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 The Iron Giant. 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. Arrival

arrival-poster.jpg Year: 2016
Director: Denis Villeneuve
Stars: Amy Adams, Jeremy Renner, Forest Whitaker, Michael Stuhlbarg
Rating: PG-13
Runtime: 116 minutes

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Your appreciation of Denis Villeneuve’s Arrival will hinge on how well you like being led astray. It’s both the full embodiment of Villeneuve’s approach to cinema and a marvelous, absorptive piece of science fiction, a two hour sleight-of-hand stunt that’s best experienced with as little foreknowledge of its plot as possible. Fundamentally, it’s about the day aliens make landfall on Earth, and all the days that come after—which, to sum up the collective human response in a word, are mayhem. You can engage with Arrival for its text, which is powerful, striking, emotive and, most of all, abidingly compassionate. You can also engage with it for its subtext, should you actually look for it. This is a robust but delicate work captured in stunning, calculated detail by cinematographer Bradford Young, and guided by Amy Adams’ stellar work as Louise Banks, a brilliant linguist commissioned by the U.S. Army to figure out how the hell to communicate with our alien visitors. Adams is a chameleonic actress of immense talent, and Arrival lets her wear each of her various camouflages over the course of its duration. She sweats, she cries, she bleeds, she struggles, and so much more that can’t be said here without giving away the film’s most awesome treasures. She also represents humankind with more dignity and grace than any other modern actor possibly could. If aliens do ever land on Earth, maybe we should just send her to greet them. —Andy Crump


3. Sorry to Bother You


sorry-to-bother-you-movie-poster.jpg Year: 2018
Director: Boots Riley
Stars: Lakeith Stanfield, Tessa Thompson, Armie Hammer, Stephen Yeun, Patton Oswalt, David Cross, Terry Crews, Danny Glover
Rating: R
Runtime: 105 minutes

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Sorry to Bother You has so many ideas busting out of every seam, so much ambition, so much it so urgently wants to say, that it feels almost churlish to point out that the movie ends up careening gloriously out of control. This is rapper and producer Boots Riley’s first movie, and it shows, in every possible way—good, bad, incredible, ridiculous—as if he didn’t know if he’d ever be able to make another one, so he threw every idea he ever had into this. There are moments in Sorry To Bother You that will make you want to jump giddily around the theater. There are also moments that will make you wonder who in the world gave this lunatic a camera. (Some of those moments are pretty giddy too.) The former far outnumbers the latter. Lakeith Stanfield plays Cassius, a good-hearted guy who feels like his life is getting away from him and thus tries his hand at telemarketing, failing at it (in a series of fantastic scenes in which his desk literally drops into the homes of whomever he is dialing) until a colleague (Danny Glover, interesting until the movie drops him entirely) recommends he use his “white voice” on calls. Suddenly, Stanfield sounds exactly like David Cross at his most nasally and has become a superstar at the company, which leads him “upstairs,” where “supercallers” like him go after the Glengarry leads. That is just the launching off point: Throughout, we meet a Tony Robbins-type entrepreneur (Armie Hammer) who might also be a slave trader, Cassius’s radical artist girlfriend (Tessa Thompson), who wears earrings with so many mottos it’s a wonder she can hold up her head, and a revolutionary co-worker (Stephen Yeun) trying to rile the workers into rebelling against their masters. There are lots of other people too, and only some of them are fully human. It’s quite a movie. —Will Leitch


4. 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


5. 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


6. Attack the Block

attack-the-block-poster.jpg Year: 2011
Director: Joe Cornish
Stars: Adam Buxton, Jodie Whittaker, John Boyega
Rating: R
Runtime: 88 minutes

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Written and directed by Joe Cornish, the sci-fi action comedy centers on a gang of teenage thugs—particularly their disgruntled leader, Moses, remarkably underplayed by a young John Boyega—and their housing project in South London. When the defiant juveniles take their crime to a new level and mug an innocent nurse (a delightful Jodie Whittaker), they immediately find themselves plagued by alien invaders. These hideous creatures, with their jet black fur and glowing blue fangs, want nothing more than to destroy the boys and their tower block. In the spirit of Spielberg—even more so than J.J. Abrams’ Spielberg ode of the same year, Super 8—Cornish uses alien beings as the catalyst to bring supernatural redemption to a person and a community. He focuses specifically on London’s socioeconomic bottom half and the turmoil surrounding them, exposing the lies that society’s youth buy into that prolong cultural discontinuity. A comical scene, in which Moses tries to make sense of the aliens while giving excuses for his criminal behavior, highlights this cleverly—he doesn’t just blame the government for violence and drugs in his neighborhood, he blames the government for the whole alien invasion. Cornish, however, doesn’t simply confront this hopeless attitude, he points toward hope—most vividly in the way Moses battles the aliens, his fight rapt with symbolic implications. —Maryann Koopman Kelly


