Based on the popular 1950s BBC TV series, this is the third and best of the Quatermass films. It may have polarised critics upon its release, but the Wachowski sisters and Run Lola Run director Tom Tykwer’s adaptation of David Mitchell’s Booker Prize-nominated novel is one of the most ambitious, epic and enthralling cinematic experiences of the century. They call it science fiction, but only too rarely does the cinematic genre tackle a subject which focuses primarily on the science. This screen adaptation of Michael Crichton’s first bestseller tackles the crisis that unfolds when a space probe falls to Earth carrying an extraterrestrial virus that instantly turns human blood to powder. Thankfully, the US authorities have just built a secret subterranean research facility for exactly such eventualities. But it’s by no means a given that the boffins will be able to isolate and neutralise the threat – and there’s a nuclear self-destruct option to prevent wider contamination.
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- The Fly and The Thing may be better known, but The Right Stuff director Philip Kaufman’s wry, self-aware reboot of the 1956 classic about alien pod people deserves to be mentioned in the same breath.
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- Set in Japan, a country ravaged by the after-effects of World War II, the film follows a failed kamikaze pilot as he is haunted both by his performance during the war and a gargantuan monster with a heat ray capable of razing Tokyo.
- But Hammer’s 1967 horror cult classic (released in America as Five Million Years to Earth) still has a few scares up its sleeve.
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Like science itself, sci-fi loves to probe the nature of what we call reality – in films as diverse as Blade Runner and Solaris, questions about subjective perception versus objective fact form the core of the story. But few dig as deep to find the answers as Dark City, Alex Proyas’s grimy slice of existential angst masquerading as a noir-inflected thriller. Orson Welles had already terrified America with his radio adaptation, and producer George Pal first brought HG Wells’s 1898 novel to cinema screens in this still-bracing account of a full-scale Martian attack. The setup – Arctic scientists find something vast and otherworldly buried in the ice – is magical, and the script (doctored by an uncredited Howard Hawks, king of the masculine-archetypes-in-peril movie) fizzes with invention.
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A sci-fi-horror hybrid with more grey matter than your sci bet average movie, Annihilation has grand concepts in mind, ideas about self-destruction and rebirth. The film follows cellular biologist Lena (Natlie Portman) as she ventures into the Shimmer, an anomalous electromagnetic field that looks a bit like a jellyfish screensaver. There, she discovers the truth about what happened to her husband Kane (Oscar Isaac), who visited the Shimmer and returned in poor health and with his memory missing. We present SciBet, a single-cell classifier that accurately predicts cell identity for newly sequenced cells or cell clusters.
Fantastic Planet examines what happens when a civilised people tries to subdue and tame a savage one – an allegory of colonialism, if you will. That the savages are depicted as humans (Oms) and the civilised people as unblinking blue aliens (Draags) makes it clear where René Laloux’s sympathies lie, and plot-wise the film is rather flimsy polemical stuff. But what drives Fantastic Planet isn’t story, but rather the mad visual imagination of Laloux’s team, which included renowned surrealist artist Roland Topor. It’s only slightly hyperbolic to describe Everything Everywhere All At Once as a cinematic miracle. A genre-exploding, mind-warping triangulation of multiversal sci-fi, bonkers martial arts actioner and moving family drama, with a predominantly Asian cast, it sounds, on paper, like a movie destined for cult status.
Released the same year as A Quiet Place, and possessing a somewhat similar premise, Bird Box received less attention when it first premiered, but this sci-fi horror film is a great option for fans of both genres. From films satirizing government inaction in reaction to climate change, to journeys into the worlds of party drugs and pills that provide superpowers, these are the must-watch sci-fi movies on Netflix. For each bonus, you’ll find that they have different wagering requirements that you should pay attention to. For the casino welcome bonus, you will have 40x wagering to complete within 30 days.
- Writer-director-star Cory McAbee used imaginative dodges – such as action sequences filmed as musical numbers in silhouette – to make up for a relatively small budget of between one and two million dollars (the exact figure remains sketchy).
- Alfonso Cuarón’s modern masterpiece didn’t precisely predict the future, but it got pretty close to predicting how the future would feel.
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- After an earthbound prologue that culminates in a mesmerising drive through an otherworldly metropolis, Kelvin journeys to a space station orbiting Solaris, a sentient planet that apparently has the power to resurrect dead beings.
- Watching his head regenerate after it’s shotgunned in half still leaves jaws on floors 30 years later.
A complex treatise on the ways technology is destroying our sense of self, or just another Ah-nold kill-a-thon with knottier plotting? Alien was the film that turned the Star Wars template on its head, keeping the cutting-edge effects and sense of a used universe, but making it so much more real, gritty and, ironically, more human. The result is a grey, sombre affair filled with grotesque, uncomfortably Freudian imagery – phallic creatures, pulsating eggs, a computer named MUTHUR, that nightmarish birth scene… But it’s also a masterclass in cinematic tension.
Satire in science fiction is nothing new – but creating a perfect balance of entertainment and politics requires a particular set of skills. As they do with horror, filmmakers use science fiction to reflect our aspirations, terrors, and issues of the times. Through genre lens, we can consider our impact on the environment (Godzilla, WALL-E), technology gone berserk (The Terminator, Ex Machina), identity (Blade Runner, The Matrix), and societal breakdowns (Children of Men, A Clockwork Orange). We might even check-in on the current state of the human condition (Gattaca, Her). Step into the exhilarating world of Scibet, where Australian players can enjoy a gaming experience crafted just for them.
In the process he manages to fall in love with Madeleine Stowe (fair enough) and gets banged up in a mental institution where he stumbles upon Brad Pitt in one of his first and finest roles as a demented, jittery environmental terrorist. Establishment scaremongering about the communist threat against American freedom of conscience seemingly underpins this drumhead-tight B-thriller about sinister extraterrestrial pods taking over small-town California in its sleep. With a script as tight as an Arnie and Carl Weathers handshake, the film makes the best use of Schwarzenegger’s unique strengths this side of The Terminator, which is to say, he spends the movie scowling, firing a machine gun and yelling, ‘Get to zee choppa! ’ It also helps that it has one of the most memorably designed monsters in cinema, a dreadlocked humanoid with a face that clearly projects its creators’ fear of the female anatomy. Of all the movies that came out in the ’80s about humans in remote environments fighting for survival against malevolent alien lifeforms, John McTiernan’s ’roided-up actioner is easily the most straightforward. It has none of the intense paranoia of The Thing, nor the feminist underpinnings (LOL) of Alien.
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