movies about interplanetary travel

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The 30 best space movies

Head to infinity and beyond with the greatest intergalactic odysseys of all time

From the time the movies were invented, filmmakers have been dreaming of outer space. Mankind hadn’t even figured out how to get off the ground yet when Georges Méliès imagined voyaging to the moon, and in the century-plus since, many other directors have taken audiences on trips far deeper into the cosmos. To infinity and beyond, you might say.

It’s no wonder, really. The concept of space is vast enough to allow for the exploration of all sorts of big ideas. What is mankind’s place in the universe? What lies outside our tiny little rock – and do we really want to know what’s out there? For that reason, the ‘space movie’ exists as its own genre beneath the wider umbrella of science fiction. And so, we’ve decided to rank them. Here are our picks for the 30 best movies about that big, overwhelming, sometimes frightening, sometimes beautiful void above our heads.

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The best space movies

1.  2001: A Space Odyssey (1968)

• Science fiction

Director: Stanley Kubrick 

Cast: Keir Dullea, Gary Lockwood

Many argue that this film is cinema’s GOAT – us, among them – and its enduring status is partly down to ideas around artificial intelligence and technology that have only become more prescient with every passing year. But few sci-fi films have embraced the look, feel and experience of space travel with this level of baked-in, world-building cool. Kubrick had three production designers on the case and got big brands like IBM, Dupont and Nikon to imagine what their products might look like in an interstellar future. Major props, too, to Douglas Trumbull’s eye candy stargate sequence, which helped ensure that late-‘60s stoners were the first audiences to take it all to their hearts.

2.  The Martian (2015)

• Action and adventure

Director: RIdley Scott

Cast: Matt Damon, Jessica Chastain, Chiwetel Ejiofor

After dividing audiences with Prometheus , Ridley Scott’s return to space was a heel-turn from his previous horrors. Thanks in huge part to a script by The Cabin in the Woods writer Drew Goddard and an endearing performance by Matt Damon as a marooned astronaut, The Martian is a bracing survivalist yarn with a reliable charm. In fact, Damon’s affability scored it an unlikely Best Comedy nod at the Golden Globes. And those laughs are vital in a film detailing a scientist slowly starving himself on a distant planet as his friends risk their lives to rocket through space to save him. 

3.  WALL-E (2008)

Director: Andrew Stanton

Cast: (voices) Jeff Garlin, Fred Willard, Ben Burtt

Only half of Pixar’s environmentalist parable-slash-intertechnological love story actually takes place in space, and most of those scenes are set aboard the galaxial Noah’s Ark keeping mankind alive after destroying the planet. But its moment among the stars is an absolute stunner. After breaking out of the spaceship’s airlock, the titular sentient trash compactor – aided by a fire extinguisher – and his Alexa-esque paramour twirl, spin and criss-cross each other in a zero-gravity Astaire-Rogers ballet that jerks tears and raises goosebumps in equal measure.    

4.  Star Wars (1977)

Director : George Lucas

Cast : Mark Hamill, Carrie Fisher, Harrison Ford, Alec Guinness

Has any film more perfectly channelled our fascination with space? It’s easy to forget how truly mesmerising A New Hope is when it ditches its fantastical planets and takes to the sky. It’s not just the dogfights of the climax, either. Much of the film plays out as an intergalactic road trip at warp speed, but it also slows down for a quick game of chess as stars drift past the window. By the end, you find yourself looking skyward, imagining the possibilities – not unlike Luke Skywalker himself, as he stares out beyond Tatooine’s twin suns and dreams of his destiny.

5.  The Right Stuff (1983)

Director: Philip Kaufman Cast: Sam Shepherd, Ed Harris, Dennis Quaid, Scott Glenn

Philip Kaufman’s boy’s own adaptation of Tom Wolfe’s nonfiction classic is every bit as stirring as Top Gun , though the tale of the US Mercury’s astronauts seldom gets its due. It also begs the question: how is it that movie astronauts are so often depicted as introverted nerds when we’ve seen Sam Shepard’s wildchild Chuck Yaeger breaking the sound barrier and the other Mercury astronauts strutting like the rock stars of their day? Truly, our understanding of space – and the cocksure punks who sought to tame it – remains woefully out of touch.

6.  A Trip to the Moon (1902)

Director: Georges Méliès

Cast: ​ ​Georges Méliès

All sci-fi movies – hell, pretty much all of modern effects-led cinema in general – begins here. But we don’t include Georges Méliès’s groundbreaker out of historical obligation. Well over a century later, the film displays an imagination in both storytelling and effects that wows even today, especially when you consider that not even the aeroplane existed yet. Surely, when the first astronauts made it to that big rock in the sky, they half-expected to find harpoon-wielding insectoids there to greet them.  

7.  Outland (1981)

Director : Peter Hyams

Cast : Sean Connery, Peter Boyle, Clarke Peters 

Essentially High Noon in space – but with 100 percent more splattered heads, thanks to the wonders of explosive decompression – this Sean Connery-starring space western unfolds above and below one of Jupiter’s moons, where a mining operation becomes the nucleus of a drug-fuelled mystery full of violence and depravity. The film shares a lot of DNA with Alien  thanks to its advanced effects and claustrophobic sets; only here, it’s humans doing the eviscerating... and a lot of it. 

8.  Galaxy Quest (1999)

Director: Dean Parisot

Cast: Tim Allen, Alan Rickman, Sigourney Weaver

A comedy is often only as strong as its reverence toward what it’s lampooning. A love of Star Trek ’s Gene Roddenberry shines through in every moment of this corker about the cast of a  Trek knockoff enlisted to save the denizens of a faraway planet. The plot is essentially a sci-fi version of  Three Amigos! , but the game cast – particularly Alan Rickman and a young Sam Rockwell – sell every uproarious gag, while the effects work updates the ‘60s camp while keeping the cartoonish charm front and centre. 

9.  Moon (2009)

Director: Duncan Jones

Cast: Sam Rockwell

While much of Duncan Jones’s ( Source Code ) meditative sci-fi takes place on the lunar surface, Moon  spends plenty of time with Sam Rockwell’s spaceman gazing at the stars and to the distant Earth like a blue-collar Major Tom. Rockwell has never been better in this small-scale tale of space madness (or is it?) about a helium farmer on a three-year lunar stint, accompanied only by his own personal HAL. Jones’s quiet gem embraces the all-engulfing nature of space, crafting something of a desert-island movie in the cold black void. 

10.  Event Horizon (1997)

Director: Paul WS Anderson

Cast: Sam Neill, Laurence Fishburne, Kathleen Quinlan

Derided for its relentless sadism upon release, Paul ‘Not PT’ Anderson’s trippy space saga has had an overdue reassessment and is emerging from the wormhole as a certified cult film. Part ‘ The Shining in space’, part ‘ Interstellar in hell’, Event Horizon ’s tale of misbegotten astronauts transported straight into the seventh circle isn’t for the squeamish. But for those who can stomach the viscera, it’s a wild ride through the gore-spattered corridors of an extremely haunted space station. Never has the cold vacuum of space seemed more welcoming than the supposed sanctuary of an airlock. 

11.  Treasure Planet (2002)

• Family and kids

Director: Ron Clements & John Musker

Cast: (voices) Joseph Gordon-Levitt, Emma Thompson, Martin Short

Disney dared to do something different with its sci-fi take on Robert Louis Stevenson’s pirate classic ‘Treasure Island’. Audiences didn’t respond to its hybrid of hand-drawn and CG animation, or storytelling that ditched princesses in favour of something a little more space-age and weird, but Treasure Planet is full of gorgeous celestial flair. The juxtaposition between old-school tall ships and cutting-edge interstellar animation remains dreamlike in its beauty. Plus, it beats the hell out of Mars Needs Moms . 

12.  Star Trek 2: The Wrath of Khan (1982)

Director: Nicholas Meyer

Cast: William Shatner, Ricardo Montalbán, Leonard Nimoy

The eye-popping space battles and serene galactic imagery. The mind-controlling space eels. The introduction of the Kobayashi Maru test. The tear-soaked space funeral. The goddamn mind-controlling space eels . The Wrath of Khan stands tall above all the USS Enterprise’ s cinematic adventures for many reasons, but chief among them is its deference to space itself – the franchise’s spiritual home. The reboot might have more advanced ships and shinier effects, but this was the moment Trek matched Star Wars in terms of pure awe in the abyss. 

13.  Starship Troopers (1997)

Director: Paul Verhoeven

Cast: Casper Van Dien, Denise Richards, Jake Busey

For millennia, humankind has gazed to the heavens and wondered what life exists beyond the stars. Paul Verhoeven has an answer, and it’s a horde of vengeful, snot-spewing insectoids. The Total Recall director’s return to space is a feature-length satire of fascist propaganda films that also plays like a stunning action spectacle, goopy horror romp and white-knuckle actioner. Verhoeven spends considerable time above the battlefield as a fleet of space cruisers discovers rather quickly that their ships are no match for bug bogeys and the unforgiving vacuum of space in graphic detail. 

14.  Interstellar (2014)

Director : Christopher Nolan

Cast: Matthew McConaughey, Jessica Chastain, Anne Hathaway

There’s a lot going on both above and below the ground in Christopher Nolan’s heady but divisive space odyssey, but this is a film that’s done its homework. And once Matthew McConaughey’s astronaut-farmer takes to the skies, all the film’s whiteboard-scribbling science lessons pay off with the most dazzling – and scientifically backed – renderings of space travel since 2001: A Space Odyssey . Say what you will about the film’s father-daughter narrative (Muuuuuurph!!!!), but even the most ardent detractor will be floored by Interstellar ’s cosmic imagery.

15.  Guardians of the Galaxy (2014)

Director: James Gunn

Cast: Chris Pratt, Zoe Saldana, Dave Bautista

The MCU’s first proper trip to the cosmos takes its cues from Star Wars and The Ice Pirates in equal measure. But it also carves a unique impression into cinematic space lore thanks to its fantastic worlds and gleeful depiction of space travel. The sequel arguably nails the sensation of gravity-defying antics better, capping things off with a space funeral that trounces The Wrath of Khan . But director James Gunn’s original is the kind of film that knows damn well that a scene of eye-popping space psychedelics all but demands to be scored to Bowie’s ‘Moonage Daydream’ (of course), then delivers in kind.

16.  Alien (1979)

Director: Ridley Scott

Cast: Sigourney Weaver, Tom Skerritt, Ian Holm

No other film captures the contradiction of space being at once infinitely vast and frighteningly claustrophobic than Ridley Scott’s sci-fi horror masterpiece. It’s an oddly small picture, given its influence and iconic special effects, but the movie’s true genius is in how it maximises its small budget, turning a spaceship into a haunted house and the infinite void of the universe into a deep, dark wood. And the big, bad wolf has never been this terrifying. 

17.  Apollo 11 (2019)

• Documentaries

Director : Todd Douglas Miller

Strap yourself to the side of the thundering Apollo 11 rocket as it careers into, and beyond, the Earth’s atmosphere in a spectacular doc that makes great use of hitherto unseen Nasa footage. The mission, of course, successfully plonked two Americans on to the Moon’s surface and then unplonked them again, thereby winning that bit of the space race with the Soviet Union, but there’s nothing triumphalist in director Todd Douglas Miller’s thrilling recreation – just a lot of quiet professionalism, teamwork and fearless men in helmets. When it gets into space and the 70mm footage does its thing, it makes you wish you’d actually followed up on that childhood ambition to become an astronaut.

18.  Gravity (2013)

Director: Alfonso Cuarón

Cast: Sandra Bullock, George Clooney

Some were disappointed when Alfonso Cuarón followed up 2006’s Children of Men – a masterpiece of dystopian world-building with big ideas about hope, faith and the future of humanity – with the simple story of an astronaut marooned in space. Of course, there’s nothing all that simple about poor Sandra Bullock’s situation. With her craft destroyed by orbiting debris and her partner (George Clooney) having floated off into the void, home appears both tantalisingly close and unimaginably far away. The movie is a technical marvel, but even on the small screen, it’s breathlessly tense – not since Alien has the infinite expanse of the universe felt so claustrophobic.

19.  First Man (2018)

Director: Damien Chazelle

Cast : Ryan Gosling, Claire Foy, Kyle Chandler A true-life astronaut drama that soars for the heavens but finds its deepest emotions at the kitchen table, this reimagining of what Neil Armstrong was contending with at the time of the Apollo 11 mission will have you ugly crying before anyone can so much as bob across that lunar surface. Ryan Gosling reunites with his La La Land director, Damien Chazelle, to humanise the now almost mythical Armstrong in his grief for his young daughter, with a just-holding-it-together Claire Foy as the moonwalker’s wife. For the majority of its runtime, First Man is earthbound. But when it finally touches down on the moon, it’s cinematic magic: a moment of wonderment, solitude and an overwhelming sense that you’re right there too.

20.  Ad Astra (2019)

Director : James Gray

Cast : Brad Pitt, Ruth Negga, Tommy Lee Jones Directed with a lust for adventure by The Lost City of Z ’s, James Gray,  Ad Astra (‘to the stars’) follows Brad Pitt’s spaceman across the galaxy to track down his ornery dad (Tommy Lee Jones), who may or may not be trying to wipe out humanity from a space station near Neptune (spoiler: he is). The journey sits somewhere between the old Star Trek movies in its stargazy philosophising and the rebooted ones in some of zero-g action sequences that suck the air from your lungs. There’s also an awesome space-buggy chase across the moon and a bit with psychotic space baboons. We are here for them both.   

21.  Forbidden Planet (1956)

Director : Fred M Wilcox

Cast : Leslie Nielsen, Walter Pidgeon, Anne Francis It’s Shakespeare in space – this iconic sci-fi is an intergalactic take on The Tempest – as a group of galactic travellers led by a straight-shooting Leslie Nielsen fall into the lap of megalomaniac boffin (Walter Pidgeon) on the remote planet of Altair 4. Cutting-edge effects presented in widescreen CinemaScope – the flying saucer remains cool AF – make this a true landmark not just in space flicks, but sci-fi genre as a whole. Don’t take our word for it: Gene Roddenberry cites it as a major influence on Star Trek .

22.  Silent Running (1972)

Director: Douglas Trumbull

Cast : Bruce Dern, Cliff Potts A direct inspiration for WALL-E and about as eco-conscious as science-fiction can get, this enduring classic shows that 2001: A Space Odyssey SFX maestro Trumbull could tell his own stories too. And this one follows a single astronaut (Bruce Dern) and his three adorbs robot pals, Louie, Huey and Dewey, as they drift through space, doing a spot of gardening and trying to stay sane in the face of mankind’s extinction. Heavy themes, sure, but treated with loads of heart and a philosophical spirit that echoes especially loudly in an era of climate crisis. 

23.  Solaris (1972)

Director : Andrei Tarkovsky

Cast : Donatas Banionis, Natalya Bondarchuk

Since remade by Steven Soderbergh, the original Tarkovsky Solaris is definitely the place to start when it comes to enigmatic, brainy affairs set in the far reaches of the universe. A cosmonaut (Lithuanian actor Donatas Banionis) is haunted by his dead wife as his spaceship orbits a mysterious planet. But is the planet creating embodiments of the ghosts haunting the poor man’s subsconscious, a bit like when Ray Stantz accidentally summons the Stay-Puft Marshmallow Man in Ghostbusters ? With its eerie visuals, it makes for a dreamlike journey to the far reaches of the human psyche.

24.  First Men in the Moon (1964)

Director : Nathan Juran

Cast : Edward Judd, Martha Hyer, Lionel Jeffries This monster-filled space adventure came out five years before man actually set foot on the moon and you can only hope Buzz Aldrin and Neil Armstrong weren’t watching, because the moon landing itself is a trainwreck. The ‘in’ part of the title is key: this is a Journey to the Centre of the Earth -style caper that has a crew of heroically under-prepared Brits discovering all sorts of things that don’t want to be discovered beneath the lunar crust. You will learn nothing at all about space but the giant stop-motion critters, animated by the great Ray Harryhausen, are a lot of fun.

25.  For All Mankind (1989)

Director : Al Reinert Six moon landings are ticked off in Al Reinert’s iconic doc, all accompanied by Brian Eno’s cosmic score (if space had sound, it’d definitely sound like Brian Eno). It makes the perfect non-fiction double bill with the more recent Apollo 11 – a window into the experience of being on the moon and looking back at earth. ‘A spiritual presence was there,’ says one NASA astronaut of those lunar vibes. ‘We were not alone.’ Haunting and hard to shake, this is proof that sometimes real life can be as spectacular as science fiction.

26.  Sunshine (2007)

Director: Danny Boyle

Cast: Cillian Murphy, Rose Byrne, Michelle Yeoh Director Danny Boyle positions his mindtrip space flick as a midway point between 2001: A Space Oydssey and Alien – a fusion of thrills and thinky bits that culminates in a third act that gets close to melting down as it draws close to the sun. You could probably throw Armageddon into that mix – a self-sacrificing crew of astronauts heads into space to save humanity from annihilation – although it’s a lot more believable (Boyle put his cast through astronaut training) and a lot less tub-thumping. The vast planetary vistas glimpsed from the decks of the Icarus II make a suitably awe-inspiring backdrop from its stellar cast (Cillian Murphy, Rose Byrne, Chris Evans et al) to come apart at the seams.

27.  Apollo 13 (1995)

Director: Ron Howard

Cast: Tom Hanks, Kevin Bacon, Bill Paxton, Gary Sinese

So much more than its famous ‘Houston, we have a problem’ catchphrase, Apollo 13 harkens back to the glory days of white-knuckle, PG-rated entertainment. An ensemble tribute to the power of group problem-solving, it has Howard fully embracing a ‘70s aesthetic and the storytelling of the era to craft a timeless middlebrow crowd-pleaser with an almost surgical focus on the imperiled mission at hand. 

28.  Contact (1997)

Director: Robert Zemeckis 

Cast: Jodie Foster, Matthew McConaughey, John Hurt

We’d have loved to include Denis Villeneuve’s magical, melancholy Arrival  on this list but it takes place entirely within Earth’s atmosphere. Instead, try this big, ambitious drama from Back to the Future ’s Robert Zemeckis based on a book by sci-fi seer Carl Sagan. Contact ’s heart is in a similar place, and like Arrival ’s protagonist played by Amy Adams, it is female-led, steers clear of macho ideas of hostile aliens and cocks an ear to new voices from far beyond our solar system. Zemeckis, who loves to push visual boundaries, images space travel as a dizzying acid trip full of wormholes, whirlpools and mind-bending geometries. It’s one of those rare movies that should come with motion sickness tablets.

29.  Dark Star (1974)

Director : John Carpenter

Cast : Dan O'Bannon, Dre Pahich, Brain Narelle

There’s no film version of The Muppet’ s ‘Pigs in Space’ sketch, but John Carpenter’s debut, set during the 22nd century, delivers the next best thing: A hippie movie hopped up on its own counter-cultural sense of the absurd (there’s a talking bomb) and a pisstake-y irreverence. It’s the perfect antidote to bombastic science-fictions that get lost in their own self-importance – a lo-fi whoopie cushion that invites you aboard its titular spacecraft to hang out with four fargone astronauts and indulge in a little space surfing.

30.  High Life (2018)

Director : Claire Denis

Cast : Robert Pattinson, Juliette Binoche, André Benjamin Myriad mysteries abound in this deliriously bonkers space oddity from French auteur Claire Denis ( White Material ) that co-stars Robert Pattinson and Juliette Binoche as an interstellar inmate and his scientist jailer. The human body and its function gets a rare exploration in this context – space flicks rarely spend this much time over their characters’ sexual needs in zero gravity ( 2001: A Space Odyssey does not have a Fuckbox) – and its themes of reproduction, incarceration and experimentation play out in a space with its own realities. Go with it, in other words, and be rewarded with a space journey unlike any other.

The 100 best sci-fi movies

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10 great films about space travel

To infinity and beyond... Celebrate 60 years of human spaceflight with our countdown of awe-inspiring space movies.

By  Brogan Morris

Since its earliest days, cinema has been fascinated by the idea of space travel. Some 67 years before Neil Armstrong set foot on the moon, Georges Méliès took audiences there with 1902’s Le Voyage dans la lune. Considered cinema’s first sci-fi, Méliès’ film sees explorers crash into Earth’s closest neighbour in a rocket shot out of a cannon, and then proceed to do battle with the insectoid inhabitants.

Today, with the benefit of another century-plus of scientific understanding, the space film looks very different. Space travel in the movies is constantly evolving. In the space race era, space movies looked forward to a utopian future. In the 70s, a murkier vision reflective of growing real-world social and political distress took hold. And then, post-Star Wars, a more fantastical and action-packed take on life in space became the norm.

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In the last decade, cinema’s view of space travel has shifted again. While the Guardians of the Galaxy movies and reboots of the Star Trek and Star Wars franchises have emphasised the adventure, many others, including Gravity (2013) and The Martian (2015), have addressed the potential perils of space travel becoming more commonplace in an age of renewed exploration. Meanwhile, an increasing number of films, among them Interstellar (2014) and this year’s upcoming Voyagers, are asking whether, if humankind exhausts the Earth, we might find a new home on a planet B.

The same basic curiosity, however, endures from the days of Méliès: what are we going to find out there among the stars? And how might the answers change the way we see the world – or ourselves?

Ikarie  XB -1 (1963)

Director: Jindrich Polák

Made in a period when a limitless future was typically imagined for extraterrestrial travel, one in which food would be magically plentiful and no star system would be too distant, Ikarie XB -1 injected some scientific and psychological realism into the space film. Adapted from Stanislaw Lem’s novel The Magellanic Cloud, Czech director Jindrich Polák’s film finds a crew travelling at light speed to a potentially life-harbouring white planet orbiting Alpha Centauri.

