Science fiction has enjoyed a particularly strong run of quality in the 2020s, delivering a steady stream of films that range from cerebral dramas to world-altering blockbusters. In addition, audiences have been treated to a diverse landscape of storytelling where original concepts share the screen with masterful adaptations, proving that sci-fi remains a fertile ground for exploring the human condition. Filmmakers are also balancing high-concept philosophical questions with spectacular visuals, offering something for viewers who want deep existential themes as well as those who simply want to see spaceships explode. Such momentum shows absolutely no signs of slowing down as we reach the midpoint of the decade.
The theatrical calendar is packed with massive releases that promise to keep the hype train moving at full speed. In just a few weeks, James Cameron will take us back to Pandora when Avatar: Fire and Ash hits theaters, expanding one of the most successful franchises in history with a new chapter focused on the Ash People. Looking further ahead to next year, genre fans are already counting down the days for the release of Project Hail Mary, the highly anticipated adaptation of Andy Weir's novel, as well as the third installment in Denis Villeneuve's Dune saga. Before we look too far into the future, however, it is the perfect time to look back at the incredible journey we have been on. These ten films represent the absolute sci-fi pinnacle of what the 2020s have offered us so far.
Japanese director Junta Yamaguchi proves that massive budgets are not a prerequisite for creating a compelling science fiction masterpiece with the inventive time-travel comedy Beyond the Infinite Two Minutes. The narrative centers on Kato (Kazunari Tosa), a cafe owner who discovers a computer monitor in his room that shows him exactly two minutes into the future. He communicates with the version of himself on the screen, creating a time loop that his friends quickly escalate into a chaotic series of events. Shot to look like a single continuous take, Beyond the Infinite Two Minutes is a marvel of timing and scriptwriting that relies entirely on the charm of its cast and the cleverness of its central mechanic rather than flashy special effects. The result is a feel-good sci-fi gem that manages to be smarter and more entertaining than many blockbusters made with a thousand times the resources.
French filmmaker Bertrand Bonello delivered one of the most haunting sci-fi films of the era with this loose adaptation of Henry James's novella The Beast in the Jungle. The story spans three distinct time periods -- 1910, 2014, and 2044 -- and follows Gabrielle (Léa Seydoux) as she undergoes a procedure to purify her DNA by erasing her past emotions. In this numb future, emotions are considered a threat to efficiency, but Gabrielle finds herself drawn to Louis (George MacKay) across every timeline. The Beast uses its sci-fi setting to explore the terrifying concept of an emotionless world and the persistence of love and fear, presenting a cold and atmospheric vision of a future where artificial intelligence dictates human connection. In addition, Seydoux delivers a powerhouse performance that anchors the shifting narratives into a cohesive and devastating whole that challenges the audience to find humanity in a sterile world.
Brandon Cronenberg carved his own bloody path in the genre with Possessor, a brutal sci-fi horror thriller that assaults the senses with its practical gore and hallucinogenic visuals. In the movie, Tasya Vos (Andrea Riseborough) operates as an elite corporate assassin who uses brain-implant technology to inhabit other people's bodies and force them to commit high-profile murders. When she takes control of Colin Tate (Christopher Abbott) to take down a wealthy CEO, the host's mind begins to fight back, leading to a fracturing of reality for both of them. Possessor depicts the loss of identity with a cynical eye, exploring themes of corporate greed and the violation of the self through a lens of extreme violence. Riseborough gives a chilling performance as a woman losing her grip on her own humanity, making this film one of the most visually distinct and unsettling entries in the recent sci-fi canon.
Animation continues to be a fantastic medium for science fiction, and The Wild Robot stands as a shining example of visual storytelling that blends technology with nature. Based on the beloved book series of the same name, the film follows Roz (voiced by Lupita Nyong'o), a futuristic service robot that washes ashore on an uninhabited island and must adapt to her surroundings to survive. As Roz navigates the wilderness, she eventually becomes the adoptive parent to an orphaned gosling, a journey that beautifully juxtaposes her high-tech design against the organic textures of the forest. The Wild Robot tells a simple yet profound story about how parenthood can override even the strictest programming, with Nyong'o's warm vocal performance helping to turn a machine into one of the most empathetic characters of the decade.
