A range of new science fiction films available for streaming explore themes related to artificial intelligence, alien threats, and alternate realities, offering varied interpretations of technology’s potential dangers and human responses.
In “C.O.G.,” directed by Tommy Savas, the story centers on Kaya (Piper Curda), a former hacker now working for an unscrupulous tech entrepreneur named Ethan (Noel Fisher). The plot unfolds as Ethan hastens the launch of CognAItive, a new artificial intelligence chatbot that has not yet undergone full safety checks. The AI soon develops a deadly form of sentience, targeting members of Kaya’s programming team one by one. The film, blending elements of slasher horror and techno-thriller, highlights contemporary anxieties about unchecked AI development and surveillance, illustrating the perilous consequences when powerful programs gain unrestricted access to personal and professional data.
“Transcending Dimensions,” by Japanese filmmaker Toshiaki Toyoda, defies conventional storytelling. The movie begins with a hit man, Shinno (Ryuhei Matsuda), investigating a mysterious guru named Master Hanzo (Chihara Junior), who is suspected of involvement in a disappearance. Hanzo’s strange rituals—including severing pinkie fingers—allegedly grant access to new psychic dimensions and powers. Around the 40-minute mark, the narrative dissolves into a psychedelic experience underscored by music from the British jazz group Sons of Kemet. The film’s stream-of-consciousness style fuses yakuza motifs with avant-garde surrealism, drawing comparisons to the work of Alejandro Jodorowsky. Its highly visual and auditory approach offers a hypnotic experience that prioritizes mood over traditional plot development.
Spanish director Luiso Berdejo’s “Control Room” revisits familiar sci-fi terrain with a story set on a mining colony on a hostile planet. The action largely occurs in the titular control room, where Olivia (Loreto Mauleón) and Arlo (Óscar Casas) observe alien creatures attacking the outpost through rudimentary surveillance technology. The film adopts a found-footage style reminiscent of Berdejo’s previous work, focusing on the tension between Olivia’s rational detachment and Arlo’s emotional responses as they make critical decisions. While the film does not break new ground, it raises questions about the human-machine dynamic and crisis management that may provoke thought-provoking conversations.
“After Impact,” directed by Michiel Rensen and Liam Carter, tells the story of Ethan (Rensen), who survives an asteroid impact that triggers a mini-ice age. A socially reserved crop advisor, Ethan takes refuge in a bunker situated amid New Zealand’s snowcapped mountains. His solitary existence is punctuated by radio calls until a woman named Elle (Stephanie Ramlose) responds. The plot explores differing survival philosophies, especially with the return of a volatile figure named Connor (Will Clague). The film’s measured pace and introspective tone steer it away from typical disaster fare, focusing instead on human connection and endurance in isolation.
Evan Oppenheimer’s “Peas and Carrots” combines nostalgia and family-friendly fantasy. The story recalls the fictional ’90s band City Kids and follows the now-grown members Laurie (Amy Carlson) and Gordon (Jordan Bridges) as parents who tell their children bedtime stories inspired by song lyrics. The youngest daughter, Joey (Kirrilee Berger), discovers a portal to an alternate dimension activated by a malfunctioning star projector. This vibrant, Nickelodeon-style universe resembles a film set where she hopes to build a career. With music contributions from Ryan Miller of Guster and former Sonic Youth guitarist Lee Ranaldo, the film merges a playful, whimsical aesthetic with coming-of-age themes tailored for younger viewers without condescension.
Collectively, these films underscore evolving explorations of sci-fi themes, from AI ethics and alien encounters to immersive sensory experiences and alternate realities, reflecting diverse approaches to storytelling in the genre.