Top 22 Sci-Fi Movies of Each Year (2000 - 2021)

A surprising sleeper hit, “Pitch Black” is notable for introducing the character of Riddick into the cinematic landscape. Vin Diesel plays the famous character, a criminal who is being transported aboard a spaceship. The ship then crash lands on an alien planet that is filled with sun-hating and blood-thirsty creatures. The movie’s twist on the alien planet formula was widely praised, with many finding the creatures to be interesting enemies. But the real star of the movie is Diesel, whose Riddick is equally deplorable, cool, and enjoyably rebellious. He strikes the perfect balance between likable and villainous, crafting one of the 21st century’s greatest antiheroes in the process.

A definitive cult classic, Richard Kelly’s “Donnie Darko” is an enigma that’s been pulling viewers in for over two decades now. After a man in a bunny suit named Frank saves him from being crushed by a jet engine, young Donnie Darko learns that the world will end in less than a month. The movie’s unapologetically bizarre premise is further heightened by odd characters. Donnie’s drive to understand what’s happening to him echoes our own, though he also deals with the ups and downs of being a teenager. Dissecting the plot and ambiguous ending with others has made it one of the century’s most enduring sci-fi films.

In a beautiful blend of sci-fi and crime noir, Steven Spielberg brings Philip K. Dick’s short story to life in tremendous fashion. Set in a future where police can foresee future crimes, the program’s commanding officer has to go on the run when he’s the next suspect. Tom Cruise’s John Anderton is an emotionally engrossing protagonist, searching for answers as he tries to outrun advanced technology. “Minority Report” isn’t the first sci-fi film to navigate the theme of free will. But it masterfully explores it in between riveting action sequences. It’s some of Spielberg’s best work.

When we heard that “The Matrix” was receiving a sequel, some let out a collective groan. It didn’t need one, and sequels are (for the most part) notoriously disappointing. Well, “The Matrix Reloaded” proved to be one of the rare exceptions. The filmmaking was extravagant, complete with stellar visual effects and imaginative action sequences that really took advantage of the digital world and its lack of realism. It also introduced some fun new characters and delved deeper into the history and mythology of the Matrix itself. It’s a greatly enjoyable sequel that satisfied those hungry for Matrix lore and those who just wanted to watch some mind-bending action.

Like “Her,” the sci-fi elements of “Eternal Sunshine” are understated, with the film instead navigating technology’s impact on us. Upon learning his girlfriend has erased him from her memory, Joel Barish signs up for the same procedure. He and the audience then relive their relationship in reverse. Unfortunately for Joel, he changes his mind midway through. It’s a haunting reminder of how hard it can be to let go of someone you’ve loved. And though its unique cinematography gives it an otherworldly appearance, it’s a movie most of us can relate to. It’s also some of the best work Jim Carrey and Kate Winslet have ever put out, which is saying a lot. 2004 additionally saw the release of “Primer,” a very low budget and experimental work that was almost single handedly made by Shane Carruth.

In 2005, the “Star Wars” prequel trilogy concluded with “Revenge of the Sith,” which is widely considered the best of the prequels. But it wasn’t the greatest science fiction movie of the year. That would be Joss Whedon’s “Serenity.” This is a continuation of “Firefly,” which was infamously canceled after just one season, and like its predecessor, “Serenity” is sci-fi at its best. It’s wonderfully imaginative in its world-building, and said world is populated by a memorable cast of characters. These characters are flawlessly acted and given whip-smart dialogue from Whedon. Plus, the movie also kicks a lot of butt, complete with a relentless pace and lots of fun action. Put simply, it’s a cult classic.

In the not-too-distant future, mass infertility has pushed humanity to a point of near extinction. Many governments have fallen, with the UK becoming a police state due to rampant immigration. “Children of Men” is an incredibly bleak movie. But it’s also one of hope, redemption, and love. Upon meeting the first pregnant woman in decades, pessimist Theo must get her to safety. Performances from Clive Owen, Chiwetel Ejiofor, and Clare-Hope Ashitey are absolutely stunning. The film’s unflinching cinematography puts you in each tense situation, leaving you breathless. It isn’t a movie that’ll leave your mind soon. And it’s one of the best this century, let alone in the sci-fi genre.

Released as “Los Cronocrímenes” in its native Spain, “Timecrimes” concerns a man named Héctor who inadvertently finds himself in a causal time loop. The story is quite audacious, as it takes many fun twists and turns while gleefully playing with the concept of time. It also does a lot with a little, generating a fierce imagination with a very limited budget. Finally, the story itself is rooted in relatable human drama, which serves as a nice anchor for the outlandish and otherworldly time hopping. It’s a movie that would make Christopher Nolan proud, being both humane and inventively constructed.

