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Today, much of Netflix’s Sci- fi library is filled with recently- released- to- VOD micro- budget titles with the exception of a classic or two. In other words, Sci- fi isn’t exactly a strong point in the realm of what Netflix has for genre offerings, but there is still plenty to pick from if you feel like bemoaning the destiny of our technological world. Though we’ve avoided superhero movies and fantasy- first films—to be included in future lists—we’ve picked the best of what remains, which still provides plenty to wreck your every conception of reality and human potential, from medieval alien grotesquerie to a 1. For other genres and types, check out Paste’s many, many Best Movies lists, and then make your way through the following. Whatever the future holds, for the time- being check out our choices for the 2. Sci- fi movies on Netflix. Fire in the Sky Year: 1. Director: Robert Lieberman. Travis Walton (D. B. Sweeney) may or may not be a rambling loon who said he was abducted by aliens in 1. Fire in the Sky out of it. Robert Patrick appears against type as a guy who isn’t a liquid metal killer robot from the future, in a role that probably set him up for a permanent spot on The X- Files. You can call it a mystery, in a vaguely Twin Peaks- like fashion, but there’s also a pretty deep vein of existential horror in Fire in the Sky, amplified by the truly terrifying “probing” scenes with the aliens, which are presented in graphic detail. It’s a film about our powerlessness and insignificance on a cosmic scale, made only worse by our indifference toward the buried pain of our friends and neighbors. Europa Report Year: 2. Director: Sebastian Cordero. With echoes of 2. Sebastian Cordero’s innovatively structured thriller enthralls with not only its apparent scientific accuracy, but the passion it portrays among a class of people historically characterized by pocket protectors, taped eyewear and social awkwardness. Aboard the Europa One (Kubrick’s vessel was called the Discovery One), the six scientists bound for Europa, one of Jupiter’s moons (HAL and his crew were headed for the gas giant itself), are living, breathing human beings, with families and fears, ambition and emotions. They’re also just smarter than most of us and on a mission more significant than any of us will experience ever in our lives. The stakes are high in this mock doc/faux found- footage mystery, in which the privately funded space exploration company Europa Ventures issues a documentary on the fate of its first manned mission to investigate the possibility of alien life within our solar system. The sacrifices may be steep, but Europa Report is convinced—and wants to convince you—that this is what it will take to explore such frontiers. Home Year: 2. 01. Director: Tim Johnson Home is a hammy, intro- to- colonialism flick for kids, the precursor to Disney’s 2. Zootopia. But Home’s goofy, hyperbolic melodrama works in its favor, in large part because said goofy, hyperbolic melodrama is couched within the parameters of animated children’s fare, and is more palatable as a result. If you’re the parent of young kids, and if you want to introduce them to the joys of science- fiction, Home is a fine place to start, where Oh (Jim Parsons), an endearingly loquacious member of the alien race known as the Boovs, befriends Tip (Rihanna), a teenager searching for her mother in Australia. Because that’s where the Boovs relocate all of humanity following a “friendly” invasion of Earth, which they deem a suitable planet to call their new home after escaping their enemies, the Gorg. It’s a bit basic, but basic works in Home’s favor, allowing its darker subtext to shine without feeling overwhelming for kids or dishonest for adults. Death Race 2. 05. Year: 2. 01. 6 Director: G. J. Echternkamp. The first official sequel to Paul Bertel’s Death Race 2. Death Race 2. 05. It’s dumb, and it knows it’s dumb—knows that it should be dumb—but it doesn’t actually want to be dumb, which is probably where it goes from sci- fi action romp to dour thriller and pushes to a climax that literally burns everything to the ground. Just as our country deserves. Echternkamp—who’s on Netflix five times, twice as the director of the documentary and the film based on the documentary about his dysfunctional parents—knows how to squeeze every drop of insanity from an already- strangled budget, which makes the scope of Death Race 2. It’s a big dumb movie about a future cross- country race in which killing innocent people is rewarded and mass destruction a given, but it’s also a Marxist screed against a dystopic future in which the means of labor are taken from us and society is subdued by virtual reality fantasy, as well as