Netflix is loaded with some pretty rad giant robot anime and TV shows worth checking out. He’s never been much of an action director, but his limitations are painful here, every fight and shootout as coherent as a car chase conceived by Olivier Megaton. (The family interactions, one strength among many with the first film, remain a delight in the sequel.) Here are the 20 best sci-fi movies on Netflix: Year: 1982 Director: Steven Spielberg Stars: Henry Thomas, Drew Barrymore, Dee Wallace, Peter Coyote Rotten Tomatoes Score: 98% Rating: PG Runtime: 114 minutes, Steven Spielberg’s classic is many things: an ode to friendship which resonates with children and adults alike, one of the top-grossing films of all time and the moment Spielberg’s career, on a scale of 1-10, reached 11. Classic science-fiction and breathtaking Japanese-inspired animation help tell the story of five unlikely young people who become heroes in an ancient war. His first and most famous series, Blame!, is considered the key text in Nihei’s aesthetic legacy, going so far as to inspire everything from videogames, to music, and even art and fashion. Aliens. Now, a new Netflix movie brings back Zim and his maniacal laugh, along with the show’s original creator and voice cast. —Michael Burgin, Year: 2010 Directors: Pierre Coffin, Chris Renaud Stars: Steve Carell, Jason Segel, Russell Brand Rotten Tomatoes Score: 81% Rating: PG Runtime: 95 minutes, Followed by three more franchise flicks—one of which, 2013’s Despicable Me 2, is so old-timey racist and unabashedly violent and culturally tone-deaf it’s legitimately detrimental to the health of young children—the original Despicable Me shines best by flattening the dichotomy between good guys and bad guys, removing all but the most heart-strings-tugging stakes from what would otherwise be a minefield of superhero and spy thriller movie tropes. These are scenes, statements, questions that are only possible within the framework that the film’s science fiction aspect provides, for these are not the thought processes bound by what is real, but what could be. The film’s title is a play on the phrase deus ex machina (“god from the machine”), which is a plot device wherein an unexpected event or character seemingly comes out of nowhere to solve a storytelling problem. Infinitely more serious and grounded than Gurren Lagann, Aldnoah.Zero subverts the mecha genre by giving the villains the stronger robots while our heroes make do with the equivalent of bipedal scrap metal. Though, in The Endless, the end is uncertain, but maybe the title makes that a smidge obvious. An artful cascade of multiple exposures of random people, about midway through the film, would seem to symbolize the birth of empathy in Johansson’s femme fatale, and while this is the beginning of the end for her, it can’t help but resonate in Under the Skin with all the radiance of beatitude.

follows Killy, a taciturn loner, wandering the layers of the planet in search of a human possessing the ‘net terminal gene,’ an elusive trait thought to be the only means of halting the city’s perpetual hostile expansion. It’s pretty graceless—and borderline nonsensical—if you think about it too hard, as if screenwriters Lawrence Kasdan and son Jonathan were bloodlessly ticking off boxes on their contracts, remembering every once in a while to have Han refer to an accomplice as “buddy.” Han calls everyone buddy. They wanted something edgy and a little bizarre. But its slavish homage to ‘30s pulp adventures displays the same passion del Toro had for ‘70s sci-fi and anime when he made Pacific Rim. Ava is a heavenly mechanical body of sinewy circuitry topped with a lovely face, reminiscent of a Chris Cunningham creation. Intimacy is a staple element of Moorhead and Benson’s filmograpy. Set in a near future after Dib has grown feeble and disgusting after months of doing nothing but watching his surveillance monitors for a sign of Zim, whose been hiding in a toilet with his useless pizza-loving robot sidekick GIR—Phase One of his evil plan.

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