The 75 Best Movies on Amazon Prime Right Now (October 2021)

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The 75 Best Movies on Amazon Prime Right Now (October 2021)

Amazon Prime is a teeming streaming treasure trove of some of the most esoteric, wonderful and underseen cinema of the past 80 years, though good picks can feel nearly impossible to cull from the sometimes overwhelming glut of weirdly terrible titles buried in Prime’s nether regions. And that’s not to mention the counterintuitive, migraine-inducing browsing, or the service’s penchant for dropping a title unexpectedly only for it to reappear under a different link just as unexpectedly. Who can keep track of any of this stuff?

Well, we can. Or, at least, we try. A dozen films from this list left the service this September, as much heads to IMDb TV (also owned by Amazon) and to rental. Not to worry, though: There were plenty of great movies waiting to take their place…we just had to dig them up by battling Amazon’s notoriously terrible user interface.

Here are 75 of the best movies available to stream on Amazon Prime right now:

1. One Night in Miami

Year: 2021
Director: Regina King
Stars: Kingsley Ben-Adir, Eli Goree, Aldis Hodge, Leslie Odom Jr
Rating: R
Runtime: 114 minutes

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A barebones summary of One Night in Miami sounds like a dude’s delight movie: Four men out on the town, no attachments to keep them in line, and a limit to their evening revelry that extends skyward. But the four men are Sam Cooke, Cassius Clay, Jim Brown, and most of all Malcolm X; the town is actually the Magic City; and the specific evening is February 25, 1964, when heavyweight boxing champion Sonny Liston crossed gloves with Clay and lost his title in an upset. Subjects crossing the characters’ lips include, of course, boxing, and women, and rowdiness, but they’re joined by other, more important subjects like Black American identity, American identity, and how the two interact with one another. But that doesn’t rob One Night in Miami of the “delight” clause, thanks in no small part to crackling performances by a cast comprising a cadre of exceptional young actors (Eli Goree, Leslie Odom Jr., Aldis Hodge, Kingsley Ben-Adir), and directed with cool confidence by Regina King in her feature debut. Her adaptation of Kemp Powers’ stage play is a historical document written to presuppose what conversations these fellows might’ve had in private and away from prying ears, a compelling fiction rooted in reality. It’s also thoroughly entertaining, witty, and exuberant. This isn’t a film about meaningless carousing. It’s about conversations that actually matter. —Andy Crump


2. Do the Right Thing

Year: 1989
Director: Spike Lee
Stars: Danny Aiello, Ossie Davis, Ruby Dee, Richard Edson, Giancarlo Esposito, Bill Nunn, John Turturro, Samuel L. Jackson
Rating: R

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Do The Right Thing, Spike Lee’s brutally direct masterpiece about America’s fraught race relations, compacted within a block of Bed-Stuy during the hottest day of a 1989 summer, might be hypnotically entrenched in late ’80s aesthetic and style, but its tragic breakdown of racial conflict is timeless. Like a master manipulator of tone and tension, Lee meticulously turns up the heat until the inevitable explosion tears apart the society with which Lee’s spent the course of the movie making us fall in love. Tragedy expands tenfold. Powered by amazing performances from a great ensemble cast—from established heavy hitters like Ossie Davis, Danny Aeillo and Ruby Dee, to then-newcomers Martin Lawrence, Samuel L. Jackson and John Turturro—and Ernest Dickerson’s scorching cinematography, Do The Right Thing is one of those rare achievements that manages to be equal parts hilarious and devastating. It’s certainly one of a handful of quintessential American films. —Oktay Ege Kozak


3. The Social Network

Year: 2010
Director: David Fincher
Stars: Jesse Eisenberg, Andrew Garfield, Justin Timberlake, Armie Hammer, Max Minghella
Rating: R
Runtime: 128 minutes

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The Social Network follows the evolution of one of the most financially successful and problematic institutions of the 21st century. The film opens with a break-up scene between Mark Zuckerberg (Jesse Eisenberg), a young man completely devoid of social skills, and his girlfriend Erica (Rooney Mara). Zuckerberg confuses Erica with his literal, machine-like translations of her every word while occasionally throwing in a sarcastic witticism. Throughout the film this sort of wordplay ebbs and flows with comedy and tragedy. After Erica walks out on him, an inebriated Mark goes back to his Harvard dorm room and disses Erica with aspersions to her character and bra size on the school’s social page for everyone to see while also creating a new social website which, with help from a few friends, eventually becomes Facebook. Most of the film takes place as a series of flashbacks based on testimony in two lawsuits filed against Zuckerberg. The first is from a trio of Harvard upperclassmen who claim to have contracted Zuckerberg to create the network, and who also belong to an elite club that Mark wishes to be a part of. The other suit comes from his best friend and Facebook co-founder Eduardo Saverin (Andrew Garfield) whose story in the film is as central as that of Zuckerberg’s. The disintegration of their relationship begins when the creator of Napster, Sean Parker (Justin Timberlake) takes a bandwagon seat on the rising company while creating a wedge between the co-founders. Garfield is wonderful as the unsure Saverin who wants to carefully guide Facebook into its future while Zuckerberg and Parker are full steam ahead. Like Oliver Stone’s 1987 film Wall Street, greed is still king and the wolves are at the door. —Tim Basham


4. Die Hard

Year: 1988
Director: John McTiernan
Stars: Bruce Willis, Alan Rickman, Reginald VelJohnson, Bonnie Bedelia, Alexander Godunov
Genre: Action & Adventure, Thriller
Rating: R
Runtime: 114 minutes

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Die Hard may be the “stickiest” film of its decade—how many best-laid plans have been derailed by running across John McTiernan’s masterful actioner on cable? As Officer John McClane and Hans Gruber, Bruce Willis and Alan Rickman, respectively, steal the show in career-defining roles, but even Henchman #10 (Asian man who eats candy bar, or Uli, to his friends) comes across more realized than most lead roles in today’s run-of-the-mill action flicks. Tightly plotted with cleverness to spare, Die Hard welcomes the scrutiny of multiple viewings without losing its humor or heart. Yippie ki-yay, indeed. —Michael Burgin


5. Catch Me If You Can

Year: 2002
Director: Steven Spielberg
Stars: Leonardo DiCaprio, Tom Hanks, Christopher Walken, Martin Sheen, Amy Adams, James Brolin
Rating: PG-13
Runtime: 141 minutes


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For lovers of tongue-in-cheek and smooth-as-silk ’60s crime dramedies like Stanley Donen’s wonderfully twisty Charade, Catch Me If You Can is an big fat slice of cinematic comfort food. From the minimalist and pastel animated credits sequence, accentuated wistfully by John Williams’ jazzy score, to the breezy but non-condescending adventures of charming-as-hell conman Frank Abagnale Jr. (Leonardo DiCaprio in a role tailor-made for him), this is a genre throwback that crackles throughout. In only his second role with the director (after Saving Private Ryan), Spielberg regular Tom Hanks, as an anal FBI agent on Abagnale’s tail, is the straight-laced foil to DiCaprio’s wild and loose youngling, but the real MVP here is Christopher Walken as Abagnale’s strong-willed yet tragically self-destructive working class father.—Oktay Ege Kozak


6. Young Frankenstein

Year: 1974
Director: Mel Brooks
Stars: Gene Wilder, Peter Boyle, Teri Garr, Cloris Leachman, Marty Feldman, Madeline Kahn, Kenneth Mars, Richard Haydn, Gene Hackman.
Rating: PG
Runtime: 112 minutes

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One of the best comedies of all time and one of the 10 or so films I can quote almost entirely from memory, Young Frankenstein is a classic of the genre. At once a spoof of traditional Universal horror films and a loving tribute, with a surprising number of deep references to Bride of Frankenstein and Son of Frankenstein in particular, Mel Brooks and his immensely talented cast have created a timeless film. It follows Dr. Frederick Frankenstein (played by Gene Wilder) as he finally gives into continuing his grandfather’s (the Frankenstein) experiments. A classic for all ages, Peter Boyle’s take on Frankenstein’s monster is more playful than scary—after all, it’s hard to see a kid being terrified by a tap-dancing monster, even if he is “puttin’ on the ritz.” —Mark Rabinowitz


7. Butch Cassidy and the Sundance Kid

Year: 1969
Director: George Roy Hill
Stars: Paul Newman, Robert Redford
Rating: PG
Runtime: 110 minutes

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The top-grossing film of 1969 and four-time Oscar winner was an anachronistic wonder that poked at the stoic bravura of the traditional Western: Consider the broad buddy humor between its pitch-perfect leads, Paul Newman and Robert Redford; the poppy, Burt Bacharach-Hal David-penned score and that theme song, “Raindrops Keep Fallin’ on My Head”; and William Goldman’s wry, self-aware script. From the first sepia-saturated moments of George Roy Hill’s take on the Old West, Butch Cassidy and the Sundance Kid rewrote history, literally: Author Goldman famously wanted to tell the story of the titular outlaws’ flight to South America but didn’t want to do sufficient research for a novel-length treatment. And thus, “Most of what follows is true,” the film winks at its start. Gorgeously shot by Conrad Hall, the film is a deftly balanced mix of reverential genre elegy and sometimes deadpan, sometimes slapstick comedy. At its heart is then box office superstar Newman and comparatively small-potatoes actor Redford, the latter taking over after Steve McQueen backed out, balking over whose name would be billed first in the credits. As the Kid’s girlfriend, Katharine Ross complicates the duo’s relationship and lends nuance to what is essentially a love story. Curiously, Butch and Sundance’s posse, the Hole in the Wall Gang, was known as the Wild Bunch in real life but was changed for the screen to avoid confusion with another Western set for release a few months prior to its own premiere. —Amanda Schurr


8. Raising Arizona

Year: 1987
Director: Joel and Ethan Coen
Stars: Nicolas Cage, Holly Hunter, Trey Wilson
Rating: PG-13
Runtime: 94 minutes

