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Initiators Followers Description Implementation Winner?
Destination Moon (1950)

Tintin: Destination Moon (1950), unrelated
Rocketship X-M (1950) Destination Moon was scientifically accurate, featured a script by Robert A. Heinlein, and kicked off the "space adventure" genre of film. X-M featured sound in space and rockets stopping when the engines cut out. X-M was a case of The Mockbuster; Destination Moon was famously advertised as "Two years in the making!", and X-M took advantage of its production troubles, rushing out and showing in theaters a full month before Destination Moon arrived. Destination Moon, which won an award for Best Special Effects and praise from Science Fiction authors Arthur C. Clarke and Isaac Asimov. X-M, despite its Mockbuster origins, has surprisingly endured as a Cult Classic, no doubt helped by an appearence on an early episode of Mystery Science Theater 3000. The 2-part Tintin series was more scientifically accurate and prescient than either of them, and eerily similar in plot, but didn't cross the pond.
Godzilla (1954) Gamera (1965) Kaiju smash cities and battle other Kaiju. The Godzilla series started in the lead in the "Showa" era with more and better films, but the "Heisei" series for both were a marked change. Despite having only a trilogy, Gamera had the better and more successful films overall when it went into a more realistic, Darker and Edgier direction. It dropped it with its own attempt at a third series, leading to a repeat of the Showa status-quo for the Millennium. Godzilla has had much more staying power and is still having movies churned out.
Planet of the Apes (1968) 2001: A Space Odyssey (1968) 1968 released films centering around astronauts on bizarre journeys shrouded in a sense of mystery, and both feature heavily made-up "monkey people" in important roles as well.   Each is considered a classic of the genre, though at the time of release Apes did receive stronger reviews that the more polarizing Odyssey, though it would go on to become an acclaimed film as well. Both were financial successes as well, though Odysssey actually won out by a good margin on that front. Apes immediately launched a series of pretty successful sequels, albeit ones with for the most part less than stellar reviews as well as diminishing budgets and box office returns along the way. Odyssey finally got its one over a decade later with 2010: The Year We Make Contact (1984) which did better financially and critically than most of the Apes sequels. So at the end of the day, Odyssey would seem to take the cake.
Tentacles (1977) Orca (1977) Blatant, scientifically dubious Jaws ripoffs with bizarrely elite casts. Tentacles is a borderline-incompetent Italian production; the British-made Orca is professionally made but has a plot oddly similar to Jaws The Revenge, which came out a decade later. Orca made far more money (relatively speaking), but both were savaged by critics, with Tentacles earning a rare 0% rating on Rotten Tomatoes. Ironically the end of Tentacles has a pair of orca kill the giant octopus.
Star Trek: The Motion Picture (1979) The Black Hole (1979) Sci-fi films released within two weeks of another in December 1979, which were both mass-market effects extravaganzas, while also clearly attempting for a more cerebral 2001: A Space Odyssey-like approach (Paramount was behind Star Trek and Disney was behind The Black Hole. Star Trek: TMP was a big-screen revival of Star Trek: The Original Series, which had been off the air for ten years, while The Black Hole was an original story. Both films were considered underwhelming, but Star Trek: TMP was a big box-office hit, and did well enough to lead to a series of (mostly) better-received sequels. The Black Hole did do well enough to earn back its budget, but wasn't anything spectacular at the box-office, and is now considered a big part of Disney's Dork Age (two of the Paramount executives who oversaw Star Trek's production, Michael Eisner and Jeffrey Katzenberg, got into Disney within 5 years and kicked out CEO Ron Miller in the process; this is after Paramount and Disney did a few films together).
Star Wars: The Empire Strikes Back (1980) Flash Gordon (1980) Cinematic throwbacks to the pulpy space opera serials of the early 20th Century. Whether it be through their influence or as a direct adaptation. Notably the creator of the Star Wars franchise George Lucas at one time before making Star Wars did try to secure the rights to make a Flash Gordon movie, but was unsuccessful in being able to attain them. Financially, it was no contest. Empire made upwards of 20 times as much at the box office, and whilst it got more mixed reviews upon initial release, it has gone on to become considered by many as the best of its series and one of the best film sequels of all time. Flash, however, does get the consolation prize of having become a cult favorite.
