Science fiction is a genre filled with as many instant classics (Star Wars,T2) as it is with hidden gems. And those gems have a lot in common: most have great reviews but less-than-stellar box office to back them up. And all usually rolled into theaters quietly upon their initial release, only to eventually find overwhelming praise and appreciation years (in some cases, decades) after they left the big screen. Some of our favorite sci-fi films, or even beloved classics, did not seem destined for such designations when they first hit theaters.
Here are 11 great science-fiction films that overcame lackluster box office to become some of the genre’s most iconic staples.
The summer of 1982 was an embarrassment of riches for genre fans at movie theaters, withBlade Runner,Star Trek II: The Wrath of KhanandJohn Carpenter’sThe Thingjockeying for our hard-earned box office. But audiences stayed away from MacReady (Kurt Russell) and the rest of his Antarctic research team’s horrifying encounter with a shapeshifting, murder-fueled alien — in part because because the only alien ticketbuyers wanted to see wasSteven Spielberg’sE.T., 1982’s biggest summer hit.The Thingtopped out at under $20 million domestic.
But time has been very kind toThe Thing, elevating it from cult classic to an all-timer of the genre. It’s then-landmark practical make-up effects still hold up, as does Carpenter’s effortless direction and ability to give each scene the exact amount of tension it needs. It’s a slow-burn, claustrophobic thriller that is endlessly rewatchable and relentlessly terrifying. (Honestly, we’d take the Blairmonster over Elliot’s Reese Piece’s-eating pal any day.)
Blade Runner
Speaking of slow burns,Ridley Scott’s originalBlade Runnerhas earned its place among the best science fiction films ever made but it took years to get there. In fact, judging by its middling box office receipts during the summer of ‘82 ($26 million, not enough to turn a profit), coupled with a mixed reaction from critics, it’s more surprising thatBlade Runnerbecame, well, freakingBLADE RUNNER.
Thankfully, audiences and critics gradually came around to what fans had already embraced about Scott’s neo-noir adaptation ofPhilip K. Dick’s novel,Do Androids Dream of Electric Sheep?The tragic, rain-soaked saga of Roy Batty (the lateRutger Hauer) and his fellow Replicants being hunted down in 2019 Los Angeles by a brooding Detective Deckard (Harrison Ford) isRaymond Chandlerby way ofArthur C. Clarke, with the film taking its time to explore the value of life through the eyes of “more human than human” androids that possess that which defines their human creators — individuality, maybe even souls — but brand them as dangerous. Worse, expendable. The film’s iconic neon visuals and special effects hold up no matter which of the four cuts of the film you watch.
TRONis the rare Disney live-action theatrical misfire that still has some value for the house that Walt and Mickey built, thanks in large part to its passionate fanbase.
While a box office disappointment (it grossed only $33 million domestic), the world building of this seminal ‘80s classic is among some of the genre’s best and boldest — deftly executed with visual effects whose impact on the artform still resonates today. (In fact, the visual effects pioneered here would inspire the computer animation that would form the foundation of Pixar). What appears to be a complete work of digital VFX is actually, mostly, old school analog tricks — like incorporating animation with live-action footage to create the Grid of the video game-esque world our hero, software engineer Kevin Flynn (Jeff Bridges), gets sucked into.
TRON’s signature visual look has arguably stood the test of time much better than its story, which is full of on-the-nose dialogue and technobabble. What the movie lacks in a completely emotionally-resonate story, it makes up for in a visual experience unlike any audiences had seen at the time. Witha follow-up to 2011’sTRON: Legacyon the way from Disney, it will be exciting to see if how well our third trip to The Grid lives up to and carries on the (no pun intended) legacy of the original.
Written and directed byThe Truman ShowscreenwriterAndrew Niccol,Gattacais another dystopian sci-fi drama that was passed over by general audiences during its initial theatrical run (it finished its box office run with a mere $12.5 million), only for it to undergo a considerable revaluation thanks to home video and countless airings on cable.
Moody and thought-provoking,Gattacaovercomes the limitations of its low budget to build a fully-realized world where perfection comes in a test tube, if you are willing to pay the price. Its thematic explorations of identity and humanity feel right at home with classic 60s sci-fi, and the grounded, engaging performances by a cast led byEthan Hawke,Uma Thurman, andJude Laware next-level. Why this movie has yet to be rebooted and adapted into Netflix’s next great sci-fi TV show is beyond me.
Starship Troopers
A big-budget guilty pleasure with its tongue firmly in cheek, directorPaul Verhoven’sStarship Troopersworks as both escapist entertainment — who doesn’t love space marines shooting up space bugs?! — and as a subtextual exploration of anti-war sentiment and fascism. The latter seems to have somehow gotten in the way of this film finding the success it deserved at box office, especially considering the aggressive marketing campaign distributor Sony Pictures deployed for the film in the fall of 1997.
