The science fiction genre has captivated filmmakers and spectators alike since the beginning of cinema. From Georges Méliès to Fritz Lang, Robert Wise to Ridley Scott, science fiction films has explored humanity’s dread of the unknown and the unknown, creating sometimes grim, sometimes exhilarating images of the future.
If you’re a science-fiction fan and have a Prime Video subscription, there are a few worthwhile titles to watch. There’s something for everyone here, whether you’re looking for sci-fi horror, action, humor, or post-apocalyptic/dystopian sci-fi. Here’s a list of sci-fi movies that every sci-fi fan should see, some good, some bad, and some in the middle but philosophically sound.
When you combine Eternal Sunshine of the Spotless Mind and The Matrix, what do you get? Bliss is a well-known but inventive science fiction romance about a distorted world. It’s tempting to compare it to famous genre masterpieces, yet director Mike Cahill manages to make the subject feel fresh.
Bliss takes place in a not-too-distant future in which corporations have considerably more influence than they do now. A lonely daydreamer (Owen Wilson) seeks out a woman from his fantasies (Salma Hayek), only to realize that she is real. Wilson and Hayek are best known for their comedic roles, so seeing them in more serious parts is refreshing.
2. The Lazarus Effect
The Lazarus Effect tells the story of a group of medical experts who discover a serum that can return the dead back to life. This sounds fantastic in principle, but everyone who has watched a zombie movie knows that this doesn’t always work out. The Lazarus Effect isn’t any different.
When one of the group’s members, Zoe (Olivia Wilde), is electrocuted and undergoes the operation, she returns as a superpowered and sometimes super frightening version of herself, putting everyone in danger. “Evil shall Rise” is the tagline for the picture, and that pretty much sums it up. The Lazarus Effect is for you if you like your science fiction with a dash of horror and the occult.
3. The Tomorrow War
Being a little corny has no negative connotations. The Tomorrow War is the perfect type of alien invasion epic that doesn’t take itself too seriously, a throwback to Independence Day, Armageddon, and other lighthearted science-fiction spectacles of the 1990s.
Chris McKay, the director of The LEGO Batman Movie, creates some absolutely jaw-dropping action sequences, yet the 138-minute length doesn’t feel overly long. Chris Pratt provides one of his most sincere and captivating performances yet, with a touching subplot involving his father (J.K. Simmons). The Tomorrow War is for you if you want a Roland Emmerich mimic that is better than anything Emmerich has created in the last two decades.
4. Bill & Ted Face the Music
Bill & Ted should not be as excellent as it is, but it is a fantastically fun sequel that also feels like a progression of the franchise. Bill and Ted Keanu Reeves and Alex Winter have reached middle age and have yet to write the song that will save the universe when the film begins. When they’re given a ticking clock and told they have to write the song before time runs out, they’re forced to over-reflect.
What’s the solution for them? Go back in time and steal the music from them when they’ve finished it! The film is delightfully ridiculous and goofy, but it is founded on genuine empathy for all of its characters. Bill & Ted’s Excellent Adventure is a time-travel comedy with a big, softie heart.
While the Alien franchise has had its highs and lows since the first two episodes, Ridley Scott’s subversive prequel went in a whole different route, introducing a new philosophical subtext to the Xenomorphs‘ origins. Rather than relying on cheap nostalgia, Scott focused on humanity’s yearning for its originators.
Prometheus is ambitious and flawed, but Michael Fassbender’s compelling performance as the android David is incentive enough to revisit it. The audacity of Prometheus is a strong addition to Scott’s late-career revival, especially when compared to the follow-up Alien: Covenant, which carried the narrative back to more familiar ground.
How well you prefer being led astray will determine how much you enjoy Denis Villeneuve’s Arrival. It’s a two-hour sleight-of-hand stunt that’s best viewed with as little foreknowledge of its plot as possible, and it’s both the full expression of Villeneuve’s approach to cinema and a magnificent, absorptive piece of science fiction.
Fundamentally, it’s about the day aliens land on Earth and all the days that follow—which, to put it bluntly, are mayhem. You can engage with Arrival because of its text, which is strong, startling, evocative, and, most importantly, sympathetic. Should you look for it, you can also engage with it for its subtext.