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Understated dramatic performances are all well and good, but it takes pinpoint control on behalf of both directors and cast to deliver the sustained overstated performances found throughout Raising Arizona. From its opening courtship sequence to the struggles of H.I. (Nicholas Cage) and Ed (Holly Hunter) to form a family by borrowing an “extra” from a family with a surplus to the final battle with the Lone Biker of the Apocalypse, the Coen brothers’ film remains an immensely beguiling and quotable farcical fable. —Michael Burgin


9. Manchester by the Sea

Year: 2016
Director: Kenneth Lonergan
Stars: Casey Affleck, Michelle Williams, Kyle Chandler
Genre: Romance
Rating: R
Runtime: 137 minutes

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Loss and grief—and the messy, indirect ways people cope with the emotional fallout—were the dramatic linchpins of writer-director Kenneth Lonergan’s first two films, You Can Count on Me and Margaret. And so it is again with Manchester by the Sea, a commanding, absorbing work in which the sum of its impact may be greater than any individual scenes. As opposed to the intimate, short-story quality of You Can Count on Me, Manchester by the Sea bears the same sprawling ambition as Margaret, Lonergan draping the proceedings in a tragic grandeur that sometimes rubs against the film’s inherently hushed modesty. Casey Affleck as Lee Chandler is quietly magnetic as a man who can’t express himself at a time when he really needs to step up and be the patriarchal figure. Lucas Hedges and Kyle Chandler are also both quite good, their characters buried deep in the man’s-man culture of the East Coast communities in which the film is set. But especially terrific is Michelle Williams as Lee’s ex-wife, who has played haunted wives before, in Brokeback Mountain and Shutter Island. Here, though, she really pierces the heart: Her character never stopped loving Lee, but her brain told her she had to if she was ever going to move on with her life. In this film, she’s actually one of the lucky ones. Tragedies drop like bombs in Manchester By the Sea, and the ripple effects spread out in all directions. The movie’s ending isn’t exactly happy, but after all the Chandlers have gone through, just the possibility of acceptance can feel like a hard-earned victory. —Tim Grierson


10. Borat

Year: 2006
Director: Larry Charles
Stars: Sacha Baron Cohen, Pamela Anderson, Ken Davitian
Rating: R
Runtime: 83 minutes

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It’s easy to overlook or underrate Borat in 2016, or Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan, given the Sacha Baron Cohen movies that followed. The likes of Bruno and The Dictator managed to water down Cohen’s original statement, but his faux-documentary about an awkward Eurasian traveler remains kind of brilliant. It was a wide-release comedy that plainly and critically looked at an average American attitude of dismissiveness and outright xenophobia toward people we don’t understand, as well as a willingness to feign earnestness if they thought taking advantage of Borat might somehow benefit them. Borat might say things that are naïve, but at least they’re sincere products of the character’s fictitious upbringing. Borat the character is no charlatan—the “real” people he meets in America, on the other hand, can’t make the same claim. One final aside: This film, along with Anchorman, is the loudest I’ve ever heard an audience laugh in a multiplex theater.—Jim Vorel


11. The Big Sick

Year: 2017
Director: Michael Showalter
Stars: Kumail Nanjiani, Zoe Kazan, Holly Hunter
Genre: Romance, Comedy
Rating: R
Runtime: 120 minutes

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The Big Sick can sometimes be awfully conventional, but among its key assets is its radiant view of its characters. Based on the first year in the relationship of married screenwriters Kumail Nanjiani and Emily V. Gordon, this indie rom-com has a mildly risky structure and some trenchant observations about the culture clashes that go on in immigrant families living in America. But what cuts deepest is just how profoundly lovable these people are. That’s not the same as being cutesy: Rather, The Big Sick is defiantly generous, understanding that people are horribly flawed but also capable of immeasurable graciousness when the situation requires. So even when the film stumbles, these characters hold you up. Nanjiani plays a lightly fictionalized version of his younger self, a struggling Chicago stand-up who is having as much success in his career as he in his dating life. Born into a Pakistani family who moved to the United States when he was a boy, he’s a dutiful son, despite lying about being a practicing Muslim and politely deflecting the attempts of his parents (Anupam Kher, Zenobia Shroff) to set him up in an arranged marriage. That’s when he meets Emily (Zoe Kazan), an American grad student with whom he’s instantly smitten. She swears she doesn’t want a relationship, but soon they fall for one another—even though Kumail knows it can’t work out. What’s most radical about The Big Sick is its optimistic insistence that a little niceness can make all the difference. —Tim Grierson


12. The Man Who Fell to Earth

Year: 1976
Director: Nicholas Roeg
Stars: David Bowie, Rip Torn, Candy Clark, Buck Henry
Rating: R
Runtime: 139 minutes

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Imbued with newfound poignancy and melancholia after the passing of its mercurial lead Starman, David Bowie, Nicholas Roeg’s impressionistic, ravenous, experiential masterpiece is one of the rare films about aliens that feels as exotic in its form as its content. Filled with Roeg’s characteristically discursive, paradoxically symmetrical but nonlinear cutting and violently sensual imagery, The Man Who Fell to Earth is as much about subverting the very nature of human experience as it is about offering an outside window into our culture. As the “secretive, but not private” Thomas Jerome Newton—a meteoric billionaire industrialist whose knowledge allows him to skip decades of scientific stranglehold at a mere moment—Bowie’s version of a universal traveler is less about a misunderstanding of the world than a semantic confusion of the pronunciation of words, or an inability to reinforce his own externalized narrative. Even as Newton leaps every known scientific hurdle, his life force is slowly being wrung out by competitors and friends alike who are so consumed with success they’re unable to see the big picture, or recognize the importance of Newton’s own interest in returning to his family. In what both represents and replicates the experience of watching a Roeg film, Newton obsesses over dozens of televisions, attempting to collectively view reality as one congealed experience. As he explains, “Television shows you everything, but it doesn’t tell you everything.” Moving decades in single frames, Newton can’t escape this misery of his own making, basking in the death of his memories over endless gins as he experiences seemingly multiple lifetimes in a single event. Referring to his eternal imprisonment, Rip Torn’s traitorous Nathan Bryce asks, “Are you mad that we did this?” On the verge of passing out, Newton responds, “We’d have probably treated you the same if you came over to our place.” Even aliens aren’t immune to our vices of apathy and despair. —Michael Snydel


13. The Bad News Bears

Year: 1976
Director: Michael Ritchie
Stars: Walter Matthau, Tatum O’Neal, Vic Morrow
Rating: NR
Runtime: 102 minutes

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Vulgar, politically incorrect and heartfelt to the extreme, this baseball flick about a youth baseball team of misfits is a metaphor for that shocking reality check we all had as kids. Maybe all grown ups aren’t role models. But through all the winning and losing—mostly losing in the beginning—both the bad-example, beer-guzzling coach (Walter Matthau) and his bad-news Bears find redemption through each other. Is it a “kids” movie? No, it’s an everyone movie. —Joe Shearer


14. The Karate Kid

Year: 1984
Director: John G. Avildsen
Stars: Ralph Macchio, Pat Morita, Elisabeth Shue, William Zabka
Genre: Drama, Action
Rating: PG

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Ralph Macchio’s crane-legged Karate Kid would become an icon of the ’80s, as would Pat Morita as Mr. Miyagi, the sensei who trains the bullied Daniel LaRusso in martial arts. Although many of the scenes can feel a little worn and trope-laden, that’s mostly due to how much the film has been copied in the years since its release. It was the sort of feature that defined karate to an entire generation of young kids and must have inspired countless dojo openings and yellow belt ceremonies. It also features one of the great villains of ’80s cinema in the merciless Cobra Kai coach, Sensei John Kreese: “Sweep the leg, Johnny.” —Josh Jackson


15. Small Axe: Alex Wheatle

Year: 2020
Director: Steve McQueen
Stars: Sheyi Cole, Robbie Gee, Johann Myers
Genre: Drama
Rotten Tomatoes Score: 97%
Rating: NR
Runtime: 65 minutes

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Alex Wheatle is a coming of age story based on the early life of the eponymous award-winning YA author and is the penultimate film of McQueen’s Small Axe collection. Set in the ‘70s and early ‘80s, we follow Alex from his childhood in an orphanage of Dickensian cruelty to his Brixton youth, where he connects with his Blackness, to his being nurtured by a paternalistic Rastafarian cellmate in prison. Alex Wheatle is accomplished and devastating, with dynamic cinematography, a phenomenal soundtrack and a heartbreaking central debut performance from Sheyi Cole. In many ways, it feels like a melding of the other four Small Axe films: The systemic racism of Mangrove, the musical escapism of Lover’s Rock, the daddy issues of Red, White & Blue and the childhood cruelty of Education. But in its thematic overlapping, Alex Wheatle undermines its own significance. It doesn’t have the distinct identity of the other films and, while it’s always a pleasure to watch filmmaking at McQueen’s level, it doesn’t leave a lasting impression.—Leila Latif


16. The Graduate

Year: 1967
Director: Mike Nichols
Stars: Dustin Hoffman, Anne Bancroft, Katharine Ross
Rating: PG
Runtime: 105 minutes

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In the undisputed king of movies for those headed out into the real world, a hyper-accomplished recent grad (Dustin Hoffman) panics at the prospect of his future and falls into an affair with the much older wife of his father’s business partner (Anne Bancroft). It helped define a generation long since embalmed by history, but the sense of longing for an alternative hasn’t aged. —Jeffrey Bloomer


17. The Life Aquatic with Steve Zissou

Year: 1976
Director: Wes Anderson
Stars: Bill Murray, Owen Wilson, Cate Blanchett
Rating: R
Runtime: 118 minutes

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A once-famous oceanographer and explorer, Steve Zissou (Bill Murray) now can barely bother. He feels things quietly, but deeply. And throughout The Life Aquatic with Steve Zissou, Murray plays the sad wash-up as he has so many roles in this late phase of his career, like a classic Pixies song: Zissou possesses a chilly, utterly subdued state of being towards the insanity around him, until his frustrations burst to the surface with a brilliantly cutting line like, “Son of a bitch, I am sick of these dolphins.” Murray’s enigmatic preference for keeping his characters’ emotions close to their chests provides ample contrast between sardonic humor and something sincerer, even during big action sequences, like when the Zissou team rescues Jeff Goldblum’s Allistair Hennessey (“Steven, are you rescuing me?” Murray’s response, a pained half-smile and barely-there head cock, is deadpan brilliance). It’s arguable Anderson helped Murray initially make that marked 180 from his constantly talking, wisecracking comedic personas in classics like Ghostbusters or Caddyshack, and, in my humble opinion, The Life Aquatic is undoubtedly the most fruitful of his and Anderson’s collaborations. —Greg Smith