Although resources and leisure time are ample aboard the Ikarie, the journey is not without consequence. The trip will seem like 28 months to the crew, but the nature of relativity means their loved ones will be 15 years older when they return to Earth. Meanwhile, cabin fever (and a heavy dose of space radiation) brings some crew members to the edge of sanity. Ikarie XB -1 was a clear influence on 2001: A Space Odyssey (1968), with Stanley Kubrick calling it “a half step up from your average science fiction film” – which amounts to a ringing endorsement from the perfectionist filmmaker.

2001: A Space Odyssey (1968)

Director: Stanley Kubrick

A film that showed what was possible in sci-fi cinema, Stanley Kubrick’s 2001 continues to be a touchstone for any picture that deals in space exploration. The story was a result of almost two years of intensive discussions between Kubrick and his co-writer, sci-fi novelist Arthur C. Clarke, and it took even longer to execute, with the director beginning filming in December 1965 and only finalising the film’s effects in March 1968.

Whether it’s a commercial flight to the moon or a classified long-range mission to Jupiter, 2001 luxuriates in its space sequences, majestic ballets of sound and movement set to classical music. Stanley Kubrick might famously never have won a best director Oscar, but he did take home one Academy Award, for 2001’s visual effects – and rightfully so. More than half a century on, the film’s depiction of space travel – realised practically through a combination of model work, huge sets and precise photographic projection – remains flawless.

Silent Running (1972)

Director: Douglas Trumbull

Some time in the future, Earth has become a climate-controlled utopia, free of disease and poverty. But it’s one which apparently has so little use left for nature that its last forests are now kept in geodesic domes orbiting Saturn. On the ship Valley Forge, botanist Freeman Lowell (Bruce Dern) obsessively tends to three of these vast gardens when the order comes in to destroy them – an order Lowell disobeys by murdering the rest of the crew and piloting the ship out into deep space.

There’s a hangover of 1960s idealism to Silent Running. 2001 effects supervisor Douglas Trumbull’s directorial debut includes flower-power interludes featuring music by Joan Baez, while a multicoloured trip through Saturn’s rings has shades of an acid experience. The overriding tone, though, is one of new 1970s pessimism. Ultimately, Lowell‘s environmentalist dream sours, the peace he initially finds out in the cosmos soon giving way to loneliness and guilt over his killing for a fruitless ‘greater good’.

Star Wars (1977)

Director: George Lucas

Although sci-fi cinema generally went in a more mature direction in the 1970s, George Lucas’s empire-building third feature took a refreshingly opposite approach. Opening on an epic battle among the stars and climaxing with an even bigger one, Star Wars would present a universe where man (and Wookiee) has mastered space travel, with a quick leap from one habitable planet to the next possible at the mere push of a button.

Taking inspiration from pre-space race pulp sci-fi comics and film serials, Star Wars pays no mind to real physical or existential concerns about space travel. “Star Wars is a fantasy, much closer to the Brothers Grimm than it is to 2001…The word for this movie is fun,” said Lucas at the time. Still, not even this proto-blockbuster could totally escape the influence of the 70s, with its beat-up freighters and junky ship interiors suggesting a more hardscrabble life in space than Flash Gordon ever knew.

Alien (1979)

Director: Ridley Scott

By the time Ridley Scott made this landmark sci-fi horror, space travel had become so routine in the movies it seemed almost anyone could do it. In Alien, the astronauts are blue-collar types complaining about bonuses and food. Their latest job is towing 20 million tonnes of mineral ore back to Earth. It’s only the threat of suspension of wages that convinces the crew of the Nostromo to make their fateful detour to a nearby ‘primordial’ moon, from which they unwittingly bring back to the ship the universe’s deadliest apex predator.

From there, Scott’s film becomes a spacebound haunted house picture, as H.R. Giger’s nightmarish xenomorph eliminates the crew one by one. Alien would be followed by a number of sequels, prequels and regrettable franchise crossovers, with all but one of them set primarily on terra firma. What makes the original so uniquely frightening is how impossible escape seems for its protagonists: what awaits the crew beyond the confines of the ship is no less hostile to them than their ravenous intruder.

Apollo 13 (1995)

Director: Ron Howard

Released in a fallow period for the space movie, Apollo 13 is itself about a period in which, post-Neil Armstrong, space travel had suddenly become passé to a world preoccupied with problems on the ground. In Ron Howard’s telling of 1970’s doomed Apollo 13 adventure, it isn’t until astronauts Jim Lovell (Tom Hanks), Fred Haise (Bill Paxton) and Jack Swigert (Kevin Bacon) find themselves in mortal danger on their way home from an aborted moon landing that the TV networks even start giving the mission any airtime.

Made just years before CGI would become de rigueur for the space movie, Apollo 13 is an impressively practical spectacle. Bolstered by digital effects, the film makes extensive use of spacecraft miniatures and replica sets. Most impressively, to achieve scenes of weightlessness, Howard shot aboard the so-called ‘Vomit Comet’, a modified NASA training aircraft that – for 20 seconds at a time – would place the actors in a simulated zero-G environment.

Sunshine (2007)

Director: Danny Boyle

To save Earth from the chill of a solar winter, a crack team of scientists are despatched to the heart of our solar system on a flying bomb named Icarus II (the first Icarus having become lost after it flew literally too close to the sun). Their mission: to nuke our dying star back to life. Sunshine may have the absurd premise of a Michael Bay movie, but it also has the combined scientific and philosophical imagination of screenwriter Alex Garland and science advisor Brian Cox.

What happens when a crew of diverse credos and fallibilities embarks on a long-distance space voyage? A clash of passion and pragmatism leads to regular fights between sensitive physicist Capa (Cillian Murphy) and surly engineer Mace (Chris Evans). A miscalculation by navigator Trey (Benedict Wong) destroys biologist Corazon’s (Michelle Yeoh) precious oxygen garden, leaving him suicidal and her bereft. Faced with the desolate blackness of endless space, some crew members fall under the spell of the blazing sun. But where one sees a merciless, overwhelming celestial body, another finds God.

First Man (2018)

Director: Damien Chazelle

Following Neil Armstrong (Ryan Gosling) from his days as a test pilot through NASA training to his historic walk on the moon, First Man is a twofer: a dramatisation of the space race from the American side as well as a revisionist biopic of a mythical figure. Here the Apollo astronauts are portrayed as everyday suburban joes – husbands and fathers whose unique attributes allowed them to do remarkable things in their time, with Armstrong the most ordinary of the bunch.

Similarly deglamorised are the recreations of historic NASA space flights, which situate the viewer inside the cockpit from Armstrong’s point-of-view and depict early spacecraft as shockingly primitive, all creaking metal and analogue tech. The docu-style brings verisimilitude, but Justin Hurwitz’s ghostly score and some fluid space scenes see there’s also a musical grace to La La Land filmmaker Damien Chazelle’s fourth feature. It’s a poetic film about unpoetic men.

Aniara (2018)

Directors: Pella Kagerman and Hugo Lilja

Released the same year as Claire Denis’ unsettling space oddity High Life, Aniara is that film’s somehow even more despairing cousin. Adapted from Harry Martinson’s epic poem, Pella Kagerman and Hugo Lilja’s film traps the viewer inside a luxurious civilian transport meant for Mars but which – following an accident – is left cruising through space, rudderless and without any way to turn around.

In time, the micro-society on board the Aniara disintegrates, High-Rise-style, with passengers first embracing hedonism and cultish new religions. Then, as resources and hope of salvation both dwindle, they succumb to despair. This is one of a number of sci-fi films this century to depict mass space transportation gone horribly awry, but where Aniara differs from the likes of Pandorum (2009) or Alien: Covenant (2017) is that its horror is entirely existential. So many films about space travel end with characters triumphing over harsh odds and ultimately finding meaning in the void. Not this one.

Ad Astra (2019)

Director: James Gray

Ad Astra is a sci-fi Heart of Darkness that is, in essence, another contemplative drama about one of director James Gray’s trademark troubled men. In this case, the customary angst and father issues go to an astronaut in the shape of a never-more-fragile Brad Pitt. On a mission from US Space Command, Pitt’s Major Roy McBride planet-hops through a solar system in the early stages of colonisation to track down daddy Tommy Lee Jones, a brilliant scientist last heard from 16 years prior, circling Neptune.

Gray’s lonely, cynical vision of late 21st-century space as a commercialised wild west makes for a spectacular backdrop to a tale of familial discord. In this future, you’ll find a branch of Subway on the moon and audiovisual displays made to simulate the wonder of Earth inside Mars’ underground bunkers. You’ll also find warring tribes figuring out new ways to kill each other in a low-gravity environment. On Earth or in space, in Ad Astra humans continue to be stubbornly human.

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Interstellar And 10 Other Great Space Travel Movies To Come Out In The Past 10 Years

There have been some great space travel movies throughout the history of cinema, with everything from the 1902 french silent film Le Voyage Dans la Lun ( A Trip to the Moon ) to Stanley Kubrick 's 1969 masterful 2001: A Space Odyssey coming to mind. As the years have gone by there seems to be more and more narratives centered around the idea of space travel with beautifully shot blockbuster masterpieces like the 2014 Christopher Nolan epic Interstellar , and low-budget sci-fi horror thrillers like the 2013 found footage hit Eurpoa Report , and more.

Between 2010 and 2019, audiences around the world were treated to some of the greatest offerings in the history of the genre, so many that you might have forgotten one or two. To remind you of some, I've put together a list of 11 great space travels movies to come out in the past 10 years for you to explore. Buckle up and don't forget your dramamine because this is going to be a wild ride…

Interstellar (2014)

Audiences are still debating the divisive ending of Christopher Nolan 's 2014 space/time travel/father and daughter drama, but despite the confusing final act of the nearly three-hour blockbuster, Interstellar remains one of the most inventive and enjoyable movies to come out in the past 10 years, no matter the genre. Not only does it feature one of the best Matthew McConaughey performances and a great score from Hans Zimmer , much of the film wasn't shot on a green screen and offers some pretty revolutionary ideas concerning space travel, relativity, and most of all, humanity's quest to find answers to all of life's questions. Add in some impressive shots of black holes, warm holes, and holes left in the hearts of several of the characters, and you have yourself an adventure worth revisiting six years later. At the very least just go back and watch the insanely beautiful trailer .

Ad Astra (2019)

There were great space travel movies scattered throughout the 2010s like galaxies in the vast universe, and one of the brightest of those was James Gray's melancholic story of a broken man hunting his long-lost father in the depths of space: Ad Astra . Starring Brad Pitt as Roy McBride , the film does an amazing job of turning what seems like an everyday job for its central character into a great odyssey from which we don't know if he'll return. And if he does return, how will the journey affect him? By the time Tommy Lee Jones' Clifford McBride is seen in the flesh, his son has experienced much more than he ever thought he would, and he still has more lessons to learn before it concludes.

First Man (2018)

Damien Chazelle 's retelling of the Apollo 11 mission to the moon could have taken a very conventional route similar to something like Apollo 13 , but thankfully his 2018 film First Man was anything but conventional . Instead of beaming with patriotism like so many have done before him, the director of La La Land and Whiplash showed a side of Neil Armstrong (Ryan Gosling) that few had ever seen before. By including the death of Armstrong's young daughter in the early goings of the film, the director was able to add depth, emotion, and a different kind of pride to a movie that thumbed its nose at the normal space travel feature. It also avoided all of those over-the-top shots of rockets shooting off into space and instead focused on the Gosling's astronaut and what he was feeling at the time of the launch.

The Martian (2015)

Ridley Scott 's epic story of the power of engineering and the human spirit might not be a comedy , but that doesn't mean The Martian isn't an amazing movie deserving of all the credit it has received since its 2015 release. Everything from Matt Damon's performance as stranded astronaut Mark Watney to Jessica Chastain's Melissa Lewis and the rest of Watney's crew and scientists back on Earth who come up with amazing ways of risking life, resources, and tons and tons of cash to get him home is enough to earn it a spot on this list, but that's not all. It has been five years since it first hit theaters, but its shots of space, the martian surface, and labs and facilities on our planet only add to the grand scale of this surprisingly refreshing space travel film.

Gravity (2013)

Unlike the first four movies on this list, Alfonso Cuarón's 2013 space thriller Gravity doesn't so much as deal with astronauts traveling to a far-off destination as much as it focuses on the journey home. Clocking in at 91 minutes ( each as action-packed or tense as the last ), the perilous journey of Ryan Stone ( Sandra Bullock ) surviving the destruction of her ride back home and the death of her entire crew, is something that really stands the test of time. It's only made better with George Clooney 's Matt Kowalksi, who helps guide Stone along the way as she finds different methods of getting back to the safety of Earth. The film took home seven Oscars at the 86th Academy Awards , including best director , and it deserved each and every one of them .

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Lucy In The Sky (2019)

Loosely based on the real-life story of former astronaut Lisa Nowak , the 2019 space drama Lucy in the Sky follows Lucy Cola ( Natalie Portman ), an astronaut so impacted by her first trip to space that she no longer feels a connection with her husband or family back home. What follows is a woman's obsession with getting back to space, no matter what it takes or will cost her. As the movie goes on, Lucy becomes obsessed with two of her fellow astronauts and that's where things take a turn. It failed to gain any traction at the box office and was panned by critics when it was initially released, but it still offers an in-depth look at the psyche of someone deeply affected by space travel.

Life (2017)

In addition to all the grand and critically acclaimed space travel movies releases in the 2010s, there was also a great deal of horror and hard sci-fi thrillers to come out. One of the beset examples of that is the terrifying alien flick Life which boasted an incredible cast that included Ryan Reynolds , Jake Gyllenhaal , and Rebecca Ferguson as members of a crew aboard the International Space Station who receive a soil sample from the Martian surface that is believed to contain life. Once the sample is brought aboard the ship, the madness begins to unfold, slowly at first, before reaching a fever pitch as an alien life form takes out the scientists one by one as they try to prevent it from getting to Earth .

High Life (2018)

Robert Pattinson is preparing for the release of one of his biggest features yet in Tenet , and still filming what could prove to be a career-defining role in 2021's The Batman , but the former Twilight star isn't a newcomer when it comes to sci-fi thrillers and moody space movies. For example, take a look at Claire Denis' 2018 sci-fi drama High Life in which Pattinson plays Monte, one of several prisoners with death sentences sent to the depths of space to find a black hole where they are to extract a new form of energy. In addition to dealing with dark matter surrounding the infinite abyss that is the black hole, the film also deals with the birth of children through artificial insemination, finding one's place in the universe, and coming to terms with one's past.

The Wandering Earth (2019)

You might remember The Wandering Earth not because you saw the 2019 Chinese sci-fi epic but because of the headlines inspired by the fact that it brought in $700 million at the box office, with less than $6 million of that coming domestically. Despite not too many people seeing it during its brief run in the United States, The Wandering Earth reached a new audience on Netflix, where people got to see the ridiculousness of the movie's plot. Set in 2061, the story centers around a civilization on Earth who feels its more viable to simply move Earth to another star when the Sun turns into a red giant. This unconventional approach to the genre is pretty revolutionary and offers a breath of fresh air (unlike for the inhabitants of the planet in transit) to the premise of a space travel feature.

Europa Report (2013)

Found footage films were all the rage in the early years of the 2010s and it was only a matter of time before something like Europa Report hit theaters and streaming services around the world. This 2013 sci-fi horror film splices together footage from the fictional Europa One mission as it sets off to Jupiter's moon of the same name after it's discovered to potentially harbor life. Even after the crew loses contact with Earth, they push forward with their mission as they see how far they are willing to go in order to learn if life does exist outside the comfort of our home planet.

Hidden Figures (2016)

And then there is the 2016 biographical drama Hidden Figures , which technically doesn't deal with the main characters going and traveling through space, but its portrayal of the female mathematicians who were instrumental in helping American astronauts leave Earth's surface in the early 1960s. Based on a true story, the Academy Award-nominated picture takes an extensive look at the ups and downs of the African American women who fought racial injustices at NASA while the space agency was fighting the Soviets in the heat of the Space Race. And plus, the performances from Taraji P. Henson, Octavia Spencer, and Janelle Monáe make Hidden Figures worth it alone.

This isn't even beginning to scratch the surface of all the great space travel movies that came out between 2010 and 2019, so let me know your favorites that might have slipped through the cracks.

Philip grew up in Louisiana (not New Orleans) before moving to St. Louis after graduating from Louisiana State University-Shreveport. When he's not writing about movies or television, Philip can be found being chased by his three kids, telling his dogs to stop barking at the mailman, or chatting about professional wrestling to his wife. Writing gigs with school newspapers, multiple daily newspapers, and other varied job experiences led him to this point where he actually gets to write about movies, shows, wrestling, and documentaries (which is a huge win in his eyes). If the stars properly align, he will talk about For Love Of The Game being the best baseball movie of all time.

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From Interstellar to Hidden Figures: 12 of the best space movies

Interstellar, Moon, Proxima, Alien, Hidden Figures... From science fiction to biographical drama, does your favourite movie about space make our list?

By Simon Ings

3 August 2021

Matthew McConaughey in Interstellar

Melinda Sue Gordon/©Paramount/c

There are so many great movies about space that it’s hard to choose between them all, but that won’t stop us. We’ve got some in our selection that will keep you on the edge of your seat while others will keep you hidden behind the sofa. Here are 12 of the best space movies.

Interstellar (2014)

Explorers arrive on a world covered in knee-high water. Distant “mountains” come sweeping towards them: a planet-spanning kilometres-high killer tide. They escape, only for an unhinged astronaut to maroon them, a little later, on a solid airborne cloud of exotic ice.

Often silly, sometimes truly visionary, Interstellar is the best rejoinder the 21st century has yet made to Stanley Kubrick’s seminal 2001: A Space Odyssey . Matthew McConaughey plays Joseph Cooper, a widowed NASA pilot who is called upon to journey into interstellar space to find an Earthlike “Planet B” for us to move to, now that the Earth’s food system is collapsing. Jessica Chastain plays his grown-up daughter, haunted by her father’s ghost.

Their performances carry real conviction, but it is the set pieces that matter. Gargantua, a spinning black hole that provides the film with its climax, is a visual effect calculated so accurately by physicist Kip Thorne and rendered so meticulously by London effects studio Double Negative, it ended up in a paper for the journal Classical and Quantum Gravity .

Years earlier, Thorne and film producer Lynda Obst had conceived of a movie exploring what, in an interview with Science magazine , Thorne called “the warped side of the universe – black holes, wormholes, higher dimensions, and so forth”. They’re the subject of Thorne’s very entertaining book The Science of Interstellar .

Nolan, meanwhile, has gone on to make movies of increasing complexity. Tenet is his latest, doing for time what Interstellar did for space.

Moon (2009)

Sam Bell (Sam Rockwell) is preparing to leave the moon at the end of his three-year stint as sole supervisor of a helium-3 mine. (Robert Zubrin’s book Entering Space gave Duncan Jones the film’s industrial premise.) But Sam is also trapped in the carcass of a crashed lunar ore conveyor. And as Sam and Sam wrestle with their inexplicable meeting, they must solve an obvious and pressing puzzle: just how many more Sams might there be?

Offered a low-budget British sci-fi movie by a first-time director , Rockwell left things until the last minute, then grabbed at the chance of playing against himself. Once on board, his commitment was total: riffing and extemporising off memories of his own performance, he insisted on distinguishing the two Sams more by demeanour than by costume changes. The result is a compelling, emotionally charged thriller, spiked with an inventive mix of effects (from CGI to model work to simple, deft editing) that keeps the audience off-balance throughout the movie. Jones has yet to top his debut work, and Rockwell, for all his subsequent successes, will forever be remembered as the Moon guy(s).

Proxima (2019)

Shot in the European Space Agency’s training facilities in Germany, and in the complex outside Moscow that is home to the Yuri Gagarin Cosmonaut Training Center , Alice Winocour’s third feature Proxima never leaves the ground, and yet it remains an out-of-this-world experience.

Cinematographer Georges Lechaptois brilliantly captures these rarely glimpsed spaces in all their strangeness, banality and occasional dilapidation. One can’t help but think, watching this, that being an astronaut must be like being a professional athlete – one’s glamorous career being conducted, for the most part, in smelly changing rooms.

Plaudits also to Eva Green for her portrayal of Sarah Loreau, a single mother given a last-minute opportunity to join a mission to the International Space Station. Green conveys wonderfully Sarah’s conflicted state of both wanting to go to space but not wanting to be separated from her daughter. The solution is there but it’s going to be hard to forge, and Green’s performance is heart-rending.

Alien (1979)

Sigourney Weaver plays Ripley, member of a sensible and resourceful space-going cargo crew whose capabilities are going to prove of no use whatsoever as they confront a predatory, stowaway alien.

Critics loved Alien : they said it would change how we thought about science fiction. It also, for some of us who caught it at the right age, changed how we thought about biology.

We have been an apex predator for so long, we have forgotten the specialness of our privilege. Alien reminds us of what the natural world is really like. It locates us in the middle of things, not without resources but most definitely not at the top of a food chain. It reminds us that living processes are predatory – that life is about tearing living things apart to get at their raw material.

Alien in Alien

AA Film Archive / Alamy

The clumsily named “xenomorph” of the Alien movies has an infamous life cycle, loosely based on those of certain parasitic wasps, but with the added ingredient of plasticity. A hugged human brings forth a humanoid alien. A hugged dog produces a canine. (Where the aquatic aliens of Alien: Resurrection (1997) spring from is anyone’s guess.)

If you want to know what Darwin said, read On the Origin of Species . But if you want to know how it must have made its original readers feel – go watch Alien .

2001: A Space Odyssey (1968)

When Stanley Kubrick suggested a movie idea to British writer Arthur Clarke, Clarke responded enthusiastically. “The ‘really good’ science-fiction movie is a great many years overdue,” he wrote.

