The science fiction genre has always been financially successful. When you look at the box office numbers, you begin to realize that some of the biggest contemporary releases fit within the genre. Even if you ignore the superhero genre, you’re still left with movies as gargantuan as Avatar: The Way of Water, Jurassic World: Dominion, and A Quiet Place Part II. These movies sell tickets, but unfortunately, not every entry in the genre is that successful.

This remains true when you venture back to the past. Again, you have some undeniable classics, but as is the case with every genre, there are films that simply go unnoticed. That’s why this list exists.

Below, you’ll find ten science fiction classics that unfortunately fell by the wayside. These movies offer just as much quality as their blockbuster brethren, but they sadly failed (and perhaps continue to fail) to ignite the world.

Science fiction is a relatively broad genre, so there’s no guarantee that every entry on this list will click with every individual. That being said, there is an eclectic assortment, and as such, there should be something worthwhile for everybody.

1. My Twentieth Century (1989)

In terms of critical acclaim, My Twentieth Century is anything but underrated. The Hungarian sci-fi comedy sits at an impressive 100% on Rotten Tomatoes, and while that’s partially due to a low review count, it’s hard to ignore just how glowing the reviews are. By all accounts, professional critics tend to call it a masterpiece. Of course, this list doesn’t revolve around critical acclaim; it focuses more on the general public’s reaction. To most casual movie-watchers, My Twentieth Century is nothing.

Maybe that’s for the best. Like a lot of films on this list, nobody would claim this is an accessible watch. Its status as an out-and-out arthouse film is debatable, but at the very least, it’s a rollercoaster made up of various tones and narrative decisions. Frankly, it’s hard to believe that, with so many contrasting elements, it still feels like a cohesive final product.

Indeed, it’s a daunting watch, but it rewards patient viewers looking to explore the labyrinthine themes. It touches on the impact of massive technological advancements, it touches on the gender roles of the time, and above all, it touches on human nature. It’s both beautiful and confounding, and if you let it wash over you, it’s a game changer.

2. Dead Man’s Letters (1986)

Konstantin Lopushansky’s directorial debut is a grim, thought-provoking post-apocalyptic nightmare that feels hopeless in the best possible way. Lopushansky, who previously worked with acclaimed director Tarkovsky, gives viewers a technical feat that may well be one of the greatest post-apocalyptic movies you (probably) haven’t seen. It’s not easy to sit through, but it’s as powerful as it is memorable.

The film, which takes place in a bunker shortly after a nuclear war, forces viewers to ask big questions. What is life without humanity? Why do we wake up every morning? It’s startling in its ambition, and even more startling in its willingness to dive into such depressing territories. By today’s standards, it could be considered too slow or too depressing, but fans of Tarkovsky’s work will no doubt appreciate the effort that was put into this film.

3. Gandahar (1987)

French animator René Laloux is best known for Fantastic Planet, a critical darling that continues to be listed as one of the greatest animated films of all time. While Fantastic Planet is arguably the director’s magnum opus, his other two releases are by no means failures. On the contrary, they do a fantastic job of proving that Laloux is an auteur capable of crafting mind-binding visual feasts. Gandahar, for example, is a cerebral slice of adult animation that manages to titillate at every given opportunity.

It doesn’t stray far from Laloux’s previous works; it covers a lot of the same themes and story beats. However, when you consider how idiosyncratic these features are, it’s hard to complain. If you liked Fantastic Planet, it’s hard not to like Gandahar as well. Laloux has a distinct style, and if that style works for you once, it should continue to work for you.

4. Phase IV (1974)

American graphic designer Saul Bass worked for some of the greatest directors to ever live. His unique, visually arresting title sequences continue to entrance viewers decades later. That being said, his work as a director has unfortunately left little to no impact. His only feature length film, Phase IV, was a critical and commercial disaster following its release. Although it has since developed a small cult following, it’s mostly regarded as a failed experiment.

That assessment is unfair. Phase IV takes what you know about creature features and completely shatters your expectations. In the film, a mysterious event causes ants to rapidly evolve, resulting in a superior hive mind that allows them to complete tasks with unparalleled efficiency. Following this revelation, the plot slows down rather than speeds up.

