The aliens are strange creatures, made stranger still by the film's inconsistency in handling them. Without revealing one major secret about their essence, I can ask how they seem to be physical and conceptual both at once. They defeat a human not by physically attacking him, but by absorbing his life essence. Yet they can be blasted to smithereens by the weapons of the Deep Eyes. Maybe the human weapons are not conventional, but operate on the alien's wavelength; either I got confused on that point, or the movie did.

Enough about the plot, which is merely the carrier for the movie's vision. The reason to see this movie is simply, gloriously, to look at it. Aki has dream scenes on another planet, where a vast celestial sphere half-fills the sky. We see New York City in 2065, ruined, ghostlike, except for the portions under the protective dome. There are action sequences that only vaguely obey the laws of gravity, and yet seem convincing because we have become familiar with the characters who occupy them. Shots like the one where we look straight up at Aki standing on the surface of a shimmering lake. And the infrastructure of the protective dome, its corridors and machines surpassing any possible real-world sets. ''Final Fantasy'' took four years to create. A computer animation team, half-Japanese, half-American, worked in Hawaii with director Hironobu Sakaguchi; they shot many of the physical movements and then rotoscoped them, and artists were assigned to specialize in particular characters. The most realistic are probably Dr. Sid and Ryan. It all comes together into a kind of amazing experience; it's like you're witnessing a Heavy Metal story come to life.

Is there a future for this kind of expensive filmmaking ($140 million, I've heard)? I hope so, because I want to see more movies like this, and see how much further they can push the technology. Maybe someday I'll actually be fooled by a computer-generated actor (but I doubt it). The point anyway is not to replace actors and the real world, but to transcend them--to penetrate into a new creative space based primarily on images and ideas. I wouldn't be surprised if the ''Star Wars'' series mutated in this direction; George Lucas' actors, who complain that they spend all of their time standing in front of blue screens that will later be filled with locations and effects, would be replaced by computerized avatars scarcely less realistic.

In reviewing a movie like this, I am torn between its craft elements and its story. The story is nuts-and-bolts space opera, without the intelligence and daring of, say, Steven Spielberg's ''A.I.'' But the look of the film is revolutionary. ''Final Fantasy'' is a technical milestone, like the first talkies or 3-D movies. You want to see it whether you care about aliens or space cannons. It exists in a category of its own, the first citizen of the new world of cyberfilm.