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

Look, obviously, "Project Hail Mary" made the cut here. In fact, we can virtually guarantee it's going to be on most best-of-the-year lists at the end of 2026 as well, science fiction-themed or otherwise. But as gladly as we'll take any excuse to yell "Amaze amaze amaze!" at everyone that we know, this year has already given us a whole lot more in the way of sci-fi goodness than the adventures of Ryan Gosling and his alien rock buddy (as much as we all love them).

Indeed, 2026 has also delivered thought-provoking sci-fi works that find exciting and compelling ways of talking about humanity's continuing impact on Earth's environment, the existential threat posed by AI, and the fact that we land-dwelling mammals would be really, really scared if we encountered a friggin' monster at the bottom of the ocean (to use the scientific terminology). That's on top of movies that cleverly use sci-fi concepts like the multiverse to explore more relatable, human matter.

Let's get to it, then: Here are the best sci-fi films of 2026 so far.

I, for one, do not welcome our AI overlords ... and, on behalf of all reasonable human beings, thank goodness Gore Verbinski clearly agrees. In no way, shape, or form did the "A Cure for Wellness" and "Pirates of the Caribbean" filmmaker deserve to languish in director's jail for as long as he did. But, as Verbinski's first feature in almost a decade, "Good Luck, Have Fun, Don't Die" sure feels like the kind of big swing you'd expect from someone who's had plenty of time to look at the general state of the world and craft his appropriately apocalyptic response. The final result is an oddball assortment of sci-fi themes and sub-genres, cobbled together from an overactive imagination that can't help but raise the question of whether we, as a species, have collectively fallen asleep at the wheel.

"Good Luck, Have Fun, Don't Die" is as unconventional as its title, somehow leveling criticisms towards every possible topic under the sun (sci-fi or otherwise), from time travel to gun violence, tropes about disaffected Gen Z kids, and, yes, the scourge of handing over our art, entertainment, and well being to AI. With an all-star cast led by Sam Rockwell, a sizable budget that he somehow squirreled away from Briarcliff Entertainment when every other major Hollywood studio passed on this original script, and a seemingly never-ending conveyor belt of "How the HECK did he get away with this?" concepts, this is easily the most sci-fi film of 2026. (Jeremy Mathai)

How do you make an original animated film that pleases your big studio bosses yet still addresses environmental issues in a considerate manner? That's quite a difficult needle to thread in 2026, yet director Daniel Chong and his creative team do so with finesse on "Hoppers." But as much as you can attribute the Pixar comedy's artistic success to its delicate blend of frenetic humor and tranquil drama (including the moments that are bound to get your tear ducts going because, again, this is a Pixar flick), it's the movie's sci-fi aspects that really make its disparate pieces come together.

"Hoppers" may center on "Avatar"-esque technology that allows people to transfer their minds into animal robots (something even the movie's characters are aware of), yet it does very different things with that conceit than James Cameron's mega-blockbuster. Here, the "Hoppers" tech allows its users to not just understand what real critters are saying but to also read their emotions in a way that's not possible in their regular human form. It's a terrific sci-fi metaphor for the idea that true empathy means relating with someone on their own terms. "Hoppers" then extends this into a larger message about activism and the problem with trying to "save" a group that you don't belong to, rather than being an ally.

Not everyone will receive that message in good faith, as "Hoppers" itself acknowledges. But those who are actually willing to listen to it should. (Sandy Schaefer)

YouTube sensation Markiplier directs his ambitious sci-fi horror film "Iron Lung" with commendable restraint. It's tempting for any beloved online personality to veer into artistic self-indulgence, but "Iron Lung" is as taut as a grisly indie survival flick could be.

Based on David Szymanski's video game of the same name, "Iron Lung" is impressively claustrophobic and frightening. The film centers on Simon (Markiplier), a convict who's trapped in a rusty submarine and forced to explore the ocean in exchange for his freedom. Using its oppressive single setting, the movie slowly amps up the horror considerably, compelling use to share Simon's growing dread. Once the plot throws in a Lovecraftian threat, however, we're left with the awful inkling that Simon might not make it out alive.