The question – which the two never really resolved – was which really good movie to make. A film about the triumph of science and technology? Or a film about the timeless yearnings of the human spirit?

While Kubrick, a student of human nature, director of searing and discomforting films like Paths of Glory and Lolita , mined Japanese sci-fi movies for special effects, Clarke, a communications satellite pioneer as well as a writer, worked up a script centred on what he later dubbed “the God concept”.

Encompassing everything from the dawn of man, the space race, artificial intelligence, space exploration and trans-dimensional travel, 2001 centres on the duel between David Bowman (Keir Dullea) and the inadvertently-designed-to-be-murderous HAL, a computer that is guiding his ship to Jupiter. We tend to assume Clarke provided the film’s gosh-wow factor and Kubrick provided the unease. Not so: his 1960 story, The Challenge of the Spaceship shows Clarke already painfully aware of the challenges faced by a “little, self-contained community floating in vacuum millions of miles from anywhere, kept alive in a bubble of plastic and metal” with “absolutely nothing” happening.

The boredom and incipient madness that haunt both Bowman and the ship’s poor, boxed-in AI are the film’s chief point: that we cannot live by reason alone. We need something more.

Hidden Figures (2016)

At NASA’s Langley Research Center in 1961, three Black female mathematicians, Katherine Johnson (Taraji P. Henson), Dorothy Vaughn (Octavia Spencer) and Mary Jackson (Janelle Monáe) , contribute their considerable mathematical ability to the agency’s efforts to launch white men into space. The unit they work in is segregated by gender and race but the difficulties they face are ignored by many of their colleagues. Their boss, Al Harrison, (a composite fictional character played by Kevin Costner), feels otherwise and proceeds to desegregate NASA single-handedly, armed only with an acid tongue and a sledgehammer.

The film is loosely based on 2016 book of the same name by Margot Lee Shetterly, although it takes a less factual approach. For example, the film delays Johnson’s pioneering work by a good decade so that she can share feel-good moments with the other female cast members .

Whether that matters comes down to personal taste. It is no small thing that, thanks to this film, we now know Johnson, Vaughn and Jackson by name .

Apollo 13 (1995)

On 11 April 1970, a seventh crewed mission in the Apollo space programme launched from Kennedy Space Center in Florida. It was due to land in the Fra Mauro crater, and help establish the early history of both the moon and Earth.

Two days into the journey, an oxygen tank in the spacecraft’s service module exploded, and their flight path was changed to loop them around the moon and bring them back to Earth on 17 April. Dizzy from carbon dioxide levels in the air, mounting at a rate they thought would kill them, soaking wet from all the condensation, cold because power was now severely limited, and with only plastic bags of their own urine for company they couldn’t jettison for fear this would alter their course, commander Jim Lovell, command module pilot Jack Swigert and Lunar Module pilot Fred Haise uttered hardly a word of complaint. Incredibly, they survived.

For his script, director Ron Howard has added one argument between Swigert (Kevin Bacon) and Haise (Bill Paxton) and otherwise changed barely a word of the official Apollo 13 transcript. Tom Hanks plays Lovell as a capable man dealing with a crisis. There are no epiphanies. Souls aren’t searched. For some, this might make for a slightly muted experience. But this painstakingly accurate film (the sets included bits of the Apollo 13 command module; even the actors’ pressure suits were airtight) remains peerless, utterly convincing in every shot and every gesture .

First Man (2018)

As if landing on the moon wasn’t enough, Neil Armstrong spent the rest of his life having to describe the experience to the world’s media. No wonder he became something of a recluse – which of course only served to generate even more media interest.

Armstrong, an aeronautical engineer and university professor, was a man who enjoyed his privacy. Cornered, what could he do but tell the same story again and again and again? Disappointed, their curiosity unslaked, people called him dull.

Two years after hurling a vocally challenged Ryan Gosling into his musical La La Land , Damien Chazelle cast him as Neil Armstrong, in a movie that promised to locate Armstrong’s beating heart and rich emotional life. As such, First Man is a triumph.

Gosling is the film actors’ film actor, capable of expressing deep emotion with astounding economy. Playing “buttoned up” hampers him hardly at all. And he is given plenty to work with. Josh Singer’s ingenious script gives Armstrong a profound and personal motivation for wanting to reach the moon that in no way interferes with the historical record, or trivialises its celebrated subject. As for the moon landing itself, it represents a milestone in cinematic technique. You’ll believe you were there, and you’ll wonder, deeply, why Armstrong, or anyone else for that matter, ever went.

The Right Stuff (1983)

Anchored by powerful performances by Sam Shepard as Chuck Yeager and Ed Harris as John Glenn, Kaufman’s 3-hour-13-minute epic loosely follows Tom Wolfe’s book of the same name: a heart-thumping yet critical account of the earliest US efforts to send humans into space.

What is needed for that is, of course, “the right stuff”: a combination of skill, bravery and a somewhat blood-curdling fearlessness in the face of death. They are qualities superbly embodied in Shepard’s performance as test-pilot Chuck Yeager, the first man to break the sound barrier (and, incidentally, a consultant on the film).

Leaving Earth also needed collaboration, organisation, even – heaven help us – publicity. Ed Harris is the squeaky-clean Glenn, destined to be the first American in space, whose “right stuff” has had its rough edges shaved off by endless classes, tests, magazine profiles and media events.

Historically, The Right Stuff isn’t especially accurate. In particular, Mercury astronauts Wally Schirra, Gordon Cooper and Alan Shepard were critical of the way the film short-changed their compatriot Gus Grissom, who died in the Apollo 1 fire.

Still, it is a thoughtful and intelligent movie, as well as a thrilling one, and it captures very well the moment space travel became a serious, and corporate, enterprise.

The Martian (2015)

Premised on a single, staggering inaccuracy (a Martian storm could never get up the energy to blow a spacecraft over) The Martian is an otherwise cleverly figured-out tale of how an astronaut (Mark Watney, played by Matt Damon), left for dead on the surface of Mars, might survive for four years on a diet of potatoes grown in recycled faecal matter .

Based on a book (by Andy Weir) that itself began life as a series of blog posts, Scott’s film retains an endearing, cobbled-together quality, which neatly (and by the end, really quite movingly) reflects Watney’s scrabble for survival.

Boasting habitat, spacesuit, spacecraft and launch vehicle designs that all carried NASA’s stamp of approval, The Martian flits between Watney’s Martian base, the ship in which his crew mates are returning home, and the offices and control rooms on Earth where everybody is frantically trying to do the right thing, as their chances of saving Watney narrow to a point.

An unashamed advertisement for NASA’s plans for Mars, and a celebration of its crewed programme’s rebirth after the Challenger disaster in 1986, The Martian already feels slightly dated. But its invention and good humour are timeless.

Gravity (2013)

When a cloud of debris travelling faster than a speeding bullet collides with the space shuttle, mission specialist Ryan Stone (Sandra Bullock) and veteran astronaut Matt Kowalski (George Clooney) must make their way across gulfs of space on dwindling supplies of air and propellant in search of a vehicle that will take them home; soon the debris cloud will return on its inexorable orbit.

As likely to scare someone off a space career as inspire them to pursue one, Gravity is premised on the idea that low Earth orbit is so crowded with hardware and discarded junk that a collision could initiate a chain reaction known as the Kessler syndrome, and destroy every satellite.

For all that, Gravity is less a science fiction film than a survival film (think Open Water or Touching the Void , both from 2003), and is the last place you would go for a lesson in orbital mechanics. While not quite as egregiously silly as 2019’s Ad Astra (in which Brad Pitt literally leaps through Saturn’s ice rings, using a hatch-cover for an umbrella) Gravity is no 2001 , no Apollo 13 , no First Man .

But while accuracy is one thing; truth is quite another. With Gravity , director Cuarón triumphantly realised his ambition to make the first truly weightless-seeming film, conveying the environment and sensation of zero gravity more powerfully, immediately (and, yes, accurately) than any film-maker, before or since.

October Sky (1999)

NASA engineer Homer H. Hickam Jr.’s autobiography provided the seed for this drama about a teenager coming of age at the dawn of the space race. A 17-year-old Jake Gyllenhaal (he was still taking school classes during the filming) plays Homer, a high school student in Coalwood, West Virginia, when, in 1957, the Soviet Union launched Sputnik, the first human-made satellite.

Inspired by the Soviet achievement, and encouraged by his teacher (Laura Dern), Homer and his fellow “rocket boys” start building their own homemade missiles. Chris Cooper finds gold in the somewhat thankless role of Homer’s father, conscientiously pouring cold water on his son’s dreams: what’s wrong with working in the local coal mine, he’d like to know?

Director Joe Johnston is better known for his rather more gung-ho approaches to heroism and rocket flight. (1991’s Rocketeer is a cult classic; Captain America: The First Avenger (2011) needs no introduction here.)

October Sky is an altogether more contained achievement: the touching story of imagination awakened by the possibilities of rocketry, space travel, and a world beyond Earth.

What do you think of this list? Think there are better space movies out there that deserve a coveted spot? We have review lots of sci-fi films, books and TV shows  but we can’t watch them all so let us know your favourite on  Twitter  and  Facebook . If you enjoyed this you might also want to see what we think are the  best science documentaries ,  top popular science books  and even  video games set on Mars .

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Top 25 Space & Cosmos Travel Movies

Great Space Exploration Movies

• Movies or TV
• IMDb Rating
• In Theaters
• Release Year

1. Interstellar (2014)

PG-13 | 169 min | Adventure, Drama, Sci-Fi

When Earth becomes uninhabitable in the future, a farmer and ex-NASA pilot, Joseph Cooper, is tasked to pilot a spacecraft, along with a team of researchers, to find a new planet for humans.

Director: Christopher Nolan | Stars: Matthew McConaughey , Anne Hathaway , Jessica Chastain , Mackenzie Foy

Votes: 2,098,806 | Gross: $188.02M

2. Alien (1979)

R | 117 min | Horror, Sci-Fi

The crew of a commercial spacecraft encounters a deadly lifeform after investigating a mysterious transmission of unknown origin.

Director: Ridley Scott | Stars: Sigourney Weaver , Tom Skerritt , John Hurt , Veronica Cartwright

Votes: 950,147 | Gross: $78.90M

3. 2001: A Space Odyssey (1968)

G | 149 min | Adventure, Sci-Fi

After uncovering a mysterious artifact buried beneath the Lunar surface, a spacecraft is sent to Jupiter to find its origins: a spacecraft manned by two men and the supercomputer HAL 9000.

Director: Stanley Kubrick | Stars: Keir Dullea , Gary Lockwood , William Sylvester , Daniel Richter

Votes: 719,284 | Gross: $56.95M

4. Solaris (1972)

PG | 167 min | Drama, Mystery, Sci-Fi

A psychologist is sent to a station orbiting a distant planet in order to discover what has caused the crew to go insane.

Director: Andrei Tarkovsky | Stars: Natalya Bondarchuk , Donatas Banionis , Jüri Järvet , Vladislav Dvorzhetskiy

Votes: 98,225

5. The Martian (2015)

PG-13 | 144 min | Adventure, Drama, Sci-Fi

An astronaut becomes stranded on Mars after his team assume him dead, and must rely on his ingenuity to find a way to signal to Earth that he is alive and can survive until a potential rescue.

Director: Ridley Scott | Stars: Matt Damon , Jessica Chastain , Kristen Wiig , Kate Mara

Votes: 924,920 | Gross: $228.43M

6. Star Trek (2009)

PG-13 | 127 min | Action, Adventure, Sci-Fi

The brash James T. Kirk tries to live up to his father's legacy with Mr. Spock keeping him in check as a vengeful Romulan from the future creates black holes to destroy the Federation one planet at a time.

Director: J.J. Abrams | Stars: Chris Pine , Zachary Quinto , Simon Pegg , Leonard Nimoy

Votes: 620,188 | Gross: $257.73M

7. Moon (2009)

R | 97 min | Drama, Mystery, Sci-Fi

Astronaut Sam Bell has a quintessentially personal encounter toward the end of his three-year stint on the Moon, where he, working alongside his computer, GERTY, sends back to Earth parcels of a resource that has helped diminish our planet's power problems.

Director: Duncan Jones | Stars: Sam Rockwell , Kevin Spacey , Dominique McElligott , Rosie Shaw

Votes: 376,652 | Gross: $5.01M

8. Serenity (2005)

PG-13 | 119 min | Action, Adventure, Sci-Fi

The crew of the ship Serenity try to evade an assassin sent to recapture telepath River.

Director: Joss Whedon | Stars: Nathan Fillion , Gina Torres , Chiwetel Ejiofor , Alan Tudyk

Votes: 305,632 | Gross: $25.51M

9. Gravity (2013)

PG-13 | 91 min | Drama, Sci-Fi, Thriller

Dr Ryan Stone, an engineer on her first time on a space mission, and Matt Kowalski, an astronaut on his final expedition, have to survive in space after they are hit by debris while spacewalking.

Director: Alfonso Cuarón | Stars: Sandra Bullock , George Clooney , Ed Harris , Orto Ignatiussen

Votes: 863,072 | Gross: $274.09M

10. Apollo 13 (I) (1995)

PG | 140 min | Adventure, Drama, History

NASA must devise a strategy to return Apollo 13 to Earth safely after the spacecraft undergoes massive internal damage putting the lives of the three astronauts on board in jeopardy.

Director: Ron Howard | Stars: Tom Hanks , Bill Paxton , Kevin Bacon , Gary Sinise

Votes: 315,476 | Gross: $173.84M

11. First Man (2018)

PG-13 | 141 min | Biography, Drama, History

A look at the life of the astronaut, Neil Armstrong , and the legendary space mission that led him to become the first man to walk on the Moon on July 20, 1969.

Director: Damien Chazelle | Stars: Ryan Gosling , Claire Foy , Jason Clarke , Kyle Chandler

Votes: 202,193 | Gross: $44.94M

12. Sunshine (2007)

R | 107 min | Sci-Fi, Thriller

A team of international astronauts is sent on a dangerous mission to reignite the dying Sun with a nuclear fission bomb in 2057.

Director: Danny Boyle | Stars: Cillian Murphy , Rose Byrne , Chris Evans , Cliff Curtis

Votes: 267,360 | Gross: $3.68M

13. Pitch Black (2000)

R | 109 min | Action, Horror, Sci-Fi

A transport ship crashes and leaves its crew stranded on a desert planet inhabited by bloodthirsty creatures that come out during an eclipse.

Director: David Twohy | Stars: Radha Mitchell , Cole Hauser , Vin Diesel , Keith David

Votes: 252,927 | Gross: $39.24M

14. Event Horizon (1997)

R | 96 min | Horror, Sci-Fi, Thriller

A rescue crew is tasked with investigating the mysterious reappearance of a spaceship that had been lost for seven years.

Director: Paul W.S. Anderson | Stars: Laurence Fishburne , Sam Neill , Kathleen Quinlan , Joely Richardson

Votes: 197,104 | Gross: $26.67M

15. Pandorum (2009)

R | 108 min | Action, Horror, Mystery

Two crew members of a spaceship wake up from hypersleep to discover that all their colleagues are missing. Despite this, it appears that they are not alone.

Director: Christian Alvart | Stars: Dennis Quaid , Ben Foster , Cam Gigandet , Antje Traue

Votes: 159,503 | Gross: $10.33M

16. Ad Astra (2019)

PG-13 | 123 min | Adventure, Drama, Mystery

Astronaut Roy McBride undertakes a mission across an unforgiving solar system to uncover the truth about his missing father and his doomed expedition that now, 30 years later, threatens the universe.

Director: James Gray | Stars: Brad Pitt , Tommy Lee Jones , Ruth Negga , Donald Sutherland

Votes: 260,413 | Gross: $50.19M

17. Sphere (1998)

PG-13 | 134 min | Action, Mystery, Sci-Fi

A spaceship is discovered under three hundred years' worth of coral growth at the bottom of the ocean.

Director: Barry Levinson | Stars: Dustin Hoffman , Sharon Stone , Samuel L. Jackson , Peter Coyote

Votes: 112,497 | Gross: $37.02M

18. The Right Stuff (1983)

PG | 193 min | Adventure, Biography, Drama

The U.S. space program's development from the breaking of the sound barrier to selection of the Mercury 7 astronauts, from a group of test pilots with a more seat-of-the-pants approach than the program's more cautious engineers preferred.

Director: Philip Kaufman | Stars: Sam Shepard , Scott Glenn , Ed Harris , Dennis Quaid

Votes: 65,334 | Gross: $21.50M

19. Red Planet (2000)

PG-13 | 106 min | Action, Sci-Fi, Thriller

Astronauts, and their robotic dog AMEE (Autonomous Mapping Evaluation and Evasion), search for solutions to save a dying Earth by searching on Mars, only to have the mission go terribly awry.

Director: Antony Hoffman | Stars: Val Kilmer , Carrie-Anne Moss , Tom Sizemore , Benjamin Bratt

Votes: 59,912 | Gross: $18.00M

20. Mission to Mars (2000)

PG | 114 min | Adventure, Sci-Fi, Thriller

When the first manned mission to Mars meets with a catastrophic and mysterious disaster after reporting an unidentified structure, a rescue mission is launched to investigate the tragedy and bring back any survivors.

Director: Brian De Palma | Stars: Tim Robbins , Gary Sinise , Don Cheadle , Connie Nielsen

Votes: 76,488 | Gross: $60.88M

21. Passengers (I) (2016)

PG-13 | 116 min | Drama, Romance, Sci-Fi

A malfunction in a sleeping pod on a spacecraft traveling to a distant colony planet wakes one passenger 90 years early.

Director: Morten Tyldum | Stars: Jennifer Lawrence , Chris Pratt , Michael Sheen , Laurence Fishburne

Votes: 447,235 | Gross: $100.01M

22. Life (I) (2017)

R | 104 min | Horror, Sci-Fi, Thriller

A team of scientists aboard the International Space Station discover a rapidly evolving life form that caused extinction on Mars and now threatens all life on Earth.

Director: Daniel Espinosa | Stars: Jake Gyllenhaal , Rebecca Ferguson , Ryan Reynolds , Hiroyuki Sanada

Votes: 253,772 | Gross: $30.23M

23. Hidden Figures (2016)

PG | 127 min | Biography, Drama, History

The story of a team of female African-American mathematicians who served a vital role in NASA during the early years of the U.S. space program.

Director: Theodore Melfi | Stars: Taraji P. Henson , Octavia Spencer , Janelle Monáe , Kevin Costner

Votes: 255,174 | Gross: $169.61M

24. Armageddon (1998)

PG-13 | 151 min | Action, Adventure, Sci-Fi

After discovering that an asteroid the size of Texas will impact Earth in less than a month, NASA recruits a misfit team of deep-core drillers to save the planet.

Director: Michael Bay | Stars: Bruce Willis , Billy Bob Thornton , Ben Affleck , Liv Tyler

Votes: 450,691 | Gross: $201.57M

25. Deep Impact (1998)

PG-13 | 120 min | Action, Drama, Sci-Fi

A comet is discovered to be on a collision course with Earth. As doomsday nears, the human race prepares for the worst.

Director: Mimi Leder | Stars: Robert Duvall , Téa Leoni , Elijah Wood , Morgan Freeman

Votes: 190,324 | Gross: $140.46M

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Introduction

A visionary epic that takes viewers from the barren dust bowl of a dying Earth to the furthest reaches of the universe, “Interstellar” is a rare film that combines speculative theory with a degree of scientific accuracy. Using realistic space flight technology to enhance the drama, Christopher Nolan’s deep-think adventure is closer to the spirit of “From the Earth to the Moon” than to pulp fantasy like “Star Wars.” As it prepares to launch on November 7, here are 10 space travel movies that exist within the realm of possibility.

“Countdown” (1968)

Robert Altman directed this cold war thriller about two American astronauts racing to beat the Soviets to the moon, but was fired by Warner Brothers as the film neared completion for refusing to re-shoot the overlapping dialog that would become his stylistic trademark. Adding a sense of authenticity to the project, the National Aeronautic Space Administration granted the production unprecedented access to its facilities like Cape Canaveral.

“2001: A Space Odyssey” (1968)

Beginning at the dawn of man and ending in a cosmic netherworld, Stanley Kubrick’s colossal head-trip stands as one of cinema’s most painstakingly accurate depictions of spaceflight. Many of the film’s fictional technologies have proven eerily prescient in light of scientific advancements made since it first premiered. Obsessed with details, Kubrick enlisted technical consultants from over 50 aerospace organizations to achieve the level of reality he insisted on.

“Marooned” (1969)

Preparing to return to Earth after spending several months in an orbiting lab, three astronauts discover their rockets won’t fire, stranding them in space. Released less than four months after the Apollo 11 moon landing, the highly realistic “Marooned” won an Academy Award for Best Visual Effects. Working closely with Columbia Pictures, NASA provided the studio with authentic replicas of actual equipment, including an early mockup of the Skylab prototype.

“The Right Stuff” (1983)

Based on Tom Wolfe’s bestseller, this American epic about the formation of the original Mercury 7 astronaut program is filled with heart, humor and humanity. Beginning with Chuck Yeager breaking the sound barrier in an experimental airplane, and culminating in Gordon Cooper’s historic solo flight on Mercury-Atlas 9, “The Right Stuff” blends dazzling effects and miniature model work with archival footage to achieve a near-seamless reality.

“Apollo 13” (1995)

It was the understatement of the century: “Houston, we have a problem.” Ron Howard’s docudrama about the ill-fated Apollo mission to the moon brilliantly recreated the claustrophobic tension of three astronauts unable to return to Earth when their capsule suffers internal damage. To achieve the effect of weightlessness, the cast and crew logged almost 600 flights in NASA’s KC-135 airplane (nicknamed the “Vomit Comet”), which is used for space training simulation.

