This page shows you the list charts. By default, the movies are ordered by how many times they have been marked as a favorite. However, you can also sort by other information, such as the total number of times it has been marked as a dislike.
AFI's 10 Top 10 honors the ten greatest American films in ten classic film genres. Released July 17, 2008. Categories are:
This is a list of science-fiction films organized chronologically. These films have been released to a cinema audience by the commercial film industry and are widely distributed with reviews by reputable critics. This includes silent film–era releases, serial films, and feature-length films. All of the films include core elements of science fiction, but can cross into other genres such as drama, mystery, action, horror, fantasy, and comedy.
Among the listed movies are films that have won motion-picture and science-fiction awards as well as films that have been listed among the worst movies ever made, or have won one or more Golden Raspberry Awards.
This list also contains additional sci-fi films that were missing from wikipedia's list.
This list is useful if looking for a sci-fi film that is on an official icm list. Just sort the list by number of official lists.
A list of films which include monsters as the main plot, these films include such creatures as extraterrestrial aliens, giant animals, Kaiju (the Japanese counterpart of giant animals, but they can also be machines and plants), mutants, supernatural creatures, or creatures from folklore, such as Bigfoot or the Loch Ness Monster. These movies usually fall into the science fiction, fantasy and/or horror genres.
May not include all films which feature monsters as some are lost or just to obscure to be known.
Listed in alphabetical order.
A list of the science fiction movies I appreciate the most. Obscure or polarizing features get the same attention as cinema classics, and tones are mixed, with upbeat movies sharing space with those that have a darker tone. Similarly, there's an equal representation of stories that are mainly emotionally engaging and those more intellectually stimulating.
Here are my guidelines, which you can skip, unless you feel I have some explaining to do....
Those ranked from 1-50, I've rated 10 or 9 (I believe in generosity!). My rating of most of the other movies here tends to be 8, though around 50 entries at the bottom have a lower rating, though none lower than 6. Also, only 1-100 are carefully arranged according to how highly I hold them. After that, titles appear in a rough ranking order.
The list contains no animated or non-English movies, as I've seen too few of those to give them a fair inclusion. Nor does it include comedies or titles which arguably belong to other genres, such as fantasy, horror or superhero movies. To give prominence to diversity, the list only includes the best installment of each franchise, representing the series as a whole, and to give more room to original ideas, only unique remakes and reboot films qualify.
American Film Institute (AFI) defines science fiction as “a genre that marries a scientific or technological premise with imaginative speculation.” I'd like to add that the genre deals with hypothetical yet scientifically possible events that humanity so far hasn’t experienced, for example the event shown in Gravity, or technology used in ways that yet hasn't happened, such as in The Martian. Also, the definition requires that a scientific explanation is presented for what takes place within the frame of a story. Hence, stories dealing with magic or other supernatural elements can be ruled out.
The official 501 Must See Movies is compiled from a list of about 50 movies from 10 genres. These lists use the second edition which contains between 50 and 60 movies in each genre and breaks them out into their own lists for easier completion.
"Cinema exists to project our dreams. Science-fiction cinema exists to project our most creative dreams -- time-travel, alternate worlds, expanded consciousness, and more. That's why we're science-fiction maniacs and why we gathered up our top 100 movies." -- Popular Mechanics
The Academy of Science Fiction Fantasy & Horror Films is a non profit organisation founded in 1972. They host annual awards called the Saturn Awards and the winners of the Saturn award for best Science Fiction film are listed below.
There was a tie in 1998 between Armageddon and Dark City
De Nederlandse fans hebben gesproken. Wat is de beste horror-, sciencefiction-, fantasy- of cultfilm aller tijden? Schokkend Nieuws deed ter gelegenheid van zijn honderdste editie een oproep aan lezers, fans en collega-filmjournalisten een lijstje samen te stellen met de tien beste genrefilms aller tijden. De oproep leverde maar liefst 719 verschillende titels op. De honderd beste films staan afgedrukt in de 100e editie van de tweemaandelijkse filmglossy (IMDb List: http://goo.gl/vsKfJ).
All movies from the Films Cited section in the book [url=http://www.amazon.com/Science-Fiction-Cinema-Between-Fantasy/dp/0813541735?tag=viglink20340-20]Science Fiction Cinema: Between Fantasy and Reality[/url], written by Christine Cornea.
"From E.T. the Extraterrestrial and Back to the Future to Blade Runner and Alien, science fiction films have been achieving blockbuster status for decades. Moreover, some major studio releases, such as Star Wars, The Matrix, and 2001: A Space Odyssey, as well as many low-budget films have become etched in film history as international cult classics.
Offering a broad historical and theoretical reassessment of this popular genre, Christine Cornea explores the development of science fiction in cinema from its very beginnings to the present day. Each chapter offers analyses of particular films, situating them within a wider historical/cultural context while also highlighting a specific key thematic issue. Cornea provides vital and unique perspectives on the genre, including discussions of the relevance of psychedelic imagery, race, the "new woman of science," generic performance, and the prevalence of "techno-orientalism" in recent films. Enriching the book are new interviews with some of the main practitioners in the field, such as Roland Emmerich, Paul Verhoeven, Ken Russell, Stan Winston, William Gibson, Brian Aldiss, Joe Morton, Dean Norris, and Billy Gray. While American films are Cornea's main focus, she also engages with a range of pertinent examples from other countries and explains why science fiction lends itself well to transnational reception."
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”? Really?!?) We’re confident, however, that there’s a place in the canon for these relative latecomers.
I love to obsess over a show's mysteries and the theories sparked by them that elevate the viewing experience. Lost was the show that launched a thousand theories. At its best, Lost was magical like nothing before or since. And I've never heard anything as moving as Michael Giacchino's deathless score for Lost. Whether a mystery box or a Pandora's box, Lost began with an openness to potential scientific explanations. But as it closed the door to science fiction and opened the window to its own magical rules of fantasy, we got a philosophical allegory about what the island symbolized, leaving much of it open to interpretation.
Lost showed that love is the biggest mystery of all, an act in which we create something together. And all we need in order to create is our unfettered imagination, the unpredictability of inspiration and the evolved conscious choice between futures that can't be foreseen until we imagine them. While the island in Lord of the Flies stands for the corrupted material world, the island in Lost symbolizes the spiritual world where atonement and redemption is possible. With a beginning hinting that all that happens means something, a middle asking if meaning is an illusion, the end tells us that love is our constant whose meaning we can't fathom.
As for why The OA without doubt is the best series right now, here's a quote from Part I: "It's about . . . the play, cast of two, setting, classroom, over many dimensions through time. . . . This dimension is crumbling to violence and pettiness and greed." And in Part II, Karim is the dopest cat ever, especially when he says, "Get off my boat." Followed by OA saying, "I'm asking you to imagine that reality is stranger and more complicated than you or I could possibly know. And sometimes we get glimpses of it, in dreams or in déjà vu."
I'm happy to say that Part II of The OA blew me away, its ending one of the best I've ever had the joy to see, to me as fine as that of Planet of the Apes, Coherence, Interstellar and Dark City. Though stumbling at times up to the grand last scenes of its acrobatic storytelling, it's the most riveting story of this dimension. I've never been part of a more passionate love for a series than what I've felt and seen expressed for this story. A story that is revolutionary in how it offers adventure and fight for survival without resorting to violence, showing us that our lunacy of war was who we were before our species matured, not who we are.
(Honorable mentions: The Expanse, Star Trek: Discovery, Black Mirror, Extant, Regenesis, Colony, Fringe, Revolution, Ascension, Falling Skies, Killjoys, Dark Matter, Lost in Space.)