Even fifty years later, the decision to pump the brakes feels unusual. Similar films revel in chaos, but Phase IV offers a more heady, solemn experience. The unconventional pacing can cause certain moments to drag, but buried beneath the jargon-heavy monologues is a stunning showcase of special effects that also happens to feature compelling characters.

Given Bass’s history with graphic design, it should be no surprise that the visuals are mesmerizing. Even today, Phase IV continues to look incredible. While certain visual effects are worth the price of admission alone, it certainly helps that there is a story worth telling. Sure, it’s not told in a conventional manner, but there is clearly an audience that will absolutely adore Phase IV.

5. Blue Sunshine (1977)

In Jeff Lieberman’s campy sci-fi horror release, Jerry Zipkin, played by Zalman King, witnesses a psychotic breakdown during a party. This rampage results in the death of several party guests, and Zipkin is the only character left alive. In an effort to prove his innocence, he tries to connect the dots, eventually discovering that these murders may be linked to an unusual brand of LSD. From there, the protagonist does everything he can to expose this conspiracy

As a satire of the war on drugs, Blue Sunshine isn’t entirely successful. While most failed satirical films hit viewers over the head, this one might actually be too subtle for its own good. Without much analysis, Lieberman’s script can be interpreted as a straightforward piece of anti-drug propaganda. It’s not quite Reefer Madness levels of crazy, but there’s certainly a case to be made. That being said, Lieberman has labeled it a “satirical statement” in at least one interview.

Even if its message isn’t always clear, Blue Sunshine is massively successful as a piece of entertainment. Lieberman knows how to keep people engaged, and his knack for crafting eccentric characters is unparalleled. It’s hard not to be entertained by bald murderers tripping on acid, but when you factor in the likable ensemble, you’re left with a low-budget cult classic that should fill you with pure joy. It’s not exactly an intellectual exercise, but it is an excellent way to spend ninety minutes.

Classic sci-fi movies like Metropolis, Blade Runner, and 2001: A Space Odyssey have influenced future films within the genre immensely. The amount of discourse surrounding these films continues to grow to this day. Because of that, it’s best to leave those discussions alone; we’ve seen enough. Fans of the genre are well aware of the impact these movies have had on cinema.

That brings us to this list. Instead of discussing the big names, the focus will be on more obscure releases that hit just as hard. You’ll find a mix of cinephile favorites, cult classics, and completely forgotten science fiction gems here. What you hopefully won’t find is a list of movies that we’ve heard about time and time again.

The goal here is to broaden some horizons. Obscurity is not the same thing as poor quality. Films manage to fall through the cracks for numerous reasons, but that doesn’t mean they don’t deserve recognition. If that were the case, we wouldn’t need articles like this.

1. The Face of Another (1966)

Hiroshi Teshigahara is perhaps best known for 1964’s Woman in the Dunes, a film that earned him a Best Director nomination at the Academy Awards. Today, it’s widely heralded as one of the greatest films of all time. While it’s not quite as well-known as something like The Godfather, it has had plenty of attention given to it throughout the years. Unfortunately, the same can’t be said for The Face of Another, an equally experimental Kōbō Abe adaptation.

Although reception has grown warmer as the years go by, The Face of Another ultimately fails to get the recognition it deserves. It’s easy to argue that it lacks the gusto of something like Woman in the Dunes, but it has merits in other areas. In particular, it makes an effort to hone in on big questions.

Teshigahara attempts to look at the connection between mind and body. How much of your identity is tied to your appearance, and what happens when you dwell on how others perceive you? If your appearance drastically changes, do you lose part of your identity? These questions are explored with depth and care, which leads us to a movie that never talks down to its viewers.

The more intellectual properties stand out, but there’s also plenty to be said about the quality of the filmmaking. The Face of Another is a gorgeous motion picture with notable attention to detail. Teshigahara doesn’t just want to tell a thought-provoking story about a man who becomes unrecognizable; he wants to stun viewers with his exquisite craftsmanship.

2. On the Silver Globe (1988)

Out of every title on this list, On the Silver Globe stands out as the most peculiar. Andrzej Żuławski’s ambitious art film was never finished in the traditional sense. While the director was able to salvage a large percentage of his intended vision, we will never see a cohesive version of this film. Polish authorities shut down production in 1977, and although the film was technically completed years later, it wasn’t exactly given the Snyder Cut treatment.

