Bale as a meek farmer.
Deliriously over-the-top and riotously fun, Reign is a reminder that in addition to parables about human progress, sci-fi is uniquely suited to ram cinematic wows down an audience’s throat. The Empire Strikes Back of the Apes prequels – darker than the first installment and operating on a grander canvas – Dawn is where Caesar takes his rightful place as this franchise’s towering central figure. Played by Andy Serkis, the reluctant ape leader tries negotiating a fragile truce with the surviving humans (including Jason Clarke and Keri Russell), but distrust on both sides soon proves tragic. Director Matt Reeves delivers a robustly epic sequel, crafting spectacular action sequences – the is already a classic – alongside deft political commentary that touches on everything from the patriarchy to Israeli/Palestinian tensions. Evil extraterrestrials versus British hood rats – guess who wins?
This funny, fast-paced sci-fi comedy (featuring future Force Awakens hero John Boyega and future female-Doctor-Who Jodie Whittaker) pits a bunch of neighborhood kids in a rough section of South London against an otherworldy invasion. And damned if their street smarts aren’t the only thing that stands between our species and total annihilation. The fact that it flips the script and makes the so-called underclass the heroes was reason enough to embrace this scrappy take on Eighties blockbusters, but it also brings its action and alien-scares A-game (those glowing teeth!) as well. Even though Cloverfield plays out in the now-tired “found footage” format, its terrifying CGI destruction of New York City and its Godzilla-like monster is visceral enough to set it apart from the other style copycats.
Plus, its cast (which includes Lizzy Caplan of Mean Girls/ Masters of Sex fame as a party guest and former Silicon Valley actor T.J. Miller as the documentarian) perfectly captures the terror of New Yorkers seeing landmarks – the Time Warner Center and the archways in Central Park collapsing, the Statue of Liberty being beheaded – a few years after 9/11.
Most chilling is the film’s final line, heard in a pre-destruction.
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