The 5. 0 Best Sci- Fi Films Of The 2. Century So Far. It’s impossible for us to choose a single favorite genre from the wealth that cinema offers.

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But if some sort of “Sophie’s Choice” situation were to occur, we probably would be able to point to one that occupies a more central place in our hearts: science fiction. The term encompasses multitudes: sci- fi runs the gamut from stark, philosophical inquiry to space western to brainless robot- go- bang- bang; it hybridizes beautifully with other genres like comedy, horror and romance and as such is maybe the most expansive and elastic genre of them all. This week, we’re using the opening of Justin Lin‘s stark philosophical inquiry “Star Trek Beyond” as an excuse to revisit our old list of 2. READ MORE: The 5. Best Foreign Language Movies Of the 2. Century So Far. The ease with which we sailed to 5.

We’re hardly the first to notice that recent world events feel distinctly dystopian, and seeing various scenarios play out as extended thought experiments is something that only this genre really affords us. READ MORE: The 5.

Best Animated Films Of The 2. Century So Far. Expanding the list was also interesting, insofar as noting how much or how little our feelings have changed over the past few years. Aside from including a few titles we’d excluded before for prosaic reasons, and a couple of new entries in the top half that are films released after the original list was drawn up, the passage of time has buffed some titles to a higher shine, while others have slightly lost their luster. But we haven’t undergone a 1.

The 5. 0 Best Film Scores Of The 2. Century So Far. Writer Edmund Crispin once said that “science fiction is the last refuge of the morality tale,” and perhaps, living in such challenging and morally murky times, that’s why we find ourselves so compelled by it. Or perhaps we just really dig lasers and neoprene outfits! Either way, here are the 5. Don’t tell drama or westerns that we said that!), has to offer.

Remainder” (2. 01. There’s a thin line between clever and clever- clever, and video artist Omer Fast doesn’t always walk it successfully in his debut feature based on the novel by British writer Tom Mc. Carthy. But that’s hardly even a criticism when it comes to this type of conceptual sci- fi: “Remainder” may be chilly, pretentious and at times alienating in its Moebius- strip narrative of endlessly looping causes- and- effects, but it’s seldom less than fascinating. A deliberately dissociative Tom Sturridge plays a young man given a massive payoff when he’s the victim of a freak accident which leaves him with a kind of monomaniacal selective amnesia.

He then uses his wealth to recreate a fragment of memory down to the most obsessive detail, assisted by a resourceful and discreet factotum (Arsher Ali). It’s never particularly emotive, but as a pared- down mash- up of “Primer,” “Synecdoche NY” and “Memento,” this investigation into identity has its own prismatic, crystalline appeal. Wispy and oblique even by the standards of Wong Kar- Wai’s films, “2. Essentially a sequel to his masterpiece “In The Mood For Love,” the film sees Tony Leung’s Chow return, now romancing (or sometimes not romancing) various women while penning a series of stories set in the year 2. The meta- nature of the narrative means that the film is sci- fi only by the loosest sense, but it’s still a thrill to get to see Wong turn his hand to a neon fantasia of a future. And if the pieces don’t quite add up to a satisfying whole (the Cannes premiere was somewhat rushed, and there’s a slight sense that the film was never quite finished), it nevertheless captures the very particular kind of melancholy that only Wong can pull off.

Advantageous” (2. Dispiritingly still a rarity in being a female- directed sci- fi picture, “Advantageous” is a reminder why we need more diversity in the genre, bringing a unique perspective that makes it feel entirely refreshing. The Sundance- approved film directed by Jennifer Phang sees Gwen (Jacqueline Kim, who co- wrote the script), a spokesperson for a cosmetic surgery company in the near- future, elect to have a procedure that will give her a new, younger body, only to find it difficult to connect with her daughter afterwards. The writing is occasionally stiff and the acting somewhat variable, but it creates a fascinating world on a meagre budget and is positively bursting with ideas and meaty themes, most of which —aging, the roles of women in business, racial identity, motherhood— simply wouldn’t have occurred to most white male filmmakers. Netflix bought the rights, and it’s well worth checking out. The World’s End” (2.

Easily the most divisive of Edgar Wright and Simon Pegg’s Cornetto Trilogy, the third, darkest and most sci- fi installment is less eager to please than the earlier films, but feels more resonant over time. Following wash- out Gary King (Pegg in his greatest performance)’s attempt to reunite his old friends for a once- aborted pub crawl around his hometown, only to discover that the place has been steadily taken over by robots, the film sees Wright’s craft reaching greater heights (the fight scenes are world class) and finding a newly melancholy tone in his work that feels like new ground. And if you’re looking for an insight into the British psyche that caused the self- destructive decision to go for Brexit, look no further than Gary King scorching the earth and telling the alien consciousness to “fuck off back to Legoland” in order to achieve self- determination. Midnight Special” (2. The most “science fiction- y” bells and whistles in Jeff Nichols‘ thrumming, low- key “Midnight Special” may be the weakest elements of the film, but the overall mood —a yearning for understanding beyond what we know— is potent enough to warrant a placement here.

Much was made in advance of the film’s debts to Steven Spielberg and John Carpenter —perhaps too much, in the sense that it disappointed those who went in hoping to scratch the kind of ’8. Netflix’s “Stranger Things” does so effectively.

In fact, Nichols’ film, which stars Michael Shannon, Joel Edgerton, Kirsten Dunst and Jaeden Lieberher, is far more thoughtful and introspective. The otherworldly elements —a child with supernatural powers, a government conspiracy, extra- terrestrial communiques— function as merely a science fiction framework allowing Nichols to probe the concept of fatherhood to a painfully personal degree, as well as the existential dilemmas that raising a child can pose. Showtime Full Deadwood Park Online Free more. Another Earth” (2.

In 2. 01. 1, there suddenly came a new star in the indie sky: Brit Marling appeared as both cowriter and star of two films at that year’s Sundance that had at least sci- fi inflections. The new- agey- cult story “Sound of My Voice” from Zal Batmanglij may be even stronger, but for a robust sci- fi premise, “cult leader who may be from the future” is pipped at the post by “second Earth appears, inhabited by exact doubles of every person on the planet.” Mike Cahill‘s “Another Earth” was somewhat, erm, eclipsed by Lars Von Trier’s “Melancholia,” but it is very different, with a less apocalyptically doomy atmosphere and a sense of intrigue regarding the possibility of redemption that this cleverly unexplained event might represent. Here, Marling’s student and William Mapother‘s composer collide in a tragic accident, and the knowledge that their two lives may be different on Earth 2 begins to look like a second chance. Serenity” (2. 00.