The 10 Best Sci-Fi Movies of All Time

Bong Joon-ho's Snowpiercer (2013).
Bong Joon-ho's Snowpiercer (2013).
© 2013 - RADiUS/TWC

How do you narrow down the entire history of science fiction cinema into a list of only the 10 best movies? Help us, Mental Floss! You’re our only hope! (That Star Wars movie isn’t included, but another one is. Let us use the quote.)

1. METROPOLIS (1927)

Director Fritz Lang delivered one of film history’s earliest dystopias with Metropolis, in which the eponymous city’s wealthy ruler (Alfred Abel) and a mad scientist (Rudolf Klein-Rogge) attempt to use the robot doppelgänger of a beloved worker (Brigitte Helm) to incite open rebellion. Metropolis was famously subject to substantial cuts to its initial 153-minute running time, as a result of negative reviews following its 1927 Berlin premiere. (H.G. Wells called it “the silliest film” and “already as a possibility a third of a century out of date.”) In 2008, cinephiles rejoiced when a 16mm negative was found in a Buenos Aires film museum that included the bulk of the missing footage.

2. THE BRIDE OF FRANKENSTEIN (1935)

One of the few movie sequels that improves upon its already excellent predecessor, The Bride of Frankenstein reunited director James Whale with actors Colin Clive (Frankenstein) and Boris Karloff (Frankenstein’s Monster). New to the mix was Elsa Lanchester as the Bride and (in a prologue) Frankenstein author Mary Shelley. Whale originally balked at the idea of making a sequel to Frankenstein, telling a friend that the original script “stinks to heaven.” Ten or more writers later, and Whale had an acceptable script—in which Frankenstein attempts to create a mate for his monster—to work with. Earlier drafts of the script involved death rays and circus lions.

3. 2001: A SPACE ODYSSEY (1968)

The long and storied career of Stanley Kubrick netted the legendary director only one Oscar: Best Visual Effects for 2001: A Space Odyssey. The famous “Star Gate” scene gave 2001 the edge over its competitors … or should we say “competitor,” as only one other film was nominated in that category, John Sturges’s mostly forgotten Ice Station Zebra. Known to 2001’s crew as the “Manhattan Project,” the Star Gate sequence—which utilized various photography methods, including “slit-scan” photographywas shot in secret at a former corset factory in Manhattan on Broadway and 72nd Street.

4. ALIEN (1979)

If any director is deserving of two movies on this list, it’s Ridley Scott. (More on that later.) Three years before Blade Runner, Scott introduced one of cinema history’s most famous monsters in Alien, which was famously pitched to studios as “Jaws in space.” The creature was designed by surrealist painter H.R. Giger, who was handpicked by scriptwriter Dan O’Bannon. As O’Bannon later recalled, upon being introduced, Giger immediately offered him opium.

5. STAR WARS: EPISODE V – THE EMPIRE STRIKES BACK (1980)

It’s hard to pick one Star Wars movie to be on sci-fi’s “best of” list … but not that hard, as the second installment in the original trilogy is generally regarded to be the best one. (What, were we going to choose The Phantom Menace?) The Empire Strikes Back gives the franchise its most memorable (and oft-misquoted) line in Darth Vader’s “No, I am your father.” Keeping the twist a secret was so important that, at the time that scene was shot, only a handful of people knew about it: George Lucas, Empire’s producers, director Irvin Kershner, and Mark Hamill, who got the heads-up only seconds before he was to deliver his reaction shot. Not even David Prowse, the man in the Darth Vader suit, knew about his character’s true identity. He delivered the line “Obi-Wan killed your father,” which was later dubbed (along with the rest of his dialogue) by James Earl Jones.

6. BLADE RUNNER (1982)

The work of author Philip K. Dick has been like catnip to directors over the years, with Minority Report, Total Recall, The Adjustment Bureau, A Scanner Darkly, Amazon’s The Man in the High Castle and more all pulling from his work. The most famous Dick adaptation, however, is Ridley Scott’s Blade Runner, starring Harrison Ford as an L.A. cop tasked with hunting down rogue androids, or “replicants.” (The original book is titled Do Androids Dream of Electric Sheep?) Preview screenings went so poorly that an infamous voiceover was added to make the plot easier to follow. (In Ford’s words: “[A] f*cking nightmare.”) Eventually Scott got his way, and the voiceover was chopped from 1992’s “Director’s Cut” and 2007’s “Final Cut” home video releases.