“Space Cowboys” (2000)

Clint Eastwood’s adventure about a team of long-retired Air Force test pilots tasked with repairing a vintage Soviet satellite might sound like “Grumpy Old Men” in orbit, but with major sequences shot at the Kennedy Space Center and a Mission Control set built with blueprints provided by NASA its verisimilitude is remarkable. An audience of real astronauts who attended an early screening was notably impressed with the film’s authenticity and attention to detail.

“Moon” (2009)

A lone astronaut working at a lunar station makes a disturbing discovery with only days left on his three-year mission. A thoughtful look at the psychological effects of space life, “Moon” was screened for NASA scientists at Space Center Houston. While discussing the film’s bunker-like base design, director Duncan Jones was startled to learn that an audience member was currently working on a substance called “mooncrete” which would allow for just such a structure to exist.

“Love” (2011)

A thematic cousin to “Moon,” William Eubank’s beautifully shot, micro-budget tale of a solitary astronaut stranded in orbit aboard an international space station took four years to complete and was filmed on sets built in the director’s parents’ backyard. A haunting examination of the fragility of mankind’s existence, “Love” is a sincere and uniquely challenging film that recalls the boldly experimental science fiction movies of the ‘70s.

“Europa Report” (2013)

When a secret ocean is discovered beneath the surface of one of Jupiter’s moons, a private space exploration company assembles an international crew of astronauts to investigate the possibility of extraterrestrial life in our galaxy. With its clinical, documentary-like approach, this modestly-budgeted thriller is considered by many to be among the finest examples of the “hard science fiction” genre, a category that emphasizes technological credibility.

“Gravity” (2013)

Combining cutting-edge 3D cinematography, an adherence to the laws of physics and a powerhouse physical performance by Sandra Bullock, “Gravity” galvanized audiences with its meticulous recreation of a space disaster. The film’s terrifying chain-reaction sequence, in which a swarm of debris collides with an orbiting shuttle, is based on a scenario known as the Kessler Syndrome, first proposed by NASA scientist Donald Kessler in 1978.

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Christopher Nolan’s  "Interstellar ," about astronauts traveling to the other end of the galaxy to find a new home to replace humanity’s despoiled home-world, is frantically busy and earsplittingly loud. It uses booming music to jack up the excitement level of scenes that might not otherwise excite. It features characters shoveling exposition at each other for almost three hours, and a few of those characters have no character to speak of: they’re mouthpieces for techno-babble and philosophical debate. And for all of the director’s activism on behalf of shooting on film, the tactile beauty of the movie’s 35mm and 65mm textures isn’t matched by a sense of composition. The camera rarely tells the story in Nolan’s movies. More often it illustrates the screenplay, and there are points in this one where I felt as if I was watching the most expensive NBC pilot ever made.

And yet "Interstellar" is still an impressive, at times astonishing movie that overwhelmed me to the point where my usual objections to Nolan's work melted away. I’ve packed the first paragraph of this review with those objections (they could apply to any Nolan picture post "Batman Begins"; he is who he is) so that people know that he’s still doing the things that Nolan always does. Whether you find those things endearing or irritating will depend on your affinity for Nolan's style. 

In any case, t here’s something pure and powerful about this movie. I can’t recall a science fiction film hard-sold to a director’s fans as multiplex-“awesome” in which so many major characters wept openly in close-up, voices breaking, tears streaming down  their  cheeks. Matthew McConaughey ’s widowed astronaut Cooper and his colleague Amelia Brand ( Anne Hathaway ) pour on the waterworks in multiple scenes, with justification: like everyone on the crew of the Endurance , the starship sent to a black hole near Jupiter that will slingshot the heroes towards colonize-able worlds, they’re separated from everything that defines them: their loved ones, their personal histories, their culture, the planet itself. Other characters—including Amelia's father, an astrophysicist played by Michael Caine , and a space explorer (played by an  un-billed  guest actor) who’s holed up on a forbidding arctic world—express a vulnerability to loneliness and doubt that’s quite raw for this director. The film’s central family (headed by Cooper, grounded after the  dismantling  of NASA) lives on a  corn  farm, for goodness’ sake, like the gentle Iowans in " Field of Dreams " (a film whose daddy-issues-laden story syncs up nicely with the narrative of  " Interstellar"). Granted, they're growing the crop to feed the human race, which is whiling away its twilight hours on a planet so ecologically devastated that at first you mistake it for the American Dust Bowl circa 1930 or so; but there's still something amusingly cheeky about the notion of corn as sustenance, especially in a survival story in which the future of humanity is at stake. ( Ellen Burstyn plays one of many witnesses in a documentary first glimpsed in the movie's opening scene—and which, in classic Nolan style, is a setup for at least two twists.)

The state-of-the-art sci-fi landscapes are deployed in service of Hallmark card homilies about how people should live, and what’s really important. ("We love people who have died—what's the social utility in that?" "Accident is the first step in evolution.") After a certain point it sinks in, or should sink in, that Nolan and his co-screenwriter, brother Jonathan Nolan , aren’t trying to one-up the spectacular rationalism of “2001." The movie's science fiction trappings are just a wrapping for a spiritual/emotional dream about basic human desires (for home, for family, for continuity of bloodline and culture), as well as for a horror film of sorts—one that treats the star voyagers’ and their earthbound loved ones’ separation as spectacular metaphors for what happens when the people we value are taken from us by death, illness, or unbridgeable distance. (“Pray you never learn just how good it can be to see another face,” another astronaut says, after years alone in an interstellar wilderness.) 

While "Interstellar" never entirely commits to the idea of a non-rational, uncanny world, it nevertheless has a mystical strain, one that's unusually pronounced for a director whose storytelling has the right-brained sensibility of an engineer, logician, or accountant. There's a ghost in this film, writing out messages to the living in dust. Characters strain to interpret distant radio messages as if they were ancient texts written in a dead language, and stare through red-rimmed eyes at video messages sent years ago, by people on the other side of the cosmos. "Interstellar" features a family haunted by the memory of a dead mother and then an absent father; a woman haunted by the memory of a missing father, and another woman who's separated from her own dad (and mentor), and driven to reunite with a lover separated from her by so many millions of miles that he might as well be dead. 

With the possible exception of the last act of " Memento"  and the pit sequence in "The Dark Knight Rises"—a knife-twisting hour that was all about suffering and transcendence—I can’t think of a Nolan film that ladles on  misery and  valorizes  gut feeling (faith)  the way this one does; not from start to finish, anyway.  T he  most stirring sequences are less about driving the plot forward than contemplating what the characters' actions mean to them, and to us. The  best of these is the lift-off sequence, which starts with a countdown heard over images of Cooper leaving his family. It continues in space, with Caine reading passages from Dylan Thomas's villanelle "Do Not Go Gentle Into that Good Night": "Old age should burn and rave at close of day; Rage, rage against the dying of the light." (If it wasn't already obvious, this sequence certifies Nolan as the most death-and-control obsessed major American filmmaker, along with Wes Anderson .)

The film's widescreen panoramas feature harsh interplanetary landscapes, shot in cruel Earth locales; some of the largest and most detailed starship miniatures ever built, and space sequences presented in scientifically accurate silence, a la "2001." But for all its high-tech glitz, "Interstellar" has a defiantly old-movie feeling. It's not afraid to switch, even lurch, between modes. At times, the movie's one-stop-shopping storytelling evokes the tough-tender spirit of a John Ford picture, or a Steven Spielberg film made in the spirit of a Ford picture: a movie that would rather try to be eight or nine things than just one. Bruising outer-space action sequences, with astronauts tumbling in zero gravity and striding across forbidding landscapes, give way to snappy comic patter (mostly between Cooper and the ship's robot, TARS, designed in Minecraft-style, pixel-ish boxes, and voiced by Bill Irwin ). There are long explanatory sequences, done with and without dry erase boards, dazzling vistas that are less spaces than mind-spaces, and tearful separations and reconciliations that might as well be played silent, in tinted black-and-white, and scored with a saloon piano. (Spielberg originated "Interstellar" in 2006, but dropped out to direct other projects.)

McConaughey, a super-intense actor who wholeheartedly commits to every line and moment he's given, is the right leading man for this kind of film. Cooper proudly identifies himself as an engineer as well as an astronaut and farmer, but he has the soul of a goofball poet; when he stares at intergalactic vistas, he grins like a kid at an amusement park waiting to ride a new roller coaster. Cooper's farewell to his daughter Murph—who's played by McKenzie Foy as a young girl—is shot very close-in, and lit in warm, cradling tones; it has some of the tenderness of the porch swing scene in " To Kill a Mockingbird ." When Murph grows up into Jessica Chastain —a key member of Caine's NASA crew, and a surrogate for the daughter that the elder Brand "lost' to the Endurance 's mission—we keep thinking about that goodbye scene, and how its anguish drives everything that Murph and Cooper are trying to do, while also realizing that similar feelings drive the other characters—indeed, the rest of the species. (One suspects this is a deeply personal film for Nolan: it's about a man who feels he has been "called" to a particular job, and whose work requires him to spend long periods away from his family.)

The movie's storytelling masterstroke comes from adherence to principles of relativity: the astronauts perceive time differently depending on where Endurance is, which means that when they go down onto a prospective habitable world, a few minutes there equal weeks or months back on the ship. Meanwhile, on Earth, everyone is aging and losing hope. Under such circumstances, even tedious housekeeping-type exchanges become momentous: one has to think twice before arguing about what to do next, because while the argument is happening, people elsewhere are going grey, or suffering depression from being alone, or withering and dying. Here, more so than in any other Nolan film (and that's saying a lot), time is everything. "I'm an old physicist," Brand tells Cooper early in the film. "I'm afraid of time." Time is something we all fear. There's a ticking clock governing every aspect of existence, from the global to the familial. Every act by every character is an act of defiance, born of a wish to not go gently.

Matt Zoller Seitz

Matt Zoller Seitz is the Editor at Large of RogerEbert.com, TV critic for New York Magazine and Vulture.com, and a finalist for the Pulitzer Prize in criticism.

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Film credits.

Interstellar (2014)

Rated PG-13 for some intense perilous action and brief strong language

169 minutes

Matthew McConaughey as Cooper

Wes Bentley as Doyle

Anne Hathaway as Brand

Jessica Chastain as Murph

Michael Caine as Dr. Brand

John Lithgow as Donald

Topher Grace

Casey Affleck as Tom

Mackenzie Foy as Young Murph

Ellen Burstyn as Old Murph

Bill Irwin as TARS (voice)

Collette Wolfe as Ms. Kelly

David Oyelowo as Principal

William Devane as Old Tom

• Christopher Nolan
• Jonathan Nolan

Director of Photography

• Hoyte van Hoytema

Original Music Composer

• Hans Zimmer

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Screen Rant

Ftl: the 10 best versions of space travel in sci-fi movies & shows, ranked.

Science-fiction films and television series often mess around with the concept of FTL space travel, and these ten franchises clearly did it best.

As avid viewers of science-fiction films and television series, the fictional practice of space travel fascinates us. Seeing how different sci-fi universes handle faster-than-light travel is endlessly entertaining.

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What is so great about this particular aspect of sci-fi is how different franchises will handle it. They'll call FTL travel by different names, use varying pieces of technology to utilize it, and be totally unique in how they make it appear. For today, we're going to go over the best sci-fi methods of FTL travel. Read on if you want to find out which movies and series handled it the best.

Gravity Drive/Artificial Black Hole - Event Horizon

Younger viewers might not recall the film  Event Horizon . It was a thrilling sci-fi romp that involved demonic horrors leaking onto a ship thanks to some FTL travel gone wrong. The ship is using an experimental gravity drive meant to reduce the time it takes to travel through space by creating an artificial black hole for portal purposes. Unfortunately for the crew of the ship, this little hole in space-time leads directly to hell. And we mean that quite literally. This mode of FTL travel gets bonus points for being directly involved in the film's plot complications.

Boom Tube/Mother Box - Justice League

Call it what you will, this device is just one of those insane FTL inventions made to masquerade as teleportation. A Boom Tube is used to create openings across space and time that people, vehicles, and armies can use to traverse great distances.

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And by great distances, we mean the space between universes. DC Comics struck gold with this idea because how else were the denizens of Apokolips and New Genesis supposed to terrorize Earth? Boom Tube technology featured heavily in the DC film  Justice League , and if the film gets a sequel, you can bet it will involve more Mother Boxes.

FTL Jumps - Battlestar Galactica

Though  Battlestar Galactica didn't have a snazzy name for their faster-than-light travel (they just called them "FTL jumps," really), this mode of transportation boosted itself up on this list thanks to the random chance it uses. For those of you who haven't seen the hit sci-fi show, just know that luck has more to do with "jumps" than coordinates. And for those of you who have seen the show, we will never listen to the song "All Along the Watchtower" in the same way ever again.

Shock - Dead Space

Granted,  Dead Space started as a video game, but it has an animated film, too, so we thought we'd include it here anyways. Plus, its FTL travel is delightfully named. In  Dead Space , space ships travel using ShockPoint drives. This means that when a ship is about to travel faster than the speed of light, crew members will frequently say, "We're about to shock out."

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That's a colloquial way of stating that the ship is about to enter ShockSpace, which functions as a sort of space that  isn't space. It's like a bubble in space and time. For the simple pleasure of saying "shock out," we had to include  Dead Space's method of FTL travel on this list.

Jumps - Guardians Of The Galaxy

The Marvel Cinematic Universe has its own method of FTL travel, but we wouldn't have included it if it hadn't been for the insane scene in  Guardians of the Galaxy Vol. 2 . Yondu, Rocket, Kraglin, and Groot make 700 "jumps" through space-time in order to reach the rest of the team on Ego's planet in time. That many jumps takes a hilarious toll on their bodies, distorting them in funny, bubbly ways. It might be a spot of juvenile humor, but hey, if FTL travel can make you laugh, we count that as a win.

Slipspace - Halo

Like with  Dead Space ,  Halo is primarily a video game, but since it has some live-action features and specials within its franchise, we thought we'd sneak it on here anyway.  Halo's method of FTL travel is called Slipspace.

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Using Shaw-Fujikawa Drives (a fictional drive named after a fictional person in the  Halo universe), space ships will enter Slipspace at one point, and then exit it after having traveled vast distances. Random jumps into Slipspace can be made, but watch out. You could find yourself next to a Halo ring if you try it.

Black Holes - Interstellar

Black holes are terrifying things when you stop to think about it, but in Christopher Nolan's mind-bending film  Interstellar , human astronauts use them to travel faster than the speed of light. Though the movie's black-hole travel is not named anything fancy, it earned a high spot on this list thanks to its unconventional depiction in the film. Plus, the amount of thought that goes into comprehending the differences in time for those in the black hole and those left on Earth is gargantuan. In fact, it's an integral part of the film.

Lightspeed/Hyperspace - Star Wars

No one who thinks of FTL travel in film can help but remember the streaks of stars whizzing past the Millennium Falcon as it made the jump to hyperspace. It is perhaps the most iconic form of FTL travel, especially in terms of visuals. Plus, the colloquial term "lightspeed" just sounds perfect for describing the mode of transportation. No other film has made FTL travel sound so cool and catchy as  Star Wars . Instead of the gut-wrenching terror you would feel if you actually hurtled through space at the speed of light, all you feel is a thrill of excitement.

Warp - Star Trek

While it might attract the ire of  Star Wars fans everywhere,  Star Trek's warp speed had to be higher on the list at the very least because it was made years before the first  Star Wars film. Any Trekkie worth their salt knows the importance of the warp engine to travel on the final frontier. You can't go where no man's gone before traveling on impulse engines alone, right? If you want to have a truly interstellar voyage, you've got to go warp.

Infinite Improbability - The Hitchhiker's Guide To The Galaxy

The zaniest, unlikeliest, and, therefore, best mode of FTL travel has to go to  The Hitchhiker's Guide to the Galaxy's Infinite Improbability Drive. This strange device of propulsion was made to travel to  every single point in the universe before depositing the lucky ship it was housed in exactly where it wanted to go. This happens in the mere nothing of less than a second. Not much is known as to  how it does this, but, suffice it to say, improbabilities have a lot to do with it. And when it comes to ranking FTL travel in a science-fiction world, the acknowledgement of how improbable the whole venture is makes Infinite Improbability the coolest means of transportation.

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Covering the business and politics of space

11 must-see space movies for anyone serious about space

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To help commemorate the 50th anniversary of Apollo 11, SpaceNews  asked readers to weigh in on the must-see realistic space movies for anyone serious about space. Grab the popcorn and let the countdown begin.

11. Arrival (2016)

When a dozen of the most mysterious monoliths since 2001: A Space Odyssey drop anchor around the globe, linguist Louise Banks (Amy Adams) and physicist Ian Donnelly (Jeremy Renner) are recruited by the military to make contact with the seven-limbed ‘heptapods’ and find out what they want. Nominated for eight Academy Awards including Best Picture and rated 94% fresh by review-aggregator Rotten Tomatoes, Arrival has been described as “a language lesson masquerading as a blockbuster” and a “movie about aliens for people who don’t like movies about aliens.” 

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10. October Sky (1999)

To a small town of West Virginia coal miners, Sputnik was either a harbinger of Soviet doom or a pointless science experiment, depending on who you asked. For Homer Hickam Jr. and his friends, the first artificial satellite instilled hope that they could do more with their lives than hold shovels. Between scavenging railroads for rocket parts, launching DIY rockets on sometimes frightening trajectories, and striking up a pen-pal relationship with legendary rocket scientist Wernher von Braun, Hickam and his band of misfit friends inspired a dying town to look upward to space instead of down at their dwindling coal reserves.  Based on the true story of how Hickam went to work for NASA, October Sky is just as revered for its portrayal of Homer’s rise to space notoriety as it is for the challenging yet far from monolithic relationship between him and his intractable coal-miner father. Nominated for the American Film Institute’s top 100 list of most inspiring American movies released before 2005, October Sky remains a favorite of space enthusiasts. 

9. Gravity (2013)

The Kessler Syndrome gets the Hollywood treatment in this low-Earth-orbit thriller starring Sandra Bullock and George Clooney as Hubble repair astronauts left stranded in space when a Russian anti-satellite missile test sets off a thrilling but unrealistically swift sequence of orbital debris strikes that cripple the duo’s space shuttle and leaves LEO looking like a 20-car pileup.  Despite Gravity ‘s sometimes flimsy physics and technical goofs, it also manages to get enough details right to make it a SpaceNews reader favorite. Critics loved it, too, which helps explain how this visually stunning drama about isolation, fear and survival won seven Oscars, the most of any movie that year. 

8. Contact (1997)

For decades, astronomers have been scanning the skies for radio signals from other civilizations. What happens when they find something? That’s the tale of Contact , which stars Jodie Foster as Ellie Arroway, a radio astronomer compelled since childhood to look for signals from alien worlds even as others warn that she is throwing away a promising scientific career. When that search does find an extraterrestrial signal, she’s thrust into decidedly terrestrial conflicts about deciphering the message and using it to make contact with whoever, or whatever, sent it from the star Vega. The film is based on a novel by Carl Sagan, who modeled Arroway after real-life SETI astronomer Jill Tarter.

7. Hidden Figures (2016)

Capturing, as the name suggests, the story of those not seen, this retelling of Katherine Johnson, Dorothy Vaughn and Mary Jackson’s work at NASA spotlights their vital contribution as mathematicians to getting John Glenn to space and back in one piece. These three African American women, and many of their colleagues, calculated trajectories and other critical numbers for the Mercury program while overcoming segregation and sexism in the early 1960s. Though not as famous as the astronauts they helped reach orbit, the mathematicians gained belated notoriety through the Oscar-nominated film. Among its champions is NASA, whose headquarters now lies on Hidden Figures Way, and whose software validation facility in West Virginia bears Katherine Johnson’s name.   

6. First Man (2019)

Ryan Gosling stars as Neil Armstrong in this 2018 biographical drama based on the book “First Man: The Life of Neil A. Armstrong” by James R. Hansen. The film, which won an Academy Award for best visual effects, follows Armstrong from a 1961 test flight of the X-15 spaceplane to the conclusion of the Apollo 11 mission.

While focusing on Armstrong’s spaceflight career, First Man depicts the astronaut’s grief after the death of his two-year-old daughter Karen and close friends Elliot See and Ed White. First Man also explores the toll the inherent danger of early space program took on the astronauts, their wives and families. 

5. Interstellar (2014)

This mind-bending, dystopian thriller from Christopher Nolan ( Inception, The Dark Knight ) stars Matthew McConaughey as an astronaut turned farmer recruited to find a new home planet for a dwindling population struggling to survive global crop failures and freaky dust storms. Nothing is quite what it seems in this not-too-distant future where humankind has beaten its spaceships into plowshares, NASA has gone underground and children are taught the Apollo moon landings were faked. Stunning visual effects won an Oscar for this sci-fi epic praised by notoriously nitpicky Neil de Grasse Tyson for its scientifically sound depiction of wormhole travel, black holes and relativity. 

4. The Right Stuff (1983)

This 1983 historical drama, based on Tom Wolfe’s book of the same name, contrasts the exploits of Chuck Yeager and other test pilots flying rocket-powered planes over the California desert in relative obscurity with the national celebrity of the Project Mercury astronauts. The Right Stuff shows the grueling medical and physical tests the Mercury Seven endured to qualify for spaceflight and highlights the dangers they faced in the early space program.

The film was criticized by some Mercury Seven astronauts for historical inaccuracy but praised by film critics who were at a loss to explain its lackluster box office returns. The Right Stuff was nominated for eight Academy Awards including best picture. It won four Oscars for sound, original score, sound-effects editing and film editing. 

