Science Fiction Movies That Are the Perfect Guilty Pleasure

“Guilty pleasure” evokes embarrassment, shame, and we don’t often admit to indulging in such activities. When it comes to cinema—an art form with wildly varying quality—our tastes don’t always align with what critics deem high quality. Over the past 20 years, the term guilty pleasure has taken on significant meaning in film culture. Many movies have aged poorly, and many have only been appreciated much later precisely because they were never truly “good” in the first place. But it’s worth noting: they had to be “bad” in a very specific way—retaining a unique character. That’s the only reason they survived and continued to capture audiences’ interest. The following science fiction films either belong to this group already or are well on their way. They just need a few more years before we can confidently call them guilty pleasures in front of the screen.

“Starship Troopers” (1997), dir. Paul Verhoeven

A film made in a style that never really spoke to me—although clearly, it did for millions of viewers. But over the years, Verhoeven’s production has started to seem better than it did back in the late ’90s when I first watched it. That’s mainly due to its concept: filmed with a wink, satirical in content—though not entirely in form, which now comes across as very cheap.

“Barbarella” (1968), dir. Roger Vadim

A film made for one actress and about one actress—Jane Fonda, who was Roger Vadim’s muse at the time. Does the plot matter? Not really. But the erotic atmosphere absolutely does. There’s no other sci-fi film quite so soaked in sensuality. It’s worth knowing Barbarella for that atmosphere alone, to revisit it now and then, rediscover it, and—even today—find it titillating.

“Plan 9 from Outer Space” (1959), dir. Edward D. Wood Jr.

Vampires arrive from space to suck human blood—or more precisely, to resurrect the dead and, most importantly, to destroy the human race for thinking too far ahead about global annihilation. The idea is still quite original, even today—but the execution is thoroughly archaic. And that’s exactly why Plan 9 is a gem of oddity in the world of sci-fi cinema.

“Armageddon” (1998), dir. Michael Bay

There is no more melodramatic title in the history of sci-fi cinema than Armageddon. What’s more, this melodrama is wrapped up in American-style patriotism—where the USA takes responsibility for saving the whole world. Russia appears just out of courtesy. Human emotions are absurd, the characters unrealistic—which is why it’s still such a fun ride for me.

“Short Circuit” (1986), dir. John Badham

One of those titles I keep coming back to. The anthropomorphization of the robot goes far beyond the bounds of reason. At times, the animatronic effects are nightmarish. And yet, the plot is surprisingly well-balanced—between pathos, moralizing, and top-tier entertainment.

“Judge Dredd” (1995), dir. Danny Cannon

Dredd’s costume alone qualifies him as the king of kitsch. In second place: Stallone’s voice and facial expressions. The script comes in further down the list—but let’s be honest, it’s not that bad in terms of story. The film was slammed by critics back in the day. Over time, though, it’s gained a kind of cult appreciation, as its campy comic-book style is now seen as a plus. At least it doesn’t have the exhausting self-importance of modern superhero films.

“Mars Attacks!” (1996), dir. Tim Burton

Light-hearted, funny, sometimes bitter—and hard to categorize strictly as science fiction. On the other hand, it’s badly acted, with terrible special effects—in a word, over-the-top. Surprisingly, it was directed by none other than Tim Burton. Yet there’s nothing very “Burtonesque” about it. Maybe that’s exactly why it’s become a guilty pleasure?