E.T. the Extra-Terrestrial (1982) The Thing (1982) 1982 sci-fi films that center around human and alien encounter that came out less than a month apart. Whilst the former is a family friendly adventure film that shows the alien being as friendly, the latter is a horror film that is a much darker take on an alien encounter. E.T. is one of the highest grossing films of all time, and was a huge success with both critics and audiences from the start. The Thing, on the other hand, initially flopped at the box office and got a lukewarm reception. Ironically, some have speculated that the success of E.T. and its more positive take on such a scenario were a major part of what caused it to be viewed with a frosty reception initially, though it attained a cult following. However, over time The Thing has had a significant boost in notoriety and is largely considered to be a horror classic at this point, enough so that decades a later a prequel also entitled The Thing (2011) was produced. Still though, E.T. on the whole more than likely remains the victor in spite of that.
Blade Runner (1982) TRON (1982) 1982 high-concept sci-fi films dealing with the idea of artificial intelligence, its relation to their creator, and the metaphysics of consciousness organic or created. Both presented in stunningly realized words created with state of the art special effects. The artificial intelligence emerges in Blade Runner in the form of bioengineered androids called replicants while in TRON it is portrayed with anthropomorphized computer programs existing in cyberspace, both of which were made to serve humans. Both initially got middling reviews from critics and underperformed at the box office, with TRON winning on that front by virtue of making about the same in total with a smaller budget to begin with, but each went on to develop strong cult followings and become highly influential on the genre. Both have achieved some level of critical reppraisal over time, though Blade Runner edges it out by winning in terms of critical appreciation. Each would eventually be considered popular enough to merit the production of a sequel decades later that with TRON: Legacy (2010) and Blade Runner 2049 (2017) that would feature the return of the original films' stars Jeff Bridges and Harrison Ford alongside a new younger protagonist portrayed by Garrett Hedlund and Ryan Gosling respectively.
Star Wars: Return of the Jedi (1983) Dune (1984) Sprawling space operas featuring ragtag heroes up against powerful imperialist enemies with a palpable aura of mysticism about the proceedings. Dune was the second attempt by producer Dino De Laurentiis to compete with and capitalize off of Star Wars. His first was the previously listed Flash Gordon. Also notably the director of Dune David Lynch had actually been offered the chance to direct Return of the Jedi by George Lucas but chose to decline so he could take on Dune instead. Like was the case with Flash Gordon, Star Wars would turn out to handily beat De Laurentiis' film, making over ten times as much money at the box office for starters, and whilst it wasn't as acclaimed as the original and to this day, you'll still find debate as to whether or not it was somewhat or a disappointment or an equal to its predecessors; besides, Jedi has received more favorable reviews than Dune by any measure, though the latter, like Flash before it, has managed to attain a pretty strong cult following in the subsequent years.
Runaway (1984) The Terminator (1984) Both films, released within a month of one another in late 1984, dealt with robotics gone amuck, but to varying degrees. One had robots as household appliances trying to run and the other had robots in the future trying to wipe out the future human leader of La Résistance. Terminator was a B-movie, with non-household names and written/directed by an unknown. Runaway starred Tom Selleck (of Magnum, P.I. fame) and Gene Simmons, and was written and directed by accomplished sci-fi author Michael Crichton. Terminator spawned five sequels and a TV show, plus numerous video games and comic books, along with launching the careers of Arnold Schwarzenegger, Michael Biehn, Linda Hamilton, and James Cameron. Runaway was given a lukewarm reception and became a Box Office Bomb, failing to break even on its budget of 8 million dollars. Aspiring filmmakers, let this be a lesson that your crappy, fever-induced script does have a chance of beating an A-Movie and becoming a multi-million dollar franchise.
1984 (1984) Brazil (1985) Dystopian films depicting one everyman struggling against a futuristic government bureaucracy. Both are quite similar in theme, but very different in execution. 1984 is a fairly straight adaptation of Orwell's bleak novel, while Brazil uses a far more irreverent and satirical take on the same tropes (and lacks a "Big Brother" figure). 1984 was more successful at the box office at the time and received positive reviews (particularly for its faithfulness to the original novel). However, Brazil ultimately came out on top; while it suffered badly from cuts due to Executive Meddling and was a Box Office Bomb, its reputation has greatly improved over time and it has come to be regarded as one of the greatest dystopian films (especially due to its innovative art design).