18. Stop Making Sense

Year: 1984
Director: Jonathan Demme
Genre: Documentary, Musical
Rating: NR
Runtime: 99 minutes

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Lester Bangs once wrote an essay about “Heaven,” the Talking Heads song that in so many ways epitomizes and holds aloft Jonathan Demme’s concert film. In it, Bangs fixated on one of David Byrne’s iconic lines: “Heaven is a place where nothing ever really happens.” Heaven, he explained, is—to Byrne’s coke-addled mind—a way of life where all of the stimuli of modern society couldn’t reach him. Couldn’t affect him. Couldn’t whip him up into a frenzy. This, according to both Bangs and Byrne, is truly Nirvana. Stop Making Sense happened over two nights at the Pantages Theater in 1983, and the second song on the setlist is “Heaven,” set against a bare stage on the cusp of a drastic remodel. From there, the set, as well as the band, builds itself—instruments and writhing bodies and elaborately weird backdrops are added, one upon another, until the stage is absolutely seething with life. And so, not only was Stop Making Sense a document of a legendary band at the height of their powers, but it even today seems like an unheralded synergy of movement and sound, of image and artist—so much so that the band allows us to watch as they destroy, and then re-do, their own idea of Heaven. —Dom Sinacola


19. The Last Black Man in San Francisco

Year: 2019
Director: Joe Talbot
Stars: Jimmie Fails, Jonathan Majors, Tichina Arnold
Genre: Drama
Rating: R
Runtime: 120 minutes

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In Joe Talbot’s The Last Black Man in San Francisco, white people are the harbingers of annihilation. The film centers on Jimmie Fails (Jimmie Fails), the proverbial Last Black Man who attempts to reclaim his family’s old home in San Francisco’s Fillmore neighborhood, once called “The Harlem of the West,” by trespassing on the property to do banal bits of upkeep: painting the trim, tending to the flowers. He tries desperately to keep and save the house. Outside, the zombies are well-meaning, old white people, hipster girls and disgusting tech bros invading the city. Opening with images of apocalypse—a street preacher barking about repentance, and men in HazMat suits trying to clean up the pollution in the Bay—The Last Black Man in San Francisco winks at gentrification as an extinction-level event—for Black people in the city, at least. A shrewd inversion of racist tropes, we see the white owners yell at Fails to get off their property, knowing Fails is the real caretaker of the house, and the white residents are, even in their neoliberal good intentions, the villains, the invaders. —Geoff Nelson


20. Ran

Year: 1985
Director: Akira Kurosawa
Stars: Tatsuya Nakadai, Akira Terao, Jinpachi Nezu, Daisuke Ryu, Mieko Harada, Hisashi Igawa, Yoshiko Miyazaki
Rating: R
Runtime: 162 minutes

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A quintessential Kurosawa epic with the grandest of visions, supported by exhilarating color cinematography and some of the most breathtaking battle sequences ever committed to film, Ran is, like Throne of Blood, another Shakespeare adaptation, this time a fairly loyal take on King Lear. Compared to the morbidly dark and personal Throne, Ran is a lavish visual feast, deftly depicting an old warlord’s (Tatsuya Nakadai in maybe the greatest performance of his career) fall from glory at the hands of his greedy and selfish sons, who are really only responding to their father’s ruthless rule. The circle of human fallacy and cruelty continues.—Oktay Ege Kozak


21. We Need to Talk About Kevin

Year: 2012
Director: Lynne Ramsay
Stars: Tilda Swinton, John C. Reilly, Ezra Miller
Rating: R
Runtime: 112 minutes

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We Need To Talk About Kevin concerns the experience of a mother (Tilda Swinton) struggling with the aftermath of a school massacre carried out by her son (Ezra Miller). In its narrative construction, it draws upon two key tropes: that of the “whydunnit” thriller, in which the mystery of the perpetrator’s motivations are a driving factor, and that of the family horror, in which some dark element tears a traditional household apart. Indeed, the real horror is not that a teenager chose total negation over the banality of normative family life—it’s that these appeared to be the only two choices available. Tilda Swinton is brilliant in the starring role as a mother who grapples with guilt about what her son has done and reflects on his childhood, wondering what, if anything, could possibly have been done differently when one gives birth to a “bad seed.” The heartbreaking nature of the film is perfectly encapsulated by the scene wherein Kevin as a child briefly drops his sociopathic tendencies while ill, giving Swinton’s character a brief chance to feel like a cherished mother, only to emotionally shut her out again as soon as his physical health returns, dashing her hopes that some kind of breakthrough had been made. —Donal Foreman


22. Evangelion 3.0+1.0: Thrice Upon a Time

Year: 2021
Director: Hideaki Anno, Mahiro Maeda, Katsuichi Nakayama, Kazuya Tsurumaki
Stars: Megumi Ogata, Megumi Hayashibara, Yuko Miyamura, Maaya Sakamoto, Akira Ishida, Kotono Mitsuishi
Rating: TV-MA
Runtime: 154 minutes

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Since 1995, Neon Genesis Evangelion has penetrated the cultural consciousness with giant robots, angsty teens and esoteric Biblical references. It is the story of Shinji Ikari, a young boy destined to pilot a giant robot called Unit-01 in a future where creatures called Angels are destined to destroy humanity. But Shinji resists his fate, complaining at every turn and freezing with indecision as the survival of humanity lies on his shoulder. It is truly a one of a kind franchise, the brainchild of the genius and deeply depressed Hideaki Anno. It is a franchise that has plagued him for over 25 years, from a series to a slew of movies that worked to rewrite a dissatisfying ending. Now, Anno is finally done. With the release of his latest and last piece of Evangelion media, Evangelion 3.0+1.0: Thrice Upon a Time, the time of the Angels has come to an end. Thrice Upon a Time is the fourth Rebuild of Evangelion film, which is a complete retelling of the events from the original series. The final film in the universe of Shinji, Asuka, Rei and EVAs may not be the best place for franchise novices to start, but it should be a great motivator. Rarely do anime franchises end on such a pitch perfect note, but Anno shows it is possible with Evangelion 3.0+1.0: Thrice Upon a Time. After decades of grappling with what this series means to him and using it as a mechanism to process his own emotional baggage, Anno has finally found closure within his broken world full of angst and hope. This is a gasp of relief, a stifled sob of pride that punctuates a cultural milestone. With the release of this film, Anno is finally free.—Mary Beth McAndrews


23. Detour

Year: 1945
Director: Edgar G. Ulmer
Stars: Tom Neal, Ann Savage, Claudia Drake, Edmund MacDonald
Genre: Drama, Thriller, Mystery & Suspense
Runtime: 68 minutes

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A Poverty Row staple with an unknown cast peering into the post-war dark night of the soul, Detour has come to embody the best film noir has to offer—namely, that budget and schedule concerns indirectly enriched the artistic product, paring down a weightier script and even more bloated source novel into a precise, exquisitely sharp bit of storytelling economy. Trapped within the sweaty mind of always-broke jazz pianist Al Roberts (Tom Neal) as he heads West from New York to settle down with his girlfriend (Claudia Drake), a symbol of stable life for Roberts who absconded with his heart to try to “make it” in Hollywood, we’re stuck with only the unlucky guy’s version of events throughout his increasingly desperate trip. After all, his hitchhiking journey seems doomed to fail from the start, but it grows damn near bleak with the accidental cadaver-ing of a gregarious Charles Haskell (Edmund MacDonald) following a whirlwind buddy meet-cute, and then completely hopeless with the introduction of Vera (Ann Savage), an iconic femme fatale who doesn’t have to try hard to ensnare Roberts, by that point so far out of his league he’s got his pants pulled up well past his nipples. As much an efficient encapsulation of its genre as it is a noir drowning entirely within its own hell-bent nightmare, Detour is most impressive for how gracefully Ulmer can get the most out of so little. —Dom Sinacola


24. Sideways

Year: 2004
Director: Alexander Payne
Stars: Paul Giamatti, Sandra Oh, Thomas Haden Church
Genre: Drama, Comedy
Rating: R
Runtime: 126 minutes

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Sideways is a pretty great buddy comedy (featuring a hilariously brazen performance from Thomas Haden Church), but it’s an even better romantic comedy. At its heart is the tender relationship between Miles (Paul Giamatti) and Maya (Virginia Madsen), two bruised divorcees who forge a tenuous connection to each other. From both of their beautiful speeches expressing their love of Pinot Noir to the wonderfully poignant open-ended knock at the door, their romance is note-perfect.—Jeremy Medina


25. Small Axe: Red, White & Blue

Year: 2020
Director: Steve McQueen
Stars: John Boyega, Steve Toussaint
Genre: Drama
Rating: NR
Runtime: 80 minutes

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What Red, White & Blue has going for it are two extraordinary performances from John Boyega and Steve Toussaint. Boyega is charming as the fiery and conflicted Leroy Logan, a Black scientist who—following on a racist police attack on his father—decides to join the force to reform it from the inside. His father is played with equally compelling ferocity and dignity by Toussaint. There is so much to love in this film, as McQueen leans into his skill at suspense—ratcheting up the tension with incomparable style—and brings out performances that are able to convey so much without saying a word. However, the script doesn’t match the rest of the film, with clunky exposition and uncharacteristic sentimentality weighing down the actors. At its core, Red, White & Blue is not about police reform. In fact almost all of Logan’s fascinating career accomplishments take place long after the film’s credits roll. Rather, Red, White & Blue is focused on a complicated father/son relationship. Viewed through that lens (and likely through the lens of your own specific paternal hang ups) it soars.—Leila Latif


26. Attack the Block

Year: 2011
Director: Joe Cornish
Stars: Adam Buxton, Jodie Whittaker, John Boyega
Rating: R
Runtime: 88 minutes

