The 3. 0 greatest ever designs in sci- fi movies. From prosthetic masks to future costumes, giant starships to alien worlds, the world of science fiction movies offers a unique opportunity to the designer to create something new and mindblowing. The sky’s no longer the limit: the boundless landscapes of time and space offered by fiction's final frontier mean creatives can really let their imagination run wild. And in doing so, they've created some unforgettable designs with popular appeal far beyond the hardcore sci- fi niche.

Here we've selected our 3. Plus we've enlisted some leading designers to help us pinpoint exactly why they've become so iconic. Have we included your favourite designs? If not, let us know in the comments below! Hailed as one of the best animes of all time (and rightly so) Akira was based on the comic book series by Japanese artist Katsuhiro Otomo.

The film was released in America on July 1. A never- aging tale, the story and characters are timeless creations. However, it's the electric bike ridden by the character of Kaneda that really strikes us as the stand- out design of the film.

Created by Katsuhiro Otomo, it is stated in the film that the bike features . Many have tried to replicate the bike, with some claiming that there are three 'real' bikes still in existence. However, it will cost you around $1. Download Dvd Movie The Salesman (2017). Designer views: Aardman Digital's senior designer, Gavin Strange: ? It's red, it's big and it's fast.

Brought to life in Neo- Tokyo it just oozes coolness, especially in the opening scene of the film with the light trails (which is a feat in animation itself, especially considering it was made in 1. The bike is just a much a character as Kaneda or Tetsuo and I always wince a bit at the end of the film when the bike is battered and broken, it's a thing of awesomeness for sure! Akira took that feeling and combined it with Syd Mead style design and forged something newer and cooler but with a nod to nostalgia. It's just so unbelievably cool, yet looks like it would actually work in the real world (as has since been proven, with various real life replicas in existence). It looked brilliant on- screen in that way that only Anime designs really can. It crosses the sweet spot of sci- fi with one foot in the present; one in the future. Nobody actually manufactures a vehicle like this, but it's not a huge leap to imagine them doing so.

When you think of cool Japanese engineering, your mind instantly goes to sports bikes, and it was right when the world was falling out of love with Triumphs, Harleys and BMWs. It's still looks futuristic 1. Also looks like it would ride pretty well!

Get the latest news from Hollywood from the editors of Esquire. As the policemen cower in their Confederate flag-lined station, the witches tease and play them from the outside, casting illusions to trick the men into repeatedly.

Here is an alphabetical listing of all the movies (so far) that have been certified as among the 366 weirdest ever made, along with links to films reviewed in capsule.

Nowadays there are more sci-fi shows than ever to watch and more ways in which to watch them. With the help of streaming sites, genre TV is booming. MORE LIT LISTS: 50 Best Scientific Romances (1864–1903)

And that's exactly what millions of viewers got with the Enterprise. Although the ship first appeared in the television series of Star Trek, we felt that the design itself needed to be included in the list. After all, a refit of the original NCC- 1. Enterprise did feature in both the 1. Star Trek films. Walter Matt Jefferies was the man behind the legendary Enterprise design. The appearance of the ship in 1.

TV and movie spacecrafts. Star Trek creator Gene Roddenberry didn't tell Jefferies what he wanted to ship to look like, instead he told him what he didn't want. According to Jefferies, Roddenberry was also absolutely clear to avoid any resemblance to a 1. Speaking to Star Trek Magazine, Jefferies said that: . He had emphasised that there were to be no fins, no wings, no smoke trails, no flames, no rocket.

I'm an Enterprise D man myself and its smoother, flowing lines were very much of the period, with 9. Throwbacks to 2. 00. The Enterprise D was also one of the earlier proponents of flat touchscreen interfaces.

In fact there were hardly any buttons anywhere. On top of that the space docks had fixed the sliding door mechanisms too. About as iconic as it gets, and pretty much timeless. It's unique amongst fictional space vehicles as it's progressed through every decade from the 1. The film provided an allegory for the political and social struggles faced in South Africa, and around the world.

