The fifth entry in the increasingly convoluted Terminator series gets some mileage out of Arnold Schwarzenegger’s turn as an aging T-800, but the franchise has exhausted its creative energy.
In Jennifer Phang’s ambitious, visually impressive science fiction feature, terrorist explosions are an everyday occurrence and a cratered economy has drastically turned back the clock on women in the workplace and society at large.
Brad Bird’s first directorial failure comes with a big, bright moral—and so many sloppy narrative choices and unanswered questions that it’s impossible to focus on the wonder.
An action film starring Mickey Rourke and Don Johnson attempted to define the state of cool for 1991. It didn’t.
Director George Miller returns to his post-apocalyptic series for the first time since 1985’s Mad Max Beyond Thunderdome, setting a new standard for action while addressing tough philosophical questions.
A few years after collaborating with Steven Spielberg on Poltergeist, Tobe Hooper remade William Cameron Menzies’ 1953 science-fiction/horror classic as a dark, subversive counter-narrative to Spielberg’s suburbia.
The writer behind three Danny Boyle films—via the novel The Beach, and the scripts for 28 Days Later and Sunshine—strikes out on his own with an intelligent, rigorous science fiction about artificial intelligence.
The latest attempt at brainy indie science fiction follows a geneticist who creates an off-the-books clone of himself and tries to train it to assume the duties of his present life.
This Italian Mad Max knock-off isn’t well-regarded, but it’s fascinating for the way it locks down what producers thought would play to science-fiction fans of its era.
The latest from District 9 writer-director Neill Blomkamp struggles with big questions about morality, mortality, and identity, but can’t escape its need to keep moving and yelling.
In this mediocre found-footage science-fiction feature, a group of teenagers build a time machine. But like many time travelers before them, they discover that meddling with the past has serious consequences.
Jabbar Raisani’s found-footage science fiction about a unified Earth military fighting off armored two-legged extraterrestrials is more a showreel for low-budget effects than a coherent narrative vision.
Xavier Dolan’s latest film lets him look back on his previous work via the story of an intense mother and her unmanageable son.
Bruce Willis snores through another forgettable home-video programmer, this one a Philip K. Dick knock-off about the impresario behind a sordid fantasy palace where the sex workers are human-like androids.