15 Best Sci-Fi Movies Of 2026 (So Far)

Many great science fiction films were set in the year 2026, including the incredibly influential "Metropolis." We might be living in the future already, but that isn't stopping filmmakers from looking even further and seeing where humanity could go from here. Or when it comes to some of the best sci-fi movies of 2026, it involves gazing into the past and adding some neat high-concept twists to eras that have already passed us by.

What kind of sci-fi films work best in this day and age? In the past, many science fiction properties foretold wondrous technology, like flying cars, that would improve everyone's lives. Of course, dystopias have long been a popular subgenre as well, and it can often feel like we're currently living in a dystopia of our very own. Do we want science fiction movies to reflect the current state of the world, with all its problems, or offer pure, unbridled escapism?

2026 has had some stellar science fiction so far that has run the gamut of emotions and perspectives. Things may not always look great here in the real world, but at least we can turn to sci-fi to fill us with either hope or horror — and a bit of insanity for good measure. 

Who's going to save humanity? It probably won't be super soldiers or mythical aliens from outer space. It'll be ordinary people just trying to do their best, and the unrelenting optimism of "Project Hail Mary" undoubtedly makes it one of the best sci-fi movies of 2026. 

Ryland Grace (Ryan Gosling) is the sole survivor of a mission to save Earth's sun. Despite being light-years away from Earth, Grace meets a friendly rock-based alien named Rocky (voiced by James Ortiz) who needs to save his own planet. The two work together to figure out what's going wrong with their respective stars.

"Project Hail Mary" preaches a message of tolerance for others and the importance of listening to those with more knowledge than you. But aside from guidelines that those in power could afford to implement, "Project Hail Mary" has everything modern audiences seemingly want out of today's popcorn entertainment. 

The visuals are spectacular. The humor, particularly due to the myriad misunderstandings between Grace and Rocky, is great without being cringeworthy. And it's the kind of interstellar journey we don't see on the big screen all that often. In recent years, modern sci-fi cinema has become synonymous with superhero projects. "Project Hail Mary" blew everyone away at the box office because audiences are hungry for something different. We want to believe in something hopeful again, and this film scratched a necessary itch for many. 

"Hope" drew an incredibly divisive response at the Cannes Film Festival, probably in large part because it's not really the type of film that's often shown there. It's a wild action sci-fi movie with aliens wreaking havoc and insane action set pieces. It's more akin to something like "Mad Max: Fury Road" than 2026 Palme d'Or winner "Fjord." But if you're willing to go on a bizarre journey, then "Hope" might be right up your alley.

"Hope" opens with something causing massive devastation to the small Korean coastal town of Hope Harbor. Police chief Ko Bum-seok (Hwang Jung-min) is always two steps behind where the creature's just been, and this portion of the film is positively thrilling. It feels like a modern update of "Jaws," in which you see the destruction but not the monster itself. Then the creature finally appears — and as several major critiques of the film have noted, the CGI looks unpolished and crude compared to modern Hollywood blockbusters. But if you're willing to overlook that, you'll recognize that "Hope" is easily the most ambitious film of 2026.

"Hope" throws everything at its audience. There's action that actually feels grand instead of being confined to a soundstage. The movie can be surprisingly funny at times, and easily has the most hilarious monologue of any 2026 movie. And the ending has to be seen to be believed. "Hope" is a film you can't help but respect for where it's willing to go. There are probably folks out there who would consider this one of the worst sci-fi films of the year, but it ticked all the right boxes for us.

It feels like with "The End of Oak Street," director David Robert Mitchell took a bunch of defining Steven Spielberg qualities (dinosaurs, kids in peril, parents going through divorce), put them in a blender, and came out with one of the most fun experiences you could have in a theater all year. It genuinely recaptures some of those old-school 1980s-era Amblin vibes and not just because the film is set in 1982 itself. It just feels like the kind of movie that doesn't get made all that often.

The Platt family have a pretty normal life in the suburbs, although Denise (Anne Hathaway) and Greg (Ewan McGregor) seem like they're on the fast track toward divorce. But any immediate plans for the future get upended when the entire neighborhood is mysterious transported back to prehistoric times with dinosaurs running amok and eating their friends. Looper's review of "The End of Oak Street" praised the film for managing to stay grounded despite its absurd premise. 

There's a lot going on in "The End of Oak Street," and not all of it gets explained. But you're constantly rooting for the Platts thanks to how the film establishes their dynamic before the craziness unfolds. "The End of Oak Street" doesn't hold back as far as brutality, and there's one moment in particular that'll leave your jaw on the floor. If nothing else, "The End of Oak Street" proves there are a lot of ways to incorporate dinosaurs into movies outside of the "Jurassic Park" franchise. 

