The 15 Best Sci-Fi Movies on Hulu Right Now

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The 15 Best Sci-Fi Movies on Hulu Right Now

The Hulu library tends to be something of a mixed bag for most film genres, science fiction included—films come and go fairly rapidly, making lists like this one that much more valuable. The sci-fi films now available run a gamut of different styles, from iconic anime such as Akira to family friendly films with mild sci-fi theming such as Cloudy With a Chance of Meatballs. And of course, you’ll want to note the arrival of most of the Star Trek franchise as well.

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 Amazon Prime


1. Akira

akira.jpg Year: 1988
Director: Katsuhiro Otomo
Stars: Mitsuo Iwata, Nozomu Sasaki, Mami Koyama
Rating: R
Runtime: 124 minutes

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The sum total of anime cinema from the early ’90s to present day is marked by the precedent of Katsuhiro Otomo’s Akira. Adapted from the early chapters of Otomo’s landmark manga series, Akira was the most expensive animated film of its time and cinematic benchmark that sent shockwaves throughout the industry. Set thirty-one years after after World War III was sparked by a massive explosion that engulfed the city of Tokyo, Akira is set in the sprawling metropolis of Neo-Tokyo, built on the ruins of the former and teetering precariously on the cusp of social upheaval. The film follows the stories of Kaneda Shotaro and Tetsuo Shima, two members of a youth motorcycle gang whose lives are irrevocably changed one fateful night on the outskirts of the city. While clashing against a rival bike gang during a turf feud, Tetsuo crashes into a strange child and is the promptly whisked away by a clandestine military outfit while Kaneda and his friends look on, helplessly. From then, Tetsuo begins to develop frightening new psychic abilities as Kaneda tries desperately to mount a rescue. Eventually the journeys of these two childhood friends will meet and clash in a spectacular series of showdowns encircling an ominous secret whose very origins rest at the dark heart of the city’s catastrophic past: a power known only as “Akira.” Like Ghost in the Shell that followed it, Akira is considered a touchstone of the cyberpunk genre, though its inspirations run much deeper than paying homage to William Gibson’s Neuromancer or Ridley Scott’s Blade Runner. Akira is a film whose origins and aesthetic are inextricably rooted in the history of post-war Japan, from the 1964 Tokyo Olympics and the “Anpo” student protests of that era to the country’s economic boom and the then-nascent counterculture of Bosozoku racing. Akira is a film of many messages, the least of which a coded anti-nuclear parable and a screed against wanton capitalism and the hubris of “progress.” But perhaps most poignantly, at its heart, it is the story of watching your best friend turn into a monster. Akira is almost singlehandedly responsible for the early 1990s boom in anime in the West, its aesthetic vision rippling across every major art form, inspiring an entire generation of artists, filmmakers and even musicians in its wake. For these reasons and so many more, every anime fan must grapple at some point or another with Akira’s primacy as the most important anime film ever made. Long Live Akira! —Toussaint Egan


2. Blade Runner

blade-runner-poster-inset.jpg Year: 1982
Director: Ridley Scott
Stars: Harrison Ford, Rutger Hauer, Sean Young, Edgar James Olmos
Rating: R
Runtime: 117 minutes

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Just as The Road Warrior set the look and tone for countless post-apocalyptic cinema-scapes to follow, so too did the world of Ridley Scott’s dingy, wet and overcrowded Blade Runner set the standard for the depiction of pre-apocalyptic dystopias. But he also had Harrison Ford, Sean Young, Rutger Hauer and a cast of actors who all bring this Philip K. Dick-inspired tale of a replicant-retiring policeman to gritty, believable life. Beneath the film’s impressive set design and inspired performances lies a compelling meditation on the lurking loneliness of the human (and, perhaps, inhuman) condition that continues to resonate (and trigger new creations, like Villeneuve’s Blade Runner 2049) to this day. —Michael Burgin


3. Star Trek II: The Wrath of Khan

star-trek-ii.jpg Year: 1982
Director: Nicholas Meyer
Stars: William Shatner, Leonard Nimoy, James Doohan, George Takei
Rating: PG
Runtime: 113 minutes

