“The only way of discovering the limits of the possible is to venture a little way past them, into the impossible.”
― Arthur C. Clarke
A collection of science fiction movies and television shows that attempt some degree of scientific accuracy, with technologies or scenarios that may be nonexistent in today's world but are at least realistic (if only theoretical). That is to say, they don't rely on magic or fantasy (or anything that departs significantly from mainstream theory) to propel their plot.
This is not to say that some of the line-up here don't take a few speculative leaps, but they at least begin from a place grounded in credible research and theory, from where they then develop their more extravagant premises.
Yes, listing time travel films here is a cheat, but I've only included a few, and only those that make some attempt to explain their paradoxes and/or take their temporal consequences seriously.
The Best Hard Sci-Fi Movies, via /Film:
The 11 Most Accurate Science Fiction Movies Of All Time, via ScreenRant:
Five Science Fiction Movies that Get the Science Right, via New Scientist:
All credits go to IMDb user: RDLongoria
The complete list of movies for the Oscar 2018.
01, 02, 03, 04, 05, 06, 07, 08 & 09: BEST PICTURE -> Winner: 08 - The Shape of Water;
01, 02, 04, 06 & 10: BEST ACTOR IN A LEADING ROLE -> Winner: 02 - Darkest Hour (Gary Oldman);
05, 07, 08, 09 & 11: BEST ACTRESS IN A LEADING ROLE -> Winner: 09 - Three Billboards Outside Ebbing, Missouri (Frances McDormand);
08, 09, 09, 12 & 13: BEST ACTOR IN A SUPPORTING ROLE -> Winner: 09 - Three Billboards Outside Ebbing, Missouri (Sam Rockwell);
05, 06, 08, 11 & 14: BEST ACTRESS IN A SUPPORTING ROLE -> Winner: 11 - I, Tonya (Allison Janney);
15, 16, 17, 18 & 19: BEST ANIMATED FEATURE FILM -> Winner: 17 - Coco;
02, 03, 08, 14 & 20: BEST CINEMATOGRAPHY -> Winner: 20 - Blade Runner 2049;
06, 08, 20, 21 & 22: BEST COSTUME DESIGN -> Winner: 06 - Phantom Thread;
03, 04, 05, 06 & 08: BEST DIRECTING -> Winner: 08 - The Shape of Water (Guillermo del Toro);
23, 24, 25, 26 & 27: BEST DOCUMENTARY FEATURE -> Winner: 25 - Icarus;
28, 29, 30, 31 & 32: BEST DOCUMENTARY SHORT -> Winner: 29 - Heaven Is a Traffic Jam on the 405;
03, 08, 09, 11 & 33 : BEST FILM EDITING -> Winner: 03 - Dunkirk;
34, 35, 36, 37 & 38: BEST FOREIGN LANGUAGE FILM -> Winner: 34 - A Fantastic Woman;
02, 22 & 39: BEST MAKEUP AND HAIRSTYLING -> Winner: 02 - Darkest Hour;
03, 06, 08, 09 & 40: BEST MUSIC - ORIGINAL SCORE -> Winner: 08 - The Shape of Water;
01, 14, 17, 41 & 42: BEST MUSIC - ORIGINAL SONG -> Winner: 17 - Coco (Remember Me);
02, 03, 08, 20 & 21: BEST PRODUCTION DESIGN -> Winner: 08 - The Shape of Water;
43, 44, 45, 46 & 47: BEST SHORT FILM - ANIMATED -> Winner: 43 - Dear Basketball;
48, 49, 50, 51 & 52: BEST SHORT FILM - LIVE ACTION -> Winner: 51 - The Silent Child;
03, 08, 20, 33 & 40: BEST SOUND EDITING -> Winner: 03 - Dunkirk;
03, 08, 20, 33 & 40: BEST SOUND MIXING -> Winner: 03 - Dunkirk;
20, 40, 53, 54 & 55: BEST VISUAL EFFECTS -> Winner: 20 - Blade Runner 2049;
01, 14, 56, 57 & 58: BEST WRITING - ADAPTED SCREENPLAY -> Winner: 01 - Call Me by Your Name;
04, 05, 08, 09 & 59: BEST WRITING - ORIGINAL SCREENPLAY -> Winner: 04 - Get Out.
Tip: Pick a movie and search (ctrl+f) by the number to view all its nominations above,
e.g. search 01 to view all nominations & wins for "Call Me by Your Name".