The November 1997 release barely broke even on its $100 million-plus budget, but audiences have spent the last two decadeshelping the movie become a cult hitthat ranks high among the list of best ‘90s sci-fi films.Troopers’ hard-R rated war violence, coupled with its not-so-subtle satire of right-wing militarism, makes for a much more commercially viable film now than it did 23 years ago.
The Iron Giant
Brad Bird’s critical hit struggled to make a dent at the box office when it was released in 1999, but since then,The Iron Gianthas rightfully earned its place among the best animated movies ever made.
That achievement is all the more impressive considering how this 1950s Cold War-set story (thinkE.T., but instead of a cute alien it’s a towering robot) was an infamous flop financially for Warner Bros. The studio, desperate to compete with Disney Animation, Pixar and DreamWorks for family audiences at the multiplex, gambled $70 million and barely made $20 million domestically. But thanks to a successful run on home video, audiences came around to Bird’s effortless handling of two outcasts — a human boy and hisVin Diesel-voiced war machine — as they forge a bond and appreciation for life as the world arms itself with nuclear weapons.The Iron Giant’s thematic ambitions work in concert with its visual storytelling to deliver one of the most poignant and imaginative entries in the sci-fi genre, animated or otherwise.
Donnie Darko
Donnie Darkois a landmark sci-fi indie, with fans still analyzing what its endingreallymeans like it’s the Zapruder film. While it failed to recoup its studio’s budget, directorRichard Kellymore than succeeded at executing one of the most twisty, rewarding sci-fi films of the early 2000s.
Released in the early aftermath of the 9/11 terrorist attacks,Donnie Darkois a genre-bending, reality-warping psycho-thriller that is very difficult to classify. (The story’s fictitious plane crash and the timey-wimey plot mechanics centered around that also didn’t help with the timing of its release.)Darkoovercame low ticket sales to becomethecult film of the early aughts, largely due to a rabid fan base that caught up with Kelly’s work on DVD. Thanks to home video and sold-out midnight screenings, along with a very quotable and memeable script,Donnie Darkodefied expectations to become a must-see film that sticks with you long after the end credits roll.
The Prestige
Christopher Nolan’s lowest grossing studio film ($53 million domestic — it grossed even less thanInsomina) is arguably one of his best. Based on the novel of the same name byChristopher Priest, and co-written by Nolan and his brother,Jonathan(The Dark Knight),The Prestigeis that rare adaptation that feels like an original idea. Two rival magicians, played byHugh JackmanandChristian Bale, jockey for greatness at the cost of their loved ones and, eventually, their lives as ethics and the laws of physics are broken all in service of being the best — even if it means succumbing to our worst natures.
A riveting period piece that mixes real-life historical figures (likeDavid Bowie’s Tesla!) with out-there sci-fi (somuch cloning),The Prestigenever lets you get ahead of its story’s satisfying twists and turns. Rather, it lets you sometimesthinkyou know where the story might be going, but, like a true magic trick, it’s all smoke and mirrors intentionally designed to keep you guessing up until its final, haunting moments that will leave you either at the edge of your seat or with your jaws on the floor.
Children of Men
Alfonso Cuarón’s riveting, dystopian adaptation ofP.D. James’ 1992 book is widely praised as one of the 21st Century’s best films, and it has the accolades to go with it: Three Oscar nominations, including Best Adapted Screenplay and Cinematography. Despite its high regard among critics and cinephiles, mainstream audiences all but ignored this Universal Pictures release at the box office. It proved a flop for the studio, earning only $70 million worldwide on at least a $100 million production and marketing spend. But like other films on this list,Children of Meneventually found its audience. Whether they were drawn to the film because of Cuarón’s famous all-in-one-take sequences, or its deceptively simple story about a jaded, bureaucratic cog (Clive Owen) forced to deliver the first baby born in years to safety, audiences discovered nothing short of a masterpiece.
Dredd’s box office disappointment still stings. Lionsgate was hoping theKarl Urban-starring reboot, written (andghost directed) byAlex Garland, would give them a gritty comic book movie franchise to compete in a Marvel-ized marketplace. Instead, the movie (hobbled by an indifferent marketing campaign) barely grossed $13 million in U.S. theaters. But what it did earn was a passionate endorsement from critics and fans, which helped turnDreddinto a decent-sized hit on (you guessed it) home video. If you were one of the few to catch this thrilling, action-packed 3D crowdpleaser in theaters, consider yourself very lucky.