The Abyss (1989) DeepStar Six (1989)

Leviathan (1989)
Submarine-based sci-fi thrillers that received wide theatrical releases in 1989. They all feature people trapped in confined spaces, ridiculous aquatic gear, monsters, and tons of water. The Abyss was the originator; there was an assumption by other studios that James Cameron's big new project would be Aliens underwater and they acted accordingly. (There were three other knockoffs that mostly saw exposure on video.) DeepStar Six was rushed to reach theaters first. The Abyss, which while not a runaway hit made over $50 million in North America alone and had good reviews. The other two ended up soggy (though they're both pretty entertaining in their own right).
Jurassic Park (1993) Carnosaur (1993) The latter is basically a low-budget clone of the former, with less philosophy and capitalism and more gore and mad scientists, by Roger Corman, the master of movies several grades lower than B. This example is mostly notable for the fact that the imitator actually got into theaters first, due to a massively quick shooting schedule. Also, Harry Adam Knight, author of the deliberately trashy novel Carnosaur was based on, has gleefully pointed out that one scene in Jurassic Park occurs in his book, but not Michael Crichton's. Jurassic Park held the record for highest grossing film in history for several years, until Titanic (1997) broke it. Carnosaur faded as quickly as it appeared.
Johnny Mnemonic (1995) The Net (1995)

Virtuosity (1995)

Hackers (1995)

Strange Days (1995)
All are sci-fi action/thrillers released within 1995, that formed a large wave of films centering around the interconnected ideas of advancing technology, computers, cyberspace, hacking, etc.   Johnny Mnemonic, The Net, Virtuosity and Hackers all got poor reviews from critics, while the reception for Strange Days was mixed to positive. Box office-wise, The Net made money worldwide while Johnny, Virtuosity, Hackers and Strange Days all either flopped or under-performed.
Virtuosity (1995) Virtual Combat (1995) A cop has to pursue a virtual bad guy with whom he previously faced off in Virtual Reality after the villain downloads himself into a physical body to plunge the world into chaos. In both cases, the bad guy uses his experience with the protagonist as an advantage. Virtuosity has an All-Star Cast and a higher budget, Virtual Combat has a B-Movie cast and was released straight to video. Virtuosity by a landslide. It made way more money, is still remembered two decades later, and its characters were much more memorable, especially Russell Crowe's performance as the hammy villain Sid 6.7.
Independence Day (1996) The Arrival (1996) Alien Invasion movies released in the summer of 1996. Aside from involving an alien invasion, they are nothing alike. Independence Day was the big-studio action movie with a big budget, big stars, and big promotion. The Arrival was intended to be more of a thoughtful thriller, with only one brand-name star (Charlie Sheen). ID4 in a Curb-Stomp Battle. The Arrival did better with critics and with international audiences, but it never had a chance at the box office where it made a mere 14 million dollars, failing to recoup its 25 million dollar budget. ID4 would make 871 million dollars. ID4 also persisted in pop culture for far longer as a Guilty Pleasure Summer Blockbuster, while The Arrival is only remembered through the occasional joke about Sheen's character resembling Gordon Freeman.
Independence Day (1996) Mars Attacks! (1996) Another competitor to Independence Day. Both movies involve big budgets and big stars, and both are remembered fondly — but where Independence Day plays its Disaster Movie tropes straight, Mars Attacks! is a very Black Comedy. Both are cult classics now. Mars Attacks! is more popular abroad, but its coming out second combined with largely negative American reviews resulted in a box-office disappointment that set Tim Burton's career back a little bit. Independence Day is mostly viewed as corny sci-fi now, but got a sequel in 2016 after a long gestation period (though it succumbed to Sequelitis). Mars Attacks! has seen positive critical reappraisal by those who appreciate its cheeky satire.