Body horror got a new masterpiece with Coralie Fargeat's satire on beauty standards and the entertainment industry, The Substance. The movie features Demi Moore's arguably best performance ever as Elisabeth Sparkle, a fading celebrity who turns to a black-market drug that promises to generate a younger, better version of herself. This new being, Sue (Margaret Qualley), splits her time with Elisabeth, but the balance between the two quickly disintegrates into a violent struggle for dominance. The Substance is loud, colorful, and completely unsubtle in its critique of how society treats aging women, utilizing excessive gore and sound design to make the audience feel every crack and squelch of the transformation process. Furthermore, Moore bares her soul in a movie that escalates from psychological drama to a blood-soaked nightmare, all supported by an intriguing core sci-fi concept.
Guillermo del Toro finally brought his lifelong passion project to the screen with Frankenstein, and the result is a gothic sci-fi tragedy of epic proportions. While faithful to the spirit of Mary Shelley's novel, the film injects Del Toro's signature empathy for the outsider into the tale of the obsessive Victor Frankenstein (Oscar Isaac) and his creation. Jacob Elordi delivers a heartbreaking physical performance as the Creature, a being thrust into a world that immediately rejects him, while the film treats the science of reanimation as a curse that binds creator and creation in a cycle of misery. The production design of Frankenstein is lavish and tactile, grounding the fantastical elements in a gritty 19th-century reality that blends horror, romance, and science fiction into a melancholy vision.
James Cameron always comes back to the director's chair to remind the world that nobody executes blockbuster spectacle quite like him. Returning to Pandora more than a decade after the original, Avatar: The Way of Water shifts the focus to the oceans, introducing the Metkayina reef people and a host of new aquatic creatures. In this new biome, Jake Sully (Sam Worthington) and Neytiri (Zoe Saldaña) must protect their family from the RDA, leading to a breathtaking conflict on the high seas that sets a new benchmark for what is technically possible in cinema. The visual fidelity of the water simulation and the motion capture performances of Avatar: The Way of Water are unmatched, but the film also deepens the lore of the planet and introduces a complex new generation of characters. The sequel is an immersive experience that demands the biggest screen possible, justifying its massive runtime with a mesmerizing story.
Yorgos Lanthimos took the concept of the reanimated corpse and turned it into a bizarre, hilarious, and deeply feminist coming-of-age story with Poor Things. The story follows Emma Stone as Bella Baxter, a young woman brought back to life by the eccentric scientist Dr. Godwin Baxter (Willem Dafoe), who replaces her brain with that of her unborn infant. As Bella's intelligence develops at a rapid pace, she embarks on a globetrotting adventure to discover the world, sex, and philosophy, free from the societal prejudices of her time. Poor Things is a visual feast, utilizing fish-eye lenses and surreal set designs to create a steampunk-adjacent version of Victorian Europe. Stone's physical comedy is unmatched, making Bella a unique sci-fi protagonist who dissects social norms with childlike bluntness in a film that is weird, wonderful, and entirely unlike anything else released this decade.
Everything Everywhere All at Once is a multiverse action-comedy that exploded onto the scene and captured the cultural zeitgeist like few films ever do. The movie revolves around Evelyn Wang (Michelle Yeoh), an overwhelmed laundromat owner who discovers she is the only person capable of saving existence from a nihilistic threat by tapping into the skills of her alternate selves. The narrative races through battles involving hot dog fingers, talking rocks, and raccoon chefs, but beneath the maximalist chaos and absurdist humor lies a deeply moving story about generational trauma, kindness, and the immigrant experience. In addition, Ke Huy Quan's return to acting as Waymond is the heart of the film, providing a counterpoint to the chaos with his plea for empathy. Everything Everywhere All at Once is a rare sci-fi film that manages to be intellectually stimulating, emotionally devastating, and wildly entertaining all at once.
Denis Villeneuve achieved the impossible by taking Frank Herbert's "unfilmable" novel Dune and transforming it into the definitive cinematic sci-fi event of the 2020s. The two Dune films, when viewed together, tell the complete rise of Paul Atreides (Timothée Chalamet) from a ducal heir to a terrifying messianic figure leading the Fremen across the sands of Arrakis. The scale of the production is staggering, with brutalist architecture and sound design that rattles the bones, creating a universe that feels ancient and lived-in. On top of that, Chalamet and Zendaya, who plays Chani, anchor the massive spectacle with complex performances that explore the danger of prophecy and religious fundamentalism. Above everything else, Villeneuve respects the intelligence of his audience, delivering a political war drama that treats its sci-fi elements with absolute seriousness, setting the bar against which all future space operas will be measured.
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