This ultimately means that viewers need to adjust their expectations before diving into Żuławski’s dense sci-fi masterpiece. Due to the circumstances revolving around the production of the film, Żuławski chose to fill in certain gaps with narration. This obviously adds to the unfinished feel of the not-so-final-product. If you’re able to ignore the circumstantial faults, you’re liable to appreciate audacious scope and breathtaking visuals.

At the same time, it helps to have an appreciation of arthouse absurdities. On the Silver Globe isn’t as accessible as more mainstream releases. It’s often as extraordinary as it is perplexing. Viewers just need to understand that there are numerous intricacies that prevent casual viewing. You get out what you put in here, so set aside three hours of your time and let this unusual piece of Polish history take you on a journey.

3. Je t’aime, je t’aime (1968)

Je t’aime, je t’aime introduces us to Claude, a suicidal man who decides to participate in a time travel experiment. In theory, this experiment will allow him to go back to periods in his life for small increments of time. Things quickly go awry when Claude begins traveling to random moments in his life with no obvious pattern. With no control over when and where he appears, Claude’s mental state deteriorates.

To a lot of viewers, Je t’aime, je t’aime will come off as frustrating. Alain Resnais’s take on time travel doesn’t even attempt to tell a linear story. Instead, he floods viewers with fragmented pieces of the protagonist’s life. It’s up to the viewer to put the pieces together and determine the meaning of everything. It’s not completely obtuse, but it also doesn’t have the clearest of intentions.

Regardless, there’s so much to sit on here. Je t’aime, je t’aime practically begs viewers to watch it multiple times. Subsequent viewings uncover more pieces, but they also allow people to pick the protagonist’s brain apart. This kind of depth doesn’t come around often, so it’s best to power through and see what you can glean from it.

4. The Day the Earth Caught Fire (1961)

When you think about disaster movies, you probably think about Independence Day, Armageddon, and Twister. This subgenre has become chock-full of films that are heavy on visual effects and light on character development. This isn’t inherently troublesome, especially since most viewers watch them as a form of escapism. At the same time, it’s clear that there isn’t much variety when it comes to these types of releases. You know what to expect coming in, and while plenty of people will consider that a positive, there are others who want something different.

The Day the Earth Caught Fire is a far cry from the aforementioned films. Unlike so many other disaster flicks, the actual disaster happens in the background. This time around, the focus is on the individual characters who face their own personal disasters.

Peter Stenning is the overall protagonist here. He is tasked with learning more about the peculiar changes in the environment. Temperatures are out-of-whack, and it’s his job to figure out why. Unfortunately, he needs to face his personal demons before he can successfully complete this assignment.

In other words, this plays out more like a character study than a dumb, loud disaster movie. This approach works so well because, especially today, it allows the film to distance itself from so many loosely comparable movies. This is not the disaster movie we have grown accustomed to, and that’s a good thing. It’s smarter, leaner, and more effective.

5. The Man in the White Suit (1951)

Imagine all the money you could save if your clothing repelled dirt, dye, and anything else that could ruin fabric. The Man in the White Suit, a satirical science fiction comedy from 1951, attempts to bring that hypothetical scenario to screens across the world.

In the film, Sid Stratton attempts to invent a long-lasting clothing fiber that would make laundry significantly easier. Unfortunately, the corporate big-wigs aren’t exactly keen on a product that would, in theory, stop the flow of money. See, if the fabric couldn’t get ruined, there would be little to no demand for the product.

This all leads to a pretty scathing critique of capitalism. Since it’s a never-ending cycle, it becomes nearly impossible to escape. It’s pretty clever stuff, but it’s not the only thing keeping this movie afloat. On the contrary, Alexander Mackendrick’s underrated film continues to dazzle for a variety of reasons.

Outside of its clever premise, The Man in the White Suit also benefits from witty dialogue and an undeniably charming leading man. Alec Guinness gives Stratton a prominent dose of personality that pairs well with the sharp screenplay. When everything works together in harmony, which is often, you’re left with something special.

The science fiction genre has provided constant wonder and excitement since the early days of cinema when George Méliès flew rockets to the moon. The genre ranges from a time when the fanciful science of invisible men and homemade monsters thrilled audiences, to the paranoia-induced UFO movies of the 1950s, the stillness of space in the seventies with Silent Running, and the sci-fi action of Arnie in The Running Man.