Alien: Resurrection (1997) Deep Rising (1998) A rag-tag bunch of pirates/mercenaries, joined by the protagonist(s) and a number of original crew members (including the human villain, who decides later on that now would be the perfect time to back-stab the survivors) try to escape from the bowels of a ship that's hopelessly infested with a group of extremely lethal predators after the former crew has departed/vanished. Both prominently feature an extended underwater action set-piece at some point. Deep Rising came out in January 1998, Alien: Resurrection in November 1997. The latter had been in gestation far longer than that, but early script versions differ significantly from the movie that ultimately ended up in theatres. Alien: Resurrection was helmed by French director Jean-Pierre Jeunet, Deep Rising by Stephen Sommers. Alien: Resurrection was the bigger film by far, with more big-name-stars, a larger budget, and an extensive marketing campaign. It failed to become the financial blockbuster-success that 20th Century Fox had hoped for, however, and is considered a major drop-down in quality from previous installments of the Alien series. Unsurprisingly, it was the last film in the series until the reboot with Prometheus. Deep Rising, while less successful financially by comparison, has gained a bit of a cult following primarily due to the sheer enjoyability of the movie and its habit of never taking itself seriously.
Dark City (1998)

The Matrix (1999)
The Thirteenth Floor (1999)

eXistenZ (1999)
Each film centered around reality not being really real and just a simulation in the future, albeit for different reasons and created by different sources. Of course, The Matrix was a huge blockbuster, while Thirteenth Floor was viewed as a copy. It's really not, as the two movies have almost nothing in common. The same applies to eXistenZ, but with a generous helping of Body Horror. The Matrix by a country mile. It re-used the exact same sets and camera angles as the previous Dark City, causing much consternation by fans of the latter film such as Roger Ebert (which easily earns second place). The Thirteenth Floor has been completely forgotten. eXistenZ gets an honorable mention for being well received by critics and well liked by fans of director David Cronenberg.
The Matrix (1999) Star Wars: The Phantom Menace (1999) Campbell-ian mythological sci-fi adventure films released within two months of each other in 1999. Both were the start of a trilogy, centered around the discovery of a prophesized Chosen One, and feature the heroes going up against a machine army.   The Phantom Menace easily won at the box office, whilst The Matrix wins in terms of reviews. Whilst The Phantom Menace remains one of the most starkly divisive franchise films of all time, The Matrix was lauded with praise on release and had a major influence on cinema aesthetic, although its sequels are also highly divisive.
Pitch Black (2000) Supernova (2000) Space movies featuring a Ragtag Bunch of Misfits-type crew that must survive a hostile environment and an Ax-Crazy serial killer. Most of the crew are killed. PB was made in Australia and on a budget that the Aussies considered huge, but in America was only middlin'. It featured Vin Diesel and Claudia Black (who was shooting her first scenes in a little-known space show with Muppets at the same time). Supernova, meanwhile, had a huge budget and bigger stars like James Spader. Pitch Black did more with its little than Supernova did with its lot, with a tight storyline and more interesting characters that did not lean on Eye Candy. It eventually spawned a pretty fat franchise with two sequels, an animated tie-in, video games, etc. Supernova was usually graded as "it supersucks!"
Mission to Mars (2000) Red Planet (2000)

Ghosts of Mars (2001)
Movies about going to Mars! M2M was 2001-lite, but the other two were B-Movie fare. Mission to Mars was the best received (albeit not especially well-reviewed) and broke even at the box office (it still started the beginning of the end for director Brian De Palma's career). Ghosts of Mars fared much worse in terms of reviews, but it had the lowest budget and did very well on DVD, making it moderately profitable. Red Planet was not only the worst-reviewed of the three, it made a massive loss at the box office, too much for it to have any hope of breaking even on DVD.
Star Wars: Attack of the Clones (2002) Star Trek: Nemesis (2002) 2002 released sci-fi action films from the two big franchises with Star in the title that are often touted as being rivals of some kind. In terms of story both films deal with a new political player taking power, and the heroes are initially unsure if they can be trusted. (Count Dooku and Shinzon) However, after assassination attempts and investigation, they come into full conflict with them. Notably, the idea of cloning is a major plot element in both films as well.   Attack of the Clones wins this one rather handily. It made about ten times as much at the box office and received mixed-to-positive reviews from critics rather than the mixed-to-negative ones Nemesis received. Nemesis is often decried as one of the worst of the Trek films, though it's not without its fans/defenders, whilst like the rest of the Star Wars prequel trilogy Attack of the Clones is starkly divisive for fans, but it was at least a box office success. Nemesis actually bombed, taking director Stuart Baird's career with it and putting a major damper on the careers of its writers, one of whom was TNG cast member Brent Spiner, and it left the Star Trek franchise lost in space until it was successfully rebooted by J.J. Abrams with the new Star Trek (2009) (on top of that, the experience derailed the career of Tom Hardy, who played Shinzon, and he, along with three TNG crew members, despises this movie with a passion).