3.  2001: A Space Odyssey (1968)

An epic, if at times enigmatic, saga that took director Stanley Kubrick years to complete, 2001: A Space Odyssey goes from humanity’s origins in Africa to a “Starchild” at the end. It’s best known, though, for its time in what was then a near future with rotating space stations visited by Pan Am space shuttles, a moon base, and a mission to Jupiter — as well as a mysterious black monolith and a murderous computer. (According to Michael Benson’s recent book Space Odyssey , Kubrick originally wanted the monolith to be clear, but the resulting Plexiglass design had a greenish tint. At a designer’s suggestion, Kubrick decided to make the monolith black.)  Although some aspects of the film seem dated now — like those Pan Am shuttles — the film remains a cinematic masterpieces more than a half-century after its debut.

2. The Martian (2015)

Waking up stranded from everyone you know and forced to plant potatoes in your own feces to survive would be a bad day on Earth, let alone Mars. But that’s what happens to NASA astronaut Mark Watney (Matt Damon) in The Martian when a massive dust storm forces his team of scientists to leave him behind on the Red Planet. Based on Andy Weir’s bestselling book of the same name, Watney elects to “science the sh*t” out of his situation, literally and figuratively, to survive in an abandoned outpost until rescue. Recognized for its gripping storytelling and a dedication to getting its scientific details (mostly) right, The Martian was nominated for seven Oscars and listed among the American Film Institute’s top 10 movies of 2015. 

1. Apollo 13 (1995)

“Houston, we have a problem.” That’s not exactly what Jim Lovell said after an explosion rocked his Apollo 13 spacecraft en route to the moon in 1970 (“Houston, we’ve had a problem,” is what he actually said) but that version, uttered by Lovell (Tom Hanks) in the movie, became an instant catchphrase that lives on in the public consciousness to this day. (Similarly, “Failure is not an option” was invented for the movie and remains popular today, although flight director Gene Kranz liked the phrase so much he used it several years later as the title of his autobiography.) Those dialogue inaccuracies aside, Apollo 13 hews closely to the real-life events of that mission as Lovell, Fred Haise (Bill Paxton) and Jack Swigert (Kevin Bacon) fight to bring their crippled spacecraft back to Earth with the support and ingenuity of the Mission Control team led by Kranz (Ed Harris, who also played John Glenn in The Right Stuff .) The gripping drama showed that, while Apollo 11 may have achieved the goal of landing humans on the moon, the rescue of Apollo 13 may have been, as Kranz says in the movie, NASA’s finest hour.

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The Best Space Movies of the 21st Century (So Far)

Let's head to the cosmos.

It’s impossible to say when, exactly, mankind first dreamed of traveling into outer space, but ever since we got the idea in our heads we never let it go. We’ve been telling stories about alien worlds for longer than anyone has been alive, and we’ve been making movies about flying to the moon since practically the dawn of cinema.

As visual effects expanded and space travel itself became a reality, movies have become more and more obsessed with sci-fi stories about star treks, star wars, and just about anything star-related. In the 21st century, those films are often big, giant blockbusters but visual effects technology has also reached the point where small, independent comedies and dramas can also realistically take place on space ships, space stations, and other planets.

When it came time to curate a list of the best space movies of the century (so far), we knew that we had to limit ourselves somewhere. What’s the point of a “Top 20” list if most of the entries are sequels or prequels to Star Trek and Star Wars ? How many Guardians of the Galaxy films do we really need to write about before you get the general idea that they’re good?

So, to free up space (all puns intended) for underrated and underappreciated films, we’re limiting ourselves to one film per franchise and spreading the love in our list of the best space movies of the 21st century, so far! Put on your helmets, strap in, and get ready to venture into the farthest reaches of the galaxy in pursuit of action, adventure… and ennui.

RELATED: The Best Sci-Fi Movies of the 21st Century So Far

Titan A.E. (2000)

The last feature film, so far, from animation icon Don Bluth , co-directed by Gary Goldman , the ambitious Titan A.E. sought to build a massive Star Wars -esque universe in the world of feature animation. Audiences balked, but the results are exciting, with sparkling dialogue and unexpected turns courtesy of writers Ben Edlund ( The Tick ), John August ( Go ) and Joss Whedon ( Buffy the Vampire Slayer ).

Matt Damon and Drew Barrymore lend their voice talents to an imaginative outer space adventure, set in a future where humans have been displaced throughout the galaxy and no longer have a homeworld. When our heroes discover the key to locating a second Earth, it’s up to them to save their species. Clever and unusual, Titan A.E. warrants rediscovery.

Solaris (2002)

Steven Soderbergh ’s remake of Andrei Tarkovsky ’s Solaris might not stand up to the sprawling original, but for a condensed version of a trippy, thoughtful sci-fi narrative, it’s impressively complete. George Clooney stars as a grieving psychologist sent to investigate a faraway space station, in which the crew members all refuse to come home. When he gets there he finds all but two of the crew are dead, but the space station isn’t empty… it’s filled with the dead loved ones they left behind.

Using the furthest reaches of space to examine figurative and literal concepts of the infinite has been the ambition of many great science fiction stories, and Soderbergh’s Solaris is an excellent example. Clooney abandons his superstar halo and gives one of his most humane performances, and Soderbergh’s insistence on keeping this high-concept sci-fi story grounded in character is noble, and affecting.

Treasure Planet (2002)

It’s bizarre to imagine that Treasure Planet , one of Disney animation’s last great 2D masterpieces, was such a monumental flop on its original release. Perhaps people still had/have trouble accepting animation as an action-packed thrill ride. Perhaps “steampunk” was still too esoteric back in 2002 to be understood by the mainstream. But whatever the reason, audiences missed out.

Treasure Planet is a futuristic adaptation of Robert Louis Stevenson ’s classic novel, about a boy who finds a treasure map, only to bond with and later make an enemy of a bloodthirsty pirate. The relationship between Jim ( Joseph Gordon-Levitt ) and the cyborg John Silver ( Brian Murray ) is as rich and complicated as any in the Disney canon, and the animation is jaw-droppingly stunning. Directors Ron Clements and John Musker ( Moana ) reimagine space flight as romantically soaring on solar sails, and successfully ignite the sense of awe and wonder than many sci-fi tales are missing.

Zathura: A Space Adventure (2005)

Jon Favreau ’s first foray into pop filmmaking, and the film that got him the gig directing Iron Man , is this wonderfully creative adaptation of Chris Van Allsburg’s Zathura . Ostensibly a companion piece to Jumanji , the story once again revolves around bored children playing a board game that unexpectedly flings into larger-than-life adventure. Except this time, it literally shoots their suburban house into the farthest reaches of space.

Zathura is full of offbeat sci-fi imagery, and Favreau wisely pulls his VFX way back, and lets much of the film appear handmade. The alien monsters are impressively scary creations, the sets believably practical. It doesn’t send the protagonist careening into a virtual reality world, it brings a very real world of spacemen and space aliens into their house, where the unknown is just as tangible as anything else in their living room. It’s a breathlessly creative motion picture.

Sunshine (2007)

The sun is dying, and the only way to reignite it is to send a team into space and hurl a nuclear bomb into it. In the hands of a mainstream Hollywood filmmaker, Sunshine would probably have been dumb as hell, but director Danny Boyle ( Slumdog Millionaire ) and writer Alex Garland ( Ex Machina ) aren’t nearly that boring. They fill Sunshine with big ideas, rich characters and a sense of existential menace that beautifully amplifies this story of outer space survivalism.

And what a cast: Chris Evans , Cillian Murphy , Michelle Yeoh , Rose Byrne , Benedict Wong , the list goes on, and they’re all trapped in a powder keg together, waiting to go off. It’s a piercing sci-fi adventure, and although some might argue that the film’s third act goes off the rails, maybe - just maybe - it’s what the movie was really about all along.

WALL-E (2008)

In the distant future mankind has abandoned the planet Earth, leaving behind only trash compactor robots to clean up their mess and make the environment inhabitable again. It may not have worked. There’s only one robot left, his name is WALL-E , and all he really cares about is that he’s very, very alone.

Until one day, another robot lands on Earth, and all that changes. Directed by Andrew Stanton , WALL-E successfully spans the whole galaxy, taking an unlikely hero on a seemingly impossible adventure, and throwing a vital chaos element into a drudging society that has all but given up on improving its circumstances. It’s cynically apocalyptic but argues, successfully, that hope eventually wins out. Inventively presented, adorably designed, with a great sense of humor and a visceral sense of awe, WALL-E doesn’t feel like just another a major studio product. It was an instant classic right out of the gate.

Star Trek (2009)

The Star Trek universe got even bigger with J.J. Abrams ’ impressive 2009 reboot, which smartly created an alternate reality, preserving all the precious continuity from the original shows and movies while striking out in an all-new direction. A perfectly cast crew - featuring Chris Pine , Zoe Saldana , Zachary Quinto , Simon Pegg , John Cho and Anton Yelchin - find themselves thrust into a life-or-death mission with a vengeful Romulan travel into the past to take his revenge on the planet Vulcan.

Die-hard Trekkies may quibble about the film’s approach to production design (and sure enough, Abrams’ signature lens flares are everywhere ), but this first rebooted outing successfully marries spot-on character work with an exciting storyline, and manages to tell that rare prequel story in which literally nothing is preordained. Anything can happen, and although not everyone likes where the series went from here, 2009's Star Trek quickly cemented itself as one of the best films in a beloved franchise.

Moon (2009)

The debut feature from Duncan Jones is a quirky, lonely sci-fi story about Sam (Sam Rockwell), a miner who’s running a space station on the moon all by himself, with only an artificially intelligent smiley face to keep him company. The ennui is overpowering and vaguely funny, until he makes a shocking discovery that puts everything about his mission into question.

Jones demonstrates a canny sense of tone in his directorial debut, crafting a tale that’s vaguely absurdist but frustratingly plausible. But the glue holding Moon together is Rockwell’s astounding performance as a man whose routine gets thrown into utterly unexpected disarray and is forced to confront the tragedy of his own existence in a nearly unthinkable way.

Pandorum (2009)

Christian Alvari ’s Pandorum is one of the most criminally underseen and underappreciated sci-fi thrillers of the century (so far). The film stars Dennis Quaid and Ben Foster as astronauts who wake up in the middle of hypersleep, in a cavernous spaceship that needs fixing. The sudden removal from hibernation leaves them without memories and possibly suffering from serious psychosis, and when they run across man-eating creatures on the ship it seems like their situation can’t get any worse. (Spoiler alert: it can.)

Pandorum mines the isolation and infinite void of space for an almost Lovecraftian atmosphere, kind of like Event Horizon if the filmmakers weren’t trying to impress you with how cool the ship looks, and instead focused all their energy on freaking you out. The surprising storyline keeps the suspense shifting throughout the film, and the ending is a real stunner.

Gravity (2013)

It’s hard to make deeply personal films on a gigantic budget, but that’s just what Gravity is. Sandra Bullock stars Ryan Stone, as a rookie astronaut who gets sent soaring into space when a debris field obliterates her ship and her co-pilot, played by George Clooney . Breathtakingly realized by director Alfonso Cuaron (who won an Oscar for this), much of the film appears to take place in long takes that emphasize just how completely screwed our hero is. Maybe more than any other movie character in history.

With no villains to face and already suffering from an overwhelming sense of despair, it falls to Stone to try to save herself for the sake of saving herself, because life is worth it no matter how desperate the situation seems. Cuaron’s masterful, handsomely realized VFX masterpiece gradually reveals itself to be not just a thrill ride but an exhilaration intervention, a call to everyone in the audience to keep striving against the desire to give up and let life end. It’s one of the ultimate examples of cinematic inspiration, and it’s teeth-shatteringly exciting to boot.

Space Station 76 (2014)

It’s hard to imagine why, exactly, people thought all of our problems might be solved by going into space. In Jack Plotnick ’s deliciously droll Space Station 76 , we’ve brought all our suburban plights with us, and transformed a fantastical sci-fi environment into a depressing non-stop social call with friends we don’t like, and spouses who are all sleeping together behind each other’s back.

The dry humor of Space Station 76 stems from the wonderfully unhappy characters, played by the likes of Patrick Wilson , Liv Tyler , Matt Bomer and Jerry O’Connell , and the way that all our scientific progress has done absolutely nothing to save them from their own pathetic choices. It’s a classic 1970s character-drama that just happens to look like an offshoot of 2001: A Space Odyssey , and the clash between tones is always hilarious.

Guardians of the Galaxy (2014)

The Marvel Cinematic Universe was always a little kooky, but it took a turn towards the monumentally bizarre with Guardians of the Galaxy . A ragtag group of bounty hunters and thieves band together to steal an all-powerful space rock, and along the way they get in all kinds of action-packed adventures. But that’s just the window-dressing. The plot isn’t what’s great about James Gunn ’s film, it’s the off-the-wall characters, like a raccoon with a mean sense of humor, a tree who only knows one sentence, and a human who tries to act like Han Solo without realizing he’s the dude Ice Pirates at best.

Gunn presents it with all the visual wonder of a Star Wars movie, but with all the acerbic wit of a low-budget indie comedy. And in a medium practically defined by the majesty of a John Williams soundtrack, Guardians of the Galaxy reimagines an outer space defined by Bowie tunes, and songs about piña coladas. But the music isn’t just for fun, it’s the most important character of all, messages from a mother who can’t be there to support her son but who helps tell his story anyway. Guardians of the Galaxy tugs at your heartstrings, when it’s not making you chortle.

High Moon (2014)

Nobody said the best space movies of the 21st century had to debut in theaters. The failed pilot for an ambitious TV series, High Moon , debuted on SyFy Channel as a standalone movie, and it’s a bizarre oddity, as inspired by half-forgotten 1960s sci-fi westerns like Moon Zero Two as it is by its source novel, The Lotus Caves , by John Christopher .

Half a century into the future, the moon has been colonized by corporations and governments all over the world, and the old rivalries are alive and, sadly, well. When a flower is discovered on the lunar surface it leads to a massive cover-up and mind-blowing revelations. High Moon doesn’t get to resolve every thread but the world it establishes is gorgeous and hyper-stylized, just the kind of sci-fi kitsch you’d expect from producer Bryan Fuller , who also gave you Hannibal and Pushing Daisies .

Interstellar (2014)

Cinematic wunderkind Christopher Nolan is an intellectual filmmaker, whose films tend to rely on big ideas more than interpersonal emotional drama. So although the big emotional beats often fall flat in his ambitious space epic Interstellar they are rescued by the film’s astounding realization of space flight, conflicting timelines, black holes, and bizarre robots.

The future of mankind is looking grim and traveling into outer space is the only viable option for humanity. But only a few planets within range have the capacity to sustain life, and it’s up scientists and astronauts played by Matthew McConaughey , Anne Hathaway , David Oyelowo and Wes Bentley to travel to the stars and back in time to save the species, while Jessica Chastain and Michael Caine struggle to solve the mathematical problems of our survival back on Earth. The suspense is dense, the imagery absolutely incredible. The intellect is undeniably palpable. Ironically, it’s the film’s heart that’s academic.

Jupiter Ascending (2015)

Absolutely bonkers but absolutely on purpose, The Wachowski ’s directed a gleefully subversive would-be blockbuster with Jupiter Ascending . The film stars Mila Kunis as a housemaid who discovers that, due to a quirk of genetics, she’s just inherited the planet Earth. But the Earth is so valuable that her fellow royals will stop at nothing to get it, whether that means destroying her or, worse, marrying her.

Jupiter Ascending smartly transforms the old-fashioned princess fantasy of discovering you were born special, inherited great wealth and power, and then undermines it at every turn. By achieving greatness, Jupiter enters into a complex and disturbing world of capitalistic excess and fascistic control, and only with the aid of her loyal dogman with flying sneakers, played by a bemused Channing Tatum , will she be able to save herself from becoming a cog in the machine. Fantastical imagery and a wonderfully camp performance from Eddie Redmayne make Jupiter Ascending one of the most underrated sci-fi films of the last two decades.

The Martian (2015)

“In the face of overwhelming odds, I'm left with only one option… I'm gonna have to science the @#$% out of this.” That’s Mark Watney for you. Ridley Scott ’s wonderfully hopeful sci-fi epic The Martian stars Matt Damon as an astronaut marooned on Mars, applying logic and good humor to every impossible problem that arises, and somehow transforming radically complicated scientific ideas into clear, exciting problem-solving strategies.

The Martian , not unlike Gravity , is about perseverance in the face of astounding odds. But unlike Gravity it’s a film about unerring positivity and the confidence that sheer, unbridled logic has the power to overcome any problem. The surface of Mars may be unable to support life but it’s home to one of the most wonderfully vibrant and inspiring characters in sci-fi movie history.

Valerian and the City of a Thousand Planets (2017)

Valerian and the City of a Thousand Planets is, with no hyperbole, the most visually stunning science fiction film so far this decade. It’s a fabulously gorgeous spectacle, set in a future where alien societies have merged their space stations together into one incredible mega colony, and where political intrigue attracts dashing intergalactic heroes Valerian ( Dane Dehaan ) and Laureline ( Cara Delevingne ).

Along the way, they force their heads into deadly psychic squids, race for their lives from enemies chasing them in a parallel dimension, and plow through multiple worlds on foot. There’s no shortage of eye-popping wonders in Valerian , and although Dane Dehaan is almost indisputably miscast as a charming ladies man, the rest of the movie is so charmingly bizarre that it compensates. We don’t go to other worlds to see the same old aliens and action sequences over and over again, and Valerian has more daring and wonder than any of the modern Star Wars movies (which is pretty ironic, since it was based on a comic that inspired Star Wars in the first place).

Star Wars: The Last Jedi (2017)

That’s no sleight to Star Wars , of course. The motion picture series that made sci-fi action stories mainstream has been going strong throughout the last two decades, to the extent that picking only one film to represent the franchise was very difficult. But in the end, the narrative innovation and stunning locales won out: Star Wars: The Last Jedi expands on the Star Wars universe in every conceivable way, breaking out of old conventions and visualizing strange new worlds filled with strange creatures and incredible new developments.

It’s actually strange just how different The Last Jedi feels, since on paper Rian Johnson ’s film rigidly follows the original formula. The cast splits up, with the novice Jedi getting trained by the master Jedi who fled from the fight years ago, and the pair with romantic chemistry traveling to a society where moral compromise has led to dangerous dealings with the Empire. There’s even a big twist that sends the whole saga into a new, unexpected direction. But The Last Jedi doesn’t feel as beholden to the past as every other Star Wars film since the prequels began, and that sense of extempore - that anything can and will happen - makes it more faithful to the original, unpredictable spirit of George Lucas ’s first, classic film than practically any of the other follow-ups.

First Man (2018)

Oscar-winning director Damien Chazelle seems obsessed with the idea of exceptionalism, as all the characters in his movies push themselves beyond reason to accomplish incredible deeds. Unlike the protagonists of Whiplash and La La Land , Neil Armstrong’s pursuits aren’t artistic, they’re scientific and exploratory. But his incredible journey to become the first human being to step foot on the moon has just as much intense focus and vision.

First Man refreshingly portrays the space program not as a heroic endeavor that changed the course of history, but as the accomplishment of people who put themselves at unbelievable risk. Most of the space flights are shown from inside the cockpit, reminding us that as cool as space travel looks from the outside, from the inside you’re just stuck in a rattling canister with only a thin sheet of metal between you and certain death. The change of perspective is exhilarating, and the impeccable sound design puts you right in the middle of the shuttle, holding on for dear life.

High Life (2019)

What kind of sci-fi epic would the director of the disturbing dramas White Material and Trouble Every Day direct? It’s as unexpected as you’d expect. Robert Pattinson stars as a convict shot into space with other felons, never to return, on a mission towards a black hole. Along the way, a scientist played by Juliette Binoche performs acts of mad science in an attempt to impregnate the crew and create life in outer space.

Bitterly desperate and yet, in the scenes with Robert Pattinson caring for a baby in outer space, all by his lonesome, utterly beautiful, Claire Denis ’ High Life imagines a future of space travel led not by our best and brightest, but by the people Earth can most afford to lose, who are forced to justify their existence to a computer every single day just to keep the life support on. That path leads to madness, usually, but possibly a form of enlightenment we cannot understand.

KEEP READING: Every Comic Book Movie of the 2010s Ranked From Worst to Best

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The 23 best time travel movies of all time

From Back to the Future to Looper to Palm Springs, the time travel narrative traverses the film spectrum. Here are EW’s picks for 23 of the best. 

Despite time travel being considered more of a science fiction trope, there is something positively enchanting about the idea of being able to go back to another time or forward into the future, even if just for a moment. While this list deals with a mix of films, some of which consider the hazards of time travel (mostly through time loops), for the most part, these films see time travel as a net positive. Time travel is also a sphere that is mostly occupied by television, thanks to shows like Doctor Who , Quantum Leap , and Lost , even though the number of time travel movies has shot up over the past two decades or so.

Unfortunately, the earliest this list goes is 1962; while there are some time travel movies from the Old Hollywood days, they lack a lot of the imagination and thoughtfulness about the nature of time that the movies on this list bring. This list is a mix of straight dramas, killer action, rollicking comedies, and heartfelt romance — and sometimes, all of those elements exist in a single movie. This list is unranked, and mostly grouped together according to each movie's particular "genre" of time travel: conventional time machines, time loops, magical circumstances, and missions to save the past and the future at the same time. These are 23 of the best time travel movies of all time.

La Jetée (1962)

Kicking off an unranked list of time-travel movies chronologically seems like a good place to start, actually. La Jetée is also probably the most experimental of the films on this list. A French Left Bank short film set in a post-nuclear apocalypse future told through narration and photographs, this is not the first time-travel film by any means, but its impact on the time-travel movies that came after, like 1995's 12 Monkeys , cannot be understated.

