5 Science-Fiction Movies to Stream Now
Before you jump in to one of this month’s off-the-beaten-path sci-fi picks, check out the “Trump vs. the Illuminati” trailer. The plot summary begins with “Chinese Clone of 45th US President Donald J. Trump Survives Destruction of Earth,” and that’s about all you need to know.
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Alone in a vast universe, a small dot hopes someone will spot it: such is the fate of the brilliant Swedish film “Aniara”, floating quietly in a dark corner of the Hulu galaxy.
And such is the fate of the title ship, which quickly loses power and communications during a three-week journey from Earth to Mars, then spends years drifting through space.
Based on Harry Martinson’s 1956 poem, Pella Kagerman and Hugo Lilja’s film emulates ellipses and its source material’s disregard for explanations, not to mention plausibility: it will likely frustrate pragmatic viewers and reward those who fail. interested in existential ruminations.
The main character is a calm woman (Emelie Garbers) who operates the Mima, a kind of holodeck that accesses people’s memories to invoke the bucolic views of “the Earth as it once was”. As time passes on the stranded ship, once a temple of consumerism and senseless distraction (some interiors have been shot in shopping malls), she watches relationships form and test each other (including her own), obscurantist cults. appear, despair spreads. It’s a dark, haunting movie that casts a surprisingly powerful spell.
“James against his future me”
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Most time travel movies work hard to try and deal with the paradoxes that result from their central premise. Refreshingly, this Canadian comedy doesn’t even bother to say, “We can’t really rationalize all of this, so go for it. “
As the title sums it up nicely, James (Jonas Chernick) has a strained relationship with an older version of himself (Daniel Stern) who suddenly materializes from the future. That Stern is taller than Chernick is dismissed with a wink.
James is a scientist who can be pushed to selfish rudeness, but it turns out that he will one day invent a time machine. The shaggy visitor, whom the couple refer to as Uncle Jimmy as their cover, tries to convince their younger version to rearrange their priorities. This is, for example, teaching James how to enjoy eating a croissant and better flirt with his colleague Courtney (Cleopatra Coleman, from “The Last Man on Earth”). Much of the humor comes from the fact that the film is about a strange couple made up of mostly one person.
As “James” relaxes halfway, he recovers well before heading for a poetically enriching conclusion.
‘The eager mare’
Buy or rent it from Amazon Prime, Google Play, Vudu, and YouTube.
Warning: Do not watch the trailer for this independent film, which could be used to illustrate “cheesy” in an online dictionary. Some movies just don’t do well in two-minute bites of DIY scenes, and “The Wanting Mare” is one of them. Nicholas Ashe Bateman’s eccentric feature debut is set in the heat-struck and oppressed town of Whithren. A character named Moira is interpreted somewhat confusingly by different actresses, there is a kind of matrilineal order, shared dreams are passed down from generation to generation and – I give up.
Bateman is less interested in storytelling than in world-building, and he certainly came up with a project of a different ambition and scope than most of what exists.
In a feat of determination, Bateman shot much of his film in a New Jersey warehouse, later adding time-consuming computer-generated effects. The improbable result is like a fantasy mixing the aesthetics of video games and documentaries. (Bateman is credited as the visual effects supervisor on David Lowery’s new film “The Green Knight.”) The opaque result can be mesmerizing and frustrating. It cannot be rejected.
Buy or rent it from Amazon Prime, Apple TV, Google Play, Vudu, and YouTube.
It’s hard to ignore a common sci-fi theme: Earth is doomed. And in a flourishing subgenre, the sun has become humanity’s greatest threat.
Solar radiation has reached such a deadly level in Guy Moshe’s “LX 2048” that only clones can resist it. Most of humanity lives at night, when it’s possible to get out safely, but that won’t stop Adam Bird (James D’Arcy) from going to work in a convertible in the light of day – in a suit. protection against hazardous materials. This first scene illustrates the film’s dry humor, as well as the fact that the middle managers are still alive, if not fine, in 27 years. Adam was diagnosed with heart disease, which of course puts his family’s financial stability at risk. While this low-budget film often struggles to keep its narrative on the right side of the line between compelling and inconsistent, especially towards the end, it also raises fascinating questions about a society in which it’s hard to distinguish the virtual from the inconsistent. physical. , the human resulting from genetic engineering. In case you missed the ambitious existential message, Moshe is working in a very sci-fi version of the famous “Hamlet” monologue.
Stream it on Hulu.
At first, this sci-fi / horror hybrid looks like a blatant scam of – sorry, tribute to – “Alien”. It’s hard to avoid comparison when your central vanity involves an evil, malevolent creature extricating itself from a man’s body.
But Egor Abramenko’s “Sputnik” quickly distanced himself from the famous franchise to forge a distinct identity. It’s 1983, at the height of the Cold War, and Doctor Tatyana Klimova (Oksana Akinshina, discovered in Lukas Moodysson’s heartbreaking “Lilya 4-Ever”) has been summoned to a remote outpost in Soviet Kazakhstan. Cosmonaut Konstantin Veshnyakov (Pyotr Fyodorov) has returned from an orbital mission with a large beast inside him, and he doesn’t even seem to realize it. Colonel Semiradov (Fedor Bondarchuk), who admires Tatiana’s unorthodox methods, asked her to separate the man and his excess baggage and make sure they both survive.
The premise is familiar, but Abramenko leads it through satisfying twists with a steady hand. It draws a lot of anxiety from the slow pace, washed-out palette, and muted soundtrack – it all feels eerily muffled. You can look at “Sputnik” as an allegory of a dying Soviet empire simultaneously manifesting self-destructive impulses and aggression towards others. Or you can just enjoy the scares.
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