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FILMS Part 6 |
Science Fiction Films Part 1 | Part 2 | Part 3 | Part 4 | Part 5 | Part 6 | Examples
Notable Robots or Droids in Sci-Fi Films: See:  Robots in Film (a comprehensive illustrated history here).
Throughout cinematic history, especially in science-fiction tales, robots have played a primary role. Robotic characters were chosen, in part, as a way to probe and examine prototypical humans endowed with anthropomorphic (but artificial) intelligence or characteristics. Terms related to robots include:
Robots functioned as either servant-helpers or oppressors of humanity, portraying the good and evil sides. Herein are examples of various films with robotic characters:
Major Action-Sci-Fi Film Hybrids:
Lucas' and Spielberg's Contributions:
A low-budget, satirical Star Wars parody was created by director Ernie Fosselius titled Hardware Wars (1978) - "May the Farce Be With You" - with characters Princess Anne-droid, Fluke Starbucker, the Cookie Monster (for Chewbacca), an incomprehensible Darf Nader, Artee-Deco (a canister vaccuum cleaner), 4-Q-2 (as C3PO), Ham Salad, and space objects-vehicles such as toasters, irons and mixers. In 1999, Lucas backpedaled and created the first film in the epic saga, quickly followed by other prequels:
The 90s: A Mix of Action and/or Sophisticated Story-Telling By the 90s, sophisticated digital effects were overtaking science fiction films, and creating spectacular and monstrous creatures such as the living dinosaurs in Spielberg's Jurassic Park (1993), The Lost World: Jurassic Park (1997), and Jurassic Park III (2001); the female alien invader in Species (1995), the giant marauding bugs in Starship Troopers (1997), and the bulbous-headed aliens in Tim Burton's alien-invasion spoof Mars Attacks! (1996). The sci-fi alien invasion comedies Men in Black (1997) and Men in Black II (2002) were remarkably successful films that combined both special effects and great acting from its two leads Will Smith and Tommy Lee Jones.
Two blockbuster Hollywood films released in the summer of 1998 portrayed the threat of Earth-threatening asteroids: Mimi Leder's character-driven sci-fi action film Deep Impact (1998) (Tagline: Heaven and Earth are about to collide), with Robert Duvall as an astronaut heading up a government mission in outer space to destroy the comet; and Michael Bay's Armageddon (1998) (Tagline: It's Closer Than You Think), with Bruce Willis and his core drilling team called to thwart the space rock by the use of nuclear weapons. 'Virtual Reality' Sci-Fi Films: Also in the 90s, science-fiction films portrayed a world in which reality was unsure, unreliable, dreamlike, virtual, or non-existent. The blurring of reality with 'virtual', look-alike, or fake universes or worlds created by 'virtual reality', computer simulations, or imagination itself fascinated various film-makers in the late 90s. In Alien Intruder (1993), set in the futuristic year of 2022, an evil, extra-terrestrial computer virus (in the form of beautiful Tracy Scoggins) intruded itself into the thoughts of the crew of the spaceship USS Presley. Johnny Mnemonic (1995) was a derivative adaptation of scriptwriter William Gibson's own cyberpunk short story, and a Keanu Reeves-precursor to The Matrix (1999), about a courier with downloaded information in his data-packed head who must transport the top-secret data from China to New Jersey. Human freedoms were almost non-existent in the world of genetic monitoring and engineering found in Andrew Niccol's Gattaca (1997). Peter Weir's fanciful The Truman Show (1998) satirized how TV ratings dictated the imprisonment and victimization of a show's star by the unrestricted media, all for the unethical purpose of sustaining a hit TV show. [It was partially inspired by Albert Brooks' satirical media comedy Real Life (1979) (based on PBS' mini-series An American Family in 1973).] Then, director Ron Howard followed with a similar but lackluster EDtv (1999).