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Come for the “KhaaAAHHHHHN!” and stay for the surprisingly emotional treatise on aging without wisdom—as well as one hell of a potent, humbling gut punch of an ending. Anyone arguing for any other film in the Trek franchise will find themselves speaking into a black hole chewed in the matte canvas by exquisitely potent villain, played by Ricardo Montalban. That director/co-writer also Nicholas Meyer somehow coaxes a performance from William Shatner that’s only barely un-Kosher makes this movie a space opera with broad, lasting appeal. —Scott Wold


4. The Fifth Element

fifth-element-movie-poster.jpg Year: 1997
Director: Luc Besson
Stars: Bruce Willis, Gary Oldman, Ian Holm
Rotten Tomatoes Score: 70%
Rating: PG-13
Runtime: 126 minutes

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In an early scene from Luc Besson’s The Fifth Element, there’s a subtle but very telling exchange between the film’s two protagonists. Cab driver Korben Dallas (Bruce Willis) has his daily routine interrupted when Leeloo (an early starring role for Milla Jovovich) crashes through his roof. She speaks an ancient language, so the two can’t communicate—until she says the word “boom,” that is. “I understand ‘boom’,” Korben replies. Right away, we’re cued to the limits of Korben’s worldview, mostly restricted to macho action. This is also the first hint we get that this is a self-reflexive role for Willis, breaking down his tough-guy star persona and digging deep into what exactly makes him such a reliable “guy-movie” centerpiece. For all his typical manly heroism, Korben is a misfit in the film’s flamboyant space operatic future. He’s an alpha-male, tailor-made for the ’80s or ’90s, but, after finishing his time in the military, he’s adrift. The 23rd century doesn’t quite have room for him: He lives alone following a failed marriage, has trouble holding onto his job (and his driver’s license), can’t quit smoking and doesn’t have any friends outside of his old platoon. When the mysterious Leeloo literally lands into Korben’s life, he automatically takes on the role of protector. Leeloo is, it turns out, is a supreme being, sent to Earth to protect humanity from an ancient force that threatens the planet every 5,000 years. There’s a contradiction at the heart of The Fifth Element, with Korben’s manly heroism at odds with his social ineptitude. The film doesn’t try to reconcile these, but rather lets Korben find his own path. He learns to work with others and embrace his more sensitive side, even as he’s cracking wise and kicking ass. In the end, it’s Leeloo who has the power to save Earth from an apocalyptic alien attack. She’s the supreme being sent to Earth for that purpose. But she still needs Korben, and at the last minute, he figures out his role. It’s hard to know how intentional any of this was, since Besson still gives us a stoic tough-guy who saves the day. But with , Besson doesn’t replace the male action hero, but rather makes him more complex. —Frederick Blichert


5. The Host

23. the host (Custom).jpg Year: 2006
Director: Bong Joon-ho
Stars: Song Kang-ho, Byun Hee-bong, Park Hae-il, Bae Doona, Go Ah-sung
Rating: NR
Runtime: 119 minutes

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Before he was breaking out internationally with a tight action film like Snowpiercer, and eventually winning a handful of Oscars for Parasite, this South Korean monster movie was Bong Joon-ho’s big work and calling card. Astoundingly successful at the box office in his home country, it straddles several genre lines between sci-fi, family drama and horror, but there’s plenty of scary stuff with the monster menacing little kids in particular. Props to the designers on one of the more unique movie monsters of the last few decades—the mutated creature in this film looks sort of like a giant tadpole with teeth and legs, which is way more awesome in practice than it sounds. The real heart of the film is a superb performance by Song Kang-ho (also in Snowpiercer and Parasite) as a seemingly slow-witted father trying to hold his family together during the disaster. That’s a pretty common role to be playing in a horror film, but the performances and family dynamic in general truly are the key factor that help elevate The Host far above most of its ilk. —Jim Vorel


6. Possessor

possessor-poster.jpg
Year: 2020
Director: Brandon Cronenberg
Stars: Andrea Riseborough, Christopher Abbott, Tuppence Middleton
Rating: R
Runtime: 104 minutes

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The barren, lonely, modest urban landscapes of Brandon Cronenberg’s Possessor reflect a familiar perspective. Brandon is, as you either already know or have surely guessed, David’s son; he shares his father’s interest in corporeal grotesquery, physical transformation representing mental transformation, and an unnerving, topical preoccupation with viruses. Brandon cuts deeper than daddy, though, if not (yet) with the same incisiveness, then with a clinical precision that only intensifies the oneiric oddness coursing intractably through Possessor.