The Matrix Reloaded & The Matrix Revolutions (2003) Terminator 3: Rise of the Machines (2003) 2003 released sequels to preceding popular sci-fi action films that center around a Christ-like Chosen One having to embrace his destiny to help humanity defeat an oppressive network of machines that rise up and take power. Given that the Matrix sequels were filmed at the same time and are so highly linked in terms of story, it only makes sense to group them together here. Interestingly enough though Terminator 3 was released on a date between the two of them. All of them are divisive among the general fanbases, though The Matrix Reloaded and Terminator 3 did alright with critics whilst The Matrix Revolutions had a mixed-to-negative reception on that front. The Matrix Reloaded, however, is what tips the scales for its side winning, because, though T3 did marginally better financially than Revolutions, Reloaded alone made far more than either of them.
V for Vendetta (2006) Children of Men (2006) 2006 films set in a dystopian England, with society on the brink of collapse. V for Vendetta is based on the best-selling graphic novel by Alan Moore. V for Vendetta did much better at the box office, though Children of Men did gain far better reviews and three Oscar nominations.
Repo! The Genetic Opera (2008) Repo Men (2010) Films about artificial organs and assassins who repossess them if the transplantee fails to make a payment. The main difference is that Genetic Opera is a musical while Repo Men is an action film. Both films bombed at the box office but Repo: The Genetic Opera has gained something of a cult following while Repo Men has all but faded from memory.
Delgo (2008) Avatar (2009) CGI sci-fi passion-projects about two ethnic groups of separate species fighting each other and how two of the separate species attempt to stop the fighting and fall in love in the process. While both have been in production for years, Delgo did come out first. A lawsuit was even prompted by the makers of Delgo against Avatar. Avatar is currently the top-grossing film of all time. Delgo, meanwhile, is currently the biggest box-office flop in the history of animation. An incredibly mishandled marketing campaign and releasing the film in a handful of theaters in an overcrowded market didn't help. Many guess that the lawsuit is an attempt to somehow recoup Delgos budget after its epic failure at the box office or the studio taking jokes made about the two films seriously.
District 9 (2009) Avatar (2009) CGI sci-fi films exploring themes of Fantastic Racism and settler colonialism between alien Serkis Folk and human antagonists. In Avatar, humans are the invading aliens to the beautiful world of Pandora against the gentle, beautiful and in-touch with nature Na'vi. In District 9, the aliens (a race of ugly but still endearing Insectoid Aliens) are Invading Refugees exploited and forced into ghettos by the South African government. Both films released within months of each other and share very similar themes. District 9 goes for a Mockumentary angle; the found footage with the racist interviewees were real South Africans giving their opinions to the disguised film crew on Nigerian immigrants. Of the two, Avatar still had by far the higher gross, but District 9 was also commercially successful and critically acclaimed despite a little-known director and casting. Both won.
Destination Moon (1950) Transformers: Revenge of the Fallen (2009) \\ Terminator Salvation (2009) Both movies are sequels to established sci-fi robot franchises; however, Terminator Salvation departs from the Terminator series' usual formula by mostly concerning itself with giant and/or vehicle-like "non-cyborg" sentient robots, making it closely resemble the Transformers movies. With Transformers, the core fanbase was already steeled to expect a Bay film. On the other hand, Salvation did help establish Sam Worthington (Avatar) as an Epic Movie actor just as he was about to quit to take a long vacation in the desert, so make of what you will of that. While Terminator: Salvation received negative reviews, Transformers: Revenge of the Fallen was savaged by critics and won many Golden Raspberry Awards. However, Revenge of the Fallen made more money and seems to have more fans, while Salvation was a flop; not only was the Terminator franchise dormant for six years (and the new film is a reboot), but their company went under as well following the movie.
Inception (2010) The Adjustment Bureau (2011)

Limitless (2011)

Source Code (2011)
Action movies with strong philosophical/Mind Screw elements. Inception was released in 2010 and all of the imitators were previewed/released within the next year. Inception is the most popular among both critics and general audiences; the others got positive reviews as well (especially Source Code, which got 92% in Rotten Tomatoes, but were less commercially succesful).