There are many brilliant minds behind “Cloverfield,” including director Matt Reeves, writer Drew Goddard, and producer J. J. Abrams. The reputable names and a genius marketing campaign produced a ton of hype, and for the most part, “Cloverfield” delivered. Part “Godzilla,” part “The Blair Witch Project,” “Cloverfield” concerns a giant aquatic creature that begins terrorizing Manhattan. The movie mostly forgoes monster action to focus mainly on the character’s reactions to the incident, and the found footage cinematography places us as viewers in the middle of the action. It’s thrilling to watch a monster movie from the frightened and confused vantage of everyday citizens, and it allows “Cloverfield” to generate many unforgettable moments.

It’s hard to beat 2009 when it comes to science fiction, as that year saw the release of “Avatar,” “Moon,” and arguably the best of them all, “District 9.” A scathing rebuke of xenophobia and apartheid, the latter holds a mirror up to the disturbing real world. Following the arrival of insect-like aliens in South Africa, the government forces them into slums. One bureaucrat’s life is turned upside down when he comes into contact with strange, alien liquid that begins to mutate him. Afraid and disowned by his own organization, he’s left to team up with one of the aliens. Although certain elements are fantastical, “District 9’s” partial found footage approach and use of unknown actors makes it feel realistic. It earned four Oscar nominations, including Best Picture and Best Visual Effects.

Christopher Nolan has given us multiple sci-fi juggernauts this century. Just look at “Interstellar.” But his absolute best is the action-packed tale of dream implantation. Following a botched job, extractor Dom Cobb is offered the chance to return home to his children. All he has to do is something that no one has ever successfully pulled off: plant an idea in a target’s subconscious. What follows is a thrilling heist through several levels of dreams, an incredible concept made better by supreme camerawork. The cast is wonderful, the effects are mind-bending, and Nolan’s direction once again proves he’s an entirely original blockbuster filmmaker.

This fantastic film is basically “Stranger Things” in movie form. Intentionally designed to replicate Spielbergian movies of the ‘70s and ‘80s, “Super 8” is an equally comforting and exciting homage to science fiction of the past. The story concerns a small town in Ohio being invaded by an ominous military presence and a mysterious creature. Abrams is a spectacular storyteller, and just like Spielberg before him, he deftly blends elements of humane drama and visually dazzling sci-fi action. All of this is set in a bygone era of suburban America, which is meant to generate intense feelings of nostalgia in older viewers. Maybe it’s cliché to say, but they just don’t make them like this anymore.

Time travel has not yet been invented. But thirty years from now, it will have been. Thus begins Rian Johnson’s brilliant sci-fi crime thriller. Loopers kill and dispose of people sent back by criminal organizations, even if the person is themselves. When one fails to get rid of his future self, he has to figure out how to catch him before the other loopers hunt him down for failing. Joseph Gordon-Levitt and Emily Blunt give stellar performances. The film’s slick plot oozes cool and its visual effects, though sparse, offer bombastic action sequences.

Bong Joon-ho’s “Snowpiercer” is an imaginative glimpse into a potential post-apocalyptic future, but we’re giving this spot to “Her.” It tells the story of the lonely Theodore, a man who falls in love with Samantha, his artificially intelligent assistant. Emotionally distraught from his upcoming divorce, Theodore connects with Samantha on a new and unique level. At times sorrowful and at others heartwarming, the film is an engrossing look at the evolution of modern relationships. And it’s uplifted by Joaquin Phoenix’s beautiful portrayal of Theodore and Scarlett Johansson’s intoxicating voice-over as Samantha. It may not be as high concept as most other sci-fi films, but it is just as captivating.

2014 was another spectacular year for science fiction, containing the likes of “Edge of Tomorrow,” and “Interstellar.” While Matt Reeves also closed out the trilogy fantastically, we have to give the spot to the middle entry. Following the outbreak of the Simian Flu, most of humanity has perished while Caesar and his apes have grown hyper-intelligent. This sequel reaches the same visual heights as the first with Caesar once again flawlessly motion-captured by Andy Serkis. Not only that, but the story soars as the apes clash with the surviving humans. Terrific set pieces bring the action to the forefront. And everything combines to make it a standout entry in this long-running franchise.

