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Mortal Engines, set in a series of steampunk-ish cities on wheels, barely opened. Jupiter Ascending and Valerian were major flops.
In the last five or 10 years, expensive sci-fi blockbusters made outside that model have tended to fail somewhere between mildly and spectacularly at the box office. It’s just that Marvel has made the house-style approach to genre movies look awfully attractive. It’s not that Hollywood will suddenly stop making expensive blockbusters. Some of the built-in optimism in these movies is necessary because each release feels like it could be the last of its kind. The very existence of this version of sci-fi feels wildly optimistic, even when the worlds it depicts are in states of disrepair. These are the type of movies where every creature and spaceship seems designed to stand out, even if they’re passing across the screen for mere seconds. (And also some readings as an allegory for the trans experience.) Another case in point: Jupiter Ascending, where the Wachowski sisters give Channing Tatum rocket boots and dog ears.Īnd then there’s Valerian and the City of a Thousand Planets, featuring a planet-sized space station packed with Star Wars-worthy alien life.
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One example: Alita: Battle Angel, an adaptation of the beloved manga series that spent decades in development before exploding onto movie screens with a story of cyborgs, class war, bounty hunters, and deadly professional athletics. Meanwhile, for darker or more nuanced explorations of sci-fi ideas, there are any number of low-budget sci-fi movies that do a lot with a little, like 2020’s brilliant The Vast of Night.īut once in a while, we’re treated to heedlessly defiant major releases that don’t attempt to spend their blockbuster budgets responsibly or respectably, instead embracing the excesses of sci-fi and fantasy while blurring the lines between the two. For an optimistic execution of sci-fi tropes and devices like robots, spaceships, or time-travel, fans can turn to the Marvel Cinematic Universe, where these genre trappings have been integrated into the master brand. In recent years, there’s been a clear separation between audience-friendly sci-fi movies and darker visions of the genre, a division that mirrors the Hollywood gap between blockbuster haves and the indie have-nots. Follow along as we deep dive into the great unknown. What does the future hold? In our new series “Imagining the Next Future,” Polygon explores the new era of science fiction - in movies, books, TV, games, and beyond - to see how storytellers and innovators are imagining the next 10, 20, 50, or 100 years during a moment of extreme uncertainty.
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