"Redux Redux" debuted at South by Southwest in 2025, but it received a proper wide release in 2026, making it one of the best sci-fi flicks of the year. And it's very much a more grounded type of science fiction as it makes great use of the multiverse in a way you don't see too often.

Mourning her daughter's death, Irene (Michaela McManus) has a device that allows her to travel to different realities and kill her daughter's murderer in as many timelines as possible. The result is a tragic meditation on grief and an expert entry in the revenge subgenre. There's no shortage of films where someone is out for revenge, and at the end when they kill whoever wronged them, they still don't feel better. Here, Irene kills different versions of the murderer, losing a bit more of her humanity each time, but she can't seem to break out of the cycle. 

The multiverse is a hot commodity right now. It's predominantly used by superhero movies as an excuse to cram in cameos from past franchises. But here, the multiverse is refreshingly lo-fi. Each reality is only slightly different from the last. We're not here to be amazed by spectacular VFX or wait for Hugh Jackman's Wolverine to show up. "Redux Redux" shows how even if you had an infinite number of possibilities to make things right, it wouldn't bring any real sense of closure. 

Artificial intelligence used to be confined to the realm of science fiction, but now AI is a genuine, real-world threat. Even the people behind AI are beginning to express concerns that it could harm humanity in multiple ways. That still doesn't mean we'll wind up with Skynet at some point, but it does mean that "Good Luck, Have Fun, Don't Die" has arrived at the perfect time.

Gore Verbinski has always been something of a maximalist filmmaker, and he brings those sensibilities to this gleefully delightful sci-fi flick. A man from the future (Sam Rockwell) travels back in time to recruit a bunch of eclectic patrons to help him in his crusade. His target is a rogue AI that has turned humanity in his time into a bunch of phone-addicted zombies, who would rather live in a virtual reality than the real one. The parallels to our own world should be clear — we don't even need AI reaching the singularity to know what it would be like if everyone stayed glued to their screens. 

But "Good Luck, Have Fun, Don't Die" is the furthest thing from a lecture. It's a rip-roaring good time filled with dark comedy and fight scenes that feel like they were ripped straight out of a goofy video game. From time travel to aliens to the multiverse, the best sci-fi movies of 2026 utilize every device possible to comment on the world around us and deliver a thoroughly entertaining time. 

January tends to be a dumping ground for movies. Studios are busy campaigning for awards season, so a lot of new films get left in the dust. It's understandable if you didn't pay attention to "We Bury the Dead" at the start of 2026, but you don't want to ignore it much longer.

It's a truly riveting take on the zombie subgenre. The United States detonates a nuclear weapon in Tasmania, killing thousands while leaving a signifiant portion of the population as the walking dead. Ava Newman's (Daisy Ridley) husband was in Tasmania on a work trip, so Ava partakes in a relief effort only to break away from the group in order to figure out what happened to him.

The zombies aren't particularly dangerous. They're creepy for sure, and some phenomenal sound design work makes them disgusting on a visceral level. But they more or less function as a backdrop for a woman clinging to the past rather than forging ahead on a new future. As always, the greatest monster is man. But it's a great entry for zombie movie lovers and a welcome reprieve from the usual fare that utilizes cliches far too often. 

If you prefer your zombie movies to have more action and traditional methodology (zombies bite, darn it), "28 Years Later: The Bone Temple" will be more up your alley. The film came out less than a year after "28 Years Later" and picks up with Spike (Alfie Williams), who's abandoned the safety of his community to see what role models he can find in the midst of an apocalypse. The result probably wasn't what he was expecting, as he joins Sir Lord Jimmy Crystal (Jack O'Connell) and his gang, who wreak havoc across what's left of Great Britain.

It may have more action than "We Bury the Dead," but it doesn't ignore the pathos. Dr. Ian Kelson (Ralph Fiennes) becomes one of the most fascinating figures in 2026 cinema. He's an empathetic doctor who seeks to better understand the infected and actively wants to develop a cure. He's contrasted beautifully with Sir Lord Jimmy Crystal, who uses the apocalypse as an excuse to do whatever he pleases. It's the ultimate battle between empathy and nihilism.

Sadly, "28 Years Later: The Bone Temple" bombed at the box office. Maybe folks just didn't want to see two "28 Years Later" movies in the span of a single year. Hopefully "28 Years Later: Part III" will still happen, with Cillian Murphy returning to the role of Jim from "28 Days Later." There are just so many more interesting themes to explore with this franchise that we can't get cut out this early. 