7. 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


8. 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


9. 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


10. Colossal

colossal-movie-poster.jpg Year: 2017
Director: Nacho Vigalondo
Stars: Anne Hathaway, Jason Sudeikis, Dan Stevens, Tim Blake Nelson, Austin Stowell
Rating: R
Runtime: 110 minutes

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Colossal is simply a much darker, more serious-minded film than one could possibly go in expecting, judging from the marketing materials and rather misleading trailers. It blooms into a story about sacrifice and martyrdom, while simultaneously featuring an array of largely unlikable characters who are not “good people” in any measurable way. I understand that description sounds at odds with itself—this film is often at odds with itself. But in the cognitive dissonance this creates, it somehow finds a streak of feminist individuality and purpose it couldn’t have even attempted to seek as a straight-up comedy. What Nacho Vigalondo has created in Colossal is a truly unusual, sometimes head-scratching aberration, a film with tonal shifts so jarring that the audience’s definition of its genre is likely to change repeatedly in the course of watching it. Aspects of the film defy explanation, but one thing is clear: Nobody was stifling the writer-director, and we’ve been given one of the most interesting films of 2017. Vigalondo takes aim at the cliches of film festival dramas before smashing them under a giant, monstrous foot. —Jim Vorel


11. 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


12. 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


13. Little Joe

little-joe-movie-poster.jpg Year: 2020
Director: Jessica Hausner
Stars: Emily Beecham, Ben Whishaw, Kerry Fox, Kit Connor, David Wilmot
Rating: NR
Runtime: 100 minutes

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Jessica Hausner’s Little Joe may not be as straightforwardly campy as Frank Oz’s Little Shop of Horrors, as squirmy as Carter Smith’s The Ruins, or as pants-on-head stupid as M. Night Shyamalan’s The Happening, but in its way it’s equally as weird as each. These movies each work to offset the innate unbelievability of their premises, including Little Joe, a deliberately paced bit of Marxist criticism that’s equally as coy as it is chilling. Botanist Alice (Emily Beecham) has perfected her attempts at fashioning a genetically modified plant, designed to emit a scent to stir feelings of deep contentment in any person who catches a whiff of its bouquet. Alice has denied her creation reproductive capabilites because as movies have taught us, taking sex organs away from sentient beings bred in a lab is never a terrible idea. So it goes in Little Joe, as Alice’s colleagues fall one by one under the crimson plant’s sway and quietly devote themselves to its propagation, like genial, low-key pod persons. Whether viewers find Little Joe frightening or funky depends on where they’re sitting. Hausner and co-writer Géraldine Bajard very clearly don’t intend the film as an outright scary experience on the page. There’s a distance between the characters, and in turn between the characters and the audience, an emotional buffer that keeps everybody at arm’s length from one another. No wonder Alice engineers a house plant to induce chemical happiness—joy is a rare commodity in Little Joe. In a nifty little tweak of the botanical horror niche’s formula, the happier a character is, the more likely it is that they’ve been snared by Little Joe’s intoxicating aura, and honestly: Is that really so bad? —Andy Crump


14. 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


15. Save Yourselves!

save-yourselves-poster.jpg Year: 2020
Director: Alex Huston Fischer, Eleanor Wilson
Stars: Sunita Mani, John Paul Reynolds, John Early, Jo Firestone
Rating: R
Runtime: 93 minutes

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An unassuming blend of lo-fi relationship comedy and alien invasion sci-fi, Save Yourselves! feels like one of those indie comedies thrown together over the course of a long weekend by good friends who simply enjoy each other’s presence and wanted a chance to work together. Sunita Mani and John Paul Reynolds star as two halves of a mildly insufferable couple of modern millennial Brooklynites, who decide to embrace the latest “wellness” trend by “unplugging” for a weekend in the woods. Little do they realize that their relationship-building getaway will coincide with the Earth falling prey to an adorable species of alien “poofs,” living balls of Tribble-style fur that consume ethanol and tear through anything organic in their path. Largely coasting by on its charming performances and idiosyncratic characters, Save Yourselves! is very light sci-fi, but oddly endearing on a character front—there’s something about Mani singing to herself while filling up tiny travel shampoo bottles (“the big soap goes into the little soap!”) that felt instantly and presciently accurate to my own relationships. That insight into modern relationships is all Save Yourselves! really needs for a breezy 90 minutes. —Jim Vorel

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