In its first film season, 1927–28, this award (like others such as the acting awards) was not tied to a specific film; all of the work by the nominated cinematographers during the qualifying period was listed after their names. The problem with this system became obvious the first year, since Karl Struss and Charles Rosher were nominated for their work together on Sunrise but three other films shot individually by either Rosher or Struss were also listed as part of the nomination. The second year, 1929, there were no nominations at all, although the Academy has a list of unofficial titles which were under consideration by the Board of Judges. In the third year, 1930, films, not cinematographers, were nominated, and the final award did not show the cinematographer's name.
Finally, for the 1931 awards, the modern system in which individuals are nominated for a single film each was adopted in all profession-related categories. From 1939 to 1967 with the exception of 1957, there were also separate awards for color and for black-and-white cinematography. Since then, the only black-and-white film to win is Schindler's List (1993).
Floyd Crosby won the award for Tabu in 1931, which was the last silent film to win in this category. Hal Mohr won the only write-in Academy Award ever, in 1935 for A Midsummer Night's Dream. Mohr was also the first person to win for both black-and-white and color cinematography.
No winners are lost, although some of the earliest nominees (and of the unofficial nominees of 1928–29) are lost, including The Devil Dancer (1927), The Magic Flame (1927), and Four Devils (1928). The Right to Love (1930) is incomplete, and Sadie Thompson (1927) is incomplete and partially reconstructed with stills.
The first nominees shot primarily on digital video were The Curious Case of Benjamin Button and Slumdog Millionaire in 2009, with Slumdog Millionaire the first winner. The following year Avatar was the first nominee and winner to be shot entirely on digital video.
In 2018, Rachel Morrison became the first woman to receive a nomination. Prior to that it had been the last Academy Award category to never nominate a woman.
Below is our updated running tally of the films most frequently mentioned by individual critics on the year-end Top Ten lists. Note that if a critic ranks more than the standard 10 films, we will not include films ranked 11th or worse. (We do include unranked lists of 11-20 titles, though each film gets just one-half of a point.) In case of a tie for first or second, each film will receive the full points for that position.
From surgical quietude and nocturnal nightmares to feral mermaid sisters and antiporno sadism
For many people, 2017 was a year endured rather than lived. If 2016 was marked by the sheer immediacy of survival, then that sense of heightened awareness led us to wonder just how the fuck we got to where we are now. As reality continued to morph into the cartoonishly hyperreal landscapes of a nightmare, the cinema of 2017 brought forth a much-needed wave of pragmatism, forcing us to take a long, hard look at our collective histories — both recent and long ago, historical and fictional — as a means of regaining our bearings in a world where the rug had seemingly been pulled out from under our feet.
Whether these films were tackling issues of race (Mudbound, I Am Not Your Negro), sexuality (BPM, Call Me By Your Name), or even our youthful connection to the towns we grew up in (Lady Bird), there was an urgent sense of gazing back in time to reckon with our mistakes. And these contemplative reevaluations wisely skirted pure nostalgia, paving the way for thrilling narrative and visual experiments, from slowly peeling back the perfectionist veneer of the 1950s London fashion world to reveal its psychological kinks (Phantom Thread) and extolling the humor and wit of a reclusive poet (A Quiet Passion) to examining a collision between personal obsession and imperialism (The Lost City of Z) and a daring retcon of the world’s most ubiquitous film series (Star Wars: The Last Jedi).
Even topics that have been long since rendered inert were made exciting once again in 2017. Christopher Nolan’s use of World War II (Dunkirk) as an experiment in crosscutting and tension-building and Albert Serra’s wry Renaissance-painting-come-to-life (The Death of Louis XIV) displayed new aesthetic strategies for representing and grappling with the past, while James Franco used the behind-the-scenes on-set comedy (The Disaster Artist) to explore both the authenticity of our attachment to so-bad-it’s-good cinema as well as the emotional and economic intricacies behind its own making.
But where many films looked behind us, there were still plenty drawing inspiration from the urgency of our current and near-future predicaments. Some of our favorites managed to touch on the potential repercussions that technological advancements will have on our consciousness and memory (Marjorie Prime) or our sense of self-worth (Ingrid Goes West), while others remained firmly grounded in the struggle to simply exist and make it to the end of each day (The Florida Project, Good Time). These 30 films demonstrate that the art of filmmaking can still be emboldened by sociopolitical turmoil to re-examine its own means of production, simultaneously breathing new life into once-stale forms and breaking boundaries to create new ones. –DEREK SMITH