A young prisoner (Davos Hanich) is forced to undergo torturous experiments to induce time travel by using impactful memories — and unlike those who came before him, he succeeds, but he ends up discovering a time loop in the process. This is an incredibly stylish telling of what is now a familiar type of story, but in 1962, it was absolutely revolutionary. Honestly, because of its unique technical and visual elements, it still is.

Watch La Jetée on Criterion Channel

Time After Time (1979)

Nicholas Meyer is behind not one, but two brilliant time-travel movies that made this list. For this particular film, he not only wrote the screenplay but also made his directorial debut. The tale of two 19th-century former friends, H.G. Wells ( Malcolm McDowell , unusually wide-eyed and adorable) and John Leslie Stevenson a.k.a. Jack the Ripper ( David Warner , never more menacing yet charming), as they chase each other through 1979 San Francisco thanks to Wells' time machine, Time After Time doesn't spend too much time on the science of time travel, and it's better for it.

This is, in essence, a romantic thriller, as Wells falls for quirky bank clerk Amy ( Mary Steenburgen , delightfully independent) while in search of his old friend turned enemy. It has chase scenes, interrogation sequences, gory murder (courtesy of Jack), and a delightful sense of humor as Wells learns to navigate the future. He thought it would be a utopia; instead, he finds a world in sore need of his idealism, kindness, and dedication to justice.

Where to rent or buy Time After Time

The Back to the Future trilogy (1985, 1989, 1990)

While it's true that the first Back to the Future movie is probably one of the greatest time-travel movies of all time, with its two sequels living in its shadows, all three are essential to understanding the character of Marty McFly ( Michael J. Fox ). The Back to the Future trilogy is an '80s version of a bildungsroman about a teenager who has to learn that there's much more to life than being, well, a teenager. The first film, confidently directed by Robert Zemeckis , is imbued with so much humor and heart, it's all too easy to get sucked into a plot that should be convoluted, but that works so awfully well.

Back to the Future Part II evokes a bit less feeling than the original, and it's significantly grittier, but it's still " another fantastic voyage " as EW's Ira Robbins wrote, flinging Marty and Doc Brown ( Christopher Lloyd ) into a slightly prescient future version of 2015. Back to the Future Part III , meanwhile, restores the heart, but its story is slighter as it wraps up Marty's saga, sending Doc off on a brand new adventure all his own. While the first Back to the Future movie is required viewing for any time travel enthusiast, stick around for the rest of the trilogy, too: Even if this franchise's view of time travel is riddled with potential paradoxes, they are entertaining paradoxes nonetheless.

Watch the Back to the Future trilogy on Tubi

Bill & Ted's Excellent Adventure (1989)

"Be excellent to each other" is the reigning philosophy of Bill & Ted's Excellent Adventure , the adventurous, fun-loving, stoner time-travel comedy that spawned a franchise, including a third installment released in 2020. Alex Winter and Keanu Reeves absolutely triumph in the roles of lackadaisical teenagers Bill and Ted, respectively, as they journey through time to bring back legends in order to pass their history class.

If the film seems silly, that's because it is meant to be. Whereas the Back to the Future franchise intended to craft a legend, Bill & Ted's Excellent Adventure kicks off the journey with George Carlin as the duo's time travel guide and mentor, Rufus, who intends to enlighten the pair on their mission and destiny. In any other film, the two budding legends, with their free-wheeling ideals and misadventures, would bring down the fabric of time and space itself. However, Excellent Adventure is not a time-travel film that forces you to think too hard about its premise; instead, it invites you to just kick back and have a good time.

Watch Bill & Ted's Excellent Adventure on Amazon Prime Video

Meet the Robinsons (2007)

Meet the Robinsons received mixed reviews when it first debuted, but of the 3-D animated movies that came out of Disney Animation in the 2000s, it's probably the most imaginative and outstanding of the bunch. Following a young orphan as he goes on a fantastic voyage into the future with another young boy who is a time traveler (kind of), Robinsons is stylish to a point and is filled with heart. It's probably also the most kid-friendly entry on this list, but its good-natured humor and complicated emotional palette will appeal to adults, too.

It also fits neatly into a more classic genre of time travel, with time machines, eccentric inventors, and kids looking to make an impact — not just on their time, but on the time they find themselves in, be it the near future or the distant past.

Watch Meet the Robinsons on Disney+

Run Lola Run (1998)

This is, in many ways, the time loop movie; debuting in 1998 to rave reviews, Run Lola Run , a German experimental thriller, is one you will not be able to shake, long after you've finished a viewing (or even a second, to catch what you missed the first time). The protagonist, Lola (Franka Potente, in a punishingly physical performance), is forced to relive a scenario, again and again, involving saving her boyfriend Manni (Moritz Bleibtreu) from certain death.

Potente's performance alone is worth the watch, and of the films on this list, Run Lola Run is actually one of the shorter ones, using its 80-minute runtime to its full advantage. The other time loop movies on this list are also worthy viewing experiences in a lot of ways, but for a pure shot of adrenaline, you can't miss the film EW deemed "a masterful pop piece, humming with raw romance, youth, and energy." If you're interested in more of director Tom Tykwer 's work, he also codirected 2012's Cloud Atlas with the Wachowskis , which, while not a pure time-travel movie, certainly plays with the intertwined nature of time and memory.

Where to rent or buy Run Lola Run

Source Code (2011)

Duncan Jones made a splash with his 2009 feature directorial debut Moon , a moody, philosophical insight into possible lunar labor practices in the future. He followed that thoughtful film up with Source Code , which, while not a movie that could always be described as "thoughtful," could certainly be described as moody. Hitchcockian in a sense, Source Code follows the misadventures of a U.S. Army pilot ( Jake Gyllenhaal ), as he attempts to stop a terrorist attack on a Chicago commuter train — repeatedly.

Source Code does have something to say about the commodification of bodies and minds in the service of the so-called "greater good"; while Gyllenhaal's Captain Stevens' services are no doubt helpful, are they necessary, the film asks. Is it really a good idea to force someone to relive an incredibly stressful idea, over and over again? The movie has its funny moments, even in the thick of all the intense chase scenes through the train; EW noted back in 2012, "The director finds moments of humor in unlikely corners of that train of fools." Indeed. If you enjoyed a film like The Commuter (2018), but thought it could use a time loop and the potential of alternate realities, Source Code is your next mandatory viewing.

Watch Source Code on Showtime

Looper (2012)

Before Rian Johnson introduced us to Benoit Blanc or journeyed to a galaxy far, far, away , he made the tangled time-travel film fittingly called Looper . Starring Bruce Willis , Joseph Gordon-Levitt as a younger Bruce Willis, and Emily Blunt , Looper tells the tale of a contract killer sent after his next target: himself. This is a complicated film, and it is imperfect in a lot of ways, but its brutal appraisal of a possible dystopian future, and the efforts one man takes to prevent that future, are worth the amount of head-scratching you might find yourself doing throughout.

That Johnson likes his narratives to be impenetrable Gordian knots that only his designated protagonist can solve can perhaps be frustrating to the audience. However, if there's one thing that the Knives Out franchise seems to have reinforced, it's that not trying to unpack the mysteries of his work might work to your advantage as a viewer, because Johnson will probably have someone explain what just happened by the end, anyway. Like most of his films, Looper has a social conscience lurking within it as well. As EW's Lisa Schwarzbaum noted , "It's time to wipe the drops from our eyes or else get stuck in a loop, an endless cycle, a rut" about Looper 's core tenet back in 2012. It's a worthy takeaway from a film obsessed with self-fulfilling prophecies people find themselves within.

Watch Looper on Freevee

Edge of Tomorrow (2014)

Time loop movies need some incredible editing in order to really succeed, and Doug Liman 's enthralling Edge of Tomorrow certainly does so on that point. While Tom Cruise is the lead as a cowardly lion–turned–near-super soldier, all eyes are on Emily Blunt as Rita Vrataski, who rules this movie as one of the few heroes this dystopian, post-alien invasion world actually has left. While the quest Cruise and Blunt go on may be a bit convoluted, the film is so incredibly entertaining because it's so sharply cut, keeping up the pace even as we see similar things over and over and over again.

A tip of the hat must, of course, go to the action, which is as compelling as you would expect from a mega-star who seems determined these days to do all of his own stunts. In an era of often depressing science fiction, Edge of Tomorrow , as EW's Chris Nashawaty mentioned , is a fun, "deliciously subversive kind of blockbuster" to immerse your senses in for two hours, if nothing else.

Watch Edge of Tomorrow on Max

Interstellar (2014)

While this film might technically be considered more of a space opera than a time-travel movie, there's no reason it can't be both. Christopher Nolan 's Interstellar is a dazzling portrait not just of space travel, but of the love between a father and daughter that stretches over the thin fabric of both time and space. Matthew McConaughey as the astronaut father has never been so serious, but acclaim needs to go to Jessica Chastain and Anne Hathaway as Nolan's strongest women characters to date.

Interstellar varies between being almost too tense to stand, and, at other points, utterly relaxed. As a cinematic experience, it feels all-encompassing, using every possible outstanding special effect to draw its viewers in before the script hits them with emotional truth. While Nolan can certainly be considered " cold and clinical " as EW noted, his space-journeying meditation on the intersection between love and time is anything but.

Watch Interstellar on Paramount+

Palm Springs (2020)

Releasing a time loop movie during a global pandemic where life felt increasingly repetitive and bizarre was certainly a strategy for Hulu and Neon with Palm Springs , but it paid off. While the film was certainly developed long before COVID-19, the scenario of two wedding guests trying to escape the situational loop they've found themselves definitely resonated at the time, and it still does. Palm Springs may seem serious from the above description, but it is actually a fun sci-fi-tinged tale that is largely driven by the comedic skills of leads Andy Samberg and Cristin Milioti .

EW noted that the movie avoids " true discomfort comedy ," and honestly, it's all the better for it. If Palm Springs had been angrier, it wouldn't hit home so hard, and it also wouldn't be nearly as entertaining. Instead, it's an often sweet rom-com that doesn't take itself or its completely made-up time loop physics too seriously. It was a Sundance darling for a reason, never quite letting up on the wild ride it takes its characters or its viewers on over the course of its 90 minutes.

Watch Palm Springs on Hulu

Somewhere in Time (1980)

Somewhere in Time might employ one of the strangest methods of time travel of all the movies on this list: time travel by hypnosis, of all things. (And self-induced hypnosis, for that matter.) Time travel on such shaky ground can't possibly hold up, and it somewhat doesn't, in the end. Science fiction great Richard Matheson adapted his own novel into a lackadaisical screenplay for this film, starring Christopher Reeve in a perfectly tragic role as the young man who gives his all for a woman (Jane Seymour) he can never really have.

In many ways, Somewhere in Time feels like a curio of the era from which it came, serving as a time capsule of how stories were told in the late-'70s and early-'80s. That is actually not a mark against it; this is a film that is just a peak tragic romance in a lot of ways; special nods must also go to Christopher Plummer as the young woman's cynical mentor, who seems to possess a certain foresight about the impossibility of Reeve's character. If you want a time-travel movie that is beautifully romantic, from its iconic score to its grand cinematography, you shouldn't stray from Somewhere in Time .

Watch Somewhere in Time on Tubi

Peggy Sue Got Married (1986)

The tale of a grown, about-to-be-divorced woman forced to relive her high school days and her courtship with a dorky-cool musician, Peggy Sue Got Married might be one of Francis Ford Coppola 's most small-scale movies, but it decidedly has the most soul of his catalog of mostly epics. Peggy Sue ( Kathleen Turner , in an Oscar-nominated performance) just wants to leave Charlie (Nicolas Cage) behind, but her time-traveling coma dream conspires against her to force her to reconsider. (It forces Charlie to become a better person, too.)

The film combines the cynicism of a rightfully embittered '80s housewife with the unbridled idealism of a '60s teenager to make one heck of a sincere cinematic concoction. That the film starts at a high school reunion could mean it becomes awkward very quickly, but instead, it's completely joyful. Whether Peggy Sue Got Married started a tradition of "person has some sort of crisis and subsequently ends up in another time" movies is unclear, but it does have a rather clear descendant in one of our next entries.

Where to rent or buy Peggy Sue Got Married

Kate & Leopold (2001)

Doesn't everyone want a young Hugh Jackman from the 19th century to fall out of the sky and into their lives? Leopold (Jackman) is a foppish and geeky, if not perfect, gentleman who quickly has Kate ( Meg Ryan ) falling for him despite her modern understanding of the world. That so many time-travel movies somehow end up in romantic territory is an interesting phenomenon, but one that does make sense. There is something appealing about falling for someone whose time is not your own.

Kate & Leopold is decidedly not a perfect film, although it is the first of director James Mangold 's and Jackman's collaborations (see 2017's Logan for the much grittier future fruits of their labor). It's fluffy, it's light, and it creates a paradox without even really acknowledging it. Someone looked at the Meg Ryan comedies of the '80s and '90s and asked, "But what if we made them science fiction?" It works in spite of itself, with Jackman's physical comedy as he plays " a doll of a boyfriend " and Ryan's sardonic tone carrying the day.

Watch Kate & Leopold on Paramount+

13 Going on 30 (2004)

When a 13-year-old girl is crushed after being tricked at her own birthday party, she makes a wish to be "30, flirty, and thriving," quickly waking up the next day to find herself just that, in the body of Jennifer Garner . Instead of traveling back to the past à la the protagonist of Peggy Sue Got Married , Jenna (Garner, Christa B. Allen) ends up in a potential future, where she is all the things she wished for, but definitely not as happy as she thought she would be.

The 2004 rom-com is a magical time travel tale — there's literally "magic wishing dust" — but that doesn't take away from the hilarity that comes with a 13-year-old trying to navigate an adult woman's life. Of course, in the end, Jenna learns her lesson — it's okay to just be young, for a little bit longer — but the journey she goes on as she discovers not just herself but also her true love ( Mark Ruffalo ) is worth all the silliness in the end.

Watch 13 Going on 30 on Max

Mirai (2018)

This lovely little gem directed by Japanese animation visionary Mamoru Hosoda tells the story of a little boy who unhappily gets a baby sister and ends up learning a lot of lessons about the past and the future. Kun (Moka Kamishiraishi) gets a chance to meet not only the grown, future version of his sister Mirai (Haru Kuroki) but also members of his family at different points in their lives. Mirai is a delightfully imaginative film with some gorgeous animation that contains some " mind-boggling visuals " as EW's Christian Holub pointed out.

It is also a genuinely heartwarming tearjerker; while all ends well for little Kun, the meditations this film offers on the nature of family bonds over the course of multiple generations might just leave you in a state of reflection on your own ties that bind. While many time-travel movies tell their stories from the perspective of youth, few unveil them through the eyes of a rambunctious preschooler, and gaining that perspective, in this case, allows for a truly precious journey.

Where to rent or buy Mirai

Star Trek IV: The Voyage Home (1986)

If you know anything about Star Trek , you know the fourth film is "the one with the whales," but if you don't know anything about the franchise, you probably also know that this one is "the one with the whales." Star Trek IV: The Voyage Home often gets acclaim as the funny Star Trek movie, but it brings a lot more than just comedy. The original crew of the Enterprise fling themselves back in time to save humpback whales in the past in order to save the future from a strange probe that threatens Earth...and will stop, but only if it hears some natural whalesong.

The crew finds themselves in 1986 San Francisco, so it's great that Time After Time's Nicholas Meyer returned to the franchise not as director (he helmed Star Trek II: The Wrath of Khan ), but as a screenwriter. Watching these characters from a literal utopia navigate a world not designed for them creates not only dynamic humor but great tension as well. As they almost always do, the Enterprise team breaks all the rules in order to save the future as well as the whales. Or, as EW noted in a tribute to the film: "It has heart, and passion — Save the Whales! — and a tremendous sense of fun."

Watch Star Trek IV: The Voyage Home on Max

Star Trek: First Contact (1996)

Star Trek: First Contact doesn't particularly feel as much like a Star Trek movie as Voyage Home does, and EW, in fact, says it harnessed "a sleek, confident style fully independent of its predecessors." As a Trekkie, this may not be the most complimentary way of looking at it, but as a film fan, however, it might be the highest honor someone could bestow upon a movie within this franchise. Captain Jean-Luc Picard ( Patrick Stewart ) turns from a peace-loving diplomat to a Borg-slaying action star while the rest of his crew tries to get the inventor of the Warp Drive (the technology upon which the future relies) to stop drinking so much and actually invent the thing. James Cromwell, as the inventor, Zefram Cochrane, serves as the comedic relief for a remarkably serious and often scary film.

The Borg, '90s Star Trek 's biggest villain, are the main antagonists here, and they do provide some chilling action, even if the introduction that they can easily time travel would really wreck things for some future Trek series. Stewart manages the transition from his mild-mannered diplomat to traumatized warrior well, turning in one of his most ferocious performances. Star Trek: First Contact also gives us a look at a post-apocalyptic world in the midst of a recovery, and in that respect, it makes it both a thoughtful entry in the Trek canon and a time travel action-thriller with a brain.

Watch Star Trek: First Contact on Max

The Terminator (1984) and Terminator 2: Judgment Day (1991)

What would a best time-travel films list be without including at least one of the Terminator movies? While an often brutal franchise with diminishing returns after James Cameron 's first two installments, the misadventures of an evil cyborg-turned-good (played to physical perfection by Arnold Schwarzenegger ) in a consistently dangerous world are always thrilling and entertaining.

Linda Hamilton as Sarah Connor, mother of the future's savior (and much, much more), is also due an acknowledgment; while the films are remembered for Schwarzenegger's portrayal of the T-800, Hamilton is the heart of this franchise a great deal of the time, as she refuses to die or let her son face the same fate, either. The first two Terminator films are so much more than "scary robots take over the world, everybody dies" – they're action-packed, bloody thrillers with startling narratives, pioneering visual effects, and, of course, time travel as the catalyst.

Watch The Terminator on Max

Where to rent or buy Terminator 2: Judgment Day

Safety Not Guaranteed (2012)

"Wanted: Somebody to go back in time with me. This is not a joke...I have only done this once before. SAFETY NOT GUARANTEED": This is part of the joke classified ad from which this movie was inspired. You might inspire a more risky movie from the tone of the ad, but what you get is a light comedy that served as the first leading film role for Aubrey Plaza . This Colin Trevorrow -directed film isn't so much about time travel as it is about the cultural assumptions that surround the concept, and those who think it might be possible.

In that sense, it's a meta-narrative on nearly every time travel story which has come before it, and quite possibly, that will come after it. EW called it " a fable of 'redemption' "; redemption, and the acts of salvaging something, anything, for the benefit of the future, is a regular time travel theme, from all those time machines to all those time loops. Safety Not Guaranteed manages to explore these themes with a lot of irony and a splash of heart.

Where to rent or buy Safety Not Guaranteed

Related content:

• The Terminator movies, ranked
• Back to the Future cast: Where are they now?
• Let's talk about the plot of Interstellar

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10 Movies Where Humans Colonize Other Planets

Here are 10 exemplary films that each illustrate the process, the potential challenges, and the possible consequences of space colonization.

Space colonization refers to the permanent establishment of human civilization on other planets, moons, or celestial bodies. It is often sought as a solution to Earth becoming environmentally uninhabitable, over-population, or natural resource deficit, and it is a continuous area of research. In science-fiction movies , it serves as a theme that visualizes self-sustaining human survival on extraterrestrial territories and the technologies that would allow such a migration to space.

Movies about space colonization offer different perspectives on why and how a resettlement as grand as this could happen. From mainstream thrillers like Interstellar , to more classic gems such as Forbidden Planet , this list invites you to dwell on the obscurity and thrill of human survival. Here are 10 exemplary films that each illustrate the process, the potential challenges, and the possible consequences of space colonization in different ways.

Related: The Best Outer Space Movies of The 2000s, Ranked

10 Interstellar (2014)

Directed by Christopher Nolan and released in 2014, Interstellar is one of the most intense blockbuster science-fiction movies about space travel and exploration, and is known to be the most scientifically accurate . Following Earth’s decay into an uninhabitable and environmentally disastrous future, a group of astronauts set to find a new home for humanity by traveling through a wormhole near Saturn.

With striking performances from Matthew McConaughey, Anne Hathaway, and Jessica Chastain, Interstellar extends its area of exploration to themes of familial bonds, time, and desperation. Its blockbuster quality is justified in the movie’s striking visuals, mind-boggling storyline, and telling of the harsh reality of human survival.

9 Cosmic Sin (2021)

Edward Drake’s Cosmic Sin pictures space colonization on a wider scale, set in the distant future. Humans have been colonizing planets for centuries and have established civilizations across the galaxy. Alien encounters are a casual happening, and space travel is a norm. However, when an alien species start planning to take over the Earth, a group of scientists and military leaders (including Bruce Wills as the General) initiate a mission to stop the invasion.

Since its release, Cosmic Sin has been subjected to harsh reviews targeting its script, plot, and special effects, even including an award for Worst Performance by Bruce Willis in a 2021 Movie . Despite the critics’ overall reception, the movie still managed to capture an appreciative audience. It has the appeal of science-fiction B-movies for any genre fanatic willing to watch.

8 Tides (2021)

Tides (also known as The Colony ) is an English-speaking German science-fiction thriller written and directed by Tim Fehlbaum. In a post-apocalyptic setting where Earth has been declared environmentally uninhabitable, and a particular group of elites has resettled in a space colony, Tides follows three Kepler colony astronauts that return to Earth to see whether it has become habitable again.

Tides provides a more sociologically complex outlook by merging space colonization with issues such as classism and extreme nepotism. It is a film concerned with research, exploration, and survival ethics. It is a look-back on humans’ impact on Earth and a thought-provoking feature with outstanding visuals.