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Written and directed by Joe Cornish, the sci-fi action comedy centers on a gang of teenage thugs—particularly their disgruntled leader, Moses, remarkably underplayed by a young John Boyega—and their housing project in South London. When the defiant juveniles take their crime to a new level and mug an innocent nurse (a delightful Jodie Whittaker), they immediately find themselves plagued by alien invaders. These hideous creatures, with their jet black fur and glowing blue fangs, want nothing more than to destroy the boys and their tower block. In the spirit of Spielberg—even more so than J.J. Abrams’ Spielberg ode of the same year, Super 8—Cornish uses alien beings as the catalyst to bring supernatural redemption to a person and a community. He focuses specifically on London’s socioeconomic bottom half and the turmoil surrounding them, exposing the lies that society’s youth buy into that prolong cultural discontinuity. A comical scene, in which Moses tries to make sense of the aliens while giving excuses for his criminal behavior, highlights this cleverly—he doesn’t just blame the government for violence and drugs in his neighborhood, he blames the government for the whole alien invasion. Cornish, however, doesn’t simply confront this hopeless attitude, he points toward hope—most vividly in the way Moses battles the aliens, his fight rapt with symbolic implications. —Maryann Koopman Kelly


27. Small Axe: Education

Year: 2020
Director: Steve McQueen
Stars: Kenyah Sandy, Sharlene Whyte, Tamara Lawrance, Naomi Ackie
Genre: Drama
Rating: NR
Runtime: 80 minutes

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Education is McQueen’s most personal and tender work, focused on the education of Black children in the 1970s. McQueen, now broadly recognized as a creative genius, was repeatedly told as a child by his teachers that he would never be capable of doing more than basic manual labor. In Education, he reopens those old wounds through Kingsley, a bright young boy who dreams of being an astronaut. Thanks to institutional racism and undiagnosed dyslexia, Kingsley is sent to a “special school” where he is placed alongside white children with intense and apparent learning disorders and other Black children who have no discernible reason for being there. Of all the films he has made, this one is scrubbed clean of most of McQueen’s stylistic signatures: The whole thing resembles a film actually made in the 1970s rather than a modern film in a ‘70s setting. By making a film rooted in his own memories, McQueen entirely transports us there. The film’s heroines are based on the real-life Black activists who fought for West Indian children’s futures and created the Saturday schools that nurtured McQueen. Education serves both as a beautiful tribute to their achievements across the community and in recognizing the talents of one of Britain’s most gifted artistic visionaries.—Leila Latif


28. The Taking of Pelham One Two Three

Year: 1974
Director: Joseph Sargent
Stars: Walter Matthau, Robert Shaw, Martin Balsam
Rating: R
Runtime: 104 minutes

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A ‘70s heater of logistics, infrastructure and thrills, The Taking of Pelham One Two Three pits New York City Transit cop Walter Matthau against a team of train hijackers led by Robert Shaw. It’s where Tarantino got the idea for Reservoir Dogs’ color-coded crooks and one of Matthau’s finest efforts. Gritty and detailed, with a conversational—sometimes blackly comic—tone that only makes its dangers feel more grounded and its mysteries more solvable, it’s one of the best New York movies ever made and features one of the best final shots in cinema. As a thriller, its optimism for the everyman gives it a rumpled, Columbo-like charm and its crunchy filmmaking put us right in the sweaty, sneezy mix. Die Hard and its descendants, meticulous and fun thrillers that don’t skimp on the jokes, have long looked back to the subway antics of The Taking of Pelham One Two Three.—Jacob Oller


29. Small Axe: Lovers Rock

Year: 2020
Director: Steve McQueen
Stars: Micheal Ward, Amarah-Jae St. Aubyn, Kedar Williams-Stirling, Shaniqua Okwok
Genre: Drama
Rating: NR
Runtime: 70 minutes

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In Lovers Rock, McQueen untethers himself from a conventional narrative and leans into style, movement and feeling set over the course of a single house party in Notting Hill—an area of London that (in 1980) was largely populated by the West Indian community, but has since become one of the most expensive neighborhoods on the planet. This film is based generally on the parties the Black community held for themselves, as they were not welcome in London’s bars and nightclubs at the time. At the center of this film are Martha (Amarah-Jae St. Aubyn), a middle-class British Christian with Jamaican roots and the dreamy code-switching mechanic Franklyn (Micheal Ward). Released in a time of quarantines and social distances, the film had a rapturous reception, bringing a warmth into our homes and a longing to return to an evening of such possibilities. A single scene where the dance floor sings along to “Silly Games” by Janet Kay is McQueen at his greatest and most joyful, transporting the audience into a giddy hypnotic ecstasy. In many ways Lovers Rock is McQueen’s smallest film, but may end up being his most beloved.—Leila Latif


30. Small Axe: Mangrove

Year: 2020
Director: Steve McQueen
Stars: Letitia Wright, Shaun Parkes, Malachi Kirby, Rochenda Sandall, Alex Jennings, Jack Lowden
Genre: Drama
Rating: NR
Runtime: 127 minutes

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Mangrove is McQueen’s greatest film not only because it is an exceptional piece of filmmaking, but because it shows off virtually every one of McQueen’s strengths. The first half looks at the state-sponsored terrorizing of the Mangrove restaurant, a Notting Hill restaurant opened by Frank Crichlow (Shaun Parkes) in 1968 that became a hub for the West Indian community and British Black Panthers. After a demonstration protesting the Mangrove’s treatment is swarmed by the racist police force, nine of the participants (including Crichlow himself) are framed for inciting a riot. The second half of the film follows their trial and the toll it takes on them. From start to finish, McQueen fires on all cylinders, shining a light on a largely forgotten piece of history and drawing exceptional performances out of the entire cast (but in particular Parkes and Malachi Kirby). Many of Mangrove’s most beautiful moments, including its climax, hold tight on Parkes’ face and let us experience intense pain, rage, fear, joy and relief through the bottomless wells of his soulful brown eyes. And it is thrilling: The earlier scenes of police, skulking down streets like apex predators, both disturb and terrify. But McQueen is able to accomplish seamless tonal shifts, with those same police officers’ interrogation in a later courtroom scene proving absurd and hilarious. Particular praise must also be given to cinematographer Shabier Kirchner. The use of camera in this film is as unpredictable as it is beautiful, making every moment visceral and riveting. McQueen picks out unusual shots and angles to give every scene the thoughtful composition of a Vermeer. There is a pure poetry to Mangrove, and an implicit footnote: The bravery of these activists will eventually be captured by a Black filmmaker and turned not only into his greatest work (so far), but perhaps the best British film of the decade.—Leila Latif


32. Sound of Metal

Year: 2020
Director: Darius Marder
Stars: Riz Ahmed, Olivia Cooke, Paul Raci, Lauren Ridloff
Genre: Drama
Rating: R
Runtime: 120 minutes

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Ruben Stone (Riz Ahmed) is challenged by his rehab sponsor: Sit in a room completely silent. If you’re unable to do that, write about what’s going through your mind. As a recovering addict and blossoming rockstar, this is difficult to do by itself. But with Ruben’s rapidly deteriorating hearing, he fears the silence like no other. The Darius Marder-directed Sound of Metal explores a musician’s struggle with identity due to his new disability. An experiment of sound design paired with a stellar lead performance makes for a captivating film. Along with his girlfriend, Lou (Olivia Cooke), Ruben co-leads the metal band Blackgammon. They travel to gigs in their Winnebago and bond over the open road. Ruben loses his hearing in a sudden way, causing concern. Afraid, he goes to an audiologist to discover his hearing loss is pretty advanced. Concerned about his sobriety being in jeopardy from the shocking news, Lou convinces Ruben to go to a community retreat for the deaf. While there, he balances the warring feelings of learning to live and love himself as a deaf person and wishing for his old life. Boasting a solid story about profound loss (or is it simply profound change?), knockout performances by Ahmed and Paul Raci in a supporting role, and award-worthy sound design, Sound of Metal cuts through the clutter. But most importantly, it does so by prioritizing the deaf/hard-of-hearing community through its hiring of deaf talent, its use of deaf consultants and captions throughout the film. Marder’s film is the kind of movie that could’ve easily gone in the wrong direction (for all the right reasons). Instead, it sticks the landing.—Joi Childs


33. Fat City

Year: 1972
Director: John Huston
Stars: Stacy Keach, Jeff Bridges, Susan Tyrell, Candy Clark
Genre: Drama, Sports
Rating: R
Runtime: 96 minutes

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John Huston, a brawling, drinking, macho old-school film director if ever there was one, turned his hand to an adaptation of boxing novel Fat City—and the result was perhaps one of the greatest movies on the subject of pugilism ever made. The soul of the sport lies in folks from the margins—the violent, the criminal, the immigrant poor, the racial minority—and the film’s characters (played by the likes of Stacy Keach and Jeff Bridges) are not big-timers, just aspirational men in a dead-end town, feeling left behind by the rest of the world. Huston never shies from the reality of small-time fight game: broken, bruised men with little hope and even fewer prospects, spending their best physical years taking beatings for a living. —Christina Newland


34. The Vast of Night

Year: 2019
Director: Andrew Patterson
Starring: Sierra McCormick, Jake Horowitz
Rating: PG-13
Runtime: 89 minutes

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The Vast of Night is the kind of sci-fi film that seeps into your deep memory and feels like something you heard on the news, observed in a dream, or were told in a bar. Director Andrew Patterson’s small-town hymn to analog and aliens is built from long, talky takes and quick-cut sequences of manipulating technology. Effectively a ‘50s two-hander between audio enthusiasts (Sierra McCormick and Jake Horowitz playing a switchboard operator and disc jockey, respectively) the film is a quilted fable of story layers, anecdotes and conversations stacking and interweaving warmth before yanking off the covers. The effectiveness of the dusty locale and its inhabitants, forged from a high school basketball game and one-sided phone conversations (the latter of which are perfect examples of McCormick’s confident performance and writers James Montague and Craig W. Sanger’s sharp script), only makes its inevitable UFO-in-the-desert destination even better. Comfort and friendship drop in with an easy swagger and a torrent of words, which makes the sensory silence (quieting down to focus on a frequency or dropping out the visuals to focus on a single, mysterious radio caller) almost holy. It’s mythology at its finest, an origin story that makes extraterrestrial obsession seem as natural and as part of our curious lives as its many social snapshots. The beautiful ode to all things that go [UNINTELLIGIBLE BUZZING] in the night is an indie inspiration to future Fox Mulders everywhere. —Jacob Oller