It's always nice to see an original Pixar movie performing well. No one's surprised when "Toy Story 5" makes a bunch of money, but "Hoppers" dominating the box office is a sight for sore eyes. And it's easy to see why, as the film takes a fun sci-fi premise and infuses it with equal parts humor and heart.

"Hoppers" involves Mabel (Piper Curda) hijacking technology that puts her mind inside of a robotic beaver body. With this new form, she can meet up with real beavers to create a habitat where she and her grandmother once bonded to prevent it from getting developed by Mayor Jerry (Jon Hamm). As the characters note, the premise is similar to that of "Avatar." And like "Avatar," there's a message of environmentalism at its heart, and it's a surprisingly mature theme for a kids' film.

"Hoppers" doesn't water anything down for youngsters. It shows that enacting real change takes effort, and that even people who should be on the same side with face disagreements. Of course, it's natural if kids maybe overlooked that message because this film moves at a mile-a-minute. It's fast-paced and crammed with jokes and sight gags. It's a movie parents can feel good about bringing their kids to, knowing all parties involved will be thoroughly entertained — and maybe even learn something in the process. 

"Mike & Nick & Nick & Alice" manages to be a comedy, crime caper, action flick, and sci-fi picture all in one. It goes to show how old concepts can feel new again ... provided there's a healthy dose of time travel thrown into the mix.

The basic plot sees Mike (James Marsden) having an affair with Nick's (Vince Vaughn) wife, Alice (Eiza González). As such, Nick frames Mike for ratting out his boss' son and putting him in prison; however, Future Nick (also Vaughn) manages to travel back in time, recognizing the error of his ways, in order to save Mike and Alice and figure out who the real rat is. 

Vaughn playing two characters offers plenty in the ways of laughs, especially as the Present Nick is far more of a jerk while Future Nick desperately wants a chance at redemption. At its core, it's a story about how our pasts can haunt all of us.

Even if you're not normally a fan of sci-fi movies, "Mike & Nick & Nick & Alice" is more concerned with comedy and mistaken identity rather than getting into the mechanics of time travel. The film introduces the concept but doesn't get bogged down in exposition. It uses it as a plot device and then spends most of the runtime on a messy love triangle (square?) and mob business. It's a blast and the kind of film that deserved to be seen with a big audience rather than alone at home on Hulu. 

2026 had no shortage of sci-fi-centric video game adaptations making it to theaters, with "Mortal Kombat II" and "Street Fighter." However, there's one film that blows all of them out of the water, and it's "Resident Evil." As "Resident Evil" has already been a massive franchise before with Milla Jovovich at the center, you might think everything that could be said about this series has happened. But Zach Cregger's new version is easily the best "Resident Evil" movie of all time, and it's not close. 

For one thing, Cregger strips a lot of the mythos out of the up front story, which may upset some fans. Instead, we get medical courier Bryan (Austin Abrams) trying to deliver a package to Raccoon City shortly after a virus has begun turning people into horrific monsters. It's a simple premise to bring us into this world and introduce us to a protagonist who's probably the last hero you'd want in this situation. But that's really what makes this film such a blast. 

It may not have a ton of direct video game references, but it feels like playing a video game with Bryan accumulating weapons and figuring out how to shoot locks properly. And as to be expected after "Barbarian" and "Weapons," Cregger delivers on the thrills. The body horror is on point and genuinely feels disgusting. It shows how there's no one right way to adapt a game to the big screen, and more filmmakers should be willing to take risks like Cregger.

"Masters of the Universe" might be the least surprising box office flop of 2026. No one was really clamoring for more He-Man in this day and age, and '80s adaptations seem to be on the way out in lieu of properties from the '90s and 2000s. Still, it's a fun time, and for folks who want a candy-coated exploration of Eternia, it delivers laughs and action in splendid numbers.

For starters, "Masters of the Universe" is unapologetic about what it's supposed to be. It knows the He-Man story is kind of dumb and leans into it. Characters get toy-accurate costumes, and even all of their dumb names, like Fisto, are intact. Sure, the movie will make fun of some of these conventions, but you can tell it's not coming from a place of malice. 

Arguably, the most impressive thing "Masters of the Universe" achieves is using this beefy intellectual property to tackle toxic masculinity. The main character's name is literally He-Man (Nicholas Galitzine), but he was raised mostly on Earth rather than Eternia. He figured out how to use his words rather than his fists, so he's more than happy to talk things through rather than immediately resort to violence (and he's still more than happy to throw down if a situation calls for it). 