7. BRAZIL (1985)

The old chestnut returns: dystopias that were subject to major attempted—and in some cases successful—studio interference. Universal refused to release Brazil in the U.S. with Gilliam’s original ending, wherein mild-mannered government cog Sam Lowry (Jonathan Pryce) is driven insane by torture, instead preferring an alternate cut where he gets the girl and drives off into the sunset. Gilliam organized secret (and forbidden) screenings of his cut for members of the Los Angeles press, who subsequently awarded the film L.A. Critics's awards for Best Film, Best Screenplay, and Best Director. Universal, whose hand had been well and truly forced according to Gilliam, “immediately released it in New York and Los Angeles, [even though] they had no posters. They had nothing—they had a Xeroxed copy of the artwork they were going to eventually make a poster of … And it did proceed to do the most business per theater of any film at that time.”

8. THE FLY (1986)

With his offbeat sensibility and love of body horror, David Cronenberg isn’t exactly the Oscar “type.” It’s his 1986 film The Fly, in which an eccentric scientist (Jeff Goldblum) accidentally genetically splices himself with the insect of the title, that earned Cronenberg’s filmography its only Academy Award to date. Fittingly, the Oscar was for Best Makeup, awarded to Chris Walas and Stephan Dupuis. In an early cut of the film, there was even more makeup-enhanced grossness; Cronenberg cut a scene where Goldblum’s character beats a genetically mutated half-cat/half-baboon to death because “If you beat an animal, even a cat-monkey, to death with a lead pipe, your audience is no longer interested in your problems."

9. JURASSIC PARK (1993)

Director Steven Spielberg has a lot of successful films under his belt, but nothing has quite measured up to Jurassic Park (at least if we’re talking financials). With a $1.029 billion worldwide gross, the dino caper remains the highest earner of Spielberg’s career and one of only three pre-2000 films to pass the billion-dollar mark. (The other two are Titanic and Star Wars: Episode I - The Phantom Menace.) The film’s impressive box office haul isn’t the only thing that’s aged well; the effects, too, still look remarkably realistic, nearly a quarter-century later—the result of Spielberg insisting on the use of practical effects (including giant animatronic puppets) augmented by CGI.

10. SNOWPIERCER (2013)

Behind-the-scenes interference dogged the most recent film on this list, Bong Joon-ho’s Snowpiercer, which found itself at the mercy of Harvey “Scissorhands” Weinstein. Like Metropolis, Snowpiercer is a dystopian drama that centers heavily on class conflict. In the case of Snowpiercer, the remnants of humanity live on a train, with the inhabitants getting richer and richer the further toward the front of the train you go. The Weinstein Company wanted to cut 20 minutes from Snowpiercer for its North American release. Bong Joon-ho refused, and after two years a full version of Snowpiercer was eventually released … into just eight theaters. In the wake of overwhelming critical acclaim, the screen count was eventually upped to more than 350. The movie is currently being adapted into a television series for TNT.

10 Facts About DodgeBall: A True Underdog Story For Its 15th Anniversary

Vince Vaughn stars in Dodgeball: A True Underdog Story (2004).
Vince Vaughn stars in Dodgeball: A True Underdog Story (2004).
Twentieth Century Fox

June 18, 2004 saw the release of two wildly different films in American cinemas: Steven Spielberg’s The Terminal and a goofy, cameo-filled, wrench-chucking sports comedy called DodgeBall: A True Underdog Story. Guess which one came out on top at the box office? The sleeper hit both saluted and skewered the sports movie genre. It also gave Chuck Norris the chance to enjoy a free helicopter ride.

1. Dodgeball's creator was inspired by the book Fast Food Nation.

DodgeBall writer/director Rawson Marshall Thurber considered DodgeBall an homage to some of his favorite flicks, including Revenge of the Nerds (1984), Rocky (1976), and Bull Durham (1988). Another source of inspiration was Eric Schlosser’s Fast Food Nation, the nonfiction bestseller about the modern obsession with greasy, ready-made cuisine. Published in 2001, Fast Food Nation sold more than 1.4 million copies within five years. It also left plenty of fingerprints on Thurber’s script.

"I really took a cue from that—there's an absolute love/fear relationship thing in our culture," Thurber told Film Freak Central in 2014. "We're so weight conscious, so image conscious, so youth-oriented—and wrapped up with all that psychosis are these ad images of it being so cool and all-American and sexy to eat McDonald's and drink pop and all that. It pulls people in all sorts of different directions, so I wanted [Ben Stiller’s character] White Goodman to be sitting there with a doughnut and the car battery attached to his nipples … That situation with food, with sports, with so much of our culture. [It’s] already almost too surreal to satirize."

