We use the term “science fiction and fantasy” as an umbrella for fantastical stories all the time, but in truth, these genres each contain multitudes. An SFF movie might be an alien invasion blockbuster; a bloody sword-and-sorcery epic; or a quiet, reflective fable. What these movies all have in common is the imagination to think outside of the world we can see from the window.
Here are 30 of the best you can stream on Netflix right now.
Damsel (2024)
Millie Bobby Brown (Stranger Things, Enola Holmes) is practically the face of Netflix these days, and she’s back again in this dark fantasy from director Juan Carlos Fresnadillo (28 Weeks Later). She plays Elodie, the titular damsel, who’s been offered into an arranged marriage by her family, which doesn’t sound too terrible, until she learns that it’s all been part of an elaborate ritual sacrifice intended to keep a dragon from destroying the kingdom. Lucky for her, she’s far more resourceful than her in-laws give her credit for. First goal: get out. Second goal? Get even.
Paradise (2023)
Time is a literal commodity on this German sci-fi dystopia. Max (Kostja Ullmann) works for the appropriately named Aeon, a tech company that buys time (as in years) from the poor to extend the lives of its wealthy and powerful clients. He’s great at his job, but it doesn’t matter much when his condo burns down and he’s liable for the loan backed by 40 years of his wife Elana’s life. Suddenly married to a senior citizen, he’s determined to get his wife’s time back, whatever the cost.
Nimona (2023)
Based on the graphic novel from ND Stevenson, Nimona traveled a rocky road to the screen, surviving delays, company shut-downs, the pandemic, and pressure from Disney to tone down its queer themes. Luckily, none of that drama made it into the finished product (eventually brought to streaming by Netflix). It’s a heartfelt, joyful, and funny fantasy set in a futuristic world full of medieval trappings. Ballister Boldheart, alongside his boyfriend Ambrosius Goldenloin, is about to be knighted by the queen, the first commoner ever to receive the honor. It’s all good, until he’s framed for the queen’s murder and forced to flee, becoming the criminal that the snobs already took him for. Luckily (or not) he’s joined by Nimona, a teenager outcast shunned for her shapeshifting powers. The two work together to clear Ballister’s name, even as Nimona has things to teach Ballister about living authentically.
The Old Guard (2020)
The comic-inspired Netflix film stars Charlize Theron as Andromache, the sometimes-leader of a group of immortal-ish individuals who are already centuries old as the film starts. They generally work as mercenaries when the cause is right, but find their group starting to splinter in the face of a new threat: Modern technology has made it harder to hide their secret, and a pharmaceutical exec has plans to capture them, figure out why they’re immortal, and then make a sellable product. The movie’s a solid blend of comic-book heroics and mercenary-movie action, with a sequel on the way. Shortly after this, director Gina Prince-Bythewood made the historical action-drama The Woman King, also on Netflix.
Circle (2015)
It’s alien abduction for the Squid Game generation, this one picks up in the aftermath of a mass snatching. Circle opens on 50 people waking up in a dark room. They’re on platforms from which they can’t move on pain of laser-inflicted death, and they quickly realize they’re trapped in a game with simple, specific rules: Via hand gestures, they’re meant to vote on the next person to die (if not, someone is chose at random every two minutes). It’s a sick scheme enacted by would-be invaders, but it’s also a study of our species, and reaches some not-entirely-flattering conclusions about how quickly we’ll throw each other under the bus (er, laser beam).
Godzilla Minus One (2023)
Eschewing the more-is-more approach of the American Godzilla series, writer/director Takashi Yamazaki offers up this reminder that Japanese filmmakers really know their monster king. A prequel of sorts to the original 1954 film, this one finds kamikaze pilot Koichi Shikishima (Ryunosuke Kamiki) encountering Godzilla multiple times over the years following World War II. That wartime trauma, which harkens back to the original film, lends this one a kaiju-sized emotional weight. Nearly as important: the masterful, Oscar-winning visual effects make Godzilla scary again, and the action sequences have real weight and stakes.
