The science-fiction feature film genre has been around for decades, but it went through a curious evolution in the 2000s that gave us some of the best sci-fi films ever made. Coming right on the heels of the internet’s ascension and the rise of the digital age, new technologies opened up a world of possibilities for filmmakers venturing into the sci-fi genre throughout the 2000s. From 2000 through 2009, audiences were glimpsing effects that were growing more realistic on an exponential level, fittingly climaxing with the groundbreakingAvatarto close out the decade. But while technology gave filmmakers more possibilities to make things bigger, better, and flashier, thebestfilms of the genre throughout the 2000s used the technology as a tool, not a crutch, and some of the lower-tech sci-fi films ended up being some of the best.
As we now live in a world where the sci-fi genre is evolving at an impressive rate, we thought it prudent to take a look back and curate a list of the best sci-fi films of the 2000s. Collider’s own Adam Chitwood and Haleigh Foutch settled on a total of 25 sci-fi films that deserve this moniker, so settle in and take a peek at their selections and explanations.
But first, a note: the superhero genre could technically fit inside the sci-fi genre, but we made the conscious decision tonotinclude superhero films in the making of this particular list, as those films could make up a list all their own. So before you start complaining about us leaving outSpider-ManorX2, know that these films were “disqualified” from consideration.
Sunshine (2007)
Despite the fact that he’s an Oscar-winning director with multiple cult classics,Danny Boyleoften feels like an underrated filmmaker. Time and time again he has proved that he can conquer diverse subject matters and genres with his signature style and panache, andSunshineis perhaps his most egregiously undervalued work. It’s all, of course, to do with that unfortunate third act twist, which spins what begins as excellently articulated hard-sci-fi-meets-blockbuster film into a flashy slasher pic, but nonethelessSunshineis a triumph of the genre. As always, Boyle is working with a first-rate cast includingRose Byrne,Cillian Murphy,Michelle Yeoh,Cliff Curtis,Benedict Wong,Hiroyuki Sanada, andChris Evans(in the first pre-Captain Americarole that really gave him credit for his talent). And he puts them to great use in a pulse-pounding, legitimately science-based science fiction for adults that was ever so slightly ahead of its time. Somewhat of a precursor to hyper-realistic space sagas likeGravity,Inception,andThe Martian,Sunshinetakes the utmost care to endow its characters and circumstances with believability and heft that makes each minute piano-wire taught. The greatest strength of that tension comes from the sequences that pit the expert crew against the frivolity of nature and the imperfection of human nature, and while the final act ultimately undermines some of the peak sci-fi that elevates the bulk of the film, it’s still a remarkable achievement that helped chart the course for the future of big-budget sci-fi. –Haleigh Foutch
War of the Worlds (2005)
While the second collaboration betweenSteven SpielbergandTom Cruisewas also a sci-fi film,War of the Worldsis far from the brainy-but-breezy neo-noir ofMinority Report. Instead, this 2004 remake seized the opportunity to mimic the topical quality of many of the classic sci-fi films of the 50s and 60s by seizing on our nation’s post-9/11 fears, offering up one of Spielberg’s darkest films ever. The aliens are secondary inWar of the Worlds, with Spielberg’s focus instead on showing the impact and aftermath of the invasion from a single point of view, Cruise’s Very Bad Father Ray. What follows is a harrowing sequence of events that largely mirrors the state of our nation in the immediate aftermath of 9/11—our confusion, our fear, our anger. Spielberg captures this perfectly, and Cruise is tremendous as a guy who doesn’t know how to be a father and who is left being “The Parent” during the worst day of everyone’s lives. Sure the aliens are a little uninteresting, but they were never the point. The best sci-fi seizes on some thematic resonance, some relevance to the world we live in, and that’s exactly whereWar of the Worldsshines. –Adam Chitwood
Altered (2006)
Alteredis pure B-movie shlock, but it’s got the goods. After, ahem, altering the course of the horror genre with the found footage progenitorThe Blair Witch Project, directorEduardo Sanchezhelmed this nasty little piece of sci-fi horror that pits a group of childhood friends against the vicious aliens that abducted them in their youth. With nary a name or face you’re likely to recognize (unless you’re still pissed at Parker Abrams for breaking Buffy’s heart),Alteredputs a spin on the alien abduction mythos when the men kidnap one of their childhood captors in an ill-advised mission of vengeance. Telepathic, strong, and technologically advanced, the alien race is so obviously superior in every way, and the friends begin paying for their deadly arrogance straight away as the gruesome fallout reveals more and more of the alien race’s offensive strengths. The performances are pulpy and the dialogue earns more than a few cringes, but once you get pulled in, Sanchez makes the most of his limited means with brutal, visceral set-pieces and effects that absolutely hold up when they need to the most. An oft-forgotten low-budget gem,Alteredwill get your stomach churning with consistently creative extraterrestrial kills that will stick with you long after the credits roll. –Haleigh Foutch
Avatar (2009)
