The 15 Best Sci-Fi Movies on Amazon Prime (Dec. 2024)

The 15 Best Sci-Fi Movies on Amazon Prime (Dec. 2024)

The sci-fi movie selection on Amazon Prime isn’t what it used to be, but the selections it does have are all over the map—classic sci-fi from the 1970s and ’80s, recent blockbusters, indie gems—and representative of such a dearth of quality, buttressed by butt-loads of low-budget B-movies, that browsing for the good stuff is more than difficult. We’ve dug through pages and pages of free sci-fi offerings for Amazon Prime members and found a handful worth your time, from hilarious satires to graphically violent satires, from iconic, controversial picks to a few from as recently as last year. And also, you can watch The Tomorrow War if you feel really inclined.

You may also want to consult the following, sci-fi centric lists:

The 100 best sci-fi movies of all time
The 100 best sci-fi TV shows of all time
The best sci-fi movies on Netflix
The best sci-fi movies on HBO Max
The best sci-fi movies on Hulu


Here are the 15 best sci-fi movies streaming on Amazon Prime:

1. Ghost in the Shell

Year: 1995
Director: Mamoru Oshii
Stars: Atsuko Tanaka, Akio Otsuka, Iemasa Kayumi
Rating: NA

It’s difficult to overstate how enormous of an influence Ghost in the Shell exerts over not only the cultural and aesthetic evolution of Japanese animation, but over the shape of science-fiction cinema as a whole in the 21st century. Adapted from Masamune Shirow’s original 1989 manga, the film is set in the mid-21st century, a world populated by cyborgs in artificial prosthetic bodies, in the fictional Japanese metropolis of Niihama. Ghost in the Shell follows the story of Major Motoko Kusanagi, the commander of a domestic special ops task-force known as Public Security Section 9, who begins to question the nature of her own humanity surrounded by a world of artificiality. When Motoko and her team are assigned to apprehend the mysterious Puppet Master, an elusive hacker thought to be one of the most dangerous criminals on the planet, they are set chasing after a series of crimes perpetrated by the Puppet Master’s unwitting pawns before the seemingly unrelated events coalesce into a pattern that circles back to one person: the Major herself. When Ghost in the Shell first premiered in Japan, it was greeted as nothing short of a tour de force that would later go on to amass an immense cult following when it was released in the states. The film garnered the praise of directors such as James Cameron and the Wachowski siblings (whose late-century cyberpunk classic The Matrix is philosophically indebted to the trail blazed by Oshii’s precedent). Everything about Ghost in the Shell shouts polish and depth, from the ramshackle markets and claustrophobic corridors inspired by the likeness of Kowloon Walled City to the sound design, evident from Kenji Kawai’s sorrowful score to the sheer concussive punch of every bullet firing across the screen. Oshii took Shirow’s source material and arguably surpassed it, taking an already heady science-fiction action drama and transforming it into a proto-kurzweilian fable about the dawn of machine intelligence. Ghost in the Shell is more than a cornerstone of cyberpunk fiction: It’s more essential in this day and age than it was over twenty-years ago. A story about what it means to craft one’s self in the digital age, a time where the concept of truth feels as mercurial as the net is vast and infinite.—Toussaint Egan


2. The Terminator

Year: 1984
Director: James Cameron
Stars: Arnold Schwarzenegger, Linda Hamilton, Michael Biehn, Paul Winfield, Lance Henriksen
Rating: R

James Cameron’s first Terminator (and second feature) is less of a pure-popcorn action flick than its upscaled sequel, but that makes it all the more terrifying of a movie—dark, somber, replete with a silent villain who calmly plucks bits of his damaged face off to more precisely target its victims. The task in front of Kyle Reese (Michael Biehn) and Sarah Connor (Linda Hamilton) seems so insurmountable—even with a soldier from the future, going after the T-800 (Arnold Schwarzenegger, duh) with modern weapons is so ineffectual, it’s nearly comical. It’s as if Schwarzenegger is playing entropy itself—entropy seemingly a theme of The Terminator series, given the time-hopping do-overs, reboots and retreads since. You can destroy a terminator, but the future (apparently driven by box office receipts) refuses to be changed. —Jim Vorel