35. His Girl Friday

Year: 1940
Director: Howard Hawks
Stars: Cary Grant, Rosalind Russell, Ralph Bellamy
Genre: Drama, Comedy
Rating: PG
Runtime: 92 minutes

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Special effects have become so sophisticated that many of us have probably forgotten how much pure amazement you can wreak with a great story and a script that doesn’t let up for one second. This amazing, dizzyingly paced screwball comedy by Howard Hawks stars Cary Grant and Rosalind Russell, and takes us back into two of the decade’s hallmark preoccupations: The “remarriage comedy” and the intrigue and obsessiveness of the newspaper world. The minute Russell’s Lindy Johnson stalks into the newspaper office run by her ex-husband Walter Burns (Grant), you know it’s to tell him she’s getting remarried and leaving journalism to raise a family, and you know that’s not how it’s going to end. No high-suspense mystery here. What puts you on the edge of your seat in this film is how you get there. Hilariously acted and expertly filmed, His Girl Friday derives much of its comedic impact from the incredibly clever and lightning-fast banter of the characters. Don’t even think about checking your phone while you’re watching this. In fact, try to blink as little as possible. —Amy Glynn


36. The Descent

Year: 2005
Director: Neil Marshall
Stars: Shauna Macdonald, Natalie Mendoza, Alex Reid, Saskia Mulder, MyAnna Buring, Nora-Jane Noone
Rating: R

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True camaraderie or complex relationships between female characters isn’t so much “rare” in horror cinema as it is functionally nonexistent, which is one of the things that still makes The Descent, nominally about a bunch of women fighting monsters in a cfave, stand out so sharply all these years later. But ah, how The Descent transcends its one-sentence synopsis. The film’s first half is deliberately crafted to fill in the personalities of its group of women, while slowly and almost imperceptibly ratcheting up the sense of dread and foreboding. As the characters descend deeper into the cave, passageways get tighter and the audience can feel the claustrophobia and dankness creeping into their bones—and that’s before we even see any of the resident troglodytes. Neil Marshall’s screenplay makes masterful use of dubious morality, infusing its protagonists, particularly the duo of Sarah (Shauna Macdonald) and Juno (Natalie Mendoza), with numerous shades of gray. Not content to simply paint one of the two as flawed and the other as resourceful and ultimately vindicated, he uses a series of misunderstandings to illustrate human failing on a much more profound and universal level. Ultimately, The Descent is as moving a character study as it is terrifying subterranean creature feature, with one hell of an ending to boot. —Jim Vorel


37. The Lost City of Z

Year: 2017
Director: James Gray
Stars: Charlie Hunnam, Robert Pattinson, Sienna Miller
Rating: PG-13
Runtime: 141 minutes

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James Gray’s The Lost City of Z is an anti-period movie. In the vein of The Immigrant, Gray’s glorious last film, Z is fascinated with its milieu (this time we begin across the Atlantic in Blighty, from 1906 to 1925) and luxuriously adorned with period detail—but the strangulated social climate and physically claustrophobic spaces of its ostensibly sophisticated Western society make that environment appear totally unappealing. Only once we reach the Amazon, untainted by Western hands, does the film relax, its beguiling score and open-air scenery turning inviting. There, in a land of uncomplicated tribes and indifferent wilderness, a man like soldier and explorer Major Percy Fawcett (Charlie Hunnam) can find freedom from the narrow-mindedness infecting early 20th century Britain. Darius Khondji’s cinematography doesn’t just complement Gray’s movie, it deepens its meaning, strengthening the appeal of Fawcett’s jungle, endlessly verdant and mysterious where home in England appears dull and monotone. Every frame is sumptuous and misty-eyed, always pining for a lost era when adventurers might still find corners of the Earth completely untouched. (Gray may show little love for Empire, but he depicts colonial exploration in itself as a romantic adventure.) The film doesn’t make for much complexity, but it feels deeply. Like Fawcett, it aches—like his obsession, the jungle, it envelops, casting a lasting spell. —Brogan Morris


38. The Elephant Man

Year: 1980
Director: David Lynch
Stars: John Hurt, Anthony Hopkins, Anne Bancroft, John Gielgud, Wendy Hiller, Michael Elphick, Hannah Gordon
Genre: Drama
Rating: PG
Runtime: 124 minutes

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David Lynch melds history and art in the true story of severely disfigured John Merrick, known as “The Elephant Man,” and his physician Frederick Treves. Abandoned by his parents and exhibited as a side-show freak, Treves rescues Merrick from squalor, educates him, and allows him to become the toast of London. Filmed in black and white, the film is a triumph of cinematography as well as prosthetic makeup design. By film’s end, we feel Merrick’s exhaustion and depression as he gently slips away, reminding us that there are many kinds of exploitation. —Joan Radell


39. In Bruges

Year: 2008
Director: Martin McDonagh
Stars:Ciaran Hinds, Colin Farrell, Brendan Gleeson
Rating: R
Runtime: 107 minutes

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You know you’ve tripped into the ambiguous realm of Postmodernism when medieval Europe, midget jokes and ultraviolence converge into a seamless whole. Theater auteur Martin McDonagh’s debut feature, In Bruges, thrives on these stylistic clashes with its narrative of two sympathetic hitmen who seek refuge in a European wonderland full of tourists and irony. The film’s visual appeal complements irreverent and hilarious dialogue—timed brilliantly with the Anglo-Saxon bravado of Fiennes, Farrell and Gleeson—to produce one of a most pleasant dark-horse dramedy.—Sean Edgar


40. Knives Out

Year: 2019
Director: Rian Johnson
Stars: Ana de Armas, Daniel Craig, Chris Evans, Jamie Lee Curtis, Michael Shannon, Don Johnson
Genre: Comedy, Drama, Mystery
Rating: PG-13
Runtime: 130 minutes

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Knives Out is the type of movie that’s not so much a dying breed as one that just occurs uncommonly “in the wild.” Hollywood seems to release a new take on the classic (i.e., Agatha Christie-imprinted) murder mystery “who dunnit”—where an eccentrically mannered detective attempts to figure out who amongst a roomful of suspects has committed murder most foul—every five-to-10 years. For most viewers, the pleasures of such movies go beyond trying to figure out the killer before the detective does—there’s also typically a star-studded cast chewing up the scenery. Beyond dependable Christie fare like Death on the Nile (1978) and Murder on the Orient Express (2017), there’s Clue (1985), Gosford Park (2001) and now Rian Johnson’s Knives Out. Johnson’s latest starts out in classic who-dunnit fashion—acclaimed mystery writer Harlan Thrombey (Christopher Plummer) is found dead by apparent suicide the night after gathering his family together and delivering a series of unpopular messages. Enter the local police (led by Lakeith Stansfield’s Det. Lt. Elliott) and eccentrically mannered (there we go!) private detective Benoit Blanc (Daniel Craig). Suspects are interrogated. Secrets are revealed. Then, right as the viewer is gearing up to lay some Sherlock Holmes/Hercule Poirot/Encyclopedia Brown-level discernment on all this, Johnson reveals what happened to the elder Thrombey. This flips the entire experience for the viewer, as they go from trying to figure out what happened to wondering if the truth will be discovered. Much as he did with Dashiell Hammett-style noir in his debut, Brick, Johnson shows both a reverence for and a willingness to tinker with the tropes and formula underpinning his story. It’s all delightful to watch. If, ultimately, Knives Out accomplishes what it sets out to do—which might sound like faint or even damning praise with another film or in another genre—here it’s meant as the sincerest of plaudits. —Michael Burgin


41. The Host

Year: 2006
Director: Bong Joon-ho
Stars: Song Kang-ho, Byun Hee-bong, Park Hae-il, Bae Doona, Go Ah-sung
Rating: NR
Runtime: 119 minutes

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Before he was breaking out internationally with a tight action film like Snowpiercer, and eventually winning a handful of Oscars for Parasite, this South Korean monster movie was Bong Joon-ho’s big work and calling card. Astoundingly successful at the box office in his home country, it straddles several genre lines between sci-fi, family drama and horror, but there’s plenty of scary stuff with the monster menacing little kids in particular. Props to the designers on one of the more unique movie monsters of the last few decades—the mutated creature in this film looks sort of like a giant tadpole with teeth and legs, which is way more awesome in practice than it sounds. The real heart of the film is a superb performance by Song Kang-ho (also in Snowpiercer and Parasite) as a seemingly slow-witted father trying to hold his family together during the disaster. That’s a pretty common role to be playing in a horror film, but the performances and family dynamic in general truly are the key factor that help elevate The Host far above most of its ilk.—Jim Vorel


42. Heathers

Year: 1989
Director: Michael Lehmann
Stars: Winona Ryder, Christian Slater, Kim Walker
Rotten Tomatoes Score: 93%
Rating: R
Runtime: 102 minutes

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As much an homage to ’80s teen romps—care of stalwarts like John Hughes and Cameron Crowe—as it is an attempt to push that genre to its near tasteless extremes, Heathers is a hilarious glimpse into the festering core of the teenage id, all sunglasses and cigarettes and jail bait and misunderstood kitsch. Like any coming-of-age teen soap opera, much of the film’s appeal is in its vaunting of style over substance—coining whole ways of speaking, dressing and posturing for an impressionable generation brought up on Hollywood tropes—but Heathers embraces its style as an essential keystone to filmmaking, recognizing that even the most bloated melodrama can be sold through a well-manicured image. And some of Heathers’ images are indelible: J.D. (Christian Slater) whipping out a gun on some school bullies in the lunch room, or Veronica (Winona Ryder) passively lighting her cigarette with the flames licking from the explosion of her former boyfriend. It makes sense that writer Daniel Waters originally wanted Stanley Kubrick to direct his script: Heathers is a filmmaker’s (teen) film. —Dom Sinacola