The following list is a strange mix of cult films, sci-fi classics and forgivable flops. The list contains movies that offer a disturbing vista of futuristic dystopias, imaginative special effects, mysterious wormholes, and dangerous trips to Mars.

1. Megaforce (1982)

Looking like he has just walked off the set of Xanadu, Barry Bostwick (of Rocky Horror fame) is Ace Hunter, leader of Megaforce, a “phantom army of super-elite fighting men”. Between the explosions and endless chases, there’s a threadbare plot involving the peaceful country of Sardun and the danger of invasion from a neighbouring country, led by bad guy Guerera (Henry Silva), who drives around in a big tank. Searching for help, Major Zara (Persis Khambatta) and General Byrne-White (Edward Mulhare) hire Megaforce to come to the rescue.

The Megaforce army of spandex-clad soldiers, led by Barry Gibb lookalike Ace Hunter, ride around in rocket-firing motorbikes while spouting dialogue such as “the good guys always win, even in the 80s”. The screenplay also forces a sickly romantic alliance between Ace and Major Zara, leading to a skydiving sequence that unfortunately echoes Carry on Emmannuelle four years earlier. Unintentionally hilarious, Megaforce certainly has its tongue planted firmly in its cheek throughout, with the cast list reading like a B-movie hall of fame; Henry Silva, Persis Khambatta, Michael Beck and Barry Bostwick, all of whom never fail to entertain.

Unsurprisingly, with a back catalogue including Smokey and the Bandit and The Cannonball Run, former stuntman turned filmmaker Hal Needham allows Megaforce to have as many bike and vehicle chases as humanly possible. Although ripe for parody (if that was even necessary), Megaforce is so categorically silly, it’s hard not to enjoy the flying motorbikes, idiotic dialogue and sub-A-Team violence.

2. Mission to Mars (2000)

After spending nearly three decades utilising the film grammar of Alfred Hitchcock in a mixed bag of cult classics (Sisters, Dressed to Kill, Body Double) and prize-sized turkeys (Phantom Of The Paradise), director Brian De Palma delved into the world of science fiction with the much-maligned Mission to Mars.

It is 2020, and on the surface of Mars a group of astronauts encounters an intense burst of energy, leaving three astronauts dead and one stranded on the planet’s surface. A rescue mission led by Woody Blake (Tim Robbins) and Jim McConnell (Gary Sinise) is swiftly set up, with the rescue team ultimately finding more on Mars than their stranded astronaut.

After the release of Mission to Mars in early 2000, De Palma left the studio system behind him to ply his trade in Europe, where he focused on smaller film projects for the next twenty years. De Palma leaves behind an enjoyable slice of sci-fi, with his trademark mix of stylish camera movements and visual flourishes.

Unlike the more action-orientated Red Planet, released the same year, Mission to Mars offers some lofty ideas regarding the human race and its place in the universe. Okay, the ideas and themes threaded through the screenplay fall a bit short. But aided by a beautiful score by Ennio Morricone and some solid performances by Gary Sinise, Don Cheadle, and Connie Nielsen, Mission to Mars still takes you on a journey of brave explorers, enduring friendships, and the mysteries of an unexplored universe.

3. Outland (1981)

By the early 1980s, Sean Connery’s career was lost somewhere between his earlier leading-man career of James Bond in the 1960s, and his much later father-figure roles in Highlander, The Name of the Rose, and quite literally playing a father in an Indiana Jones sequel.

After a few recent misjudged attempts at playing a more mature leading man in The First Great Train Journey, Meteor and Cuba, Connery fits the bill in Outland as a police marshall with more integrity than friends. Assisted with a great-looking hairpiece and some designer stubble, Connery is perfectly cast as a police marshall who stands in the way of a narcotics ring in a mining colony on Jupiter’s third moon.

Outland deliberately channels Fred Zinnemann’s High Noon as it is based on the same premise but this time set in outer space. It’s also worth considering that Outland feels as if it may belong in the same cinematic universe of Ridley Scott’s Alien, released two years earlier. Outland’s cold, industrial set design, weary blue-collar workers, and excellent music score by Alien composer Jerry Goldsmith only help strengthen this fanboy theory.