the best representation in over a decade of Malcolm Mc. Dowell at his purest: puerile, pompous and entirely game for whatever. Perfect Sense Year: 2. Director: David Mackenzie. Great romantic dramas with a sci- fi twist aren’t the kind of thing that come along on a regular basis, which is just one reason that David Mackenzie’s (Hell or High Water) Perfect Sense should have received both more attention and acclaim. Starring Ewan Mc. Gregor and Eva Green, it’s got the star power and gravitas to pull off an ambitious, unique, highly emotional story about how mankind deals with loss. As a mysterious pandemic sweeps the globe, everyone begins to lose specific senses, one after another. First, the entire world loses its sense of smell, and life must adapt accordingly. Then, taste is lost, and once again life must find a way to go on. Mc. Gregor and Green play lovers just beginning a relationship as the world begins to collapse around them, and the film meanders its way through their shifting of priorities. Uncompromising in its vision and consequences, Perfect Sense can be a bit dire, but it’s always beautiful. The Road Year: 2. Director: John Hillcoat The Road, like any Cormac Mc. Carthy adaptation, isn’t a picnic. What’s remarkable about the film is that it’s both softer and harsher than Mc. Carthy’s original novel at the same time—a tad more sentimental, but by virtue of its medium it’s also more confrontational and visceral, which makes the experience of watching it soul- sucking as only cinema about the apocalypse can be. But consider the director, John Hillcoat, who made 2. The Proposition prior to The Road. In The Road, as in The Proposition, Hillcoat imagines the world around us as a blasted landscape, though here he has traded out his hellish portrait of the Australian outback for a desolate, ash- coated post- American landscape where trusting strangers is a death sentence and constant paranoia the key to survival. They give the film a heart that its scenery and action wholly lack. Robinson Crusoe on Mars Year: 1. Directors: Byron Haskin. In which the most useless astronaut in the universe gets away with calling an alien “retarded” and forms a semi- functional love affair with his space- monkey, Mona. Dopey sci- fi fairy tale, Robinson Crusoe on Mars is a relic of its time, but it’s still worth revisiting to appreciate the obvious care director Byron Haskin sunk into his visuals. Every Martian landscape is a vast, beautiful orange tundra upon which Commander “Kit” Draper (Paul Mantee), interstellar nitwit and incompetent human ambassador, lumbers, failing at every turn to demonstrate any shred of the basic survival training one would assume an astronaut would be required to have. Watching Draper struggle through the painful thought process of interpreting the otherworldly terrain around him becomes unbearable, especially when he basically tells the camera what his situation is (“I have only enough air for six hours if I don’t over- exert myself”) and then does the opposite (sprints toward the downed ship of his astronaut friend, though it’s obvious dude’s dead and there’s no point in running). Whether this is how Haskin imagined his future—a time when even the most brazen morons can conquer space travel—or he just wasn’t concerned with the content of his story so much as how it looked, there is only this, his weirdly engaging film, and a humanoid space- slave dressed up like Mayan He- Man. Turbo Kid Year: 2. Directors: Fran. The hyper- bloody ultraviolence in particular is insanely impressive, on a level rarely seen outside the likes of Peter Jackson’s Dead Alive. Add a twist of Michael Ironside playing a ham- fisted parody of his villain roles in movies like Scanners (talk about exploding heads. Turbo Kid sells itself on its premise and iconography, but it’s far better than it truly has to be. Wyrmwood: Road of the Dead Year: 2. Director: Kiah Roache- Turner. Early in Wyrmwood, not minutes before his head’s exploded, a hirsute, genial lumberjack of a fella (Yure Covich) pauses amidst all the chaos of the burgeoning Zombie Apocalypse and sighs, “Zombies—I can’t get used to it in my head, y’know?” We do know, is the thing. Wyrmwood operates in a world whose pop culture is just as heavily saturated by undead lore as our own. As soon as any character witnesses another human gone suspiciously feral, there is no weighing of moral choice, there is only action: mallet to the face, axe to the neck, headshot, headshot, headshot. Even the terminology used to describe such an unthinkable situation is steeped in years of TV and movie know- how; no one in this film needs to be told twice about what to expect with “zombies” running about, and Wyrmwood rarely pauses to let its ideas settle. Which is probably its greatest strength: the action is breakneck, reckless and balls first, willing to risk those balls for some exceptionally kinetic low- budget awesomeness. As, together, the characters gradually come to learn the rules of this new world they’re traversing, all the while running into one more increasingly bonkers fracas after another, so does the audience, unconcerned with the political or social ramifications of a zombie epidemic so far as they push us into the next bloodbath. Drama Movies. November 6th, 2. R9. 