43. The African Queen

Year: 1952
Director: John Huston
Stars Humphrey Bogart, Katharine Hepburn, Robert Morley
Genre: Romance, Drama
Rating: NR
Runtime: 105 minutes

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The madcap, screwball comedies of the ‘30s and ‘40s helped set the template for the battle-of-the-sexes comedies that would populate American cinemas for years to come (and still do, to some extent). Writer/director John Huston’s genius in making The African Queen was taking the feuding couple out of the metropolitan areas for which they’d often been associated with and instead placing them square in the middle of an inhospitable jungle. With the added element of survival driving their journey, the flirtatious banter between classy widow Rose Sayer (Katherine Hepburn) and crass boatman Charlie Allnut (Humphrey Bogart) crackles all the more, making for a rom-com as vicious as it is sweet. —Mark Rozeman


44. The Neon Demon

Year: 2016
Director: Nicolas Winding Refn
Stars: Elle Fanning, Keanu Reeves, Christina Hendricks, Jena Malone
Genre: Horror, Drama
Rating: R
Runtime: 117 minutes

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If Nicolas Winding Refn—anthropomorphic cologne bottle; asexual jaguar—is going to make a horror film, Nicolas Winding Refn will make a horror film about the things that scare Nicolas Winding Refn most: asymmetry, sex, fatherhood. In The Neon Demon, every character is either someone’s daughter or a deranged daddy figure, both thirsty for the kind of flesh only Los Angeles can provide, the roles of predator and prey in constant, unnerving flux. Part cannibal-slasher movie and part endlessly pretty car commercial, Refn’s film about a young model (Elle Fanning) making it in the fashion industry goes exactly where you think it’s going to go, even when it’s trying as hard as it can to be weird as fuck. But despite his best efforts, Refn sustains such an overarching, creeping atmosphere of despair—such a deeply ingrained sense of looming physical imperfection, of death—that it never really matters if The Neon Demon doesn’t add up to much of anything more than a factory showroom of the many gorgeous skins it inhabits, violently or not. —Dom Sinacola


45. Inside Llewyn Davis

Year: 2013
Directors: Ethan Coen, Joel Coen
Stars: Oscar Isaac, John Goodman, Carey Mulligan, Adam Driver, Justin Timberlake, Garrett Hedlund, F. Murray Abraham
Genre: Drama, Comedy
Rating: R
Runtime: 105 minutes

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Llewyn Davis (Oscar Isaac) is not a good man; he tells his nephew as much, as if he’s long ago resigned himself to that reality. How long ago isn’t clear—time, when you’re crashing from couch to couch and so relentless in your artistic idealism that your problems become everyone else’s, is malleable. Has a tendency to fall back on itself, to rewind and re-begin. In 1961, Llewyn is a staple in New York’s emerging folk scene, having scored some minor attention for an album he recorded with a former partner, that partner now a success-shaped hole in Lewyn’s life. His solo album isn’t doing so well—hasn’t even been officially released by a label—though Llewyn knows he’s good, perhaps even great, despising any other artist (played by the likes of Justin Timberlake, Adam Driver and Carey Mulligan) not calibrated to his particular standards for what constitutes ethical, incisive music-making. We’re convinced that he’s good too, given long scenes of Isaac fully performing often heart-wrenching songs, Bruno Delbonnel’s camera glimpsing these forgotten images through a soft, muted haze, somehow both romanticizing and judging our memories of what that part of history could have been. Llewyn’s talent hardly matters, though; he’s lost a part of himself that could connect with an audience. If Inside Llewyn Davis is the Coen brothers’ rumination on what it would mean for their partnership to end, it’s a deeply personal confession of vulnerability and fear. If the film is a love letter to a mythologized era that may have never existed, then it is about whether or not Llewyn actually is a good man, whether or not what he represented actually means anything—whether or not he will be remembered as anything more than a Llewyn-shaped hole in the lives of all the people he let down. —Dom Sinacola


46. The Handmaiden

Year: 2016
Director: Park Chan-wook
Stars: Kim Tae-ri, Kim Min-hee, Ha Jung-woo, Cho Jin-woong
Genre: Drama, Comedy, Thriller
Rotten Tomatoes Score: 95%
Rating: NR
Runtime: 145 minutes

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There are few filmmakers on Earth capable of crafting the experience of movies like The Handmaiden so exquisitely while maintaining both plot inertia and a sense of fun. (Yes, it’s true: Park has made a genuinely fun, and often surprisingly, bleakly funny, picture.) The film begins somberly enough, settling on a tearful farewell scene as Sook-hee (Kim Tae-ri) is carted off to the manor of the reclusive and exorbitantly rich aristocrat Kouzuki (Cho Jin-woong), where she will act as servant to his niece, Lady Hideko (Kim Min-hee). But Sook-hee isn’t a maid: She’s a pickpocket working on behalf of Fujiwara (Ha Jung-woo), a conman scheming to get his mitts on Hideko’s assets. (That’s not a euphemism. He only wants her for her money.) The reveal of Sook-hee’s true intentions is just the first of many on The Handmaiden’s narrative itinerary. Park has designed the film as a puzzle box where each step taken to find the solution answers one question while posing new ones at the same time. But you’re here to read about the sex, aren’t you? It’s in the sex scenes between the two Kims that Park shows the kind of filmmaker he really is. The sex is sexy, the scenes steamy, but in each we find a tenderness that invites us to read them as romance rather than as pornography. We’re not conditioned to look for humanity in pantomimes of a sexually explicit nature, but that’s exactly when The Handmaiden is at its most human. There’s something comforting in that, and in Park’s framing of deviance as embodied by the film’s masculine component. We don’t really need him to spell that out for us, but the message is welcome all the same. —Andy Crump


47. Tangerine

Year: 2015
Director: Sean Baker
Stars: Alla Tumanian, Mya Taylor, Karren Karagulian
Rating: R
Runtime: 87 minutes

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Shot entirely with an iPhone, Sean Baker’s Tangerine is a near perfect execution of raw realism juxtaposed against fleeting yet profound moments of vulnerability and tenderness. Writer-director Baker wastes no time flinging viewers into his story’s cacophonous premise: a delirious misadventure focusing on the fractured but luminous lives of transgender prostitutes Sin-Dee Rella (Kitana Kiki Rodriguez) and Alexandra (Mya Taylor). Such immediacy helps set up the fast-paced, heartfelt journey that follows. When Sin-Dee and Alexandra reunite following the former’s release from her month-long prison sentence, we learn that Sin-Dee’s boyfriend and pimp Chester (James Ransone) has been seeing another woman. The news ignites a nearly two-hour chase around the streets of L.A. to locate and handle the “issue.” Within the story’s backdrop of the wild and dingy Los Angeles cityscape, Tangerine’s rule-defying characters thrive. Though it could easily devolve into an exploitative revenge porn drama, Tangerine shirks its expectations, becoming an aggressive examination of human complexity and a bold refusal to judge a book by its cover. That goes not only for its approach to characterization, but just about every narrative aspect of the work—from the way Baker develops his larger plot to how he sequences his shots, carefully upholding its characters’ sharply divisive existence. The deeper we go into the world of these two sex workers, the more we forget our assumptions of those who inhabit it. In the end, Tangerine is about discovering that our roughest edges can be both our most colorful and meaningful. —Abbey White


48. In a Lonely Place

Year: 1950
Director: Nicholas Ray
Stars: Humphrey Bogart, Gloria Grahame, Frank Lovejoy
Rating: N/A
Runtime: 93 minutes

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One of the great noirs of all time and one of the great feel-bad movies of all time. In a Lonely Place treats redemption as a cruel joke, a spell of relief that lasts only long enough for us to view its obsolescence. The film takes jabs at Hollywood and celebrity while telling the kind of dangerous love story E.L. James wishes she could write; Humphrey Bogart is a bad, bad man, but he’s also grossly compelling. He plays Dixon Steele, a Tinseltown screenwriter fallen on hard times whom we sympathize with in spite of ourselves. Apart from being a sad sack, he’s also an explosive lunatic with a frighteningly short fuse, which makes him dangerously alluring bait for his new neighbor, Laurel (Gloria Grahame). Theirs is an ill-fated romance, and through it, Nicholas Ray makes a hauntingly grim study of masculinity, set against the ratcheting suspense of a murder mystery yarn. —Andy Crump


49. The Kids Are All Right

Year: 2010
Director: Lisa Cholodenko
Stars: Annette Bening, Julianne Moore, Mark Ruffalo, Mia Wasikowska, Josh Hutcherson
Rating: R
Runtime: 107 minutes

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Everything is seemingly perfect in the lives of Jules (Julianne Moore) and Nic (Annette Bening). They both have successful careers, a 20-year-long marriage and two happy—but totally typical—teens, Joni and Laser. But when the kids, conceived through artificial insemination, decide to seek out their biological father and sperm donor, Paul (Mark Ruffalo), unbeknownst to their parents, that pristine family life gets complicated… fast. Somehow this film, from director Lisa Cholodenko, manages to address nearly every modern family trope in its hour and 45 minutes of run time. Such a grand tackling of the larger “family” narrative could have easily led to overgeneralizations and a superficial development of the film’s universally resonant themes, particularly with its lesbian leads. Luckily, the endearing, arresting performances from Moore, Bening and Ruffalo turn this drama into a candid look at how deeply we embed biology and blood into our notions of family and identity, and ultimately how little either matters as long as you’re loved. By pulling apart the concept of “family values” from nearly every angle, the film considers how we find and define our families. Lauded as a realistic and touching take on the changing face of the nuclear unit, The Kids Are All Right is a timeless deconstruction of family discourse. —A.W.