If not viewed as an unofficial companion piece to Alien, Outland is a perfect example of Sean Connery in transition from leading man to older statesman of Hollywood. Brought to the screen by the underrated journeyman director Peter Hyams, Outland is a slow-burning sci-fi classic, with brilliant use of Steadicam and some cool, if dated, special effects.

4. Lifeforce (1985)

Brought to the screen by Poltergeist director Tobe Hooper and written by Alien writer Dan O’Bannon, Lifeforce is a cult favourite that still manages to entertain nearly forty years after its release. Based on the novel The Space Vampires by British writer Colin Wilson, the crew of the space shuttle Churchill is approaching Halley’s Comet and finds a vast spaceship filled with dead bat-like creatures. Also on board the strange ship are three humanoid bodies, one of which is female. The humanoids are brought back to Earth, with the female humanoid strolling around naked, sucking the life force from anyone that tries to stop her.

Lifeforce was part of a trio of turkeys that director Tobe Hooper produced for the Cannon Group in the mid-1980s. The other two were the dreadful remake of Invaders from Mars and the misjudged sequel to Hoopers’ Texas Chainsaw Massacre. Scorned by critics and ignored by the public, Lifeforce could have been something exceptional; imagine if Hammer or Amicus had an insane budget and a plush music score by Henry Mancini.

Well, unfortunately, the reality is something decidedly barmy but perfect for a dull weekend at home. The performances, particularly from Spooks actor Peter Firth and Irish actor Frank Finlay, are pretty solid throughout. Most of the optical effects are still impressive, and the destruction of London, while echoing Hammers Quatermass and the Pit twenty years earlier, is well realised.

5. Saturn 3 (1980)

Produced around the same time, Raise the Titanic sunk Lew Grade’s hopes of being a successful movie mogul. Saturn 3 features a grizzled Kirk Douglas and a post-Charlie’s Angels Farrah Fawcett as May to December couple Adam and Alex. The two lovebirds live happily on a small space research station near Saturn, helping to find food for a hungry and overcrowded Earth.

The film kicks things off proper with a nod or a direct lift from Star Wars, as a giant spaceship flies overhead in which a psychotic villain called Captain Benson (Harvey Keitel) kills Captain James, taking his place en route to Adam and Alex.

Once there, Captain Benson takes a fancy to Alex and an awkward love triangle develops as Benson becomes Baron Frankenstein in space and builds a giant monster-style robot.

Singing in the Rain director Stanley Donen would not be anyone’s first choice to direct a sci-fi epic in space. Indeed, production designer John Barry, who had made his name in a series of seminal seventies classics (A Clockwork Orange, Star Wars, Superman), had developed the original concept for Saturn 3, with Stanley Donen originally on board as a producer.

However, shortly after filming commenced, Barry was replaced and Donen took the project in a different direction. Saturn 3 is a goofy sci-fi film with more plot holes than black holes, saddled with a dubbed Harvey Keitel, a lovesick robot, and a naked Kirk Douglas.

Science fiction is a wide and broad genre. So many classics have defined it, but sometimes, some of them are not recognized as such or they are overlooked. This list represents just the first step for bringing to light 10 movies that many film aficionados may not have seen. From different years and nations, these movies once again prove the immense power and versatility of sci-fi.

And of course, remember that there are many others out there that are ready to be discovered and enjoyed again.

1. The X From Outer Space (1967)

Late 20th century. A Japanese spaceship called AAB Gamma is traveling to Mars, in order to research on the possible presence of UFOs near the planet. During the mission, AAB Gamma runs into an unidentified alien spaceship that shoots a mysterious white liquid onto the hull of the vessel. The crew decides to take samples from the strange liquid and to bring them back on Earth. This decision will unleash a terrible creature.

With monsters, explosions, spaceships, mayhem and destruction, “The X from Outer Space” can be described by one word: cult. Directed by Kazui Nihonmatsu and starring Eiji Okada – who everybody will remember for the magnificent performance in “Hiroshima mon amour” (1959) – this Japanese kaiju movie is a classic monster movie that combines pure sci-fi moments with a great dose of comedy. For fans of B-movies and especially the great tradition of Japanese kaiju films, “The X from Outer Space” is a must see.