This disturbing horror/thriller follows Tasya (Andrea Riseborough), an assassin working for a shady organization that carries out its hits via remote cerebral link between assassin and unwitting host—in this case Colin (Christopher Abbott). Cronenberg charts a horrific journey from mind to mind, plotted along neural pathways but predictably expressed along physical routes. It veers off into an arterial journey, the narrow vessels containing the stuff of life—and death—in a larger body. The film has the feel of a grand sci-fi spectacle shrunk down to a dark, dingy miniature; its crude efficiency belies the potency of Cronenberg’s ruminations on the theme of a foreign invader corrupting a wayward soul in a poisonous society.—Paddy Mulholland


7. The Shape of Water

shape-of-water-movie-poster.jpg
Year: 2017
Director: Guillermo del Toro
Stars: Sally Hawkins, Michael Shannon, Richard Jenkins, Octavia Spencer, Michael Stuhlbarg, Doug Jones
Rating: R
Runtime: 123 minutes

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If there’s a waiting period filmmakers must abide before they can borrow from their own body of work, Guillermo del Toro either doesn’t know or doesn’t care. His latest, The Shape of Water, an ageless story of true love between a human woman and a fish-man, references his filmography both at and below surface levels: It suggests a riff on Abe Sapien, the psychic ichthyoid sidekick in both Hellboy films (who is himself a riff on Creature from the Black Lagoon’s Gill-man, fed through a copyright strainer by his creator, Mike Mignola), but directly invokes the structure and fairy tale trappings of his 2006 breakout picture, Pan’s Labyrinth. Del Toro has us set down in 1960s Baltimore, where Elisa Esposito (Sally Hawkins) works the janitorial night shift for the not-at-all-shady Occam Aerospace Research Center. She’s alone, mostly, except for her next door neighbor, Giles (Richard Jenkins), and her coworker and friend, Zelda (Octavia Spencer). Giles and Zelda give Elisa a voice she quite literally lacks: She’s mute, and spends most of the film communicating with sign language. Elisa’s clockwork days are disrupted by the arrival of the Asset (Doug Jones, the actor behind Abe Sapiens’ prosthetics), the aforementioned fish-man, in the custody of Colonel Strickland (Michael Shannon), at once the epitome of the del Toro villain and the average Shannon role: He’s abusive, violent, dictatorial to a fault, but mannered, the kind of bastard who thinks his dastardly bastard deeds are right and never thinks twice about his own morality. Elisa, ballsier than Strickland and basically every other man in the film, develops instant kinship with the creature. The success of their relationship hinges on performance as much as on direction. Del Toro cares about the well being of freaks and aberrations more than most people care about the well being of other actual people. Visually, The Shape of Water screams dieselpunk, signifying Bioshock more than the brothers Grimm, but the film bears the indelible stamp of folkloric mythmaking all the same. Del Toro weaves together his influences so finely, so delicately, that the product of his handiwork feels entirely new. That’s the magic of the movies, and, more importantly, the magic of del Toro. —Andy Crump / Full Review


8. Melancholia

melancholia.jpg Year: 2011
Director: Lars von Trier
Stars: Kirsten Dunst, Charlotte Gainsbourg, Alexander Skarsgård
Rating: R
Runtime: 135 minutes

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If you want a really, really disturbingly beautiful apocalypse, you can’t go wrong with Lars von Trier. Melancholia is the second of a trilogy of films in which the director dives into the nature of depression. It revolves around two sisters, Justine (Kirsten Dunst) and Claire (Charlotte Gainsbourg)—after a staccato series of prologue images set to Wagner (if you’ve ever experienced severe depression you’ll recognize the choppy, distanced, “underwater” quality of this first section), we open on Justine’s wedding reception. There is something seriously wrong with these people. Or is there? It seems like Justine’s boss is actually harassing her for ad copy in the middle of her own wedding toast. It seems like her father is a raging narcissist and her mother is “honest” in a way that makes you want to never take a phone call from her, ever. Everything seems off. And that’s before anyone realizes a runaway planet called Melancholia might be on a collision course with Earth. —Amy Glynn