2. The movie's actors went through some rigorous training.

To ready themselves for the movie, Ben Stiller, Vince Vaughn, and the rest of the actors ran indoor dodgeball drills at what many of them have since described as a “boot camp.” According to Stiller, this basically consisted of “us at a gym a few times a week playing dodgeball.” While that may not sound too intense, the physicality of these sessions took its toll on the performers. “It’s a game for the young,” Stiller said. “It’s one thing when you’re eight, but when you’re 38, it gets really exhausting. After three or four minutes, you’re fried.” Practicing at his side was Stiller’s wife, Christine Taylor, who plays Kate Veatch of the Average Joe’s squad in DodgeBall.

3. Ben Stiller took Christine Taylor down with a dodgeball ... twice.

As a general rule, it’s never a good idea to hit one’s spouse in the face with a rubber ball while playing any sport, but that’s exactly what Stiller did to Christine Taylor—twice. Blow number one came during the boot camp; the second strike occurred while filming the epic Globo Gym/Average Joe’s showdown. The latter ball was intended to strike Vaughn, who reflexively flinched to get out of the way. In any event, Stiller admits that those two incidents put a temporary damper on the couple’s marital harmony “for like a week, because there’s no way to not get upset with somebody after you’ve done that. It just sent us both back to eighth grade." (Though the couple announced that they were divorcing in 2017, the split has never been made official, and the couple is still regularly seen together—sparking rumors of a reconciliation.)

4. Stiller borrowed much of his character's personality from 1995's Heavyweights.

The fact that Stiller borrowed some of White Goodman’s traits from Tony Perkis, the fanatical fat camp owner he played in 1995’s Heavyweights, won’t surprise anyone who has seen both films. DodgeBall’s White Goodman (as played by Stiller) is a bombastic, egomaniacal fitness guru with some inherited wealth and major insecurities. The same description also applies to Perkis. A lighthearted family comedy, Heavyweights didn’t fare well at the box office, grossing a meager $17.6 million. As such, when Stiller copied a few of Perkis’s mannerisms in DodgeBall, he figured that no one would notice.

"I always thought, ‘Well, nobody ever saw Heavyweights, so I can do this,” Stiller recalled. “But a lot of people saw Heavyweights … Apparently, it shows on the Disney Channel a lot or something.” Regarding the two characters, Stiller has said that Perkis is “definitely a first or second cousin” to Goodman.

5. Justin Long suffered a minor concussion on the set.

Justin Long, who plays Justin in the film, took some hard knocks while making this movie. For starters, a prop wrench made with hard rubber left a nasty cut on his eyebrow when Rip Torn, as Patches O’Houlihan, threw it at his face in one scene. Then, while filming another section of DodgeBall’s training montage, the actor was pelted with enough high-speed balls to render him "slightly concussed."

"They didn’t want me to drive home at the end of the day because I was a little off," Long told Today in 2017. “So next time you’re watching that and laughing, know that you’re laughing at my pain.” Still, the experience wasn’t all bad. According to New York Magazine, Long can often be seen riding a scooter adorned with the words “Average Joe’s,” a gift from Stiller.

6. Hank Azaria and Rip Torn didn't even try to synchronize their Patches O'Houlihan voices.

Early in the film, we get to watch an instructional video about dodgeball (and social Darwinism) hosted by a young Patches O’Houlihan, who is played by Hank Azaria. For the remainder of the film, however, it’s Rip Torn who portrays the seven-time ADAA all-star. You may have noticed that the two actors use very different accents in their respective scenes: Azaria, who joined the cast at Stiller’s invitation, called his performance “essentially a bad Clark Gable impression.” At the time, Torn’s sequences hadn’t been shot yet, leading someone in the crew to pipe up and say “You know, it’d be funny if Rip tries to emulate that voice!” “I was like, ‘Yeah, good luck walking up to Rip Torn and suggesting that he change his vocal quality in any way. Let me know how that goes for you,’” Azaria replied.

7. The Average Joe's team colors are an homage to Hoosiers.

Thurber, a fan of David Anspaugh’s Oscar-nominated Hoosiers (1986), tipped his hat to the Hickory Huskers’ red and yellow uniforms by giving the Average Joe’s squad—led by Vince Vaughn’s Pete LaFleur—an almost identical color scheme. 