"Masters of the Universe" is a great example of adapting a property where it feels faithful to what's come before, while still modernizing it for today's sensibilities. 

Only Steven Spielberg could get a movie like "Disclosure Day" made in the modern cinematic landscape. The filmmaker returns to his bread and butter with an original alien story, with this one told through the lens of a conspiracy thriller. Margaret (Emily Blunt) and Daniel (Josh O'Connor) both have connections with extraterrestrial life, and when the world is on the precipice of learning about aliens, privatized forces step in to make sure the truth gets suppressed.

But the film is more than action. It dabbles with deep, philosophical questions, like what the place of religion would be if humanity discovered we weren't alone in the universe. This isn't a film that fiddles around with making the audience question whether aliens are real or not up until the very end. Instead, it takes you on a journey where that's already a known fact, and you witness what might happen when authoritative forces feel like they're losing control of the narrative.

"Disclosure Day" is shot beautifully with frequent oners occurring throughout. The camera constantly seems to be moving along with the characters, raising the stakes and adding a sense of urgency to every chase sequence. "Disclosure Day" proves that Spielberg has still got it. 

Likely no one went into the year expecting the Minions to offer one of the best sci-fi movies of 2026, but here we are. A big part of that comes down to "Minions & Monsters" taking things back to the golden era of Hollywood in 1927. There are a ton of classic Hollywood references, from the Minions recreating the chase sequence from "Modern Times" to a nearly shot-for-shot parody of the opening shot of "Citizen Kane." 

Such nods would probably fly over youngsters' heads, but for the adults, it's a winner. And maybe it'll get some kids out there interested in learning what exactly the film was referencing, getting them to check out classic films. One can hope. 

But as far as the sci-fi components are concerned, "Minions & Monsters" also alludes to notable monsters, like Goomi (Trey Parker) being a little Cthulhu. There's also a side plot involving Dort (Jesse Eisenberg), a parody of Gort from "The Day the Earth Stood Still," who at first seems to be a guy in a costume but turns out to be a real alien. 

As a result, the film winds up merging 1920s Hollywood aesthetics with monster and alien movies from the 1950s. And it's a lot of fun, with plenty of slapstick for good measure to ensure kids and adults alike stay entertained.

It's not easy following up the massive event that was "Spider-Man: No Way Home." The return of classic Spider-Man villains, as well as Tobey Maguire and Andrew Garfield, made that film a true must-see spectacle. How do you follow something like that up? The solution appears to be taking a more mature look at Peter Parker (Tom Holland) and introduce a character with massive ramifications for the future of the Marvel Cinematic Universe.

Rather than get into more multiversal nonsense right before "Avengers: Doomsday," "Brand New Day" spends a surprising amount of time looking at how tortured Peter is after the world forgot him. Everyone loves Spider-Man, but Peter Parker has become persona non grata. In the process, we see how that isolation affects his ability to protect New York. Spider-Man can't do it alone. He needs Peter to balance him out. 

And while everyone pretty much guessed Sadie Sink would be playing Jean Grey, it didn't make the reveal any less exciting. It'll be interesting to see how much her role here affects the public's perception of mutants going into the MCU's X-Men movie. The rest of the X-Men cast is filling out nicely, so "Spider-Man: Brand New Day" did exactly what it needed to — Dive further into Peter's psyche while getting audiences pumped for what the MCU will do next. 

Some sci-fi films use technology to provide commentary on humanity and what our place in the universe might be. Others use sci-fi concepts to offer explosive, gonzo action, and that's all right, too. 

"Onslaught" falls into the latter category, although if you look deeply enough, you'll see that the film does have something to say about the military industrial complex. The film follows former army sniper Celeste Cross (Adria Arjona), as she goes up against a squadron of genetically-modified super soldiers wreaking havoc in the homeland. Director Adam Wingard leveled up to global annihilation with a pair of Godzilla movies, but here he's getting back to his roots. "Onslaught" is very reminiscent of the criminally underrated "The Guest" where the action stays grounded yet propulsive.

"Onslaught" deftly maneuvers around various genres, from comedy to action to horror. It really feels like Wingard is leaving no stone unturned in this world he's created. And the super soldiers make for delightful antagonists, harkening back to the likes of Michael Myers where part of the horror is in how little you know about them, at least at first. "Onslaught" is the kind of sci-fi action flick that's becoming increasingly hard to come by, so let's be thankful when one this entertaining comes along.