9. Sputnik

sputnik-poster.jpg Year: 2020
Director: Egor Abramenko
Stars: Oksana Akinshina, Fyodor Bondarchuk, Pyotr Fyodorov, Anton Vasiliev
Rating: NR
Runtime: 113 minutes

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The good news is that, three years later, at least one of Alien’s descendants have figured out that borrowing from its forebear makes far more sense than lazily aping Scott, which explains in part why Egor Abramenko’s Sputnik works so well: It’s Alien-esque, because any film about governments and corporations using unsuspecting innocents as vessels for stowing extraterrestrial monsters for either weaponization or monetization can’t help evoke Alien. Abramenko has that energy. Sputnik’s style runs somewhere in the ballpark of unnerving and unflappable: The movie doesn’t flinch, but makes a candid, methodical attempt at making the audience flinch instead, contrasting high-end creature FX against a lo-fi backdrop. Until the alien makes its first appearance slithering forth from the prone Konstantin’s mouth, Sputnik’s set dressing suggests a lost relic from the 1980s. But the sophistication of the creature’s design, a crawling, semi-diaphanous thing that’s coated in layers of sputum equally audible and visible, firmly anchors the film to 2020. Let the new pop cultural dividing line be drawn there. —Andy Crump


10. Starman

starman-1984-poster.jpg Year: 1984
Director: John Carpenter
Stars: Jeff Bridges, Karen Allen, Charles Martin Smith, Richard Jaeckel
Rating: PG
Runtime: 115 minutes

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John Carpenter’s Starman melds fish-out-of-water hijinks with more complex moral hierarchies. Jeff Bridges is the titular Starman, an outer space shape-shifter who takes the form of a widow’s (Karen Allen in one of her best unsung performances) recently departed husband, and enlists her to drive him to the Grand Canyon for … something that’s better left undisclosed. Bridges earned an Oscar nomination for his role as a gradually emerging human, though his performance is a bit distracting in its initial reliance on body language tics like hunched head turns and a scrunched Ken-doll expression. In the early going, it looks as though at any point he could unhinge his jaw inside out like one of the grotesqueries from The Thing. After the initial theatrics, an undeniably complex internal conversation ponders the need to lionize or villainize those who are different, as best synthesized in Charles Martin Smith’s line, “The cannibal said to the missionary, ‘Who is the missionary and who’s the cannibal?’” Another film about friendly aliens that uncovers the nature of our relationships, Starman isn’t necessarily interested in the outside forces in general, even as they’re always in the rearview mirror. Buoyed by Jack Nitzsche’s soaring, bruisingly raw synth score and the bristling warmth in Allen and Bridge’s romance, it’s a reminder that the purity of aliens reacting to humanity can reflect both our most base and most affirming qualities as a species. —Michael Snydel


11. Dredd

dredd-2012-poster.jpg Year: 2012
Director: Pete Travis
Stars: Karl Urban, Olivia Thirlby, Wood Harris, Lena Headey
Rating: R
Runtime: 95 minutes

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Karl Urban—who’s no stranger to tightly wound sci-fi fare (including the unfairly maligned The Chronicles of Riddick) provides the scowl and chin of Judge Joseph Dredd—a total-law package professional who is clearly as disinterested in humoring his rookie partner 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 aims squarely at respecting its source’s established fan base, and cares little for casualties who can’t hang on through its grindhouse paces.

