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:
Practically the whole of your childhood is dead (including the Powerpuff Girls), bigotry has entered the White House, we are about to face similar problems for the same reason, and Pokémon have taken people out of reality and off of cliffs. It's no wonder I go to the cinema so many goddamn times. However, with all these disinteresting sequels and "original" concepts, I don't see that happening nearly as much as 2016.
As far as I know, there's no farting corpses, very little hot dogs, hardly any seagulls, no chance of cute 3D redheads and a bunch of gems I've already witnessed first at a festival. Until another festival can surprise me, be it Flare, Sundance, LFF or even the LIAF, the most notable experience I can think of as of yet is seeing who else will attend the My Little Pony movie.
One thing's for sure - there will be less to see than last year, and the rising interest in digital releases doesn't help (especially with the region cheats). Will there be another Carol like there was twice last year, not counting their UK releases this year? Or is 2017 just going to be the weakest year for film by far? Unless we act soon, it won't just be democracy that's dead.
series, movies & stuff produced by Netflix / sorted by release date (from newest to oldest release)
(based on https://www.netflix.com/browse/originals and various other sources, if needed)
last update: June/15/2018
[work in progress ... always ^^]
note: some database-entries are missing on trakt, so that the list is imho as complete as it could be atm. if you find something i missed, feel free to leave a comment.
“We know that it was us that scorched the sky.”
― Morpheus, 'The Matrix' (1999)
Extreme weather events, changes in global temperature levels, mass extinctions — climate change promises so many fun things. But why wait? You can see what that world will be like tomorrow, by climbing aboard the climate fiction train today.
Cli-Fi explores how the world may look in the process (or aftermath) of dealing with climate change.
Well-done Cli-Fi also has an important message to deliver – that of hope. That it's not too late; we still have time to avoid these things happening if we adapt and change.
'Interstellar', Climate Change and the Evolution of Cli-Fi Movies, via ucsusa.org:
The New ‘Godzilla’ Is Science Fiction — and Climate Fiction, via The Daily Signal:
Cli-Fi Is the Hottest New Literary Genre, via good.is:
Can Cli-Fi Actually Make a Difference? A Climate Scientist’s Perspective, via The Conversation:
'mother!' and the Cli-Fi Conundrum, via Jump Cut:
A Review of Cli-Fi Cinema ... Past and Present, via YCC:
What Happens to Fiction When Our Worst Climate Nightmares Start Coming True?, via The Smithsonian:
Darren Aronofsky Says 'mother!' Is About Climate Change, But He’s Wrong, via The New Yorker:
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