Ultraman: Rising (2024)
This Japanese-American co-production reboots the beloved half-century-plus franchise with help of director Shannon Tindle and co-writer Marc Haimes (both of the brilliant Kubo and the Two Strings). Professional baseball player Ken Sato returns home to Japan when he inherits the mantle of (you guessed it!) Ultraman from his retired father. The stylish animation is lovely and there plenty of family-friendly action, but it wouldn’t work half as well without the emotional arc: egotistical sports star Sato needs to reconnect with his distant father, even as he becomes the unwilling parental figure to an orphaned kaiju child.
Conan the Barbarian (1982)
It might not be exactly what prolific writer and Conan-creator Robert E. Howard had in mind but it’s a lot of fun in a shirtless, sweaty, sword-and-sorcery kind of way. It’s the movie that kicked off a pretty cool cycle of ‘80s fantasy films, and also gave Arnold Schwarzenegger his big cinematic break. A long-haired James Earl Jones also offers up his second-most-memorable villainous performance as evil sorcerer Tulsa Doom.
See You Yesterday (2019)
See You Yesterday tricks you into thinking you’re signing on for a sci-fi romp—an early cameo from Michael J. Fox seems to underline it. As it begins, young prodigies CJ Walker (Eden Duncan Smith) and Sebastian Thomas (Dante Crichlow) develop a time machine and plan to test it by traveling back one day and scrupulously avoiding making any changes. Shortly after, the Spike Lee-produced film takes a dark turn: CJ’s older brother is shot and killed by an NYPD officer who mistakes a phone for a gun. CJ tries again and again to save him, but is frustrated as each attempt goes wrong in a new way. It’s not an entirely downbeat movie, but, in the best sci-fi tradition, the high concept at its core has more down-to-earth relevance.
The Midnight Sky (2020)
There’s quite a bit derivative in this George Clooney-directed film, but it’s also quietly poignant in ways that modern science fiction rarely is. That’s a very specific mode, but refreshing in its way. Clooney plays Augustine, a scientist with a terminal condition in 2049 who’s become one of the very few remaining humans alive on Earth after some unknown event left the surface contaminated with radiation. He discovers that a mission from a moon of Jupiter is on its way back to Earth, and makes it his mission to warn them that the planet is no longer hospitable—a mission complicated by the discovery of a young girl he feels the need to protect.
The Platform (2019)
OK, the metaphor is a little heavy-handed: In a large tower, euphemistically referred to as the “Vertical Self-Management Center,” food is delivered in a shaft that stops on each floor from the top down: those near the top get to eat their fill; those at the bottom get scraps. The Spanish-language thriller is wildly violent, but inventive, and it’s not as if real-life capitalism is particularly subtle in its deprivations.
What Happened to Monday (2017)
Tommy Wirkola, director of the recent David Harbour Christmas-themed action movie Violent Night and the upcoming Spermageddon, helmed this high-concept science fiction story about the perils of overpopulation. In the near-ish future, a one-child policy sees spare kids frozen cryogenically until such time as they can be either become colonists on another planet, or until Earth finds more resources—whichever comes first. Think Children of Men, but a bit goofier. Glenn Close is in charge of enforcing the policy, while Willem Dafoe plays the grandfather of identical septuplets. He comes up with a plan to keep all the kids out of the freezer: they’ll take turns playing at being the same person (Noomi Rapace, in multiple roles). Ridiculous, but fun.
Rebel Moon (2023)
Zack Snyder, late of the entire DC cinematic universe, inspires passionate opinions all around—but his science fiction Army of the Dead followup can’t be faulted for lack of ambition. It’s a multi-part (currently unclear how many parts that will be) space opera that blends Snyder’s distinctive visual style with Star Wars-style action. Sofia Boutella stars as a former soldier who rallies warriors from across the galaxy to join in a revolt against the imperial Motherworld on the title’s out-of-the-way farming moon. You can currently catch part one (A Child of Fire) and part two (The Scargiver); the longer, R-rated director’s cut debuts August 2..
Back to the Future (1985)
You know that Broadway musical that everybody likes? Turns out it was a movie way back in the 1980s. Who knew? It’s a tightly constructed and impressively weird time-travel comedy about a kid who goes back in time and has to dodge his mother’s romantic advances while trying to make sure that his still parents get together and get it on. Michael J. Fox and Christopher Lloyd are a cinematic pairing for the ages in a movie that’s funny and surprisingly thoughtful about its use of sci-fi tropes.