7 Forbidden Planet (1956)

Recognized as the trailblazer for multiple facets of science-fiction cinema, Forbidden Planet was directed by Fred M. Wilcox and written by Cyril Hume in the 1950s. The movie revolves around the planet Altair IV and a space exploration crew that intends to check up on a previous mission. Along with the scientist Dr. Morbius who lives on the planet with his daughter and a robot named Robby, the crew starts scrutinizing and uncovering the history of Altair lV.

Forbidden Planet showcases a unique approach to space colonization where ancient civilizations and natural threats work in unison. Being the pioneer for multiple science-fiction visual effects and genre tropes, Forbidden Planet is a staple of classic cinema with its innovative take on the human knowledge of technology and science.

6 Pandorum (2009)

Pandorum is a science-fiction horror movie directed by Christian Alvart, about the dangers and threats of space traveling for colonization. After overpopulation exhausts Earth's natural resources, a spaceship called the Elysium is launched to find and colonize Tanis, an Earth-like habitable planet. In Elysium, two crew members try to survive a violent, feral, and deadly mystery while also battling amnesia and a mental psychosis caused by prolonged and deep space travel.

Alvart’s Pandorum situates human isolation and endurance in grotesque horror. Its portrayal of space-related torment has stood out with its brutality and shock factors. Definitely not crafted for the easily disturbed, Pandorum is still a movie with a cult following, thanks to its original storyline and notable visual effects.

5 Passengers (2016)

Passengers is a Morten Tyldum-directed science-fiction film with sparks of romance. A spaceship that carries thousands of people to a new planet called Homestead ll, in hibernation pods, gets damaged by an asteroid. The pods are set to a 120-year-long hibernation. After the asteroid collision, the malfunctioning in the system causes Jim’s pod (played by Chris Pratt) to be awoken 90 years early. With the struggle of severe loneliness, Jim then awakens a beautiful companion, Jennifer Lawrence’s Aurora Lane.

Crafting a romance in the midst of a mentally challenging setting is tricky, and Passengers has received its fair share of criticism. Aside from the acting, the movie’s musical score and production design have also helped compensate for its controversial plot; both were nominated for the 89th Academy Awards .

Related: The Best Outer Space Movies of the 2010s, Ranked

4 The Martian (2015)

Based on the 2011 novel by Andy Weir, The Martian was adapted to a screenplay by Drew Goddard and directed by the infamous Ridley Scott. It is 2035, and Mark Watney (played by Matt Damon) is stranded on Mars after a severe dust storm damages the camp, and the crew is forced to leave the planet. This is the story of Watney’s deterministic survival and communication attempts.

The Martian ’ s telling of human resilience has allowed the film multiple high-class awards and great commercial success. The movie does not use space colonization as a forefront theme but incorporates it into Watney’s instincts and problem-solving skills. Watney himself even states this as he says, “They say once you grow crops somewhere, you have officially colonized it. So, technically, I colonized Mars”. He’s right.

3 Prospect (2018)

Referred to as a science-fiction indie film, Prospect was written and directed by Zeek Earl and Chris Caldwell. Starring Pedro Pascal, Sophie Thatcher, and Jay Duplass, the movie features a father-daughter duo who venture to an alien forest moon in hopes of mining gemstones. However, the mission is threatened as they come across other potentially dangerous prospectors with similar interests.

Based on a short film with the same name, released in 2014, Prospect works as a testament to human greed on an interplanetary level. With bold performances, a dense plot, and its own take on human morals, the movie has experienced mostly positive feedback and appreciation.

2 Red Planet (2000)

Being Antony Hoffman’s only feature-length film, Red Planet is a science-fiction action film that stars Val Kilmer, Carrie-Anne Moss, and Tom Sizemore as part of its impressive cast. The movie, set in 2025, centers around the colonization of Mars after Earth starts suffering from overpopulation and intense pollution. A space crew’s assessment of Mars as a potentially habitable environment results in unexpected technical difficulties.

Red Planet is a visualization of insecure technology and fatal human error. The sturdy premise is definitely promising; however, despite its elevated expectations, the film was faced with mixed reviews after its release. While praising the film's special effects, not many critics were fond of the story’s progression.

1 Elysium (2013)

Directed by Neill Blomkamp, Elysium is a dystopian science-fiction action movie about human segregation. In the year 2154, an artificial habitat called the Elysium fosters the elite while others are left to survive on a disease-infected, devastated Earth. Max, a former criminal played by Matt Damon, attempts a mission to use a curing medical device in Elysium while having to struggle with interruptions from Secretary Delacourt (played by Jodie Foster).

Themes such as social justice, inequality, and classist technology are embedded within the survival story of Elysium. This complexity within the story structure has deepened the impact of its action sequences and vivid special effects. Elysium ’s depiction of space colonization thus takes a more narrowed down but gripping route.

Humans’ passionate curiosity for outer space has led to a continuous circulation of science-fiction content, each representing the infinity and its beyond in unique settings. Somewhere along the line, these representations started to include a habit from the history books. As a matter of survival, greed, or scientific study, space colonization is now a staple for the screens.

Is Interstellar Travel Really Possible?

Interstellar flight is a real pain in the neck.

Paul M. Sutter is an astrophysicist at The Ohio State University , host of Ask a Spaceman and Space Radio , and author of " Your Place in the Universe. " Sutter contributed this article to Space.com's Expert Voices: Op-Ed & Insights . 

Interstellar space travel . Fantasy of every five-year-old kid within us. Staple of science fiction serials. Boldly going where nobody has gone before in a really fantastic way. As we grow ever more advanced with our rockets and space probes, the question arises: could we ever hope to colonize the stars? Or, barring that far-flung dream, can we at least send space probes to alien planets, letting them tell us what they see?

The truth is that interstellar travel and exploration is technically possible . There's no law of physics that outright forbids it. But that doesn't necessarily make it easy, and it certainly doesn't mean we'll achieve it in our lifetimes, let alone this century. Interstellar space travel is a real pain in the neck. 

Related: Gallery: Visions of Interstellar Starship Travel

Voyage outward

If you're sufficiently patient, then we've already achieved interstellar exploration status. We have several spacecraft on escape trajectories, meaning they're leaving the solar system and they are never coming back. NASA's Pioneer missions, the Voyager missions , and most recently New Horizons have all started their long outward journeys. The Voyagers especially are now considered outside the solar system, as defined as the region where the solar wind emanating from the sun gives way to general galactic background particles and dust.

So, great; we have interstellar space probes currently in operation. Except the problem is that they're going nowhere really fast. Each one of these intrepid interstellar explorers is traveling at tens of thousands of miles per hour, which sounds pretty fast. They're not headed in the direction of any particular star, because their missions were designed to explore planets inside the solar system. But if any of these spacecraft were headed to our nearest neighbor, Proxima Centauri , just barely 4 light-years away, they would reach it in about 80,000 years.

I don't know about you, but I don't think NASA budgets for those kinds of timelines. Also, by the time these probes reach anywhere halfway interesting, their nuclear batteries will be long dead, and just be useless hunks of metal hurtling through the void. Which is a sort of success, if you think about it: It's not like our ancestors were able to accomplish such feats as tossing random junk between the stars, but it's probably also not exactly what you imagined interstellar space travel to be like.

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Speed racer

To make interstellar spaceflight more reasonable, a probe has to go really fast. On the order of at least one-tenth the speed of light. At that speed, spacecraft could reach Proxima Centauri in a handful of decades, and send back pictures a few years later, well within a human lifetime. Is it really so unreasonable to ask that the same person who starts the mission gets to finish it?

Going these speeds requires a tremendous amount of energy. One option is to contain that energy onboard the spacecraft as fuel. But if that's the case, the extra fuel adds mass, which makes it even harder to propel it up to those speeds. There are designs and sketches for nuclear-powered spacecraft that try to accomplish just this, but unless we want to start building thousands upon thousands of nuclear bombs just to put inside a rocket, we need to come up with other ideas.

Perhaps one of the most promising ideas is to keep the energy source of the spacecraft fixed and somehow transport that energy to the spacecraft as it travels. One way to do this is with lasers. Radiation is good at transporting energy from one place to another, especially over the vast distances of space. The spacecraft can then capture this energy and propel itself forward.

This is the basic idea behind the Breakthrough Starshot project , which aims to design a spacecraft capable of reaching the nearest stars in a matter of decades. In the simplest outline of this project, a giant laser on the order of 100 gigawatts shoots at an Earth-orbiting spacecraft. That spacecraft has a large solar sail that is incredibly reflective. The laser bounces off of that sail, giving momentum to the spacecraft. The thing is, a 100-gigawatt laser only has the force of a heavy backpack. You didn't read that incorrectly. If we were to shoot this laser at the spacecraft for about 10 minutes, in order to reach one-tenth the speed of light, the spacecraft can weigh no more than a gram.

That's the mass of a paper clip.

Related: Breakthrough Starshot in Pictures: Laser-Sailing Nanocraft to Study Alien Planets

A spaceship for ants

This is where the rubber meets the interstellar road when it comes to making spacecraft travel the required speeds. The laser itself, at 100 gigawatts, is more powerful than any laser we've ever designed by many orders of magnitude. To give you a sense of scale, 100 gigawatts is the entire capacity of every single nuclear power plant operating in the United States combined.

And the spacecraft, which has to have a mass no more than a paper clip, must include a camera, computer, power source, circuitry, a shell, an antenna for communicating back home and the entire lightsail itself.  

That lightsail must be almost perfectly reflective. If it absorbs even a tiny fraction of that incoming laser radiation it will convert that energy to heat instead of momentum. At 100 gigawatts, that means straight-up melting, which is generally considered not good for spacecraft. 

Once accelerated to one-tenth the speed of light, the real journey begins. For 40 years, this little spacecraft will have to withstand the trials and travails of interstellar space. It will be impacted by dust grains at that enormous velocity. And while the dust is very tiny, at those speeds motes can do incredible damage. Cosmic rays, which are high-energy particles emitted by everything from the sun to distant supernova, can mess with the delicate circuitry inside. The spacecraft will be bombarded by these cosmic rays non-stop as soon as the journey begins.

Is Breakthrough Starshot possible? In principle, yes. Like I said above, there's no law of physics that prevents any of this from becoming reality. But that doesn't make it easy or even probable or plausible or even feasible using our current levels of technology (or reasonable projections into the near future of our technology). Can we really make a spacecraft that small and light? Can we really make a laser that powerful? Can a mission like this actually survive the challenges of deep space?

The answer isn't yes or no. The real question is this: are we willing to spend enough money to find out if it's possible?

• Building Sails for Tiny Interstellar Probes Will Be Tough — But Not Impossible
• 10 Exoplanets That Could Host Alien Life
• Interstellar Space Travel: 7 Futuristic Spacecraft to Explore the Cosmos

Learn more by listening to the episode "Is interstellar travel possible?" on the Ask A Spaceman podcast, available on iTunes and on the Web at http://www.askaspaceman.com . Thanks to @infirmus, Amber D., neo, and Alex V. for the questions that led to this piece! Ask your own question on Twitter using #AskASpaceman or by following Paul @PaulMattSutter and facebook.com/PaulMattSutter .  

Follow us on Twitter @Spacedotcom or Facebook . 

Join our Space Forums to keep talking space on the latest missions, night sky and more! And if you have a news tip, correction or comment, let us know at: [email protected].

Paul M. Sutter is an astrophysicist at SUNY Stony Brook and the Flatiron Institute in New York City. Paul received his PhD in Physics from the University of Illinois at Urbana-Champaign in 2011, and spent three years at the Paris Institute of Astrophysics, followed by a research fellowship in Trieste, Italy, His research focuses on many diverse topics, from the emptiest regions of the universe to the earliest moments of the Big Bang to the hunt for the first stars. As an "Agent to the Stars," Paul has passionately engaged the public in science outreach for several years. He is the host of the popular "Ask a Spaceman!" podcast, author of "Your Place in the Universe" and "How to Die in Space" and he frequently appears on TV — including on The Weather Channel, for which he serves as Official Space Specialist.

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Interplanetary Travel (1955)

Journalist Burrito and scientist Manolin visit the “Red Planet” and are given special glasses with which to view the planet’s flourishing society. Burrito removes his glasses to reveal the “Red Planet” for what it really is, and Burrito and Manolin flee back to their home planet.

Movies for Earth Day: 8 films to watch to honor the planet (and where to stream them)

Every Earth Day (April 22), we celebrate how awesome our planet is and acknowledge the need to protect this fabulous third rock from the sun.

The theme for this year’s fete is Planet vs. Plastics , calling for a united fight to drastically reduce plastics (hopefully 60% by 2040). In honor of all of us channeling our inner Cady Herons and gearing up to take on the Plastics (“ Mean Girls ” joke), we’ve assembled a list of eight movies, some showcasing the stuff of fantastical extremes, that emphasize how important it is to take care of our home and can help plant the first seeds.

Earth Day 2024: Why we celebrate the day that's all about environmental awareness

'The Day After Tomorrow' (2004)

Because nothing says get your life together like watching Lady Liberty drown.

Where to watch: AMC+ and The Roku Channel

'Annihilation' (2018)

Because Natalie Portman is a beautiful and brutal head-trip exploring the positives and negatives inherent in mankind's evolution.

Where to watch: Hoopla

'Elemental' (2023)

Because you'll gain a new appreciation for the air, earth, water and fire in this animated rom-com.

Where to watch: Disney+

'WALL-E' (2008)

Because watching this sentient robot collecting and compacting toxic garbage will leave you digging in the garbage to recycle.

'Snowpiercer' (2014)

Because there is no greater illustration of the arrogance − and vanity − of last-ditch climate change efforts than a human-induced Ice Age.

Where to watch: Tubi

'Mad Max: Fury Road' (2015)

Because nobody wants this wasteland to be their reality.

Where to watch: Apple TV+

'Waterworld' (1995)

Because we can all appreciate land − and this Kevin Costner flick is a reminder that we need to preserve ours.

Where to watch: Amazon Prime Video

'2012' (2009)

Because, once you get past the plot holes, implausible escapes and creative license with geological possibilities, it's … OK, yeah, no, you probably won't be able to see past all that for many of these movies. But the point remains: Treat Earth Day like your New Year's and make a resolution that's feasible for your lifestyle today.

Where to watch: Netflix

Contributing: Jaleesa M. Jones and Brian Truitt

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For more audio journalism and storytelling, download New York Times Audio , a new iOS app available for news subscribers.

The Crackdown on Student Protesters

Columbia university is at the center of a growing showdown over the war in gaza and the limits of free speech..

This transcript was created using speech recognition software. While it has been reviewed by human transcribers, it may contain errors. Please review the episode audio before quoting from this transcript and email [email protected] with any questions.

[TRAIN SCREECHING]

Well, you can hear the helicopter circling. This is Asthaa Chaturvedi. I’m a producer with “The Daily.” Just walked out of the 116 Street Station. It’s the main station for Columbia’s Morningside Heights campus. And it’s day seven of the Gaza solidarity encampment, where a hundred students were arrested last Thursday.

So on one side of Broadway, you see camera crews. You see NYPD officers all lined up. There’s barricades, steel barricades, caution tape. This is normally a completely open campus. And I’m able to — all members of the public, you’re able to walk through.

[NON-ENGLISH SPEECH]

Looks like international media is here.

Have your IDs out. Have your IDs out.

Students lining up to swipe in to get access to the University. ID required for entry.

Swipe your ID, please.

Hi, how are you, officer? We’re journalists with “The New York Times.”

You’re not going to get in, all right? I’m sorry.

Hi. Can I help please?

Yeah, it’s total lockdown here at Columbia.

Please have your IDs out ready to swipe.

From “The New York Times,” I’m Michael Barbaro. This is “The Daily.” Today, the story of how Columbia University has become the epicenter of a growing showdown between student protesters, college administrators, and Congress over the war in Gaza and the limits of free speech. I spoke with my colleague, Nick Fandos.

[UPBEAT MUSIC]

It’s Thursday, April 25.

Nick, if we rewind the clock a few months, we end up at a moment where students at several of the country’s best known universities are protesting Israel’s response to the October 7 attacks, its approach to a war in Gaza. At times, those protests are happening peacefully, at times with rhetoric that is inflammatory. And the result is that the leaders of those universities land before Congress. But the president of Columbia University, which is the subject we’re going to be talking about today, is not one of the leaders who shows up for that testimony.

That’s right. So the House Education Committee has been watching all these protests on campus. And the Republican Chairwoman decides, I’m going to open an investigation, look at how these administrations are handling it, because it doesn’t look good from where I sit. And the House last winter invites the leaders of several of these elite schools, Harvard, Penn, MIT, and Columbia, to come and testify in Washington on Capitol Hill before Congress.

Now, the President of Columbia has what turns out to be a very well-timed, pre-planned trip to go overseas and speak at an international climate conference. So Minouche Shafik isn’t going to be there. So instead, the presidents of Harvard, and Penn, and MIT show up. And it turned out to be a disaster for these universities.

They were asked very pointed questions about the kind of speech taking place on their campuses, and they gave really convoluted academic answers back that just baffled the committee. But there was one question that really embodied the kind of disconnect between the Committee — And it wasn’t just Republicans, Republicans and Democrats on the Committee — and these college presidents. And that’s when they were asked a hypothetical.

Does calling for the genocide of Jews violate Penn’s rules or code of conduct? Yes or no?

If the speech turns into conduct, it can be harassment.

And two of the presidents, Claudine Gay of Harvard and Elizabeth Magill of the University of Pennsylvania, they’re unwilling to say in this really kind of intense back and forth that this speech would constitute a violation of their rules.

It can be, depending on the context.

What’s the context?

Targeted at an individual. Is it pervasive?

It’s targeted at Jewish students, Jewish individuals. Do you understand your testimony is dehumanizing them?

And it sets off a firestorm.

It does not depend on the context. The answer is yes. And this is why you should resign. These are unacceptable answers across the board.

Members of Congress start calling for their resignations. Alumni are really, really ticked off. Trustees of the University start to wonder, I don’t know that these leaders really have got this under control. And eventually, both of them lose their jobs in a really high profile way.

Right. And as you’ve hinted at, for somewhat peculiar scheduling reasons, Columbia’s President escapes this disaster of a hearing in what has to be regarded as the best timing in the history of the American Academy.

Yeah, exactly. And Columbia is watching all this play out. And I think their first response was relief that she was not in that chair, but also a recognition that, sooner or later, their turn was going to come back around and they were going to have to sit before Congress.

Why were they so certain that they would probably end up before Congress and that this wasn’t a case of completely dodging a bullet?

Well, they remain under investigation by the committee. But also, as the winter wears on, all the same intense protests just continue unabated. So in many ways, Columbia’s like these other campuses. But in some ways, it’s even more intense. This is a university that has both one of the largest Jewish student populations of any of its peers. But it also has a large Arab and Muslim student population, a big Middle Eastern studies program. It has a dual degree program in Tel Aviv.

And it’s a university on top of all that that has a real history of activism dating back to the 1960s. So when students are recruited or choose to come to Columbia, they’re actively opting into a campus that prides itself on being an activist community. It’s in the middle of New York City. It’s a global place. They consider the city and the world, really, like a classroom to Columbia.

In other words, if any campus was going to be a hotbed of protest and debate over this conflict, it was going to be Columbia University.

Exactly. And when this spring rolls around, the stars finally align. And the same congressional committee issues another invitation to Minouche Shafik, Columbia’s President, to come and testify. And this time, she has no excuse to say no.

But presumably, she is well aware of exactly what testifying before this committee entails and is highly prepared.

Columbia knew this moment was coming. They spent months preparing for this hearing. They brought in outside consultants, crisis communicators, experts on anti-Semitism. The weekend before the hearing, she actually travels down to Washington to hole up in a war room, where she starts preparing her testimony with mock questioners and testy exchanges to prep her for this. And she’s very clear on what she wants to try to do.

Where her counterparts had gone before the committee a few months before and looked aloof, she wanted to project humility and competence, to say, I know that there’s an issue on my campus right now with some of these protests veering off into anti-Semitic incidents. But I’m getting that under control. I’m taking steps in good faith to make sure that we restore order to this campus, while allowing people to express themselves freely as well.

So then the day of her actual testimony arrives. And just walk us through how it goes.

The Committee on Education and Workforce will come to order. I note that —

So Wednesday morning rolls around. And President Shafik sits at the witness stand with two of her trustees and the head of Columbia’s new anti-Semitism task force.

Columbia stands guilty of gross negligence at best and at worst has become a platform for those supporting terrorism and violence against the Jewish people.

And right off the bat, they’re put through a pretty humbling litany of some of the worst hits of what’s been happening on campus.

For example, just four days after the harrowing October 7 attack, a former Columbia undergraduate beat an Israeli student with a stick.

The Republican Chairwoman of the Committee, Virginia Foxx, starts reminding her that there was a student who was actually hit with a stick on campus. There was another gathering more recently glorifying Hamas and other terrorist organizations, and the kind of chants that have become an everyday chorus on campus, which many Jewish students see as threatening. But when the questioning starts, President Shafik is ready. One of the first ones she gets is the one that tripped up her colleagues.

Does calling for the genocide of Jews violate Columbia’s code of conduct, Mr. Greenwald?

And she answers unequivocally.

Dr. Shafik?

Yes, it does.

And, Professor —

That would be a violation of Columbia’s rules. They would be punished.

As President of Columbia, what is it like when you hear chants like, by any means necessary or Intifada Revolution?

I find those chants incredibly distressing. And I wish profoundly that people would not use them on our campus.

And in some of the most interesting exchanges of the hearing, President Shafik actually opens Columbia’s disciplinary books.

We have already suspended 15 students from Columbia. We have six on disciplinary probation. These are more disciplinary actions that have been taken probably in the last decade at Columbia. And —

She talks about the number of students that have been suspended, but also the number of faculty that she’s had removed from the classroom that are being investigated for comments that either violate some of Columbia’s rules or make students uncomfortable. One case in particular really underscores this.