7%Room tells the extraordinary story of Jack (Jacob Tremblay in a breakout performance), a spirited 5 year- old who is looked after by his loving and devoted Ma (Brie Larson, SHORT TERM 1. TRAINWRECK). Like any good mother, Ma dedicates herself to keeping Jack happy and safe, nurturing him with warmth and love and doing typical things like playing games and telling stories. Their life, however, is anything but typical—they are trapped—confined to a windowless, 1. Ma has euphemistically named “Room.” Ma has created a whole universe for Jack within Room, and she will stop at nothing to ensure that, even in this treacherous environment, Jack is able to live a complete and fulfilling life. But as Jack’s curiosity about their situation grows, and Ma’s resilience reaches its breaking point, they enact a risky plan to escape, ultimately bringing them face- to- face with what may turn out to be the scariest thing yet: the real world. Room also stars three- time Academy Award. List of Japanese films of 2. A list of Japanese films that were first released in 2. Highest- grossing films. Kyoryuger: The Movie. Katsuya Watanabe. Jun Shison, Ryo Ryusei. Superheroes, Tokusatsu. Based on television series. January 1. 7Wonderful World End. Daigo Matsui. Ai Hashimoto, Jun Aonami, Yu Inaba. Youth music drama. Falling Down. Keitaro Motonaga. Akira Ishida. Supernatural. Based on a video game. April 1. 1Solomon's Perjury (Part 2)Narushima Izuru. Fujino Ryoko. Thriller. Based on a novel! The School Idol Movie. Takahiko Ky! Music Award: Minna de Sh! Esper Dayo! Sion Sono. Sion Sono. Supernatural. Based on a manga. Part 1: Reunion. Keitaro Motonaga. Natsuki Hanae, Yoshimasa Hosoya, Suzuko Mimori, Mutsumi Tamura. Action, Sci- fi. Based on a video game series! Starting Days- Yasuhiro Takemoto. Retrieved February 1. Retrieved October 2. Retrieved January 1. Blair (January 1. Retrieved January 1. Retrieved January 1. Retrieved January 2. Retrieved January 2. Retrieved April 1. Retrieved February 7, 2. Retrieved February 7, 2. Retrieved 2. 9 June 2. Retrieved December 2. Retrieved December 2. Retrieved April 1. Retrieved December 1. Retrieved February 1. Retrieved 1. 2 May 2. Retrieved February 1. Retrieved February 1. Retrieved February 1. Retrieved October 1. Retrieved January 8, 2. Retrieved January 8, 2. Retrieved September 1. Retrieved September 1. Retrieved March 9, 2. Retrieved November 2. Retrieved May 2. 0, 2. Retrieved May 2. 0, 2. Retrieved April 1. Retrieved March 9, 2. Retrieved January 2. Retrieved April 1. Retrieved February 9, 2. Retrieved April 1. Retrieved January 3, 2. Retrieved April 8, 2. Retrieved March 9, 2. Retrieved January 9, 2. Retrieved January 9, 2. Retrieved November 2. Retrieved April 2. Retrieved January 2. Retrieved May 8, 2. Retrieved January 1. Retrieved December 2. Retrieved April 1. Retrieved May 2. 0, 2. Retrieved May 2. 2, 2. Retrieved May 2. 6, 2. Retrieved April 1. Retrieved November 1. Retrieved June 5, 2. The School Idol Movie's TV Spot Aired. Retrieved February 1. Retrieved November 2. Retrieved February 1. Retrieved February 1. Retrieved December 5, 2. Retrieved December 5, 2. Retrieved February 3, 2. Film Business Asia Limited. Retrieved June 2. Retrieved July 2, 2. Retrieved January 2. Retrieved February 6, 2. Retrieved June 5, 2. Retrieved June 5, 2. Retrieved May 9, 2. Retrieved April 3. Retrieved May 2. 6, 2. Music Award: Minna de Sh! Retrieved May 2. 7, 2. Retrieved April 1. Retrieved September 2, 2. Retrieved September 2, 2. Retrieved September 2, 2. Retrieved January 1. Retrieved December 1. Retrieved April 1. Retrieved June 5, 2. Retrieved April 2. Retrieved October 2, 2. Retrieved October 2, 2. Retrieved February 7, 2. Retrieved 2. 1 June 2. Retrieved May 2. 1, 2. Retrieved October 1. Retrieved April 7, 2. Retrieved October 2. Retrieved October 2. Live- Action Film Casts Yasufumi Terawaki, Sawa Suzuki. Retrieved November 3, 2. Retrieved 7 July 2. Retrieved June 5, 2. Retrieved December 5, 2. Retrieved March 2. Retrieved November 2. Retrieved November 2. Retrieved November 9, 2. Retrieved November 2. Starting Days- Film's Teaser Streamed. Retrieved June 1. Retrieved December 1. Retrieved December 1. Retrieved June 1.
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