sci fi movies

As far back as the last century, there has been an explosion of the fantastic cinema of great concept that perhaps has no precedent. The reappearance of the science fiction blockbuster concept, the proliferation of authors with extensive gender training and the box-office appeal of a whole new generation of viewers who have already moved on to Spielberg have resulted in a good amount of titles they deserve. The label of new classics.

Of course, it is impossible to include all, and probably will be better, but this small and subjective selection serves as a general idea, as a sampling of what science fiction has given. I have not included some titles that could be considered deserving of the position, although in other cases like, the one that would be the best of the lot, Mad Max: Fury in the Road (Mad Max: Fury Road, 2015), they are obviated to belong more To other subgenera, if not, we would never end.

‘AI Artificial Intelligence’ (2001)

The commotion he caused at the critical level at the time has been discovering over time a film so important that the later, on androids and their existential problems of the rest of the century, have been modelled on its foundations. In addition, the meeting of Steven Spielberg and Stanley Kubrick (who first asked him to address it four years before his death) does not leave a milestone unrepeatable. ‘ AI ‘ was the first cycle science fiction mature Spielberg, who retells Pinocchio so emotional, not forgetting his usual speech absent father.

‘Donnie Darko’ (2001)

Provocative, inscrutable and strange, this story about a teenager tormented by visions of an imminent apocalypse and his role in it has become in all justice a cult title. Tremendously influential, Richard Kelly ‘s debut is mysterious and surreal, a review of ‘ The Catcher in the Rye ‘ through an undefinable mix of genres from film starter, high school drama and sci-fi metaphysical puzzles. Everything works, thanks to Kelly’s vision and a great role of a young Gyllenhaal.

‘Minority Report’ (2002)

Philip K. Dick has been touched upon regularly in the new century, and although many of these visits have been very solid, this ambitious work of Spielberg, allied for the first time with Tom Cruise , has a premise that sells by itself: An elite unit charged with preventing the killings before they happen and an agent of the same, accused. All a visceral thriller of persecution within a worrisome and immersive world in the near future. Determinism, the intrusion of institutions in private life … needless to say that today is more relevant than in his day.

‘Signs’ (2002)

Hated by many, adored irrationally by others, the inimitable M. Night Shyamalan got here one of his few samples of solid storytelling without relying on a surprise end or an unpalatable spin. This is why his most imperishable film, less aged and in which his eccentric sense of humour better fit his Spielbergian aspects or his handling of tension to Hitchcock . An oasis in the commercial cinema of genre, with an enviable elegance and minimalism, unfortunately, disappeared in its later titles.

‘Serenity’ (2005)

Although we will always see it as the climax of his series, this feature closes the concept ‘ Firefly ‘ dramatically. Director Joss Whedon ‘s idea of creating a far-western underworld in space, redefining space opera based on the character of Han Solo, has not only influenced the world of ‘ Guardians of the Galaxy ‘ but has also influenced its influence. Return to the ‘ Star Wars ‘ universe in both Episode VII and that of the few salvageable parts of ‘ Rogue One ‘. Great characters, great pulse for the ingenious dialogue and his narration make it an essential space adventure.

‘Children of Men’ (2006)

Something told me, ten years ago, that this film was going to have more impact in the future, despite the diversified criticism it received at the time of its release (there were even those who did not communicate with its science-non-fiction scene ). Indeed, it is difficult to find a medium of cinema that does not put this visionary piece in its number one science fiction of the new century. I will not be less, but even if I have decided to use a Solomonic chronological order, this is number one, of course. To see it today is even scarier than the day of its premiere.

‘The Cronocrimenes’ (2007)

Ten years have passed and it still seems that the Spanish public has not assimilated it like the rest of the international community. Vigalondo designs a folklore based on simultaneous paradoxes, as matryoshka and comedy. Or something similar. His tragicomic tone becomes darker and darker, brushing his fingers with horror movies at times. There are many indie travel movies in time, but ‘Cronocrímenes’ goes much further than ‘ Primer ‘ (2004) and even had a kind of exploit in the remarkable ‘ Triangle ‘ (2009).

‘The Mist’ (2007)

Samples in which science fiction and terror are allied to give a memorable work. In this adaptation of Stephen King, soon on the television, Frank Darabont manages to elaborate a speech on America post-Bush and the politics of the fear and the fanaticism to rephrase the classics of invasions of monsters of years 50. His tone of visceral drama contrasts with the lack of explanations about the appearance of all kinds of creatures, governmental experiments, other dimensions, Lovecraftian presences, in an approach to the universal cosmic sci-fi.