Amy Adams’ stellar performance as Louise Banks, a brilliant linguist commissioned by the US Army to figure out how the hell to communicate with our alien visitors, leads to a robust but delicate work captured in stunning, calculated detail by cinematographer Bradford Young and guided by Amy Adams‘ stellar work as Louise Banks, a brilliant linguist commissioned by the US Army to figure out how the hell to communicate with our alien visitors.
Adams is a brilliant chameleon actress, and Arrival allows her to display each of her many disguises throughout the film. She sweats, cries, bleeds, struggles, and so much more that can’t be revealed here without giving away some of the film’s most amazing secrets. She also portrays humanity with greater dignity and grace than any other contemporary actor. Maybe we should send her to greet aliens if they ever arrive on Earth.
7. The Vast of Night
Long, talky shots and quick-cut sequences of manipulating technology make up director Andrew Patterson’s small-town hymn to analog and aliens. The film is a quilted narrative of story layers, anecdotes, and discussions stacking and interweaving warmth before tearing off the covers, and it’s effectively a ’50s two-hander between audio fanatics (Sierra McCormick and Jake Horowitz portray a switchboard operator and a disc jockey, respectively).
The dusty setting and its inhabitants’ effectiveness, forged from a high school basketball game and one-sided phone conversations (the latter of which is a perfect example of McCormick’s confident performance and writers James Montague and Craig W. Sanger’s sharp script), only adds to the film’s inevitable UFO-in-the-desert conclusion.
The sensory quietness (quieting down to focus on a frequency or dropping out the images to focus on a single, mystery radio caller) is almost divine as comfort and friendship enter with an effortless swagger and a torrent of words. It’s mythology at its best, a genesis story that makes extraterrestrial interest feel as natural and as much a part of our wondering lives as the countless social snapshots it contains.
The vivarium is a low-key sci-fi nightmare of the commonplace in the spirit of early David Cronenberg. It’s a quirky real estate drama in which first-time homeowners Tom (Jesse Eisenberg) and Gemma (Imogen Poots) get a lot more than they bargained for. The film, directed by Lorcan Finnegan, also serves as a relationship allegory, with Tom and Gemma trapped in a trendy neighborhood of cookie-cutter homes, where establishing a family isn’t just an expectation, but something imposed on them.
It’s not as gory as Shivers, but it’s more gripping in its strange design and sense of desolation. As a collapsing marriage, Eisenberg and Poots command the screen as a disintegrating couple coping in different ways with their newfound environment, where they are seen, manipulated, and perhaps most disturbingly objectively catered for by unseen and undefinable forces.
Its release in 2020 feels especially appropriate since the couple’s home becomes a permanent residence of monotony and hopelessness. The film’s purposely false design seeps into genre aspects, which accelerate in glitches and starts that are as startling as the film’s intentionally artificial design. The vivarium is a tight, nasty fable that would fit well with the best Twilight Zone episodes, thanks to startling sound dubbing, weird colorization, and a few genuine “Oh crap” moments.
Starfish is experimental and abstract; some will find it pretentious (calling it allegorically brilliant). The film’s themes are stronger than its plot. The story is thin. After her best friend dies, Aubrey (Virginia Gardner) moves into her apartment. The world seems to end a day later. Aubrey can converse with a mysterious voice on a two-way radio.
Grace left her cassettes around town. If she can find all the clues, she can stop the apocalypse. Monsters occasionally appear. Gardner is wonderful in the gorgeously shot flick. Some will only find that redeeming. A.T. White could have said what he wanted sooner and with more clarity, but that’s probably the point. Slow and unclear on purpose. It’s about grief’s power. It’s obscure, but it shows the genre’s depth and breadth.
Riz Ahmed’s presence in films and television continues to grow, with roles in everything from Amazon Studios’ The Sound of Metal to HBO’s The Night Of. Encounter portrays Ahmed as Malik Khan, a respected Marine who must save his two sons from an invasion of extraterrestrial invaders in his debut sci-fi outing with Amazon.
The picture is unbalanced at points, but director Michael Pearce tries everything he can to weave major themes like paranoia, manhood, and current events into a visual feast of sci-fi magnificence. Let’s just say it’s proud of the fact that it works in more ways than it doesn’t.
The following is a list of the finest sci-fi movies are available on amazon prime in 2022. Going forward, this list of the best sci-fi movies will be updated regularly.