SciPunk @scipunk_

In Johnny Mnemonic (1995), Keanu Reeves plays a data courier with a cybernetic brain implant designed to smuggle information. The film is set in a retro futuristic 90s world where hackers roam cyberspace and high tech corporations control the flow of data.

Steven Spielberg’s Minority Report (2002) presents a dystopian vision in which crimes are stopped before they happen. Based on a story by Philip K. Dick, the film explores themes of precognition, free will, and the moral ambiguity of predictive justice.

Alien Resurrection (1997) follows the crew of a research vessel. Directed by Jean-Pierre Jeunet, the film features 90s era practical effects that contribute to its atmospheric aesthetic. Here, a spacecraft detaches from its mothership and descends toward a planet’s surface.

Blade Runner (1982), dirctd by Ridley Scott, is a scifi film steeped in 80s aesthetic, set in a rain soaked, neon lit future whr flying cars glide above a decaying cityscape. The story follows a weary detective tasked with hunting rogue synthetic humans amid a dystopian society.

In Avalon (2001), a woman spends her days immersed in an illegal, high stakes virtual reality game. Players can only exit the game by completing its missions, but some never return. Then she hears rumors of a hidden, more advanced level and she sets out to uncover its secrets.

Desk Set (1957) is a romantic comedy centered on a computer specialist who automates an office. The film captures retro futuristic 50s technology: mainframes, punch cards, tape recorders, data centers, analog circuitry, and command line interfaces powered by vintage IBM hardware.

In Mickey 17 (2025) 3D bioprinting tech can create replicas of human bodies. Robert Pattinson plays an Expendable: a disposable crew member, chosen for high risk tasks because his body can be reprinted after death. The film is directed by Bong Joon-ho, best known for Parasite.

In The Matrix (1999), Keanu Reeves stars as Neo, a hacker who discovers that the world he knows is a computer simulation controlled by sentient machines. He joins Trinity (Carrie‑Anne Moss) and a group of rebels to fight for humanity’s freedom from virtual enslavement.

Scanners (1981) uses analog aesthetic to frame a narrative of psychic power and institutional control. CRT monitors flicker and tape data recorders spin in the background as people with powerful telepathic abilities are exploited by shadowy corporations.

In Three Days of the Condor (1975), Robert Redford plays a CIA analyst who uncovers a conspiracy. The film’s 70s vibe is packed with analog visuals and old-school electronics: cassette players, reel-to-reel tape recorders, early hacking and phreaking, all echoing the era.

In Alien: Romulus (2024), a crew boards a derelict spaceship in search of abandoned tech they need to escape. Inside the decaying structure, 80s inspired aesthetic sets the stage for a silent menace that soon turns their mission into a fight for survival.

Airwolf (1984) is an 80s sci-fi TV show centered on a stealth helicopter used by agents to take on bad guys. Aesthetic is pure retro-futurism: chrome surfaces, synth music, motion graphics, intense flight sequences and UI visuals like radar overlays and cockpit displays.

In Antitrust (2001), Ryan Phillippe plays a young programmer who joins a flashy tech startup, only to uncover dark corporate secrets. Tim Robbins is the ruthless exec pulling the strings, immersed in a world of CRT monitors, endless lines of code, and CD-ROM fueled innovation.

A sound technician stumbles upon a deadly conspiracy while working with an old tape recorder. Shot in the stylized vein of 1980s cinema, Blow Out (1981) channels Brian De Palma’s visual flair. John Travolta stars as the audio expert whose passion pulls him into a thriller.

Disclosure (1994) follows a computer specialist (Michael Douglas) who becomes entangled in a corporate conspiracy. Based on Michael Crichton’s novel, the film explores themes of privacy and data manipulation; set against the backdrop of early ’90s computer culture.

Stargate (1994) follows a scientist and a team of soldiers who use an ancient alien device to travel to a distant world, where they encounter a civilization shaped by Egyptian mythology, desert landscapes, and a towering pyramid.

A Ferrari-like flying car tries to parallel park by shoving the cars in front and behind, only to trigger the Judges to swoop in, ending in a fiery explosion in Judge Dredd (1995).

In Max Headroom (1987), a retro-futuristic aesthetic meets dystopian sci-fi as a glitchy, computer-generated entity, Max, emerges from old TV static to challenge the corporate grip of Network 23.

In Ghost in the Shell (1995), rain falls steadily over Hong Kong’s decaying back alleys, already slick with water. A man flees through the gloom.

In Bubblegum Crisis: Tokyo 2040 (1998), a 90s cyberpunk sci-fi classic, a woman’s rage is triggered by an unsettling audio message.