Battle: Los Angeles (2011) Skyline (2010) Aliens attack Los Angeles. Battle Los Angeles began production first and focuses solely on the military fighting aliens. Skyline began production after (but got released first) and focuses on the military and regular people fighting aliens. Both Skyline and Battle Los Angeles were panned by critics (though the latter not quite as badly). However, audiences reacted much more favorably to Battle Los Angeles, and while Skyline made a profit ($65 million worldwide on a $10 million budget), Battle Los Angeles (costing $100 million) made close to as much in its opening weekend as Skyline made during its entire run. Battle Los Angeles is the clear winner when all is said and done. To say nothing about a lawsuit that occurred between both Sony and effects studio Hydraulxnote  during production of the films.
Skyline (2010) The Darkest Hour (2011) Independently-produced films about alien invasions in major cities. Skyline is set in Los Angeles, while The Darkest Hour is set in Moscow and was produced by Timur Bekmambetov (of Night Watch and Wanted fame). Both films were ravaged by critics, though Skyline managed to make a lot more money on a much smaller budget than The Darkest Hour, which bombed at the box office.
Cowboys & Aliens (2011) Attack the Block (2011) 2011 Genre mash-ups where aliens invade during an American western and a mugging in London, respectively. Both opened on the same day and both have fanboy-fave directors involved (Jon Favreau directing Coyboys and Aliens and Edgar Wright producing Attack the Block), but Cowboys and Aliens had a Comic Con presence and an All-Star Cast. Cowboys and Aliens had a wider release but mixed reviews, and bombed at the box office, almost getting future bomb The Lone Ranger cancelled when Disney noted the movie's performance, and both of these movies sent the sci-fi/fantasy western back into the cemetery that 1999's Wild Wild West put it in. Favreau also didn't direct another high-budget tent pole for 5 years, and it was one of two films that halted Platinum Studios and co-producer Scott Rosenberg's film plans for a while. As for Attack The Block, it got a small release and relatively great reviews.
Oblivion (2013) After Earth (2013) 2013 movies set on post-diaspora and -apocalypse Earths starring A-list actors (respectively, Tom Cruise and Will Smith). Oblivion opens a couple months earlier. Oblivion has the hero finding a long-lost La Résistance (or are they?) on earth after it was destroyed by aliens; After Earth has the heroes crashing onto the specifically human-hostile and -free planet (apparently one of many), which has been "quarantined" for so long the hero's son doesn't know its name. Both films' heroes are shown with shiny white spacecraft and neat, clean suits exploring the ruins/wilderness. Oblivion. While Oblivion got mixed reception from the critics, it managed to make more than twice its budget back and is often considered to have been Vindicated by History. After Earth did much worse with both the critics (compare Oblivion's 55% Rotten Tomatoes rating to After Earth's 11%) and the box-office, failing to recoup its $130 million budget, adding another embarrassment to the career of embattled director M. Night Shyamalan, and setting Will and Jaden Smith's careers back.
Snowpiercer (2013) High-Rise (2015) Humanity goes to pieces in an airtight tube as seen from the POV pf a pair of Marvel Cinematic Universe characters. Captain America fights his way from the squalid rear of a Cool Train to the front seat of power to get answers; Loki observes the residents of his tower from his place of privilege near the top, and in both cases the men at the very top/front have their own agendas. Snowpiercer is definitely the winner. Its box office was twice it's budget and got very favourable critical reception. High-Rise did not make back its low budget (which was about 8 million USD) and while it had generally positive reception, it was still not as well received as Snowpiercer.
Transcendence (2014) Lucy (2014) 2014 sci-fi thrillers about a human who through scientific means has their mind expanded and essentially gain the powers of a god. Both films feature Morgan Freeman as a scientist in a major supporting role. Lucy takes this one. Even when taking into account that Transcendence had a little more than twice the budget of Lucy, the latter film still won at the box office as it made four times as much money. Both have received strong mixed opinions from the general audience; however, Lucy managed to get positive reviews from critics, whilst Transcendence was panned.
Guardians of the Galaxy (2014) Jupiter Ascending (2015) Genre Throwbacks to the extravagant, gleefully camp Space Operas of old.   Guardians easily won, becoming a Sleeper Hit and another critical and fiscal slam dunk for the Marvel Cinematic Universe, with a sequel, Guardians of the Galaxy Vol. 2, released in 2017. Jupiter Ascending was delayed for six months just before its planned release, flopped hard and all but wiped out its directors.