3. Memories

Year: 1995
Director: Various
Rating: PG-13

After wrapping production on Akira in 1988, Katsuhiro Otomo returned in 1995 to helm his third anthology collection of short films, titled Memories. Initially scripted around the theme of the collection’s namesake, the anthology eventually yielded a series of three shorts, each directed by one of three of the most acclaimed directors working at the time, Otomo included. The collection’s first segment, “Magnetic Rose,” is unanimously praised as the anthology’s best and for good reason. Directed by Koji Morimoto and scripted by Satoshi Kon, “Magnetic Rose” is emblematic of the themes of perception, identity and uncertainty, which exemplify Kon’s work at its best, depicting the terrifying story of a deep space salvage cruise’s ensnarement in the siren wiles of an aristocratic opera singer. The anthology’s other two installments, Tensai Okamura’s “Stink Bomb” and Otomo’s “Cannon Fodder,” are worth the price of admission as well, the former a crassly comedic take on an extinction-level crisis and the latter a wartime parable animated with a intriguing Terry Gilliam-esque art style in one long take. Whatever your palate as anime film-goer, Memories is not to be missed.—Toussaint Egan


4. The Invisible Man

Year: 2020
Director: Leigh Whannell
Stars: Elisabeth Moss, Oliver Jackson-Cohen, Harriet Dyer, Aldis Hodge, Storm Reid, Michael Dorman
Rating: R

Aided by elemental forces, her exquisitely wealthy boyfriend’s Silicon Valley house blanketed by the deafening crash of ocean waves, Cecilia (Elisabeth Moss) softly pads her way out of bed, through the high-tech laboratory, escaping over the wall of his compound and into the car of her sister (Harriet Dyer). We wonder: Why would she run like this if she weren’t abused? Why would she have a secret compartment in their closet where she can stow an away bag? Then Cecilia’s boyfriend appears next to the car and punches in its window. His name is Adrian Griffin (Oliver Jackson-Cohen), and according to Cecilia, Adrian made a fortune as a leading figure in “optics” (OPTICS!) meeting the self-described “suburban girl” at a party a few years before. Never one to be subtle with his themes, Leigh Whannell has his villain be a genius in the technology of “seeing,” in how we see, to update James Whale’s 1933 Universal Monster film—and H.G. Wells’ story—to embrace digital technology as our primary mode of modern sight. Surveillance cameras limn every inch of Adrian’s home; later he’ll use a simple email to ruin Cecilia’s relationship with her sister. He has the money and resources to peer into any corner of Cecilia’s life. His gaze is unbroken. Cecilia knows that Adrian will always find her, and The Invisible Man is rife with the abject terror of such vulnerability. Whannell and cinematographer Stefan Duscio have a knack for letting their frames linger with space, drawing our attention to where we, and Cecilia, know an unseen danger lurks. Of course, we’re always betrayed: Corners of rooms and silhouette-less doorways aren’t empty, aren’t negative, but pregnant with assumption—until they aren’t, the invisible man never precisely where we expect him to be. We begin to doubt ourselves; we’re punished by tension, and we feel like we deserve it. It’s all pretty marvelous stuff, as much a well-oiled genre machine as it is yet another showcase for Elisabeth Moss’s herculean prowess. —Dom Sinacola


5. 10 Cloverfield Lane

Year: 2016
Director: Dan Trachtenberg
Stars: Mary Elizabeth Winstead, John Goodman, John Gallagher Jr.
Rating: PG-13

At its core, 10 Cloverfield Lane effectively works as an extended, modern-day riff on a Twilight Zone episode, a program producer J.J. Abrams holds near and dear to his heart. That’s not to say the resulting film feels like a lo-fi TV installment inorganically pumped up for the big screen. Quite the contrary, despite its enclosed setting and limited speaking parts, the film is very much a cinematic experience, with director Dan Trachtenberg (in his feature film debut) milking each interaction and set piece for maximum impact. What’s more, the script—the screenwriting debut from Josh Campbell and Matthew Stuecken alongside Whiplash writer-director Damien Chazelle—understands that sometimes the best way to raise tension is to allow it be deflated by humor (several tense sequences end with a chuckle rather than a gasp) before ramping it back up again. This well-calculated back-and-forth makes the film consistently nail-biting, yet never in a way that feels repetitive. By the time the film reaches its dramatic final stretch, the narrative has successfully escalated to a point wherein the crazier elements fit right in with the more grounded ones. —Mark Rozeman