Though the competent, workmanlike approach to achieving the visceral thrills of the source material is excellently realized, it comes at the expense of sidelining writers Wagner and Ezquerra’s satirical background radiation of fascism’s consequences. While a few moments of gallows humor emerge—typically of the “Ouch!” variety—any subtext that might get in the way of servicing its adrenalized momentum is cordoned off, so as not to disturb the thrilling crime scene. Nothing more to see here, folks. Move along. But this is not even an offense punishable by three days in an Iso-Cube. The rule of law by which audiences are meant to abide is laid out immediately and authoritatively, and—just in case you needed reminding—Dredd is the law. —Scott Wold


12. Super 8

super-8-poster.jpg Year: 2011
Director: J. J. Abrams
Stars: Joel Courtney, Elle Fanning, Kyle Chandler, Gabriel Basso, Noah Emmerich, Ron Eldard
Rating: PG-13
Runtime: 112 minutes

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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


13. Star Trek Beyond

StarTrekBeyond232x345.jpg Year: 2016
Director: Justin Lin
Stars: Chris Pine, Zachary Quinto, Simon Pegg, John Cho, Zoe Saldana, Karl Urban, Anton Yelchin, Idris Elba
Rating: PG-13
Runtime: 122 minutes

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Star Trek Beyond proves admirably willing to push the neo-film-series’ frontiers, at least in its eagerness to envision brand new, alien environments with incredibly imagined designs. Less compelling are the emotional stakes Director Justin Lin and screenwriters Simon Pegg and Doug Jung provide for the crew of the starship Enterprise. Lin’s fleet direction and the charismatic cast give dedicated fans their fix and the casual moviegoers a fun enough time, but Beyond offers a less memorable outing than its more ambitious predecessors, providing more for the eyes of its audience than for their hearts. —Curt Holman


14. Bumblebee

bumblebee-210.jpg Year: 2018
Director: Travis Knight
Stars: Hailee Steinfeld, John Cena, Jorge Lendeborg
Rating: PG-13
Runtime: 114 minutes

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Paramount actually made a Transformers movie that’s a lovely, exciting and wholly engaging gem of a sci-fi adventure for teenagers. I guess it’s time for me to finally go into my dream business of exporting the newly formed ice from hell using my army of flying pigs. Bumblebee is an ’80s set spin-off/prequel to Michael Bay’s migraine-inducing, often infuriating, and always head-slappingly stupid five Transformers flicks. It wisely scales down Bay’s love of random mayhem in favor of a fairly respectful and inventive throwback to those Spielbergian family sci-fi/adventure movies about the friendship between a nerdy, lonely teenager (Hailee Steinfeld) and a friendly and protective alien/robot/magical being. Their bond teaches the teenager to come out of her shell and face her fears. Of course since we also need an action-heavy third act, the big bad military that’s unfairly threatened by the creature goes after it, forcing the teenager and the creature to defend each other against all odds, learning lessons about the importance of love in the process. Sure, Bumblebee doesn’t really bring much that’s especially new or daring to that formula, but at least all the ingredients really work. It’s hard enough to have a fully CG character as your co-star, and it’s even tougher when an actor is tasked with creating a deep emotional connection with something she can’t even see during production. Steinfeld is up to the challenge, making us believe in Bumblebee’s existence almost as much as the animators who worked on bringing him to life. Just like death and taxes, it’s a certainty of life that we will get a new Transformers in theaters once every few years. If they’re more like Bumblebee going forward, the thought of that doesn’t depress me nowhere near as it used to. —Oktay Ege Kozak


15. Species

species-poster.jpg Year: 1995
Director: Roger Donaldson
Stars: Natasha Henstridge, Ben Kingsley, Michael Madsen, Alfred Molina, Forest Whitaker, Marg Helgenberger
Rating: R
Runtime: 108 minutes

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Rarely has a genre movie been marketed and structured around the physical assets of a single actress more than Species was with model Natasha Henstridge. The screen debut of Henstridge certainly made a pop-cultural splash in the mid-1990s, during a downturn in classical horror cinema when crossovers with other genres (here it’s science fiction and more than a little of exploitation cinema) were one of the only viable ways to push horror into the mainstream. Species, in fact, was a bonafide box office smash, taking home more than $100 million as viewers (presumably male, for the most part) crowded cinemas to see Henstridge embody “sexy alien” Sil. Some 25 years later, the deeply ‘90s sensibilities of the film have turned it into something of a camp classic; one to be enjoyed especially for the seeming randomness of its supporting cast of character actors, which includes everyone from Forest Whitaker and Michael Madsen to Alfred Molina and a 15-year-old Michelle Williams. The FX haven’t quite held up, but at least the bad fashion will never die. —Jim Vorel

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