Lazer Team (2015) Pixels (2015) Four idiots are brought together to fight aliens in order to save the Earth. Pixels producers approached the Yogscast, and asked for them to promote the film. Mark "Turps" Turpin declined. Despite this, the producers made the promotional material anyway, not even bothering to get the name right. As a result, Yogscast, their fans, and even some of their detractors, don't hold the film in high regard. Financially, Pixels was a success, raking in $244.9m over a $129m budget, while Lazer Team only made $1.6m from a crowdfunded $2.4m. Critically, neither film did well; Pixels was plagued with negative reviews, not helped by the accusations of sexism, and controversy over copyright claims. Reviews for Lazer Team are mixed, but it has a sizable following from fans of Rooster Teeth. Overall, Pixels edges out the competition, on account of making a profit.
Jupiter Ascending (2015) Star Wars: The Force Awakens (2015) Grand-scale throwbacks to the space operas of old centering around a young woman who starts out as a nobody who finds herself drawn into a galactic conflict against a corrupt/authoritarian regime where she is proved to be a key part of. Her closest allies turn up in the form of disgraced ex-soldiers, one her age who becomes something of a love-interest and an older mentor-type figure. This is the second time that a Wachowski film came out the same year as the opening chapter of a new Star Wars trilogy. The first being the previously listed The Matrix being released closely to The Phantom Menace. The Force Awakens handily wins. It made far more money at the box office, whilst the underperformance of Jupiter Ascending killed its prospects for a franchise. Critically, it also did far better. Though Force Awakens has attracted some more criticism over time and Jupiter has developed something of a cult following, much of which seems rooted in one's creativity and the other's lack thereof ironically, the scales are still a good deal more heavily weighed on the former's side.
Chappie (2015) Ex Machina (2015) 2015 released sci-fi films centering around the creation of a machine with artificial intelligence, and attempts to explore some of that concept's nature.   Ex Machina did much better with critics and won an Oscar, whilst Chappie in contrast got a mixed-to-negative response despite its larger box office draw. Commercially, Chappie grossed more, earning 102 million compared to Ex Machina's 36.9 million. Chappie, though, had a much larger production budget (49 million vs Machina's 15 million).
Star Trek Beyond (2016) Star Wars: Rogue One (2016) The two most iconic space opera franchises face-off in 2016.   Critically it's pretty much a draw. However, Rogue One definitively bested it at the box office.
Rogue One (2016) Passengers (2016) Space Opera movies featuring very strong female leads, debuting late 2016. Both movies are rather harder on the Mohs Scale of Science Fiction Hardness than usual (or at least Rogue One is harder than most of the rest of the Star Wars franchise). Rogue's Jyn Erso has to be strong in the face of an evil empire, Passengers' Aurora Lane has to be strong in the face of learning her companion doomed her to an "early" death simply because he was lonely. Rogue One wins. Passengers was savaged by critics for the Unfortunate Implications of its plot; Rogue One did considerably better critically. Rogue One also grossed over 1 billion dollars worldwide while Passengers has grossed a little bit under 300 million to date.
Star Trek Beyond (2016) Independence Day: Resurgence (2016) Sequels in high-profile science fiction franchises, released in anniversary years for their respective series (the 50th anniversary of Star Trek, and the 20th anniversary of Independence Day). Both films have the protagonists facing off against swarms of aliens in small, highly agile ships, who initially inflict a devastating defeat on the good guys. Critically, it's no contest; Beyond got solid ratings from audiences and critics alike, whereas Resurgence was considered So Okay, It's Average at best by audiences and got mauled by critics. Financially however, Resurgence was surprisingly the victor, with an unimpressive U.S. box-office take but strong international grosses, bringing in just short of $400m on a $165m budget. Beyond was budgeted higher at $185m, and did better in the U.S., but bombed in most other countries outside of the UK, Germany and China, with a final take of $330m.
Alien: Covenant (2017) Life (2017) Sci-Fi Horror films where a space crew investigates an unexplored planet, takes a hostile lifeform on board, and are subsequently killed off one by one while trying to prevent the creature from getting to Earth. Alien: Covenant is the latest installment in the almost 40-year old Alien franchise (and from the looks of it, essentially a soft reboot of the first Alien), while Life is based on an original script. Both films received good reviews from critics, with Covenant getting the slightly better reception. However, Life was a commercial failure with it only making $73.9 million to date on a $58 million budget while Covenant has grossed 214.9 million worldwide to date, tracking below Prometheus' earnings. It did however have a smaller budget (97 million) compared to Prometheus (120-130 million).
