There have been several years that stood above all others in terms of sci-fi movie output. 1968 had 2001: A Space Odyssey and Planet of the Apes. 1977 had Close Encounters of the Third Kind and Star Wars. 1985 had Back to the Future and Brazil. 1999 had The Matrix, The Iron Giant, and Galaxy Quest. But there’s one year that stands even above those, one that saw the release of not one, not two, but five classics of the genre that helped push it forward and open the minds of those who bought a ticket. Though, as is often par for the course with great sci-fi, not as many people bought tickets at the time as they should.
We’re referring to 1982. It is the gold standard for sci-fi cinema. Let’s unpack why.
The Ambition of Blade Runner & Tron
Neither Blade Runner nor Tron performed as expected when they hit theaters. But, in time, they have gone on to accrue massive fanbases and, in the case of Blade Runner, any number of retrospective accolades from critics.
Even if you take away Blade Runner‘s thematic depth surrounding the definition of humanity and how malleable memory is, it’s a visually stunning work. It manages to simultaneously convey a futuristic world and a retro film noir one, which on paper is a blend that shouldn’t work. But it does, very much so. We believe this future version of Los Angeles, which amounts to Gotham City if it aged 100 years, gaining electronic billboards but losing most of its remaining non-criminal residents.
Then there’s Tron, a movie which hasn’t aged nearly as well visually as Blade Runner but is still a marvel of its time. It was a massive step forward for CGI, and while it doesn’t look as impressive as it once did, you still find yourself enveloped in its world. And, if you want a nostalgia trip back to ’80s tech, this is the ultimate journey.
The Heartbreaking Nature of E.T. the Extra-Terrestrial
A timeless masterpiece that nonetheless feels distinctly like a product of the 1980s, Steven Spielberg’s E.T. the Extra-Terrestrial is one of the few movies out there that absolutely cannot be remade. Like in Poltergeist, its idyllic California suburban locale carries a vibe that doesn’t seem to exist in this modern world.
Vibe is an overused word in general these days, but E.T. has one, and it’s the film’s greatest ally. Everything is told through the innocent perspective of a child, one who discovers alien life and meets it not with fear (at least, not for long) but with curiosity. It’s the story of a budding friendship between two very different individuals, and that’s the type of story the world needs right now more than ever.
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The Horror of The Thing
From the ominous opening scene involving a Malamute and a helicopter to its wonderful open ending, John Carpenter’s The Thing is a sci-fi horror masterpiece. Make no mistake, this is a movie that begs to be rewatched. It is so tightly constructed that you have to take in several screenings to get even a general gist of who is a Thing when.
There are several aspects of Carpenter’s movie that make it just as strong as his career-maker, Halloween, if not even better. For one, the practical effects by Rob Bottin are quite possibly the most impressive of any ’80s movie, and they are phenomenally jarring to this day. Then there’s the Alaskan research station locale, which is the recipe for a claustrophobic narrative that is further enhanced by the shape-shifting nature of the alien antagonist. Not to mention, the running theme of Cold War era paranoia also contributes to its suffocating mood.
The Franchise Apex That Is Star Trek II: The Wrath of Khan
Star Trek is a divisive property. Either you’re completely entranced by it or you can’t really get on its level. However, it’s not incapable of have a level of macro-scale accessibility.
In that regard, the three modern big screen movies are the go-to. However, Star Trek II: The Wrath of Khan possesses that accessibility as well. The action is the most enthralling of the older films, for sure, but it really excels in having an iconic villain in Khan, who is a formidable presence thanks to his brilliance and his cold drive for revenge. Then there’s the (temporary) offing of Spock which, even for those who don’t know the character particularly well, cuts deep.