So we kind of debated includingAvataron this list given that neither myself nor Haleigh actuallylikethis movie, but the film’s technological and box office achievements cannot be denied—like it or not,Avataris a significant film in the annals of sci-fi history. Writer/directorJames Cameron’s epic hinges on archetypes and familiar story structure to guide audiences through adventures on the world of Pandora, withAvatardebuting the first use of new motion capture techniques to bring the actors’ performances to life in CG like never before.Avataris also the film that really kicked the 3D trend off the ground, bringing about a resurgence for the format and an excuse for studios to charge higher ticket prices on any and all blockbusters going forward. While we await what Cameron has in store for us withfouradditionalAvatarmovies, his 2009 film remains the highest grossing film in history (worldwide), an undoubtedly stunning visual achievement, and yes, a cornerstone of the sci-fi genre as a whole. –Adam Chitwood
28 Weeks Later (2007)
While28 Days Lateris arguably the superior film (thoughWeeksis one of the few sequels that gives the original a run for its money), it has no interest in the virus beyond that of a plot point. Conversely, the sequel leans into the sci-if over the horror in a film built around the military effort to rebuild British society after the rage virus has been contained and the subsequent resurgence of the very same virus thanks to an immune carrier. A somewhat more conventional spin on the zombie/viral apocalypse genre,28 Weeks Latergives us the outbreak the first film skipped, along with the ruthless and desperate government attempts at containment. Bolstered by an outstanding cast includingRose Byrne,Idris Elba,Jeremy Renner,Robert Carlyle, andImogen Poots,28 Weeks Laterwas a hell of an English-language debut for directorJuan Carlos Fresnadillo, who confidently kept the film in line with the stylistic approachDanny Boyleestablished in the original while putting his own spin on the material, and stands out as one of the best viral films of the decade. –Haleigh Foutch
The Matrix Reloaded (2003)
Okay, soThe Matrix Revolutionsis kind of a disaster, butThe Matrix Reloadedgets unfairly roped into how theWachowskisiblings chose to wrap up their sci-fi trilogy when in fact it’s a pretty terrific piece of filmmaking in and of itself.The Matrixis pretty much a perfect movie, and whileReloadedfalls short of being as satisfying as its predecessor, the expansion of the world is ambitiously awe-inspiring, with the Wachowskis pushing the limits of cinematic language. The highway chase sequence alone is enough to qualify it as a candidate for this particular list, but the precision with which the entire film is crafted—with cerebral twists and turns galore anchored by a swellKeanu Reevesperformance—solidify it as one of the best sci-fi films of the 2000s. –Adam Chitwood
Splinter (2008)
A descendent ofThe Thing’s lineage,Splinteris your classic practically-scripted limited-location starter film with an extra edge thanks to first-time directorToby Wilkinsbackground in visual effects and a scene-stealing performance fromShea Whigham, who somehow still hasn’t become the industry-leading name his talent deserves . Set almost entirely in a gas station,Splinterfollows a believably worn-in-but-still-in-love couple Polly and Seth (Jill WagnerandPaulo Costanzo) who are taken hostage by a pair of deadly fugitives (Whigham andRachel Kerbs). When they stop at a gas station, the group is besieged by an amorphous, infectious organism that inhabits and reconfigures the bodies of its victims into grotesque malformities. The concept is lean and elegant, and its executed beautifully, but the film’s greatest strength the faith it has in its characters, who are given the opportunity to defy expectation at every turn.Splintergleefully plays against gender tropes, introducing Polly as the tough, outdoorsy type in contrast to Seth’s reticent intellectualism, and celebrates the individual strengths that come with those traits. Meanwhile, Whigham’s Dennis Farrell, who is introduced as a violent antagonist, ultimately becomes the film’s standout character. It’s the type of movie that regularly turns up on “The Best Movies You Haven’t Seen” lists and the kind of directorial debut that makes you sad Wilkins hasn’t turned out another original film since. –Haleigh Foutch
Donnie Darko (2001)
Does a film need to make sense in order for it to be great?Donnie Darkoput this notion to the test, as writer/directorRichard Kelly’s mindbending sci-fi drama quickly became a movie you justhadto see shortly after its release in 2001. What did it all mean? What, specifically, was thatAbyss-looking thing? Are we to take the entire film literally? These questions and more racked the brains of those who dove headfirst into the cult ofDonnie Darko, and the concurrent rise of the internet age allowed the conversation to continue online, as websites and chat rooms popped up purporting to explain (or hash out) whatDonnie Darkowas all about. In the end, the mystery is more satisfying than the answer, andJake Gyllenhaalannounced himself as a serious talent to watch as he anchoredDarkowith an intense watchability factor that was a sign of great things to come. Just steer clear of the director’s cut. –Adam Chitwood
Primer (2004)
Star Trek (2009)
RebootingStar Trekas a feature film was an almost sacrilegious prospect in the late 2000s, but directorJ.J. Abrams’ tremendously entertaining redo is a triumph. The film solves the problem of undoing the canonical history of characters everyone loves with a brilliant spin on time travel, creating this alternate timeline, and this is the film on which Abrams’ skills as a filmmaker truly flourished. This movie is an absolute blast from start to finish, and while it could be argued that Abrams made aStar Warsfilm instead of aStar Trekfilm, his command of the camera and visual acumen really make this thing stand out as a memorable and visceral sci-fi thrill ride. This is what summer blockbusters should be, and while there’s a bit less brains inTrek ’09than some may had hoped, it’s a swell trip regardless. –Adam Chitwood