Writers/directors Andy and Larry Wachowski's hyperkinetic The Matrix (1999) (Tagline: Be afraid of the future) illustrated how to superbly combine amazing action scenes with an intelligent story-line (a modern-day updating of the man vs. machine tale). It examined the nature of reality in the external world - seemingly uncertain, in which reality was a computer simulation, and the actual Earth was scorched. The explosive and successful trilogy featured sensational special/visual effects, with the same cast in each offering (Keanu Reeves as Neo, Carrie-Anne Moss as Trinity, Laurence Fishburne as Morpheus, and Hugo Weaving as Agent Smith): Josef Rusnak's tech-noir sci-fi film The Thirteenth Floor (1999) (Tagline: Question reality. You can go there even though it doesn't exist) blended both The Truman Show (1998) and The Matrix (1999) with its blurring of the lines between reality and virtual or artificial reality, in its contrast of mid-1930s and late 1990s Los Angeles. Another 'virtual reality' film in the same year, David Cronenberg's cautionary and plot-twisting eXistenZ (1999) (Tagline: Play it. Live it. Kill for it), explored how a 'virtual reality' game could tap into a person's mind. Steven Spielberg's cyber-noirish action and sci-fi thriller Minority Report (2002), set in the futuristic year of 2054 from an adapted Philip K. Dick story, starred Tom Cruise as a cop preventing pre-committed murders. And in a science-fiction related romance Eternal Sunshine of the Spotless Mind (2004) with a script by Charlie Kaufman, Jim Carrey had his memories of his romance with an ex-girlfriend (Kate Winslet) wiped clean - until he abruptly changed his mind. Animated Science Fiction Films At the Turn of the Century: From the mid-1990s to the early part of the next century, a number of animated films contained science-fiction themes, such as:
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The
Day The Earth Stood Still (1951) - featuring the giant,
all-powerful robot Gort, instructed by creator Klaatu to warn
Earth about its destructive path; with the film's famous command: "Gort,
Klaatu barada nikto"
Roboman
(1974) (aka Who? (1975)) - with Joseph Bova as an injured American
government official turned into a cyborg by the Russians
Director/writer
James Cameron brought two views of an apocalyptic, post-nuclear wasteland
to the screen with Arnold Schwarzenegger first playing an action villain,
and then an action hero in two brilliant films: 
[George
Lucas' first feature film was the dystopic thriller THX 1138 (1971),
an atmospheric film about a repressive Orwellian futuristic, dehumanized,
subterranean society that forbade love and sexual intercourse.] By
the late 1970s and early 1980s, films by Lucas and Spielberg consciously paid
tribute to serials of the 1930s, with hero Luke Skywalker, swooping space
battles, imaginative bar creatures in Mos Eisley's Cantina, revolutionary
special effects, Harrison Ford at the controls of the Millenium Falcon spacecraft, and a vast universe. Aliens could be more friendly and benevolent,
evidenced by loveable robots (R2D2 and CP-30) and Chewbacca in the popular Star Wars fantasy space epic "trilogy" - all modern blockbusters. The
first in this space opera trilogy set another standard for action-propelled,
special-effects science-fiction: 
The
preceding years of fearful dystopias and menacing aliens were dismissed by
Steven Spielberg's pre-E.T. 
Demolition
Man (1993) pitted 1990s cyrogenically-defrosted LA cop-hero John Spartan
(Sylvester Stallone), after release in the year 2032 from cyro-prison in the
megapolis of San Angeles, to combat another defrosted individual -- violent
psychopath Simon Phoenix (Wesley Snipes - with blonde hair). Wolfgang Petersen's Outbreak (1995), released at the height of the AIDS crisis with additional
fears of bioterrorism, was a traditional disaster thriller about the pervasive
spread of a killer African virus. The ultra-patriotic
sci-fi epic Independence Day (1996) by director Roland Emmerich told
of the extra-terrestrial invasion of the world with the destruction of the
White House as an opener. The roller-coaster action film, a summer blockbuster
with stunning, thrill-ride, Oscar-winning special effects, was a return to
the themes of 
Alex Proyas' visually-stunning and visionary sci-fi noir Dark City (1998) (Tagline: A world where the night never ends. Where man has no past. And humanity
has no future), one of the best films to effectively twist unreal reality,
starred Rufus Sewell as a man with memory problems living and pursued in a
nightmarish, retro 40s-style futuristic world managed by malevolent, underground
alien beings called Strangers, who possessed telekinetic powers that could
stop time and alter reality. 
the
cyberpunk Japanese anime Ghost in the Shell (1996) was set
in the year 2029 in a world where all crime was conducted in cyberspace
and led by a master hacker called the Puppet Master; a specialized police
force in the Asian metropolis named Newport's Section Nine directed an investigation
to cope with the problem, headed by female android-cyborg undercover officer
the Major, Motoko Kusanagi -- a babe-like Playboy centerfold cross-bred
with the Terminator and the Bladerunner -- who was also searching for her
own identity
