Though it has a seed of an interesting story, Ryan Kruger’s sci-fi comedy something or other would rather just overwhelm the viewer’s senses.
Five years on, we look back at the film that almost made a Cloverfield universe possible.
The sci-fi thriller takes no risks, and tries absolutely nothing you haven’t seen before.
Philip Koch’s post-apocalyptic series gives us teens, tropes, and teases galore, finding glimmers of potential even as it hews creakily to formula.
Fans of Amazon’s premiere science-fiction series would do well to spend their time between seasons catching up on its anime forebears.
Olivia Cooke and Jack O’Connell shine in a melodramatic, but immersive romantic tragedy that mimics the isolation and loss of our current moment.
The fifth season of The Expanse ends on a more muted note, giving beloved characters rushed-by-real-life exits and setting up bigger stakes for the end.
Ben Wheatley’s pandemic-shot sci-fi effort is a derivative and predictable trip through the fog despite a few choice moments.
Alan Tudyk hams it up as an alien on a secret mission in a small town in Syfy’s mismatched fish out of water comedy.
Naomi has a rude homecoming, as the show narrows its focus to a family fighting for its very soul.
The Netflix Action Movie Industrial Complex continues abated with a deeply mediocre military thriller that can’t get a handle on its lukewarm critique of drones.
Shockingly, the long-delayed comet disaster movie finds remarkable pathos and strong performances from Gerard Butler and Morena Baccarin.
The unlikely science fiction franchise changes pace with a lean and mean action thriller filled with economically effective visuals.
Gabriel Mascaro’s sci-fi drama is an eye-catching effort that doesn’t have as much to say as it thinks it does.
New Line sends Jason to the final frontier, and sends all the thinly-drawn characters and low-budget kills of the franchise with him.
Andrew Patterson’s tale of strange goings-on in ’50s New Mexico is full of detail, even if it doesn’t reach its full potenial.
Shudder’s latest is a synthwave sci-fi opera is thinly plotted and unapologetically lurid, but packed with gorgeous grindhouse visuals.
The cinematographer behind much of HBO’s Westworld and TNT’s Snowpiercer talks about the rocky road to filming two disparate sci-fi dystopias.