The 15 Best Sci-Fi Movies on Hulu Right Now (2022)

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The 15 Best Sci-Fi Movies on Hulu Right Now (2022)

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 critically acclaimed works like Arrival. And of course, you’ll want to note the presence 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. 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


4. 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


5. 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


6. 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


7. 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


8. 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


9. 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


10. The War of the Worlds

war-of-the-worlds-1953-poster.jpg Year: 1953
Director: Byron Haskin
Stars: Gene Barry, Ann Robinson
Rating: G
Runtime: 85 minutes

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The 1953 adaptation of H.G. Wells’ classic The War of the Worlds was a monumental undertaking for the still-young sci-fi genre in Hollywood, notable for both its expansive budget and groundbreaking FX work, although the quality of its miniatures suffered in subsequent digital transfers, which made sights such as the strings holding up Martian war machines more visible. Regardless, this was an alien invasion story presented in a way that one hadn’t been before: With an “A” budget, recognizable actors and a palpable sense of gravitas, playing more like a war drama than a true horror film. It became the gold standard against which lower-budget entries such as Invaders From Mars would be judged, even though Invaders was rushed into theaters before War of the Worlds to claim the title of the first colorized “flying saucer” film. This is the one, though, that went on to live in the memories of a generation. —Jim Vorel


11. Fire in the Sky

fire-in-the-sky-poster.jpg Year: 1993
Director: Robert Lieberman
Starring: D.B. Sweeney, Robert Patrick, Craig Sheffer, Peter Berg, James Garner
Rating: PG-13
Runtime: 109 minutes

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One sci-fi film of its era that does stand out is Fire in the Sky, the fictionalized account of the supposed alien abduction of forestry worker Travis Walton in 1975. The film approaches its premise with cold, dispassionate seriousness, carrying itself like an attempt at documentary, which helps to make a situation that could have been laugh inducing into one that is genuinely terrifying at times. Some of the “abduction” tropes established here, such as a craft shooting a beam of light that levitates a person into its interior, became well established in the UFO/alien film genres, to the point that they’re now practically universal. The “probing” sequences, meanwhile, were among the first of their kind in film, and are truly disturbing in their clinical detachment—the aliens don’t look at Travis like he’s a living creature, but just a screaming piece of meat to be poked and prodded. If you’ve ever been at all creeped out by the thought of alien abduction, it’s guaranteed to make you squirm. —Jim Vorel


12. 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


13. A Glitch in the Matrix

glitch-in-the-matrix-poster.jpg Year: 2021
Director: Rodney Ascher
Rating: NR
Runtime: 108 minutes

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What if we all live inside a simulation? If you’re Neo, you might reply with “Whoa.” If you’re anyone that’s played a videogame in the last 20 years or, say, lived through a quarantine by transitioning from screen to screen, you might remain relatively unfazed compared to Keanu Reeves’ sci-fi chosen one. A Glitch in the Matrix, from director/editor Rodney Ascher, considers simulation theory—the long-running genre playground and thought experiment—using a handful of zealots and a slew of pop cultural pulls, following the rabbit hole through its history from Greek philosophers to wannabe stoner iconoclasts. The long-winded documentary is engrossing in spurts and isn’t particularly interested in convincing us of anything, but it’ll at least serve as the jumping-off point for a strange conversation or two. —Jacob Oller


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