The Curse of Bridge Hollow (2022)
Halloween movies are valid at any time of year, so there’s no reason to hold off on this family-friendly seasonal fantasy. The Howard family has moved to the town of Bridge Hollow just in time for the holiday, and daughter Sydney (Priah Ferguson of Stranger Things) couldn’t be more exited about the town’s holiday spirit. Dad (Marlon Wayans), on the other hand, is all about the science and hates the spooky nonsense—mom Kelly Rowland often left to referee. The family has to try to come together, though, when Sydney accidentally frees a ghost who makes an army out of the town’s decorations. Whoops!
65 (2023)
The Adam Driver-lead 65 came and went from the theaters pretty quickly in 2023, and not entirely unfairly—it doesn’t really live up to the promise of its premise. But the high concept is so good it just about works anyway: 65 million years ago, a pilot from an alien planet (Driver) takes on a two-year long haul expedition in order to earn the money needed to treat his wife’s illness (shitty capitalist medical care being, apparently, universal). His ship goes off course and winds up on an even more alien planet: Earth, circa dinosaur times. With the young girl who also survived the crash, he’s got to try to get through the various terrifying Earth creatures and get back home before the asteroid that brought his ship down makes its way to Earth.
The Matrix (1999)
Perhaps you’ve heard of this indie classic from the Wachowskis? This is the action spectacular that revolutionized action in American movies while simultaneously sparking a million conversations about philosophy (many of them dumb, but that’s hardly the movie’s fault). Netflix is also the streaming home to the 2021 sequel, Matrix Resurrections—the best of the franchise since this 1999 original.
The Adjustment Bureau (2011)
Less well known than other Philip K. Dick adaptations (Blade Runner, Total Recall, Minority Report), this is still a brisk and effective sci-fi yarn. Matt Damon plays a congressional candidate who meets Emily Blunt (in a men’s room, of all places); their chemistry is instantaneous, and this would be a perfectly reasonable movie meet-cute if it weren’t for the fact that it was never meant to happen—at least according to the adjustors, well-dressed men responsible for fixing small mistakes in the timeline. Our two leads are determined that their own free will is more important than some idea of destiny, so they set about trying to escape and outwit their supposed fates.
Life (2017)
A creepily effective spin on Alien, Life finds a team of astronauts (Jake Gyllenhaal, Rebecca Ferguson, Ryan Reynolds) encountering and investigating soil samples from Mars that appear to contain the first evidence of extraterrestrial organisms. It all pretty much goes downhill from there.
Bubble (2022)
From Attack on Titan and Death Note director Tetsurô Araki and an all-star creative team, Bubble finds Tokyo cut off from the rest of the world when reality-bending bubbles rain down on the city (shades of Stephen King’s Under the Dome, perhaps). Anime fans were almost certainly on the lookout for the gorgeous, parkour-infused love story, but anyone who loves animation (or great sci-fi films in general) should check it out.
The Sea Beast (2022)
Chris Williams, an animator who’s either directed or had a hand in some of the best of the last decade (Bolt, Big Hero 6, Moana, etc.) about a young woman who stows away on the ship of a legendary monster hunter (Karl Urban). The movie was nominated for an Academy Award, so it’s perhaps not that obscure, but still seems to have gotten lost amid last year’s major animated releases.
My Father’s Dragon (2022)
Based on Ruth Stiles Gannett’s 1948 children’s novel of the same name, and geared toward even younger audiences than the other all-ages animated movies on this list, My Father’s Dragon still has plenty to recommend it to just about anyone—along with more emotional intelligence than many movies made for adults. In the film, a boy named Elmer (Jacob Tremblay) and his shopkeeper mother, Dela (Golshifteh Farahani) leave their tight-knit town in favor of a bigger city—though the promise of better circumstances doesn’t quickly materialize. Elmer’s patience is rewarded, though, when a talking cat invites him to take a beautiful, candy-colored adventure. The movie is from the director of the The Breadwinner, set in modern-day Afghanistan, and Cartoon Saloon, production company behind animated movies like the beautiful Irish folk tale, Wolfwalkers.
