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.
Says 100, but the only thing better than 100 sci-fi movies, is 200 sci-fi movies!
This list is good evidence that there really is very little good sci-fi around :(
The source had the 1951 'The Thing' twice, so I've added their honorable mention instead.
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.
"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
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.
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."