The 2. 5 Best Sci- Fi Movies of the Last 2. Years. This week sees the release of . And while in all likelihood . Some are intimate character studies; others span multiple planets or planes of reality. They prove that great ideas aren’t defined by the size of their budgets but by the scope of their ideas and the depth of their emotions.

This week sees the release of . And while in all likelihood

It’s easy to be cynical about the state of filmmaking in 2. This brilliant flip of the gender script also functions as a metatextual meditation on the way audiences typically objectify actresses—Johansson is frequently naked, but never in a entirely titilating way. For women, . The more Johansson endeavors to empathize and become more “human,” the more she realizes that her body serves no purpose beyond its attractiveness to those she’s made to lure into a fatal trap; it was only created for the pleasure of men, not for herself. It’s that uniformity that consumes Andrew Niccol’s . The premise of the world of . Loving (2016) Stream.

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A meditation on class warfare mixed with a modern Romeo and Juliet romance, Niccol’s 1. Ethan Hawke’s Vincent Freeman faces in his attempts to fulfill his lifelong career goals (and hook up with Uma Thurman, a dream many people can relate to) aren’t far off from the issues faced by contemporary society. Where other time- travel films dumb things down to keep the audience engaged, Carruth’s hyper- realistic . Carruth has said he wanted to make the film as obtuse as possible, so the audience was left as confused about the events as the characters themselves (who he lovingly referred to as “morons”).

Sure, it looks cheap; what film shot for a reported budget of $7,0. But that homemade aesthetic somehow adds to the appeal. The biggest discoveries are sometimes the ones that are made by a bunch of friends working together in someone’s basement. But, Alfonso Cuar. The 3. D (and IMAX) immersed viewers in the experience, letting space become another character in the film. They also made . As Sandra Bullock’s astronaut spins around, untethered in the great expanse of outer space, you're as disoriented as she is.

In both the literal and figurative sense, it’s breathtaking (as Bullock slowly loses oxygen, you find yourself counting your own breaths). And while it works incredibly well as a sci- fi suspense thriller, . It’s only in accepting the end, in leaving the womb of the space station and crawling up out of the primordial clay, does Bullock’s character find a new beginning. Artificial Intelligence’ (2. Directed by Steven Spielberg. The tension between humans and robots—between the “real” and the “fake,” the creator and the created—is just the sort of kinda/sorta real- world issue that works best on the big screen.

It’s entertainment! And it is scary! And it’s .. Steven Spielberg’s 2.

The mechas that populate Spielberg’s brave (and flooded and just kind of awful) new world are capable of so much (though they don’t realize it, and we don’t let them), but we’re principally preoccupied with young David, who just wants to be a real boy. This reimagining of the Pinocchio mythos translates seamlessly to Spielberg’s cold and distant tale, and Haley Joel Osment’s portrayal of the little mecha that could is gut- wrenching to the point of being actually painful. Spielberg shows that a “fake” boy can inspire real emotion from even the most hardened of audiences. A parable of the real- life horrors of apartheid, . Rather than the sleek, sophisticated futuristic tech of traditional sci- fi, Blomkamp made his weapons and gadgets look used and worn, lending the film an additional degree of realism and believability.

The fictional technology accessorizes a story about the complexities of humanity rather than serving as its focus, a rarity among large- scale Hollywood productions. Blomkamp remains a promising and intriguing talent regardless of the disappointment of .

The ingenious premise follows the cast of a long- cancelled cult sci- fi series as they’re plucked from the convention circuit by honest- to- goodness E. T. s (played with genuine, otherworldly weirdness by Enrico Colantoni, Missi Pyle, and a pre- . The aliens have mistaken the . Written by David Howard and Robert Gordon with an exhaustive knowledge of—and an obvious affection for—the tropes of . Last year’s . Boyle’s ability to weave a mighty story with a compelling cast of characters is on full display here, as he immediately steeps us in life on board the Icarus II as it approaches its final (like, really final) destination. Boyle and screenwriter Alex Garland are both adept at world- building—even tiny worlds, like the kind someone might find on a tricked out spaceship bound for glory—and that’s perhaps the boldest thing about .

Even as their motivations and desires flicker and flame, almost everything about . It’s practically Shakespeare on a space vessel as the interplanetary drama continually boils down to the most personal of motivations. Let’s live, Boyle and Garland and their characters (played by a stellar cast that includes Chris Evans, Rose Byrne, and Cillian Murphy) demand, even if it kills us. Dick short story . The results were as satisfying as they were unexpected, a brilliantly constructed mystery (written for the screen by Scott Frank and Jon Cohen) set in a future where a trio of “Precogs” anticipate murders and a special unit of police officers led by Cruise decode their visions and prevent the killings before they take place.

Cruise’s belief in his job is shaken after he himself is accused of killing a man he’s never met; he goes on the lam to prove his innocence while a Department of Justice agent (Colin Farrell) assigned to determine the true efficacy of the “Pre. Crime” division stays hot on his trail. But what puts this sci- fi film among the elite of the last quarter century is the way its possible future reflects on our actual present, and what it has to say about the post- 9/1. There are no costumes, capes, or secret identities, but there are futuristic gadgets, exotic spacecraft, and sentient space trees that sound like Vin Diesel. He’s just one member of an outstanding cast that includes Bradley Cooper as the voice of wise- cracking raccoon Rocket and Dave Bautista as Drax the Destroyer, a vengeful warrior whose alien brain does not understand the concept of figures of speech. Even with all the crazy imagery and geeky concepts, . The uncharted corners of the universe have never felt so universal.

The Wright- produced debut feature from Joe Cornish has a rowdy, boundless energy and awesomely fresh alien designs. But it’s not the threat of furry aliens with glowing teeth or the desperate fight for survival that makes . While we patiently await his follow- up project, we still have .

It’s an Amblin adventure for the modern age; a throwback that also’s forward- thinking. It's his best movie, which is saying an awful lot. Like Douglas Adams before him, Wright uses a blend of grand science- fiction concepts and comedy to explore what makes humanity tick. Initially an . It's a dizzying blend of concepts that have no right to work together at all, and yet they do. Like the other entries in his “Cornetto Trilogy,” . When someone dies, the audience feels it. When the crazy sci- fi takes center stage, the ideas are just as captivating as the jokes.

But somehow director Andrew Stanton was able to pull if off, and somehow he was also able to make . While the veneer of . There are friendly nods to past sci- fi films like . If you were to say it was based on a recently uncovered novel from Isaac Asimov or Robert Heinlein, no one would blink an eye.

It’s that smart, that inventive, and, most importantly, that human. One of its greatest pleasures is watching its plot unfold for the first time, so let’s stick to the basics: Sam Rockwell, giving a career- best performance, plays the sole employee of a mining operation on the moon.

Bored and on edge, his only friend is a robot voiced by Kevin Spacey.