Director Neill Blomkamp wanted the feel of the movie to be as 'real' as possible, hence the clever cinematography and documentary style film- making. Renowned design company Weta Workshop (who are also part owned by producer Peter Jackson) were hired to create the most important element of the film - the aliens nicknamed 'prawns.' Neill was very clear that he wanted the aliens to have a strong insect feel, with varying colours and contrasts while being non- reptilian. The final alien was created by whittling down a number of illustrations, before using programmes such as Maya to create the finished 3. D version. Lead concept designer Greg Broadmocare had already worked on the likes of Avatar and King Kong, proving that the prawns were created by some of the best artists of our time.

Designer views: Founder of Pariah Studios and 3. D artist, Rob Redman: . Weta did a fantastic job of making them completely odd yet letting the viewers empathise. Credit has to go to the animators as well as the creature designers, of doing fantastic work on portraying emotions believably. Kudos to the animators for making these guys characters we can empathise with.

This shows very clearly how good the team on District 9 are because they pulled it off beautifully. It is perceived that Gort is the servant of Klaatu throughout the film but it is revealed at the end of the film that Gort has been the leader the entire time. On screen, Gort appears to be around 7ft 7in (the height of actor Lock Martin) and made entirely from 'flexible metal'.

Two suits which were designed and built by art director Addison Hehr were attached to the actor front to back so that the robot could appear seamless. Lifted boots were also used, whilst air holes were placed in the chin of the robot helmet. What makes this design so worthy is the subtle scariness achieved with minimal effects. Gort's 'eye beam' is terrifying, whilst still adding a slight human aspect by actually giving the robot an 'eye'.

It's clear that Gort's design has gone on to influence other sci- fi baddies, such as 2. A Space Odyssey's HAL, with his one red eye and monosyllabic tone. As for the remake? We won't go into that.

Designer views: Founder of Pariah Studios and 3. D artist, Rob Redman: . Many many designs owe their look to it - Cylons and even Hal's glowing red eye harks back to it. Who can argue that a giant metal robot forged from millions of tiny nanobots isn't cool? Perhaps a little dated by today's design standards, but pure vintage class. The glowing robotic slit- eye opening is one of the most perfect images of robotic menace I've ever seen on- screen. The only hurdle however, was that the main character couldn't talk.

Fear not film lovers, for Pixar went on to create one of their best characters to date. For a robot that couldn't talk, the design had to kick ass. He needed to be able to capture the hearts of the audience (and make them cry, obviously) so what were the designers to do?

Thankfully, director Andrew Stanton and his team were able to turn Wall- E into a wonderfully expressive and highly emotional mechanism. His eyes, modelled on a pair of binoculars and his Charlie Chaplin inspired clumsiness makes him the child- like star of the show. Credit also has to be given to legendary sound designer Ben Burtt for creating the amazing noises throughout the entire film.

Without him, we wouldn't have Wall- E's adorable 'Eve' exclamation. You can even check out a 'real- life' Wall- E at Disneyland now! Designer views: Animator, Illustrator and Digital Designer, Gareth Axford: . He's a metallic Charlie Chaplin! Again, the designers and animators did an amazing job in making it so easy for the audience to connect with a little rusty yellow rubbish collector.

The texturing of this character is so carefully handled; he's essentially a scrappy pile of old rubbish himself but he comes across so well on- screen. He has everything he needs to emote to the audience without over- complicating his design. Watch The Emoji Movie Shit (2017) Hd there.

The 2. 5 Best Sci- Fi Films Of The 2. Century So Far . It all orbits around Rockwell’s performance, though, and he is superb at wrangling depths and subtleties from a role that has him often alone and wordless, projecting the intense, almost existential weariness of a man so very far from home. Jones stayed with sci- fi for his follow up, “Source Code,” but while it’s a fun, twisty thriller take on the genre, it didn’t come anywhere close to matching the shimmery, enigmatic atmosphere of his supremely controlled debut space oddity. Starring a tremulous Joaquin Phoenix in one of the finest and most sympathetic performances of an already stellar career, it also features voice acting work from Scarlett Johansson that is so evocative we remember the Operating System she plays (Samantha) as being as real as she is to Phoenix’s Theodore — one of the only times we really recall considering a voice- only performance as potentially awards- worthy. There’s a quiet intelligence to Jonze’s probing of our relationship with our machines, but mostly it’s a film marked out by its unusual grace in recognising how, in the face of our growing dependence on technology, we are somehow more fallibly human than ever. While the warmth and sorrowful humanism of the film are what stays with you, its intelligence and the elegance of its plotting can’t be overstated either.