Valerian and the City of a Thousand Planets (2017) Ghost in the Shell (2017) Comic book movies featuring incredible Action Girls (who happen to be Older Than They Look: Valerian's partner Lauraline is from Medieval Europe, Ghost's Major is in her late-thirties at least but her cyborg body is in its' early/mid-twenties). Valerian is based on a French-Belgian comic, Ghost is based on a Manga with a bit of Race Lifting. Ghost in the Shell has grossed $167.5 million to date on a $110 million budget with various sources claiming it could be a 60 million loss overall, and it received mixed reviews from critics and holds a rotten score on Rotten Tomatoes. Valerian got slightly better critical reception, but overall still mixed, and it grossed over 200 million worldwide, but had very expensive production and marketing budgets, which has caused the film to still be a box office bomb.
Ghost in the Shell (2017) Blade Runner 2049 (2017) Cyberpunk movies about a cop uncovering a global conspiracy involving a Mega-Corp. The protagonists also grapple with ideas about illusory memories, the blurred line between biological and artificial lifeforms, and the metaphysics of consciousness organic or created. The former is based on a Manga, while latter is a sequel to a 1982 movie, which in turn is loosely based on a book. Both movies bombed at the box office. However, Ghost in the Shell received mixed-to-negative reviews while Blade Runner 2049 was universal praised and won 2 Oscars for cinematography and visual effects. Overall, the Blade Runner sequel is the winner.
Valerian and the City of a Thousand Planets (2017) Star Wars: The Last Jedi (2017) Battle of 2017 space operas.   Valerian was released to mixed critical reception (51 percent on Rotten Tomatoes and 51 on metacritic). While the film has grossed over 200 million worldwide, its high production and marketing costs have caused the film to be a Box Office Bomb. The Last Jedi, on the other hand, was met with critical acclaim (93 percent on Rotten Tomatoes and 86 on Metacritic). The Last Jedi has also grossed over 1.2 billion dollars worldwide, putting it well above Valerian 's earnings. Thus, The Last Jedi wins in both areas.
Pacific Rim: Uprising (2018) Rampage (2018) American-made Kaiju movies. Uprising is the sequel to Pacific Rim, Rampage is an adaptation of the video game series of the same name. The former is largely comprised of unknown and up-and-coming actors, while the latter has an All-Star Cast including the likes of Dwayne Johnson, Naomie Harris, and Jeffrey Dean Morgan. Rampage wins. Although both films received mixed reviews, Rampage actually made a profit, earning $423.9 million worldwide whereas Uprising bombed at the box office by earning only $290.1 million.
See You Yesterday (2019) Don't Let Go (2019) Time-bending thrillers with black leads in which our main character attempts to alter the past to save the life of a recently murdered family member. See You Yesterday is a Netflix original produced by Spike Lee in which a young science prodigy creates a time machine and, with her friend, attempts to save her brother from being murdered in the past by a police officer. Don't Let Go is a theatrical film produced by Jason Blum and starring David Oyelowo, in which he plays a homicide detective who learns he can communicate with his murdered daughter in the past through his phone and attempts to help her change her fate.

(Additionally, an episode of The Twilight Zone (2019) from the same year also featured a similar premise, in which a mother taking her son to college must use time travel to save him from becoming a victim of police brutality).
See You Yesterday. While no box office data exists for Yesterday since it was released directly on Netflix, Don't Let Go proved to be a box office flop, earning only $5.3 million against a $5 million budget. Meanwhile, See You Yesterday proved a critical hit, scoring high marks on Rotten Tomatoes (95%) and Metacritic (74), while Don't Let Go drew much more mixed reactions at 42% and 49, respectively. Ironically, See You Yesterday proved a major case of Critical Dissonance, with weak user scores on Rotten Tomatoes and IMDb, whereas Don't Let Go received a So Okay, It's Average response. However, the latter's poor box office and lower audience awareness (it has far fewer reviews than Yesterday on IMDb) means it's ultimately the loser here.


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