50. The Wicker Man

Year: 1973
Director: Robin Hardy
Stars: Christopher Lee, Edward Woodward, Britt Ekland, Ingrid Pitt, Diane Cilento
Rating: R
Runtime: 87 minutes

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The original Wicker Man, a British film released in 1976, was a uniquely new kind of horror tale, using haunting cinematography and a deeply creepy soundtrack to explore gender politics and sexuality, combining eroticism with violence to titillate and horrify viewers. The acting is top-notch, with Edward Woodward’s protagonist Sergeant Howie and Christopher Lee’s Lord Summerisle stealing the screen. Woodward manages to portray a virginal, overly righteous character in a way that is both sympathetic and thought-provoking, and it all builds to a conclusion that should be regarded as among the most shocking of its era. —Danielle Ryan


51. High Life

Year: 2019
Director: Claire Denis
Stars: Robert Pattinson, Juliette Binoche, Mia Goth, André Benjamin
Genre: Drama, Horror, Science Fiction & Fantasy
Rating: R
Runtime: 110 minutes

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High Life begins with a moment of intense vulnerability, followed immediately by a moment of immense strength. First we glimpse a garden, verdant and welcoming, before we’re ushered to a sterile room. There we realize there’s a baby alone while Monte (Robert Pattinson), her father maybe, consoles her, talking through a headset mounted within his space helmet. “Da da da,” he explains through the intercom; the baby starts to lose her shit because he’s not really there, he’s perched outside, on the surface of their basic Lego-piece of a spaceship, just barely gripped on the edge of darkness. They’re in space, one supposes, surrounded by dark, oppressive nothingness, and he can’t reach her. They’re alone. Next, Monte empties their cryogenic storage locker of all the dead bodies of his once-fellow crew members, lifting their heavy limbs and torsos into space suits, not because it matters, but maybe just because it’s something to do to pass the time, as much a sign of respect as it is an emotional test of will. Monte looks healthy and capable, like he can withstand all that loneliness, like he and his daughter might actually make it out of this OK, whatever this is. High Life lives inside that juxtaposition, displaying tenderness as graphically as violence and anger and incomprehensible fear, mining all that blackness surrounding its characters for as much terror as writer-director Claire Denis can afford without getting obvious about it. Pattinson, flattened and lithe, plays Monte remarkably, coiled within himself to the point that he finishes every word deep in his throat, his sentences sometimes total gibberish. He doesn’t allow much to escape his face, but behind his eyes beams something scary, as if he could suddenly, and probably will, crack. He says as much to Willow, his kid, whispering to her while she sleeps that he could easily kill them both, never wanting to hurt her but still polluting her dreams. He can’t help it, and neither can Denis, who, on her 14th film (first in English), can make an audience believe, like few other directors, that anything can happen. Madness erupts from silence and sleep, bodily fluids dripping all over and splattering throughout and saturating the psyches of these criminal blue collar astronauts, the overwhelming stickiness of the film emphasizing just how intimately close Denis wants us to feel to these odd, sick fleshbags hurtling toward the edge of consciousness. —Dom Sinacola


52. Johnny Guitar

Year: 1954
Director: Nicholas Ray
Stars: Joan Crawford, Mercedes McCambridge, Sterling Hayden, Scott Brady
Genre: Western
Rating: PG
Runtime: 110 minutes

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Johnny Guitar is a film that barely hangs onto its genre trappings—and is one of the strangest and rarest of fifties Westerns. Nicholas Ray specialized in borderline-hysterical, hyper-magnified psychological drama, regardless of the setting. Here, he pits tough saloon keeper Vienna (a hard-faced Joan Crawford) against wrathful rival Mercedes McCambridge. Sterling Hayden sidles in as Vienna’s love interest and the catalyst for the witch hunt, but he’s hardly the driving force of the film. That showdown belongs to the women of Johnny Guitar—and the fearsome, small-minded community that surrounds them. —Christina Newland


53. The Farewell

Year: 2019
Director: Lulu Wang
Stars: Awkwafina, Tzi Ma, Diana Lin
Genre: Drama, Comedy
Rating: PG
Runtime: 98 minutes

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Family, falsehood and farce: all the comforts expected of a funeral—when the funeral isn’t a funeral but a wedding. Yes, two people do end up getting p= married, but no one cares about matrimony as much as saying goodbye to the family matriarch, stricken by a diagnosis with an inevitably fatal outcome. Here’s the trick: No one told her about it. She thinks all of the hoopla is just about the bride and groom to be. The Farewell, Lulu Wang’s sophomore film, is many things. It’s a meteoric leap forward from the tried-and-true rom-com formula of her debut, Posthumous. It’s a story made up of her own personal roller coaster of loss. It’s a neat and, 26 years after the fact, unexpected companion piece to Ang Lee’s underappreciated masterpiece The Wedding Banquet. Mostly, it’s a tightrope walk along the fine line between humor and grief. Chinese-American Billil (Awkwafina) travels to China to see her grandmother (Zhao Shuzen) one last time, as grandma’s just received a death sentence in the form of terminal lung cancer, but the clan keeps mum because that’s just what they’d do for anybody. A wedding is staged. Cousins and uncles and aunts are convened. Masks, the metaphorical kind, are donned. Wang knows how to find the perfect tonal sweet spot from scene to scene in a sterling example of having one’s cake while also eating with gusto. With exceptions, moments meant to be uncomfortable and prickly on the surface are hilarious beneath, and moments meant to make us laugh tend to remind the viewer of the situation’s gravity. It’s perfect alchemy, yielding one of 2019’s most intimate, most painful and most satisfyingly boisterous comedies. —Andy Crump


54. You Were Never Really Here

Year: 2018
Director: Lynne Ramsay
Stars: Joaquin Phoenix, Ekaterina Samsonov, John Doman, Judith Roberts, Alex Manette, Alessandro Nivola
Genre: Drama, Thriller
Rating: R
Runtime: 89 minutes

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Lynne Ramsay has a reputation for being uncompromising. In industry patois, that means she has a reputation for being “difficult.” Frankly, the word that best describes her is “unrelenting.” Filmmakers as in charge of their aesthetic as Ramsay are rare. Rarer still are filmmakers who wield so much control without leaving a trace of ego on the screen. If you’ve seen any of the three films she made between 1999 and 2011 (Ratcatcher, Morvern Callar, We Need to Talk About Kevin), then you’ve seen her dogged loyalty to her vision in action, whether that vision is haunting, horrific or just plain bizarre. She’s as forceful as she is delicate. Her fourth film, You Were Never Really Here—haunting, horrific and bizarre all at once—is arguably her masterpiece, a film that treads the line delineating violence from tenderness in her body of work. Calling it a revenge movie doesn’t do it justice. It’s more like a sustained scream. You Were Never Really Here’s title is constructed of layers, the first outlining the composure of her protagonist, Joe (Joaquin Phoenix, acting behind a beard that’d make the Robertson clan jealous), a military veteran and former federal agent as blistering in his savagery as in his self-regard. Joe lives his life flitting between past and present, hallucination and reality. Even when he physically occupies a space, he’s confined in his head, reliving horrors encountered in combat, in the field and in his childhood on a non-stop, simultaneous loop. Each of her previous movies captures human collapse in slow motion. You Were Never Really Here is a breakdown shot in hyperdrive, lean, economic, utterly ruthless and made with fiery craftsmanship. Let this be the language we use to characterize her reputation as one of the best filmmakers working today. —Andy Crump


55. Sunset Boulevard

Year: 1950
Director: Billy Wilder
Stars: William Holden, Gloria Swanson, Erich von Stroheim
Genre: Drama
Rating: G
Runtime:111 minutes

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Billy Wilder’s meta noir is a doozy, an unfailingly cynical critique of showbiz and a portrait of postwar alienation projected on the microcosm of Hollywood. It’s also wickedly funny in Sahara dry fashion, from the opening words of our dead narrator—floating facedown in his killer’s swimming pool—to Norma Desmond’s concluding descent down her staircase, and the rabbit hole. Gloria Swanson is magnificent and sad as Ms. Desmond, a fading beauty of the silent screen who manipulates broke, hackish screenwriter Joe Gillis (William Holden) into becoming her boy toy. Theirs is a fated relationship from the get-go, she of the wordless era, he dependent on them for his very livelihood. They’re on the outs with their industry, and each other, yet coexist out of desperation. Wilder, who co-wrote with Charles Brackett and D. M. Marshman Jr., layered the script with in-joke upon self-referential wink, perhaps the least of which is Desmond’s passion project, about that OG of femme fatales, Salome. There’s a parade of Hollywood cameos, namechecks, and behind-the-scenes instances of “art imitating life” (and vice versa); for example, Erich von Stroheim, who portrays Desmond’s former director/first husband-turned-still lovestruck butler Max, directed Swanson in 1929’s Queen Kelly (excerpted here) before she as the film’s producer fired him, much like her Sunset Blvd. character discards his. Many of these nods were in less-than-good fun, so it’s no shock that Sunset Boulevard met with local disdain, yet Wilder doesn’t flinch. Norma, Joe, Max … they’re all unwanted souls who, try as they might to live in the past, have succumbed to the present—in Joe’s case, most finally. The smoke and mirrors of Tinseltown, of life, don’t do the job anymore (though cinematographer John Seitz, who also lensed Double Indemnity, most certainly did, sprinkling dust into the air for the lights to catch). Desmond may be a seductress past her sell-by date, but Hollywood is the ultimate femme fatale, who chews suckers up and spits them out. Sunset Boulevard gives L.A. its close-up, alright. —Amanda Schurr


56. The Discreet Charm of the Bourgeoisie

Year: 1972
Director: Luis Buñuel
Stars: Fernando Rey, Delphine Seyrig, Stéphane Audran
Rating: NR
Runtime: 101 minutes

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Buñuel’s most commercially successful film (it even bested Belle de Jour), The Discreet Charm of the Bourgeoisie took the 1973 Oscar for Best Foreign Film and top honors from the National Society of Film Critics. Like many of his films, this surrealist comedy revels in Buñuel’s preoccupations with ideas of social status, ego and human veneer, structured as a thematically linked succession of thwarted dinner parties and four characters’ dreams, wherein violence and banality coexist seemingly unaware of one another, facades and fears engage in complex interplay, and Buñuel deploys his obsession with bondage in some magnificently weird ways. The grotesque and the flat-out ridiculous collide again and again throughout the virtually plotless The Discreet Charm of the Bourgeoisie, which uses the cynical juxtaposition of opulent and horrific images to give us a classic surrealist commentary on social charades. —Amy Glynn