"Iron Lung" works because of the liberties it takes to avoid being a faithful yet hollow replica of the game that inspired it. Szymanski's "Iron Lung" relies on diegetic sound design to scare players, which Markiplier replaces with foreboding close-ups and grounded realism. The results might not appeal to everybody, but this is a must-see for those who love media like "Subnautica," i.e. underwater sci-fi horror titles that tap into our fear of the unknown. The mind-blowing final act of the film ties every disparate element together, leaning into a more visceral survival-at-any-cost sentiment that ends on an appropriately bleak note. (Debopriyaa Dutta)

This one's pretty self-explanatory, folks. Upon its release earlier this year, "Project Hail Mary" instantly vaulted into the pantheon of science fiction cinema. Directors Phil Lord and Chris Miller, who have a spectacular reputation among cinephiles (for good reason), shook off their negative experience working on "Solo: A Star Wars Story" and delivered an A+ piece of blockbuster entertainment that's harrowing, emotional, intellectually stimulating, and very, very funny.

Ryan Gosling plays Dr. Ryland Grace, a schoolteacher who's launched into space to save Earth from a race of microscopic organisms called astrophage, which are dimming the sun at an alarming rate. Gosling has received high praise for his work, and that will continue here: He's terrific as a scientist who's smart enough to work through complex problems, yet also human enough to be overwhelmed or annoyed or excited if the situation calls for it. This role falls right in the sweet spot for Gosling as a performer, but the sneaky MVP of the movie might be James Ortiz, who puppeteered Grace's alien pal Rocky and lent his voice to that character, imbuing a faceless alien with a lovable, buoyant personality. The way the two of them play off each other is perfect. Meanwhile, Drew Goddard's excellent script captures the spirit of Andy Weir's dense novel without watering it down — an impressive feat, given the amount of science at the forefront of this science fiction story. (Ben Pearson)

In Kevin and Matthew McManus' "Redux Redux," Irene Kelly (Michaela McManus) uses a mysterious machine to travel between parallel universes in search of a single possibility: a timeline where her murdered daughter is still alive. While multiverse stories often lean into spectacle and wildly altered realities, "Redux Redux" embraces lo-fi sci-fi. Each universe is almost identical to the last, allowing Irene to memorize routines, stash getaway supplies, rent the same vacant hotel rooms, and repeatedly track down Neville (Jeremy Holm), the man responsible for her daughter's death.

The small variations between timelines become meaningful obstacles. In some worlds, Neville misses his usual day off, forcing Irene to confront him publicly at the diner where he works. Yet, these disruptions pale beside the emotional burden she carries as a mother trapped in an endless cycle of grief and revenge.

The mechanics of universe-hopping require some suspension of disbelief, but the film is far more concerned with why Irene continues than with how she does it. That emotional focus is reflected in her encounter with a would-be victim named Mia (played by Stella Marcus in a fantastic debut). "Redux Redux" beautifully dissects the corrosive nature of vengeance and is a must-watch for sci-fi fans. (BJ Colangelo)

Movie marketing is a tricky beast, and it's easy to understand why most ads rely on selling a film via how much they can compare it to something recent and successful. When "Slanted" dropped its initial trailer, for example, it seemed like little more than a racially-themed version of "The Substance," in which a Chinese-American teenager, Joan (Shirley Chen), undergoes a mysterious new process which transforms her into a white girl, Jo (Mckenna Grace). Yet, save a few moments here and there, "Slanted" is not strictly a body horror film, and is, in fact, much more than its marketing promised. Writer/director Amy Wang takes that premise and uses it to craft a full-on sci-fi social commentary parable that would probably have made Rod Serling smile.

What makes "Slanted" great sci-fi is in its commitment to following its premise beyond a surface level. Chen and Grace playing ostensibly the same character isn't just a gimmick; instead, it's the heart of the movie's themes and satire. Wang doesn't wave away the process of transforming into another race as some fantasy magic; she treats it the way it's presented, as a voluntary medical procedure that has dozens of consequences, not all of them physical. Despite the film's localized setting, it also features some clever world-building involving the process, too, which only deepens its premise. Hopefully more folks will look beneath the surface of the movie's concept and discover its richness soon. (Bill Bria)