2. Silent Running (1972)

The orbit of Saturn. In order to protect vegetation and plants – in great danger of extinction on Earth – the spaceship Valley Forge is equipped with special domes that contain a variety of plants. However, an order imposes the spaceship crew to destroy the domes with everything inside; Freeman Lowell (Bruce Dern) – the botanist and ecologist who manages and takes care of the vegetation – decides to mutiny and rebel in order to save the plants and keep open the possibility of reforestation on Earth.

“Silent Running” is a classic gem that most people tend to forget about. It’s directed by the great Douglas Trumbull, mostly known for his ability in the special effects field; just to give you an idea, he worked on the visuals for “2001: A Space Odyssey” (1968), “Blade Runner” (1982) and “The Tree of Life” (2011).

Just like “Demon Seed” (1977), the topic and message of this movie are not only important, but also current; the deforestation and – more generally – the impact of humans’ action on planet Earth are widely recognized as harmful and possibly catastrophic for the ecosystem and for our survival. Trumbull – in conjunction with the screenwriters, including Michael Cimino – is able to convey this message, mixing an environmentalist tone with the canons of post-apocalyptic science fiction.

If you’re looking for conscious entertainment, look no further.

3. A Boy And His Dog (1975)

2024, America. World War 4 lasted only 5 days; after the nuclear destruction of the world, the last form of humankind tries to survive in a post-apocalyptic scenario. Vic (Don Johnson) roams around a desert-like landscape, looking for food and sexual encounters; his approach is rude and essential, since he didn’t receive a proper education due to the death of his parents. Vic is helped by a dog named Blood, who’s able to communicate in human language through telepathy. During their journey, Vic and Blood meet a girl named Quilla June Holmes (Susanne Benton); the appearance of Quilla will change drastically the path of both.

“A Boy and His Dog” is a crazy movie. In the first part of the movie, it seems like a normal and stereotypical post-apocalyptic story, with all the required clichés. Don’t get fooled by the premises because in the second and third part, the movie explodes in a mixture of dark comedy, surrealism, and thriller.

Even though “A Boy and His Dog” is a low-budget movie, the production design was smart and accurate; the sapient use of the desert and also the indoor scenes were able to elevate what might have been just another average B-movie. If you want to experience a heterodox buddy movie with creepy humorous segments and an engaging story, look no further.

4. Demon Seed (1977)

Based on the book of the same name written by Dean Koontz, Demon Seed is a sci-fi movie with a sharp horror feel, which deals with the important and current theme of the relationship between human beings and technology.

Alex Harris (Fritz Weaver) is an inventor and developer of many technological devices; his house – where he lives with his soon-to-be divorced wife Susan (Julie Christie) – is totally automated and equipped with functioning technological computers.

Dr. Harris develops a revolutionary artificial intelligence program called Proteus IV with countless capacities. Increasingly autonomous, the AI device gains control of all the computers in the house and traps Susan inside. The super intelligent Proteus IV will drastically affect Alex and Susan’s lives.

For the low-budget profile, “Demon Seed” could be mistaken for another B-movie that combines science fiction premises with horror imagery. However, for the subject matter, it’s a highly challenging movie, forcing you to analyze and think about how impactful technology can be in our day-to-day life. “Demon Seed” makes you question the positive and meaningful role of technology and AI computer devices. The future doesn’t seem so bright anymore.

This highly underrated classic will stimulate your appreciation for science fiction and horror and make you think about important issues. Entertaining and educational.

5. Time Bandits (1981)

Terry Gilliam has one of the most creative and recognizable styles in modern cinema; his movies are always unpredictable and crazy. “Time Bandits” is no different.

Living with parents who don’t really care about him, Kevin (Craig Warnock) has a sweet spot for history. One night while he is laying in bed, in a dream-like appearance, six dwarves come out of his wardrobe, chased by the head of a strange creature. Kevin decides to join them and – pushing one side of his bedroom’s walls – he follows them through this unknown and mysterious passage. A long adventure will start for Kevin and the six dwarves, through different time periods.

The aforementioned trademark style of Gilliam is always visible in the movie; this would be a normal teenage movie – like many others in the 1980s – without him. Gilliam is able to twist the genre and to exploit it in order to make it functional to his peculiar vision of cinema. “Time Bandits” is unmissable for whoever loves Gilliam and sci-fi and fantasy mixtures. A classic that is sometimes wrongfully forgotten.