Alex Garland made a brilliant directorial debut with “Ex Machina,” but there’s just no beating “Mad Max.” Although it’d been thirty years since “Beyond Thunderdome,” George Miller showed there was plenty of life left in the “Mad Max” franchise. In fact, more life than there’d ever been. The post-apocalyptic film follows Max as he reluctantly aids a group of runaways, enslaved wives of the warlord Immortan Joe. Led by Furiosa, played by an impossibly good Charlize Theron, the group flees across the wasteland. With Joe in pursuit, the entire film is one explosive chase sequence after another. The effects and stunt work have us frequently picking our jaws off the floor. We weren’t the only ones impressed, as “Fury Road” earned a plethora of awards.

Before “Blade Runner 2049,” Denis Villeneuve delivered this beautifully tragic sci-fi film. Amy Adams plays linguist Louise Banks, who’s contacted by the US government when alien spacecrafts arrive on Earth. It’s Banks’s job to decipher their language and figure out if they come in peace or are out for war. The aliens are more like an inciting incident, with the film exploring existentialism and philosophy through humanity’s encounters with them. However, the movie also highlights how unimaginative loss and a mother’s love can be exquisitely intertwined. We won’t spoil the ending, but suffice it to say, it’s mind-blowing.

“Blade Runner” is a phenomenal sci-fi film that doesn’t need a sequel…” is what we said before Denis Villeneuve’s masterpiece. While it was a box office failure, this follow-up proved a worthy companion piece to Ridley Scott’s original. Upon finding evidence of a replicant-born child, blade runner and replicant K is ordered to track the child down and kill them to avoid a war. While Ryan Gosling’s K understandably shows a lack of emotion, his introspective journey takes him through a cavalcade of interesting characters, including the return of Harrison Ford’s Rick Deckard. Additionally, it is an absolutely gorgeous film that finally earned cinematographer Roger Deakins his first Oscar. Meanwhile, “War for the Planet of the Apes” wrapped up the modern trilogy with visual extravagance and surprising emotional heft that same year.

This is one of those movies that walks a very tricky line between mainstream enjoyment and art house experimentation. Written and directed by Alex Garland of “Ex Machina” fame, “Annihilation” is another genius bit of science fiction from the new master. Based on the novel by Jeff VanderMeer, “Annihilation” concerns a group of scientists venturing into a bizarre alien landscape. The movie is a visual and visceral delight. The “Shimmer” is particularly beautiful, and the creatures it creates are positively nightmarish. But the movie arguably works best when it’s focusing on the characters and their universal struggles. Through the lens of exciting science fiction, “Annihilation” tackles some incredibly difficult themes about the human condition.

Ironically, science fiction is arguably at its best when telling a grounded story. This is the case with James Gray’s “Ad Astra.” This movie is about fun space travel, yes, but at its heart, it’s a universal tale about the father-son bond. Brad Pitt plays Roy McBride, a Space Command major who is battling dangerous power surges in the Solar System. He then learns that the surges have been traced to his father, who has been presumed dead for decades. The story is wonderfully told, mixing stellar moments of sci-fi fancy and compassionate drama centered around the parent-child relationship. “Ad Astra” is also an audio-visual feast, and Pitt’s performance is typically exceptional. This is science fiction with both brains and a heart.

2020 was a notoriously difficult year for movies, as the COVID pandemic shut down theaters around the world. “Love and Monsters” proved to be a bright spot, uplifting audiences then they needed it most. A fun little mix of horror, science fiction, and coming-of-age comedy, “Love and Monsters” takes place in a post-apocalyptic world populated by dangerous creatures. Dylan O'Brien makes for a fantastic lead playing Joel Dawson, proving effortlessly charming and hilarious. This type of modestly-budgeted action-comedy is quite rare these days, and it was nice to see a science fiction movie taking comedic advantage of its wacky premise.

Frank Herbert’s iconic novel has been adapted before, but the less said about David Lynch’s film, the better. Nearly thirty years later, it was Denis Villeneuve’s turn. And he churned out an instant classic. Villeneuve beautifully translated the first half of Herbert’s novel for the big screen, which isn’t easy considering the novel’s labyrinthine storyline and cast of characters. But even more important than the movie’s story is its breathtaking scope. “Dune” proves why movie theaters are still relevant, using a $165 million budget to craft one of the greatest sci-fi worlds in movie history. Seeing it on the big screen is an absolute must. “Dune” is a masterpiece of technical filmmaking, and Villeneuve placed another solid entry in his increasingly robust filmography.