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Top 10 Sci-Fi Movies on Amazon Prime Video

by Mathew Watson
4 minutes read
Top 10 Sci-Fi Movies on Amazon Prime Video in 2022

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The Top 10 Sci-Fi Movies on Amazon Prime Video

Science fiction is as varied a category as it gets. Because what we regard as science fiction is not only personal, it also involves very attractively all possible future hypotheses that we can and cannot envision. Science fiction is far from a dozen novels covered on the back shelves of used bookstores. Now considered an admired and even critical category that has crossed the lines of various media from the written word to movies and TV shows, science fiction artisans and their works are universally sought after, celebrated and respected.

If you’re a Prime Video subscriber and a sci-fi freak, there are serval-worthy options for streaming on the service. Whether it’s sci-fi horror, action, comedy, or postapocalyptic/dystopian sci-fi, there’s something for everyone. With so many of the latest streaming service options available these days, it can be difficult to figure out where your hard-earned money should go each month. With services like Netflix and Disney+ vying for your dollars, additional interests like fast shipping, deals, and a large-scale catalog of Amazon Prime streaming titles will clearly stand out to fans trying to make their choice.

Check out the list of the best sci-fi movies on Amazon Prime Video

The City of Lost Children

The film is an expensive, high-tech French production, using more special effects than any other French film in history, and it is fitting that much of its visuals seem inspired by that Parisian visionary, Jules Verne. It takes place not so much in the future (or even in the dated but vivid “future” seen by Verne), but in a kind of parallel time zone, where there are recognizable elements of our world, violently rearranged.

The film is primarily set on an offshore platform inhabited by the terrifying and tragic Krank (Daniel Emilfork). The sick person is terrible because he is a monster, and he is a monster because he cannot dream, which makes him tragic. So he kidnaps children, to steal their dreams and feed on them.


The film’s hero tests a young architect by challenging her to create a maze, and Nolan tests us with his own dazzling labyrinth. We have to trust that he can guide us, because most of the time we are lost and disoriented. Nolan must have rewritten this story several times, finding that each change had a ripple effect throughout the fabric.

The story can be told in a few sentences or not told at all. If you knew how it ended, it wouldn’t tell you anything unless you knew how it got there. And telling him how he got there would produce perplexity. The film is about process, about making your way through enveloping layers of reality and dream, reality within dreams, dreams without reality.


The thriller genre has always had a cultural appreciation for the suburbs. While the suburbs were designed to make families feel safe and secure, isolation and homogeneity have always made it a perfect backdrop for strange and sinister occurrences.

So filmmakers often sought to capture the devilish underbelly hidden behind tree-lined streets, white picket fences, and cookie houses. The film begins with a scene of a cuckoo bird pushing the newborn chicks of another bird out of the nest, in an attempt to trick the host bird to raise its offspring.

alien 3

This genuinely long-awaited retread unfortunately puts it on the wrong foot just as the credits start rolling, as some weird exposition brings Ripley (Weaver) and a handy Alien Egg to a prison planet inhabited by religious fanatics who think they’re in Porridge, killing everyone off. the other characters left over from Aliens in computer readings.

monster food from the previous films, completely anonymous, so that when the final full of death arrives it is impossible to tell who is still alive and who has just been killed. The few character development attempts that exist, Charles Dance manages to get an emotional rant to lull you into a false sense of security before the thing falls on your head.


It was elegantly staged and respectfully received. It was, however, his second film, Alien, two years later, that made him a director of world stature. This seminal sci-fi movie was actually a transposition into outer space of a Conrad novel about a dilapidated hobo scavenging for up a lethally dangerous passenger from a remote island.

Out among the stars, where no one can hear you scream, as the advertising slogan said, becomes a gruesome tale of a dilapidated interstellar cargo ship, the Nostromo, responding to an SOS and taking aboard an androgynous monster of total malevolence.

The exterminator

An extraordinarily spare screenplay by James Cameron and Gale Anne Hurd adds a new dimension to this age-old morality game, working on many pointed commentary on our current over-mechanism in its action movie context. Pictures speak louder, and Cameron, in his first major directorial effort, proves to be a lean, thrifty storyteller, setting up your shorts for maximum visceral impact.

The most impressive special effect, however, is Schwarzenegger himself. Dressed head-to-toe in basic black and armed to the teeth with state-of-the-art weaponry, the former fort presents himself as evil incarnate, and his bombastic presence gives the film a very tangible sense of menace.


The premise here is that Dredd has this one day to find out if rookie Anderson has what it takes to be a judge. Sadly, it’s also the day they end up in a 200-story building owned by drug lord Ma-Ma. She is selling a narcotic called Slo-Mo, and Dredd and Anderson soon find themselves trapped on the block, fighting to bring criminals to justice.

It’s a simple and pretty wise setup. After all, this Dredd doesn’t have the budget of his contemporaries, and the money, therefore, must be spent very wisely. There’s some solid effects work to establish the city’s perspective and tone, but what’s more interesting is that the filmmakers spent the money on the details.


Despite his often tired excesses, Brooks has invented a loving and intermittently boisterous salute to the sci-fi genre, and there are some wonderful things that are so crazy they could only be Mel Brooks. Contributing to the good mood are the good sports of Lucasfilm’s Industrial Light & Magic Company, which provided post-production.

Spaceballs is a mission its players might want to forget about: the always fun and talented John Candy is reduced to running around in an oddly inflated jumpsuit and dog ears. If they do a comedy titled “Butterballs”, Candy will have her costume.


Though Byrkit confines its actors and largely unscripted story to the house, “Coherence” soon reveals that its true setting is a nocturnal twilight zone located at the junction of Luis Bunuel’s “The Exterminating Angel” and Lars von Trier’s “Melancholia.” and Shane Carruth “Primer”, all superior exercises in cine-surrealism.

Once again we find ourselves at a dinner party whose guests have a hard time escaping, thanks in large part to the complications provided by an intrusive celestial body and a series of…well, to say more would spoil the modest fun. Suffice it to say that while the story reveals are quite amusing, the implications are sometimes scary for the wrong reasons.

high life

The film is another milestone in the career of its director/co-writer, whose filmography (which includes “Beau Travail,” “The Intruder,” “35 Shots of Rum” and “Trouble Every Day”) is filled with powerfully visceral stories. of forbidden love and exotic locations. And it’s one more feather in the cap of your star.

Robert Pattinson, who has become one of cinema’s most trusted but unaffected leads and who, with his former co-star Kristen Stewart, is helping to keep a particular kind of author-directed, mid-budget art film alive. , at a time when 40% of annual North American box office receipts come from family-oriented Disney properties.

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