8. Chuck Norris was reluctant to make a cameo.

The action star’s only scene was shot in Long Beach, California. Geographically speaking, this was problematic for Norris. “I was in L.A. when they asked me to do the cameo,” Norris told Empire Magazine. “I said no at first because it was a three-hour drive to Long Beach.” Hearing this, Stiller called Norris and begged him to reconsider. “He goes, ‘Chuck, please, you’ve got to do this for me!’” Norris recalled, “My wife said he should send a helicopter for me and that's what happened. I didn't read the screenplay, just did my bit where I stick my thumb up.”

After post-production on DodgeBall wrapped and Norris got around to seeing the finished product, he found himself enjoying most of it. However, there was one little moment in the final credits that really caught him off-guard. “In the end, when Ben’s a big fatty and watching TV, the last line of the whole movie is, 'F***ing Chuck Norris!' My mouth fell open ... I said, 'Holy mackerel!' That was a shock, Ben didn't tell me about that!"

9. One villain was originally supposed to be a robot.

By far the most mysterious player in the Purple Cobras lineup is Fran Stalinovskovichdavidovitchsky, an Eastern European all-star whom Goodman calls “The deadliest woman on earth with a dodgeball.” What’s the secret to her success? Well, in an early version of the screenplay, it’s revealed that Fran is actually a robot in disguise. Thurber ended up dropping the gag, which he considered too ridiculous—even by DodgeBall’s standards. However, when Missi Pyle was cast as Fran, the big twist hadn’t yet been cut.

“Initially, in the first script I read, she was a robot, like a sexy-bodied robot” Pyle explained. The original plan was to slowly pan the camera up over a partly-exposed Robo-Fran—with her metallic face and fake breasts on full display—at some point in the climax.

10. Alan Tudyk weighed in on a fan theory about Steve the Pirate.

In 2012, Redditor Maized made the case Steve the Pirate, Alan Tudyk’s swashbuckling oddball, is actually an “ex-Navy sailor who suffers from PTSD.” As evidence, Maized cited Steve’s tattoos, which bear a striking resemblance to those frequently worn by U.S. Naval recruits. In theory, the Average Joe’s patron uses his pirate persona to cope with his condition.

During a 2016 interview with Screen Crush, Tudyk was asked to offer his thoughts on the theory. With a chuckle, Tudyk replied that it “doesn’t seem like it’s impossible.” Emphasizing that he didn’t wish to “insult Navy sailors who have PTSD,” the actor said he’d consider taking the Redditor’s idea into account if a DodgeBall sequel is ever made.

Game of Thrones Director Said He Wanted to 'Kill Everyone' During the Battle of Winterfell

Iain Glen and Emilia Clarke in Game of Thrones.
Iain Glen and Emilia Clarke in Game of Thrones.
Helen Sloan, HBO

Now that Game of Thrones is over, it’s time to talk about the nitty-gritty of the episodes, particularly “The Long Night.” While the Battle of Winterfell may have been nerve-wracking to watch, there ended up being surprisingly fewer deaths than fans expected, considering the living were fighting the entire army of the dead.

Miguel Sapochnik, who directed the episode, was no beginner with battle scenes before taking on “The Long Night,” as he was also responsible season 6's iconic “The Battle of the Bastards” as well as the memorable season 5 episode “Hardhome.” While his list of Game of Thrones accomplishments is long, it turns out that Sapochnik's choices haven't always been in line with what showrunners David Benioff and D.B. Weiss want.

According to IndieWire, Sapochnik’s aesthetic choices, such as the decision to shoot shoot Cersei and Tommen shadowed by prison-like bars to represent Tommen’s imprisonment in season 5, were not favored by the showrunners. “[Benioff and Weiss] said [it was] ‘so self-conscious and we hate it basically,'” Sapochnik revealed at the time. Because of disagreements like this, the pair “visually policed” the director.

There was a difference of opinion between the director and the creators again for “The Long Night,” Sapochnik revealed on IndieWire's Filmmaker's Toolkit podcast. “I wanted to kill everyone,” the director said, as reported by Esquire. “I wanted to kill Jorah in the horse charge at the beginning. I wanted it to be ruthless, so in the first 10 minutes you could say all bets are off, anyone could die. But David and Dan didn’t want to. There was a lot of back-and-forth on that."

Ultimately, Sapochnik gave in to Benioff and Weiss’s plan for the episode, and the Battle of Winterfell had far fewer casualties than most of the series's other battle scenes.

[h/t Esquire]

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