6. Dune

Year: 2021
Director: Denis Villeneuve
Stars: Timothée Chalamet, Rebecca Ferguson, Oscar Isaac, Zendaya, Josh Brolin, Stellan Skarsgård, Dave Bautista, Jason Momoa
Rating: PG-13

Both technologically innovative and narratively faithful to the original text, Denis Villeneuve’s Dune is bolstered by its seamless special effects and starpower above all else. Considering the director’s previous work in these arenas—namely Enemy, Arrival and Blade Runner 2049—he should be totally adept for the challenge. Yet there exists a nagging query that begs to be quelled: How much of this film is predicated on the sheer fact that cinematic advancements have finally rendered Dune an attainable possibility? Though it remains true to the first part of the text’s unhurried pace and detailed world building, Villeneuve’s adaptation feels overlong and void of subtext. It’s important to note that the film only adapts the first part of Herbert’s novel, which is notoriously kind of a slog. Much of the plot is focused on worldbuilding and creating an incremental immersion into the immaterial political hierarchies that shape this unknown yet familiar world. Admittedly, Villeneuve evokes and embraces this unhurriedness—a choice that just might predicate Dune’s future fortune. By limiting the scope to Part I, Villeneuve’s Dune maintains a consistent tone and sense of time—though it invariably drags over the course of two and a half hours. However, the meandering pace may perfectly suit fans of the original novel, which captures a certain pensive density indicative of the text. To be fair, there is a plain reason as to why Villeneuve opts for a subdued and sedated Dune. With so many failed attempts at adapting Herbert’s novel preceding it, how could the project ever fully embrace auteur-driven artistic risk? It translates as Villeneuve playing it safe, expending all of his energy on ensuring that his remake can’t possibly flop. Though Dune is faithful and fantastical in vision, its existence is merely proof that the enduringly popular novel can, in fact, be adapted into a box office hit.–Natalia Keogan


7. Turbo Kid

Year: 2015
Directors: François Simard, Anouk Whissell, Yoann-Karl Whissell
Stars: Munro Chambers, Laurence Leboeuf, Edwin Wright, Aaron Jeffrey, Michael Ironside
Rating: NR

Turbo Kid is a joyous experience, the kind of insane indie wish-fulfillment that I can only imagine inspires other indie filmmakers to say “Well if that guy can pull off this movie, then I need to make a movie of my own.” It’s a gloriously absurd ode to ’80s era kids movies, apocalypse fiction and gore-centric horror, full of neon colors and exploding heads. 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) and Total Recall, and you have a serious cult classic in the making. Turbo Kid sells itself on its premise and iconography, but it’s far better than it truly has to be. —Jim Vorel


8. Dredd

Year: 2012
Director: Pete Travis
Stars: Karl Urban, Lena Headey, Wood Harris, Olivia Thirlby
Rating: R

Seventeen years was probably far too long after the fact to offer an apology to comic book fans for 1995’s abominable film adaptation of Judge Dredd. After that extended leave of absence, no one could blame American audiences for having long since stopped wondering why the hell John Wagner and Carlos Ezquerra’s grim lawman endured as one of Britain’s most popular comic book anti-heroes. Still, 2012’s Dredd 3D wastes no time showing why—director Pete Travis’s film is a brutally efficient exercise in B-movie know-how. Karl Urban, who’s no stranger to tightly wound sci-fi fare, provides the scowl and chin of Judge Joseph Dredd, a total-law package professional who is clearly as disinterested in humoring his rookie partner (Olivia Thirlby) as the script is in coddling its audience. A few lines of raspy Man with No Name narration, coupled with a superbly bleak establishing shot from cinematographer Anthony Dod Mantle, are all the generosity afforded by the filmmakers toward understanding this world before it unleashes chase sequences and bursting heads. This is a film that respects its source’s established fan base, and cares little for casualties who can’t hang on through its grindhouse paces. Apology accepted. (See full review.) —Scott Wold


9. The Vast of Night

Year: 2019
Director: Andrew Patterson
Starring: Sierra McCormick, Jake Horowitz
Rating: PG-13