‘District 9’ (2009)

When Neill Blomkamp was still a promise, he stumbled out of nowhere and became a success at every level. The formula was a combination of explosive action and sharp social commentary disguised as high-concept science fiction, discovering in passing the great Sharlto Copley and those unforgettable pariahs called “prawns” in a shantytown outside Johannesburg. Another Treme bunda metaphor that still today we have not assimilated, and also put a new ceiling to the perfection of infographic photography.

‘Beyond the Black Rainbow’ (2010)

This tribute to science fiction of the 70s directed by the son of the director of ‘Rambo II’ (1985) is a rarity outside of all categorization. Its meditative rhythm and its hypnotic visual construction, gives rise to a fascinating work of art and essay rooms with style on background, in which fit Jodorowsky, Nicholas Roeg, the first Michael Mann, Cronenberg, Argento or Ken Russell. A piece of worship that has nothing to do with what is done around him, perhaps with the excellent ‘ Under the skin ‘ (2013), which has taken away the position for very few points.

‘Monsters’ (2010)

The case of the debut of Gareth Edwards marks a before and after in the genre, not because of its intrinsic quality, but because of its importance at an industrial level. With a budget of less than half a million dollars, it manages to establish the world, an instant, and to carry it through to the end. A good script, using the romantic road movie scheme in a world infested with aliens that barely make an appearance, puts the icing on the cake. It set a precedent for an alternative industry with thousands of stories and voices that no longer require study support.

‘X-Men: First Generation’ (2011)

It is difficult to differentiate, which is a subgenre in itself as that of superheroes, with science fiction, but being strict, there is more than one reason to consider the mutant universe a dystopia in itself, apart from the logic of the rest of Marvel or DC. In fact, its elements of science fiction to use are more implemented in the cinema. Together with ‘ Logan ‘ (2017), this is the best view of the X-men universe, but also a delicious epic with mutants persecuted by the government and a re- reading of history under its optics worthy of the great sci-fi.

‘Rise Planet of the Apes Trilogy’ (2011-2017)

The appearance, a bit of a surprise from ‘ The Origin of the Planet of the Apes ‘ (Rise of the Planet of the Apes 2011), turned out to be one of the revelations of the year: a story of intelligent restart, based on great concept and creating a Milestone in the development of characters with motion capture and the great Andy Serkis as the chimpanzee Caesar. In the absence of the third instalment, the first two are a triumph as an example of raising a blockbuster and show that quality science fiction and the premiere in multi-sale can go hand in hand without losing the essence. Its route through the process of primate uprising is of an epic scale.

‘Looper’ (2012)

Rian Johnson finished consecrating as scriptwriter and director with this dirty and terrible fiction of hired assassins in the time. Think of Van Damme’s intertemporal cop but on the other side. Joseph Gordon-Levitt and Bruce Willis interpret the young and mature version of the same killer that must end with himself, giving a return to the world of intertemporal paradoxes that gives an unexpected and well-placed twist in the second half. It is no coincidence that he has been entrusted with ‘ Star Wars: The Last Jedi ‘.

‘Interstellar’ (2014)

I could have chosen ‘ Origen ‘ (Inception, 2010) perfectly, but in my opinion, this mixture of astrophysics, an odyssey in an environmental preapocalyptic setting and familiar melodrama in temporal blocks, shows a Christopher Nolan much more capable and mature to shape To his usual ambition. The visions of the cosmos are spectacular, their concepts of time and space are pure Sagan (although it is wrong to include the subject of love) and the resolution has the expected emotional effect.

‘The Edge of Tomorrow’ (2015)

Based on the Japanese manga ‘ All You Need Is Kill ‘, this warlike-futuristic thriller is the second check with Tom Cruise on the list, who finds himself trapped in an endless loop of time, dying in battle against alien invaders to wake up the day Previous to repeat all over again. As a sci-fi Groundhog day, it also serves as a criticism of the repetitive and useless character of the war, without giving up a black sense of humour that seems to share a certain universe with the exalted ‘ Starship Troopers ‘ (1997).

‘The Arrival’ (2016)

Despite its underlying idea somewhat close to the postulates provided, the surprising vision of the alien invasion of Denis Villeneuve is as close as commercial cinema has been to approaching literary science fiction, nor was there a flaw since Based on the short story of one of the most acclaimed science fiction writers: Ted Chiang. Hard and genuine sci-fi concepts, within an author’s blockbuster, thrilling, touching and with an interpretation of Amy Adams that remain for the memory.

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