And that’s of a Middle Eastern studies professor named Joseph Massad. He wrote an essay not long after Hamas invaded Israel and killed 1,200 people, according to the Israeli government, where he described that attack with adjectives like awesome. Now, he said they’ve been misinterpreted, but a lot of people have taken offense to those comments.

Ms. Stefanik, you’re recognized for five minutes.

Thank you, Chairwoman. I want to follow up on my colleague, Rep Walberg’s question regarding Professor Joseph Massad. So let me be clear, President —

And so Representative Elise Stefanik, the same Republican who had tripped up Claudine Gay of Harvard and others in the last hearing, really starts digging in to President Shafik about these things at Columbia.

He is still Chair on the website. So has he been terminated as Chair?

Congresswoman, I —

And Shafik’s answers are maybe a little surprising.

— before getting back to you. I can confirm —

I know you confirmed that he was under investigation.

Yes, I can confirm that. But I —

Did you confirm he was still the Chair?

He says that Columbia is taking his case seriously. In fact, he’s under investigation right now.

Well, let me ask you this.

I need to check.

Will you make the commitment to remove him as Chair?

And when Stefanik presses her to commit to removing him from a campus leadership position —

I think that would be — I think — I would — yes. Let me come back with yes. But I think I — I just want to confirm his current status before I write —

We’ll take that as a yes, that you will confirm that he will no longer be chair.

Shafik seems to pause and think and then agree to it on the spot, almost like she is making administrative decisions with or in front of Congress.

Now, we did some reporting after the fact. And it turns out the Professor didn’t even realize he was under investigation. So he’s learning about this from the hearing too. So what this all adds up to, I think, is a performance so in line with what the lawmakers themselves wanted to hear, that at certain points, these Republicans didn’t quite know what to do with it. They were like the dog that caught the car.

Columbia beats Harvard and UPenn.

One of them, a Republican from Florida, I think at one point even marvelled, well, you beat Harvard and Penn.

Y’all all have done something that they weren’t able to do. You’ve been able to condemn anti-Semitism without using the phrase, it depends on the context. But the —

So Columbia’s president has passed this test before this committee.

Yeah, this big moment that tripped up her predecessors and cost them their jobs, it seems like she has cleared that hurdle and dispatched with the Congressional committee that could have been one of the biggest threats to her presidency.

Without objection, there being no further business, the committee stands adjourned. [BANGS GAVEL]

But back on campus, some of the students and faculty who had been watching the hearing came away with a very different set of conclusions. They saw a president who was so eager to please Republicans in Congress that she was willing to sell out some of the University’s students and faculty and trample on cherished ideas like academic freedom and freedom of expression that have been a bedrock of American higher education for a really long time.

And there was no clearer embodiment of that than what had happened that morning just as President Shafik was going to testify before Congress. A group of students before dawn set up tents in the middle of Columbia’s campus and declared themselves a pro-Palestinian encampment in open defiance of the very rules that Dr. Shafik had put in place to try and get these protests under control.

So these students in real-time are beginning to test some of the things that Columbia’s president has just said before Congress.

Exactly. And so instead of going to celebrate her successful appearance before Congress, Shafik walks out of the hearing room and gets in a black SUV to go right back to that war room, where she’s immediately confronted with a major dilemma. It basically boils down to this, she had just gone before Congress and told them, I’m going to get tough on these protests. And here they were. So either she gets tough and risks inflaming tension on campus or she holds back and does nothing and her words before Congress immediately look hollow.

And what does she decide?

So for the next 24 hours, she tries to negotiate off ramps. She consults with her Deans and the New York Police Department. And it all builds towards an incredibly consequential decision. And that is, for the first time in decades, to call the New York City Police Department onto campus in riot gear and break this thing up, suspend the students involved, and then arrest them.

To essentially eliminate this encampment.

Eliminate the encampment and send a message, this is not going to be tolerated. But in trying to quell the unrest, Shafik actually feeds it. She ends up leaving student protesters and the faculty who support them feeling betrayed and pushes a campus that was already on edge into a full blown crisis.

[SLOW TEMPO MUSIC]

After the break, what all of this has looked like to a student on Columbia’s campus. We’ll be right back.

[PHONE RINGS]

Is this Isabella?

Yes, this is she.

Hi, Isabella. It’s Michael Barbaro from “The Daily.”

Hi. Nice to meet you.

Earlier this week, we called Isabella Ramírez, the Editor in Chief of Columbia’s undergraduate newspaper, “The Columbia Daily Spectator,” which has been closely tracking both the protests and the University’s response to them since October 7.

So, I mean, in your mind, how do we get to this point? I wonder if you can just briefly describe the key moments that bring us to where we are right now.

Sure. Since October 7, there has certainly been constant escalation in terms of tension on campus. And there have been a variety of moves that I believe have distanced the student body, the faculty, from the University and its administration, specifically the suspension of Columbia’s chapters of Students for Justice in Palestine and Jewish Voice for Peace. And that became a huge moment in what was characterized as suppression of pro-Palestinian activism on campus, effectively rendering those groups, quote, unquote, unauthorized.

What was the college’s explanation for that?

They had cited in that suspension a policy which states that a demonstration must be approved within a certain window, and that there must be an advance notice, and that there’s a process for getting an authorized demonstration. But the primary point was this policy that they were referring to, which we later reported, was changed before the suspension.

So it felt a little ad hoc to people?

Yes, it certainly came as a surprise, especially at “Spectator.” We’re nerds of the University in the sense that we are familiar with faculty and University governance. But even to us, we had no idea where this policy was coming from. And this suspension was really the first time that it entered most students’ sphere.

Columbia’s campus is so known for its activism. And so in my time of being a reporter, of being an editor, I’ve overseen several protests. And I’ve never seen Columbia penalize a group for, quote, unquote, not authorizing a protest. So that was certainly, in our minds, unprecedented.

And I believe part of the justification there was, well, this is a different time. And I think that is a reasonable thing to say. But I think a lot of students, they felt it was particularly one-sided, that it was targeting a specific type of speech or a specific type of viewpoint. Although, the University, of course, in its explicit policies, did not outline, and was actually very explicit about not targeting specific viewpoints —

So just to be super clear, it felt to students — and it sounds like, journalistically, it felt to you — that the University was coming down in a uniquely one-sided way against students who were supporting Palestinian rights and may have expressed some frustrations with Israel in that moment.

Yes. Certainly —

Isabella says that this was just the beginning of a really tense period between student protesters and the University. After those two student groups were suspended, campus protests continued. Students made a variety of demands. They asked that the University divest from businesses that profit from Israel’s military operations in Gaza. But instead of making any progress, the protests are met with further crackdown by the University.

And so as Isabella and her colleagues at the college newspaper see it, there’s this overall chilling effect that occurs. Some students become fearful that if they participate in any demonstrations, they’re going to face disciplinary action. So fast forward now to April, when these student protesters learned that President Shafik is headed to Washington for her congressional testimony. It’s at this moment that they set out to build their encampment.

I think there was obviously a lot of intention in timing those two things. I think it’s inherently a critique on a political pressure and this congressional pressure that we saw build up against, of course, Claudine Gay at Harvard and Magill at UPenn. So I think a lot of students and faculty have been frustrated at this idea that there are not only powers at the University that are dictating what’s happening, but there are perhaps external powers that are also guiding the way here in terms of what the University feels like it must do or has to do.

And I think that timing was super crucial. Having the encampment happen on the Wednesday morning of the hearing was an incredible, in some senses, interesting strategy to direct eyes to different places.

All eyes were going to be on Shafik in DC. But now a lot of eyes are on New York. The encampment is set up in the middle of the night slash morning, prior to the hearing. And so what effectively happens is they caught Shafik when she wasn’t on campus, when a lot of senior administration had their resources dedicated to supporting Shafik in DC.

And you have all of those people not necessarily out of commission, but with their focus elsewhere. So the encampment is met with very little resistance at the beginning. There were public safety officers floating around and watching. But at the very beginning hours, I think there was a sense of, we did it.

[CHANTING]: Disclose! Divest! We will not stop! We will not rest. Disclose! Divest! We will not stop!

It would be quite surprising to anybody and an administrator to now suddenly see dozens of tents on this lawn in a way that I think very purposely puts an imagery of, we’re here to stay. As the morning evolved and congressional hearings continued —

Minouche Shafik, open your eyes! Use of force, genocide!

Then we started seeing University delegates that were coming to the encampment saying, you may face disciplinary action for continuing to be here. I think that started around almost — like 9:00 or 10:00 AM, they started handing out these code of conduct violation notices.

Hell no! Hell no! Hell no!

Then there started to be more public safety action and presence. So they started barricading the entrances. The day progressed, there was more threat of discipline. The students became informed that if they continue to stay, they will face potential academic sanctions, potential suspension.

The more they try to silence us, the louder we will be! The more they —

I think a lot of people were like, OK, you’re threatening us with suspension. But so what?

This is about these systems that Minouche Shafik, that the Board of Trustees, that Columbia University is complicit in.

What are you going to do to try to get us out of here? And that was, obviously, promptly answered.

This is the New York State Police Department.

We will not stop!

You are attempting participate in an unauthorized encampment. You will be arrested and charged with trespassing.

My phone blew up, obviously, from the reporters, from the editors, of saying, oh my god, the NYPD is on our campus. And as soon as I saw that, I came out. And I saw a huge crowd of students and affiliates on campus watching the lawns. And as I circled around that crowd, I saw the last end of the New York Police Department pulling away protesters and clearing out the last of the encampment.

[CHANTING]: We love you! We will get justice for you! We see you! We love you! We will get justice for you! We see you! We love you! We will get justice for you! We see you! We love you! We will get justice for you!

It was something truly unimaginable, over 100 students slash other individuals are arrested from our campus, forcefully removed. And although they were suspended, there was a feeling of traumatic event that has just happened to these students, but also this sense of like, OK, the worst of the worst that could have happened to us just happened.

And for those students who maybe couldn’t go back to — into campus, now all of their peers, who were supporters or are in solidarity, are — in some sense, it’s further emboldened. They’re now not just sitting on the lawns for a pro-Palestinian cause, but also for the students, who have endured quite a lot.

So the crackdown, sought by the president and enforced by the NYPD, ends up, you’re saying, becoming a galvanizing force for a broader group of Columbia students than were originally drawn to the idea of ever showing up on the center of campus and protesting?

Yeah, I can certainly speak to the fact that I’ve seen my own peers, friends, or even acquaintances, who weren’t necessarily previously very involved in activism and organizing efforts, suddenly finding themselves involved.

Can I — I just have a question for you, which is all journalism, student journalism or not student journalism, is a first draft of history. And I wonder if we think of this as a historic moment for Columbia, how you imagine it’s going to be remembered.

Yeah, there is no doubt in my mind that this will be a historic moment for Colombia.

I think that this will be remembered as a moment in which the fractures were laid bare. Really, we got to see some of the disunity of the community in ways that I have never really seen it before. And what we’ll be looking to is, where do we go from here? How does Colombia repair? How do we heal from all of this? so That is the big question in terms of what will happen.

Nick, Isabella Ramírez just walked us through what this has all looked like from the perspective of a Columbia student. And from what she could tell, the crackdown ordered by President Shafik did not quell much of anything. It seemed, instead, to really intensify everything on campus. I’m curious what this has looked like for Shafik.

It’s not just the students who are upset. You have faculty, including professors, who are not necessarily sympathetic to the protesters’ view of the war, who are really outraged about what Shafik has done here. They feel that she’s crossed a boundary that hasn’t been crossed on Columbia’s campus in a really long time.

And so you start to hear things by the end of last week like censure, no confidence votes, questions from her own professors about whether or not she can stay in power. So this creates a whole new front for her. And on top of it all, as this is going on, the encampment itself starts to reform tent-by-tent —

— almost in the same place that it was. And Shafik decides that the most important thing she could do is to try and take the temperature down, which means letting the encampment stand. Or in other words, leaning in the other direction. This time, we’re going to let the protesters have their say for a little while longer.

The problem with that is that, over the weekend, a series of images start to emerge from on campus and just off of it of some really troubling anti-Semitic episodes. In one case, a guy holds up a poster in the middle of campus and points it towards a group of Jewish students who are counter protesting. And it says, I’m paraphrasing here, Hamas’ next targets.

I saw an image of that. What it seemed to evoke was the message that Hamas should murder those Jewish students. That’s the way the Jewish students interpreted it.

It’s a pretty straightforward and jarring statement. At the same time, just outside of Columbia’s closed gates —

Stop killing children!

— protestors are showing up from across New York City. It’s hard to tell who’s affiliated with Columbia, who’s not.

Go back to Poland! Go back to Poland!

There’s a video that goes viral of one of them shouting at Jewish students, go back to Poland, go back to Europe.

In other words, a clear message, you’re not welcome here.

Right. In fact, go back to the places where the Holocaust was committed.

Exactly. And this is not representative of the vast majority of the protesters in the encampment, who mostly had been peaceful. They would later hold a Seder, actually, with some of the pro-Palestinian Jewish protesters in their ranks. But those videos are reaching members of Congress, the very same Republicans that Shafik had testified in front of just a few days before. And now they’re looking and saying, you have lost control of your campus, you’ve turned back on your word to us, and you need to resign.

They call for her outright resignation over this.

That’s right. Republicans in New York and across the country began to call for her to step down from her position as president of Columbia.

So Shafik’s dilemma here is pretty extraordinary. She has set up this dynamic where pleasing these members of Congress would probably mean calling in the NYPD all over again to sweep out this encampment, which would mean further alienating and inflaming students and faculty, who are still very upset over the first crackdown. And now both ends of this spectrum, lawmakers in Washington, folks on the Columbia campus, are saying she can’t lead the University over this situation before she’s even made any fateful decision about what to do with this second encampment. Not a good situation.

No. She’s besieged on all sides. For a while, the only thing that she can come up with to offer is for classes to go hybrid for the remainder of the semester.

So students who aren’t feeling safe in this protest environment don’t necessarily have to go to class.

Right. And I think if we zoom out for a second, it’s worth bearing in mind that she tried to choose a different path here than her counterparts at Harvard or Penn. And after all of this, she’s kind of ended up in the exact same thicket, with people calling for her job with the White House, the Mayor of New York City, and others. These are Democrats. Maybe not calling on her to resign quite yet, but saying, I don’t know what’s going on your campus. This does not look good.

That reality, that taking a different tack that was supposed to be full of learnings and lessons from the stumbles of her peers, the fact that didn’t really work suggests that there’s something really intractable going on here. And I wonder how you’re thinking about this intractable situation that’s now arrived on these college campuses.

Well, I don’t think it’s just limited to college campuses. We have seen intense feelings about this conflict play out in Hollywood. We’ve seen them in our politics in all kinds of interesting ways.

In our media.

We’ve seen it in the media. But college campuses, at least in their most idealized form, are something special. They’re a place where students get to go for four years to think in big ways about moral questions, and political questions, and ideas that help shape the world they’re going to spend the rest of their lives in.

And so when you have a question that feels as urgent as this war does for a lot of people, I think it reverberates in an incredibly intense way on those campuses. And there’s something like — I don’t know if it’s quite a contradiction of terms, but there’s a collision of different values at stake. So universities thrive on the ability of students to follow their minds and their voices where they go, to maybe even experiment a little bit and find those things.

But there are also communities that rely on people being able to trust each other and being able to carry out their classes and their academic endeavors as a collective so they can learn from one another. So in this case, that’s all getting scrambled. Students who feel strongly about the Palestinian cause feel like the point is disruption, that something so big, and immediate, and urgent is happening that they need to get in the faces of their professors, and their administrators, and their fellow students.

Right. And set up an encampment in the middle of campus, no matter what the rules say.

Right. And from the administration’s perspective, they say, well, yeah, you can say that and you can think that. And that’s an important process. But maybe there’s some bad apples in your ranks. Or though you may have good intentions, you’re saying things that you don’t realize the implications of. And they’re making this environment unsafe for others. Or they’re grinding our classes to a halt and we’re not able to function as a University.

So the only way we’re going to be able to move forward is if you will respect our rules and we’ll respect your point of view. The problem is that’s just not happening. Something is not connecting with those two points of view. And as if that’s not hard enough, you then have Congress and the political system with its own agenda coming in and putting its thumb on a scale of an already very difficult situation.

Right. And at this very moment, what we know is that the forces that you just outlined have created a dilemma, an uncertainty of how to proceed, not just for President Shafik and the students and faculty at Columbia, but for a growing number of colleges and universities across the country. And by that, I mean, this thing that seemed to start at Columbia is literally spreading.

Absolutely. We’re talking on a Wednesday afternoon. And these encampments have now started cropping up at universities from coast-to-coast, at Harvard and Yale, but also at University of California, at the University of Texas, at smaller campuses in between. And at each of these institutions, there’s presidents and deans, just like President Shafik at Columbia, who are facing a really difficult set of choices. Do they call in the police? The University of Texas in Austin this afternoon, we saw protesters physically clashing with police.

Do they hold back, like at Harvard, where there were dramatic videos of students literally running into Harvard yard with tents. They were popping up in real-time. And so Columbia, really, I think, at the end of the day, may have kicked off some of this. But they are now in league with a whole bunch of other universities that are struggling with the same set of questions. And it’s a set of questions that they’ve had since this war broke out.

And now these schools only have a week or two left of classes. But we don’t know when these standoffs are going to end. We don’t know if students are going to leave campus for the summer. We don’t know if they’re going to come back in the fall and start protesting right away, or if this year is going to turn out to have been an aberration that was a response to a really awful, bloody war, or if we’re at the beginning of a bigger shift on college campuses that will long outlast this war in the Middle East.

Well, Nick, thank you very much. Thanks for having me, Michael.

We’ll be right back.

Here’s what else you need to know today. The United Nations is calling for an independent investigation into two mass graves found after Israeli forces withdrew from hospitals in Gaza. Officials in Gaza said that some of the bodies found in the graves were Palestinians who had been handcuffed or shot in the head and accused Israel of killing and burying them. In response, Israel said that its soldiers had exhumed bodies in one of the graves as part of an effort to locate Israeli hostages.

And on Wednesday, Hamas released a video of Hersh Goldberg-Polin, an Israeli-American dual citizen, whom Hamas has held hostage since October 7. It was the first time that he has been shown alive since his captivity began. His kidnapping was the subject of a “Daily” episode in October that featured his mother, Rachel. In response to Hamas’s video, Rachel issued a video of her own, in which she spoke directly to her son.

And, Hersh, if you can hear this, we heard your voice today for the first time in 201 days. And if you can hear us, I am telling you, we are telling you, we love you. Stay strong. Survive.

Today’s episode was produced by Sydney Harper, Asthaa Chaturvedi, Olivia Natt, Nina Feldman, and Summer Thomad, with help from Michael Simon Johnson. It was edited by Devon Taylor and Lisa Chow, contains research help by Susan Lee, original music by Marion Lozano and Dan Powell, and was engineered by Chris Wood. Our theme music is by Jim Brunberg and Ben Landsverk of Wonderly. That’s it for “The Daily.” I’m Michael Barbaro. See you tomorrow.

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Hosted by Michael Barbaro

Featuring Nicholas Fandos

Produced by Sydney Harper ,  Asthaa Chaturvedi ,  Olivia Natt ,  Nina Feldman and Summer Thomad

With Michael Simon Johnson

Edited by Devon Taylor and Lisa Chow

Original music by Marion Lozano and Dan Powell

Engineered by Chris Wood

Listen and follow The Daily Apple Podcasts | Spotify | Amazon Music

Columbia University has become the epicenter of a growing showdown between student protesters, college administrators and Congress over the war in Gaza and the limits of free speech.

Nicholas Fandos, who covers New York politics and government for The Times, walks us through the intense week at the university. And Isabella Ramírez, the editor in chief of Columbia’s undergraduate newspaper, explains what it has all looked like to a student on campus.

On today’s episode

Nicholas Fandos , who covers New York politics and government for The New York Times

Isabella Ramírez , editor in chief of The Columbia Daily Spectator

Background reading

Inside the week that shook Columbia University .

The protests at the university continued after more than 100 arrests.

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We aim to make transcripts available the next workday after an episode’s publication. You can find them at the top of the page.

Research help by Susan Lee .

The Daily is made by Rachel Quester, Lynsea Garrison, Clare Toeniskoetter, Paige Cowett, Michael Simon Johnson, Brad Fisher, Chris Wood, Jessica Cheung, Stella Tan, Alexandra Leigh Young, Lisa Chow, Eric Krupke, Marc Georges, Luke Vander Ploeg, M.J. Davis Lin, Dan Powell, Sydney Harper, Mike Benoist, Liz O. Baylen, Asthaa Chaturvedi, Rachelle Bonja, Diana Nguyen, Marion Lozano, Corey Schreppel, Rob Szypko, Elisheba Ittoop, Mooj Zadie, Patricia Willens, Rowan Niemisto, Jody Becker, Rikki Novetsky, John Ketchum, Nina Feldman, Will Reid, Carlos Prieto, Ben Calhoun, Susan Lee, Lexie Diao, Mary Wilson, Alex Stern, Dan Farrell, Sophia Lanman, Shannon Lin, Diane Wong, Devon Taylor, Alyssa Moxley, Summer Thomad, Olivia Natt, Daniel Ramirez and Brendan Klinkenberg.

Our theme music is by Jim Brunberg and Ben Landsverk of Wonderly. Special thanks to Sam Dolnick, Paula Szuchman, Lisa Tobin, Larissa Anderson, Julia Simon, Sofia Milan, Mahima Chablani, Elizabeth Davis-Moorer, Jeffrey Miranda, Renan Borelli, Maddy Masiello, Isabella Anderson and Nina Lassam.

Nicholas Fandos is a Times reporter covering New York politics and government. More about Nicholas Fandos

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