The Vast of Night is the kind of sci-fi film that seeps into your deep memory and feels like something you heard on the news, observed in a dream, or were told in a bar. Director Andrew Patterson’s small-town hymn to analog and aliens is built from long, talky takes and quick-cut sequences of manipulating technology. Effectively a ‘50s two-hander between audio enthusiasts (Sierra McCormick and Jake Horowitz playing a switchboard operator and disc jockey, respectively) the film is a quilted fable of story layers, anecdotes and conversations stacking and interweaving warmth before yanking off the covers. The effectiveness of the dusty locale and its inhabitants, forged from a high school basketball game and one-sided phone conversations (the latter of which are perfect examples of McCormick’s confident performance and writers James Montague and Craig W. Sanger’s sharp script), only makes its inevitable UFO-in-the-desert destination even better. Comfort and friendship drop in with an easy swagger and a torrent of words, which makes the sensory silence (quieting down to focus on a frequency or dropping out the visuals to focus on a single, mysterious radio caller) almost holy. It’s mythology at its finest, an origin story that makes extraterrestrial obsession seem as natural and as part of our curious lives as its many social snapshots. The beautiful ode to all things that go [UNINTELLIGIBLE BUZZING] in the night is an indie inspiration to future Fox Mulders everywhere. —Jacob Oller


10. War of the Worlds

Year: 2005
Director: Steven Spielberg
Stars: Tom Cruise, Dakota Fanning, Miranda Otto, Justin Chatwin, Tim Robbins, Rick Gonzalez, Yul Vazquez, Lenny Venito
Rating: PG-13

Director Bryon Haskin’s 1953 adaptation of H.G. Wells’ classic novel remains one of the most notable science fiction films of the 1950s. Today, the film stands as an essential, if somewhat dated, milestone in the evolution of special effects. In other words, unlike certain other properties, a remake was not out of the question. And who better to do so than Steven Spielberg? The power of Spielberg’s 2005 version is how he repurposes the original’s pervading Cold War paranoia in favor of incorporating elements of post-9/11 trauma. When the Tom Cruise character, having narrowly escaped the initial alien attack, looks into the mirror and realizes he’s covered in the ashes of disintegrated civilians, it’s next to impossible not to summon up the image of debris-covered New Yorkers wandering around the aftermath of the Trade Center attack. Moreover, by sticking closer to the book’s original premise, which involved a man’s attempt to locate his wife in the ensuing chaos, Spielberg creates a disaster film that feels much more intimate and personal than the ’50s version. Yes, the film kind of falls apart in the final reel, but by that point it’s earned more than enough goodwill to balance out the weaker areas. —Mark Rozeman


11. Super 8

Year: 2011
Director: J. J. Abrams
Stars: Joel Courtney, Elle Fanning, Kyle Chandler, Gabriel Basso, Noah Emmerich, Ron Eldard
Rating: PG-13

Super 8 is a film that ultimately feels more deeply tied to its subtext and inspirations than anything within its own plot—ostensibly a story about a rogue alien on the loose in a small Midwestern city in the 1970s, ‘ala E.T., it often seems curiously disinterested in the literal extraterrestrial. Instead, this is a story about a young group of friends coming together to achieve their goals, sprinkled with social awkwardness and the grieving process for young protagonist Joe (Joel Courtney), even as his sexuality is awakening in the presence of peer Alice (Elle Fanning, in her debut). These exchanges between young teenage characters are the true heart of the film, evoking the emotional vulnerability of the characters in something like Stand By Me, and ultimately proving more interesting than the alien hijinks propelling the plot forward. Every time Super 8 is simply about a group of 14-year-olds trying to make the best damn zombie movie they can, it becomes oddly endearing. —Jim Vorel


12. Gamera, the Giant Monster

Year: 1965
Director: Noriaki Yuasa
Stars: Eiji Funakoshi, Michiko Sugata, Harumi Kiritachi, Junichiro Yamashita
Rating: NR

The initial introduction of the giant, mutated, fire-breathing turtle known and loved by folks everywhere, Gamera, the Giant Monster was movie studio Daiei Film’s obvious answer to the success of Godzilla, but it’s also the genesis point for a character that would go on to become almost equally famous, at least in Japan. Gamera may forever dwell in Godzilla’s shadow globally, but where Big G is treated with a certain level of pomp, circumstances and even dramatic gravity—particular the original Gojira and modern entries like Shin Godzilla—the Gamera series has always had a much more lighthearted tone, starting with the monster himself. Unlike the often rampaging Godzilla, Gamera has always been a more tender breed of kaiju, a valorous defender of Earth in almost all installments who is amusingly referred to as a “friend to all children.” Here, in his very first installment, Gamera is still something of a threat that needs to be contained, but he’s already found himself a little boy as a friend—the first of many to come. —Jim Vorel