Giving Gondry’s lively visual imagination a license to play to its eccentric, practically- achieved strengths, Charlie Kaufman’s script nonetheless has the kind of focus and tightness that many of the director’s other features have lacked, and Jim Carrey’s against- type performance as the brokenhearted man desperately chasing after the memories of his relationship with Clementine (Kate Winslet) makes this a career high for all three, and a devastatingly beautiful, funny and melancholy film to boot. It’s the rare movie that has as much heart as it has creative smarts, and maybe twice the wisdom. A very, very, very offbeat love story, it follows a man (played by Carruth himself) and a woman (Amy Seimetz) who fall for each other helplessly but discover their mutual attraction is at least partly to do with a symbiotic link to a herd of pigs, the biology of a mutant strain of orchid, the poetry of Walt Whitman, and a bizarre hypnosis/heist scheme. Full of wonder and scientific curiosity at the uncanny nature of love, and investigating it so minutely that its mathematics themselves become beautiful, we may not be able to answer defintively what it all means, but the film’s pervasive mood and lingering sustain (down to the polyglot Carruth’s gauzy cinematography and self- composed ambient score) means it’s a pleasure to continue puzzling it out, even all this time later. Based on P. D. James’ novel, it’s set in a world where no children have been born in two decades, and society has collapsed as humanity waits to die out. Theo (Clive Owen) is entrusted with transporting a young immigrant woman (Claire- Hope Ashitey) who is pregnant, the first person in a generation to be so. Aside from its central premise, everything about “Children Of Men” is chillingly plausible, and Cuaron’s vision is brought to life seamlessly with subtle VFX and the never- bettered docudramish photography of Emmanuel Lubezki (including two of the greatest extended shots in cinema history).

The cast, including Julianne Moore, Michael Caine, Chiwetel Ejiofor, Charlie Hunnam, Peter Mullan, and Danny Huston, are impeccable, it’s disarmingly funny, deeply sad, enormously exciting, fiercely political, and endlessly inventive, and people will be stealing from it for decades to come. Though many dismissed it on release as being too bleak, that was to miss the point: “Children Of Men” is a film about hope, and in the 2. Honorable Mentions: As we said above, we excluded films that had already featured prominently on one of our other lists — namely, “Under The Skin” and “The Host,” which placed high in our Horror 2. Wall- E,” which showed up on our list of animations. Beyond that, there were a few borderline movies that aren’t quite in the sci- fi genre, though they have some elements, like “Melancholia,” “Contagion,” “Hanna,” and “Holy Motors,” and we also excluded movies that have sci- fi sections but aren’t fantastical all the way through, like “Cloud Atlas” and “The Fountain.” Superhero movies are sort of the borderline, but we ultimately decided to skip them: “Spider- Man 2,” “X- Men 2,” “The Dark Knight,” and “Guardians Of The Galaxy” likely would have been closest. So what else nearly made the cut? J. J Abrams’ “Star Trek” was in consideration, as were Mark Romanek’s chilly clone drama “Never Let Me Go,” Gareth Edwards’ “Monsters,” John Hillcoat’s “The Road,” M.

Night Shyamalan’s “Signs,” and Abrams’ “Super 8.” We also considered Edgar Wright’s “The World’s End,” “Hunger Games” sequel “Catching Fire,” Joss Whedon’s “Serenity,” low- budget gem “Coherence,” offbeat experimenta “The Man From Earth,” megahit “Avatar,” underrated B- movie “Reign Of Fire,” and found- footage monster flick “Cloverfield.”There was also Steven Spielberg’s “War Of The Worlds,” international indie “Europa Report,” Cameron Crowe’s “Vanilla Sky,” Brad Anderson’s semi- rom- com “Happy Accidents,” Alan Moore adaptation “V For Vendetta,” VIncenzo Natali’s “Splice,” Brit Marling’s unofficial trilogy “Another Earth,” “Sound Of My Voice,” and “I Origins,” Duncan Jones’ “Source Code,” “Josh Trank’s “Chronicle,” Colin Trevorrow’s “Safety Not Guaranteed,” Gareth Edwards’ “Godzilla,” Luc Besson’s “Lucy,” Wong Kar- Wai’s “2. Swiss movie “Cargo.”— Oliver Lyttelton, Jessica Kiang.