The Wandering Earth (2019)
The title isn’t a metaphor: this Chinese blockbuster is literally about what happens when the Earth goes off-course, and the people who come together to keep it from smashing into Jupiter. The whole thing begins when a rogue red giant threatens to engulf the Earth within a century, leading the nations of the world to come together around building giant engines to shove us out of the way. It’s bonkers in the best possible way, with special effects that easily outpace those of many American blockbusters. The human element here is also a plus, as the movie makes room for a broad ensemble of interesting characters, suggesting that great things (like not hitting Jupiter) happen when people work together.
Space Sweepers (2021)
It doesn’t entirely reinvent the wheel, but there’s a refreshing focus on the underclasses of the future, without edging too far into the dystopian. I’m not the first to make a comparison between Space Sweepers and Cowboy Bebop, but, given the recent and speedy failure of Netflix’s live-action version of that cartoon, it’s not going too far to say that you’ll find a better encapsulation of Bebop’s spirit of rag-tag found family and its outer space western milieu here then in the live-action show that bore its name. What this one lacks in originality, it makes up for in engaging characters and extravagant special effects. It’s also nice to see a less American-centric perspective on the future.
The Block Island Sound (2020)
Strange doings are afoot on Block Island, the most obvious of which are the vast numbers of dead fish that keep washing up on shore. More alarming though is the behavior of one of the local fishermen, Tom, who keeps waking up in strange places and generally losing time. His daughter Audry (Michaela McManus) works for the Environmental Protection Agency and is sent to investigate the mass fish deaths; she brings along her daughter and reunites with brother Tom (Chris Sheffield) along the way. Together, they discover no ordinary environmental catastrophe is to blame for all the dead fish, as the film blends the family drama and the eerie local events as it builds to a fairly chilling climax.
Starship Troopers (1997)
Starship Troopers is a wildly fascinating adaptation in the ways in which it takes straightforward source material—in this case, Robert A. Heinlein’s 1959 novel—and largely satirizes it, by taking it at face value and doing a straight adaptation. It’s a rather shocking bit of literary criticism disguised as a b-movie, turning the novel’s themes on their heads. At the risk of oversimplifying Heinlein, the novel (with a nearly identical plot) suggests that war is inevitable and that military service might be the best possible cure for a general moral decline. What we get in the movie is an ever-more-relevant picture of a militaristic slide into fascism that’s also a pretty impressive action spectacle, and very funny.
Okja (2017)
A Korean-language sci-fi fantasy about a girl and her genetically modified pig might not sound like an easy sell, but the movie certainly attracted more much-deserved attention when its director, Bong Joon-Ho, won one of the best-justified Best Picture Oscars in recent memory for Parasite. The darkly whimsical film that challenges the norms of the American and South Korean meat industries is very much its own thing, but fans of Parasite will recognize Bong’s mix of dark comedy, action, and hard-to-ignore social commentary.
Guillermo del Toro’s Pinocchio (2022)
The director’s passion project, Pinnochio had a long road to the screen, but it’s hard to argue that it wasn’t all worth it. Set in fascist Italy between the wars, and told through stunning stop-motion animation, the beautifully moving film won a well-deserved Best Animated Feature Oscar.
Jumanji (1995)
All three Jumanji movies are a lot of fun, but there’s a lot to be said for the OG Robin Williams version, which just happens to be the only one streaming on Netflix. A group of friends become trapped in the title boardgame, one that unleashes jungle-related havoc on its players. Williams, having become trapped in the game previously, is at his most manic here, and the early CGI can be a bit wonky, but it’s still a charmingly goofy, family-friendly good time.
Blame (2017)
In the future, The City grows like a virus, endlessly in all directions, humans long since having lost control of the automated systems designed to run things. Those same systems now see views humans as “illegals” to be purged, so flesh-and-blood survivors are caught between the city’s murderous defense systems and the need to find food. One group of humans, though, is on the hunt for the existence of someone with a genetic marker that they believe will allow for access to the city’s control systems—a hunt lead by Killy, a synthetic human who might have the key.