13. Day of the Animals

Year: 1977
Director: William Girdler
Stars: Leslie Nielsen, Christopher George, Lynda Day George
Rating: PG

After Jaws became the first true summer blockbuster in 1975, “animals attack” films proliferated. 1976’s Grizzly was the first big success in the “Jaws on land” variants, and director William Girdler followed it up with Day of the Animals, which could probably be considered the logical zenith of the “nature attacks” premise—an all-out war of all animals vs. all humans. As in, solar radiation somehow causes every animal above 5,000 feet of elevation to go insane, attacking anything in their path. A group of hikers are menaced by all kinds of animals—mountain lions, bears, birds of prey and even pet dogs. Leslie Nielsen, five years before his career-altering comedic turn in Airplane!, appears as the primary human villain, channeling a bit of his Creepshow character from the early ’80s. It’s sort of an ugly film to watch today, but if you’ve always wanted to see a shirtless Leslie Nielsen fight a bear, it’s really your only option. Regardless, of all the films on this list, it’s the one I’d most like to see remade with a big budget. I want to see that movie, and all the killer koalas it would surely entail. —Jim Vorel


14. C.H.U.D.

Year: 1984
Director: Douglas Cheek
Stars: John Heard, Daniel Stern, Christopher Curry
Rating: R

It stands for “Cannibalistic Humanoid Underground Dwellers,” if you were wondering. C.H.U.D. is a product of its time, the sort of mid-’70s/early ’80s horror film that sets itself in street-level New York City when the Big Apple was renowned as the crime-ridden cesspit of the nation. Cynical as hell, it imagines a race of cannibal monsters created by toxic waste dumped into the New York sewers, where it transforms the local homeless population. In execution, it’s sort of like a Troma film that has a larger budget, maintaining a grimy and tasteless aesthetic that nevertheless has a memorable quality that is hard to define. I think the effects are a part of that—quite icky, but fleeting. I look at this scene of a C.H.U.D. being beheaded and can’t decide if it’s terrible, awesome or terribly awesome. C.H.U.D. has lived an entire second life as comedy material, with references ranging from The Simpsons to an April Fools prank from the Criterion Collection. — Jim Vorel


15. The Tomorrow War

Year: 2021
Director: Chris McKay
Stars: Chris Pratt, Yvonne Strahovski, J. K. Simmons, Betty Gilpin, Sam Richardson
Rating: PG-13

Within a bloated 138 minutes, director Chris McKay and writer Zach Dean attempt to cram together a coherent story involving time travel, humanity-eating aliens, forced conscription, cute science moppets, father/son & father/daughter estrangement, over-the-top action set pieces, comedy and a Vietnam allegory. You should be tired just reading that. And worse, they don’t land any of it well. Unfortunately, The Tomorrow War isn’t allowed to be the dumb, “just go with it” summer spectacle it should have been, a la Independence Day. Instead, McKay and Dean force it to be a self-aware and “smart” time-travel drama, with feelings big enough to crack generational war trauma issues, among lots of things that go “boom!” and “pew, pew, pew.” The story itself is too convoluted and speciously conceived to try to dissect without making your brain scamper to its safe place. All you need to know is that in 2022, soldiers from 30 years in our future will dramatically appear in the middle of a World Cup soccer match to tell humanity that in 11 months, aliens will overtake the planet in an extinction level event. Thus, all able-bodied people from 2022 need to prepare to go with them into the future to save our collective existence. With minimal debate, every nation creates a forced conscription draft—which yes, is kinda fascist—for a seven-day tour of duty. Only 30% ever come back, but everyone is now considered a hero and you’re saving your kids and grandkids! No one really talks about those who don’t have kids, or who aren’t patriotically predisposed to accept being cannon fodder, but that’s a silly quibble, right? Because Chris Pratt as Dan Forester is the poster guy example for what everyone should be in this story: Handsome, a Gulf War vet, a science teacher and perfect dad of a science-obsessed six-year-old daughter. To be nice, the film looks great. The aliens are intense and threatening but they’re ciphers in terms of being anything more than endless stomachs. And the cast really tries. But to quote Sam Richardson’s nerdy character Charlie when he’s forced to unload a clip into the aliens for the first time, his spontaneously screamed string of “Shit, shit, shit…” really sums this all up. —Tara Bennett

 
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