57. Invasion of the Body Snatchers

Year: 1978
Director: Philip Kaufman
Stars: Donald Sutherland, Jeff Goldblum, Leonard Nimoy, Brooke Adams, Veronica Cartwright
Rating: PG
Runtime: 115 minutes

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There’s no real need for the film’s credit-limned intro—a nature-documentary-like sequence in which the alien spores soon to take over all of Earth float through the cosmos and down to our stupid third berg from the Sun—because from the moment we meet health inspector Matthew Bennell (Donald Sutherland) and the colleague with whom he’s hopelessly smitten, Elizabeth Driscoll (Brooke Adams), the world through which they wander seems suspiciously off. Although Philip Kaufman’s remake of Don Siegel’s 1956 Invasion of the Body Snatchers begins as a romantic comedy of sorts, pinging dry-witted lines between flirty San Franciscan urbanites as Danny Zeitlin’s score strangely lilts louder and louder overhead, Kaufman laces each frame with malice. Oddly acting extras populate the backgrounds of tracking shots and garbage trucks filled with weird dust fluff (which we eventually learn spreads the spores) exist at the fringes of the screen. The audience, of course, puts the pieces together long before the characters do—characters who include Jeff Goldblum at his beanpole-iest and Leonard Nimoy at his least Spock-iest—but that’s the point: As our protagonists slowly discover that the world they know is no longer anything they understand, so does such simmering anxiety fill and then usurp the film. Kaufman piles on more and more revolting, unnerving imagery until he offers up a final shot so bleak that he might as well be punctuating his film, and his vision of modern life, with a final, inevitable plunge into the mouth of Hell. —Dom Sinacola


58. The Souvenir

Year: 2019
Director: Joanna Hogg
Stars:Tilda Swinton, Honor Swinton Byrne, Tom Burke
Rating: R
Runtime: 119 minutes

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Hogg’s work extends back to the mid-to-late 1980s, when she made her first short film, worked on BBC miniseries, and began directing TV shows. She started making feature movies in 2007 with Unrelated and somewhat steadily continued down that path with Archipelago (2010) and Exhibition (2013). Her latest film is perhaps her best to date, certainly her most personal, and without a doubt one of the year’s most remarkable releases so far. Rooted in her experiences as an artist and based, in part, on entries in her own diary, The Souvenir settles into the perspective of Julie (Honor Swinton-Byrne), a demure film student in 1980s London prepping for her graduation project, a drama of working-class proportions ringing of kitchen sink realism à la Mike Leigh or Tony Richardson. The question of her credentials, and of whether she has either the right or the perspective to make a film about the hard lives led by Sunderland’s laborers, is raised early on and repeated throughout, both by her professors and her beau, Anthony (Tom Burke). Like Julie, Anthony is possessed of privilege, which makes his comments especially condescending: Who the hell is he to talk to her about privilege in the first place? Admittedly, he has an occasional point, but while these points are made, the movie takes careful, quiet note that every voice critiquing Julie happens to be male. So it goes in a man’s field in a man’s world in the ’80s. Rather than seize on this imbalance to make an argument, Hogg instead lets it serve as fodder for reflection. Timid women on paths of self-discovery recur throughout her filmography, most of all Unrelated, a heartbreaking movie that, much like The Souvenir, takes unexpected turns without telegraphing or forcing them. A hushed, unassuming, intimate movie, Hogg’s latest reminds audiences of the power of cinema by interrogating the definition of cinema itself. Cinema lets people reckon with life (others’ or their own), and it lets them reckon with their privilege (be it their lack or surplus). Julie sees the world as cinema because the world is cinema. Taken together, it all makes this particular Souvenir as close to an instant masterpiece as movies can get. —Andy Crump


59. Hellraiser

Year: 1987
Director: Clive Barker
Stars: Andrew Robinson, Clare Higgins, Ashley Laurence
Rating: R
Runtime: 93 minutes

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The head villain/eventual hero (there’s a sickening number of terrible Hellraiser sequels) behind Clive Barker’s Hellraiser franchise is the Cenobite Pinhead, sent from the pits of his own personal hell dimension to drag you down into the depths with him. Where he tortures you. For eternity. All because you opened a fancy Rubik’s Cube. Pinhead has zero remorse, looking you dead in the eye as he delivers a deadpan promise to “tear your soul apart.” Oh yeah, and the Cenobites are indestructible. Personally, it turned me off to puzzle boxes forever. As in his fiction, Barker’s obsessions with the duality of pain and pleasure are on full display in Hellraiser, an icky story of sick hate and sicker love. —Rachel Haas


60. Hot Rod

Year: 2007
Director: Akiva Schaeffer
Stars: Andy Samberg, Isla Fisher, Ian McShane, Bill Hader, Jorma Taccone, Danny McBride, Sissy Spacek
Rating: PG-13
Runtime: 87 minutes

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The Lonely Island has a fantastic track record of producing great comedies that somehow fail to find an audience in theaters, between 2007’s Hot Rod, 2016’s Popstar, and 2010’s Lonely Island-adjacent MacGruber. Hot Rod is the only one of them currently on Netflix, and it’s absolutely worth watching if you’d like to see a formulaic mainstream Hollywood comedy framework punctured by the absurd, anti-comedy spirit that arose on the internet in the ‘00s. Like most of the Lonely Island’s work, Hot Rod is fundamentally upbeat and goofy; sure, Andy Samberg’s daredevil wannabe is a stilted, wayward manchild, but the movie doesn’t look down on him or his friends (played fantastically by Danny McBride and Bill Hader in early roles, and fellow Lonely Island member Jorma Taccone). Even the closest thing it has to a villain, Ian McShane’s detached, judgmental stepfather, is fully redeemed before the movie’s close.—Garrett Martin


61. Night of the Living Dead

Year: 1968
Director: George A. Romero
Stars: Judith O’Dea, Duane Jones, Marilyn Eastman, Karl Hardman, Judith Ridley, Keith Wayne
Rating: N/A
Runtime: 96 minutes

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What more can be said of Night of the Living Dead? It’s pretty obviously the most important zombie film ever made, and hugely influential as an independent film as well. George Romero’s cheap but momentous movie was a quantum leap forward in what the word “zombie” meant in pop culture, despite the fact that the word “zombie” is never actually uttered in it. More importantly, it established all of the genre rules: Zombies are reanimated corpses. Zombies are compelled to eat the flesh of the living. Zombies are unthinking, tireless and impervious to injury. The only way to kill a zombie is to destroy the brain. Those rules essentially categorize every single zombie movie from here on out—either the film features “Romero-style zombies,” or it tweaks with the formula and is ultimately noted for how it differs from the Romero standard. It’s essentially the horror equivalent of what Tolkien did for the idea of high fantasy “races.” After The Lord of the Rings, it became nearly impossible to write contrarian concepts of what elves, dwarves or orcs might be like. Romero’s impact on zombies is of that exact same caliber. There hasn’t been a zombie movie made in the last 50-plus years that hasn’t been influenced by it in some way, and you can barely hold a conversation on anything zombie-related if you haven’t seen it—so go out and watch it, if you haven’t. The film still holds up well, especially in its moody cinematography and stark, black-and-white images of zombie arms reaching through the windows of a rural farmhouse. Oh, and by the way—NOTLD is public domain, so don’t get tricked into buying it on a shoddy DVD. —Jim Vorel


62. Lake Mungo

Year: 2008
Director: Joel Anderson
Stars: Talia Zucker, Rosie Traynor, David Pledger
Rating: R
Runtime: 89 minutes

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And speaking of found footage, here’s another entry in the genre that has had considerably more positive critical attention. Lake Mungo could scarcely be more different from something like Grave Encounters—there are no ghosts or demons chasing screaming people down the hall, and it’s chiefly a story about family, emotion and our desire to seek closure after death. You could call it a member of the “mumblegore” family, without the gore. It centers around a family that has been shattered by a daughter’s drowning, and the family’s subsequent entanglement in what may or may not be a haunting, and the mother’s desire to determine what kind of life her daughter had been living. Powerfully acted and subtly shot, it’s a tense (if grainy) family drama with hints of the supernatural drifting around the fraying edges of their sanity. If there’s such a thing as “horror drama,” this documentary-style film deserves the title. —Jim Vorel


63. The Wailing

Year: 2016
Director: Na Hong-jin
Stars: Kwak Do-won, Hwang Jung-min, Chun Woo-hee
Rating: NR
Runtime: 156 minutes

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The U.S. title of Na Hong-jin’s new film, The Wailing, suggests tone more than it does sound. There is wailing to be heard here, yes, and plenty of it, but in two words Na coyly predicts his audience’s reaction to the movie’s grim tableaus of a county in spiritual strife. Na trades in doubt and especially despair more than in what we think of as “horror.” He isn’t out to terrify us. He’s out to corrode our souls, much in the same way that his protagonist’s faith is corroded after being subject to both divine and infernal tests over the course of the film. The Wailing unfolds in Gokseong County, an agricultural community nestled among South Korea’s southern provinces. It’s a lovely, bucolic setting that Na and his cinematographer, the incredible Hong Kyung-pyo, take fullest advantage of aesthetically and thematically. The hushed serenity blanketing The Wailing’s opening images creates an atmosphere of peace that Na is all too happy to subvert (similar to how he subverts Bible verses). The film’s first full sequence shatters the calm as Sergeant Jeon Jong-gu (Kwak Do-won, turning in a knockout performance) is called to the scene of a savage multiple murder. When Jong-gu shows up, all is bedlam; people are screaming and crying, emergency workers litter the area like ants at a gory picnic, and the killer sits in a stupor, unaware of neither the mayhem nor the vicious boils coating their skin. This is an incredibly creepy and oft-unsettling film, but Na finds the tug of disbelief far more upsetting than the sight of bodies cut apart and blood splattering the wall. What do you do when your holy authority figures fail you? What do you do when you can’t trust your perception? Na has made these ideas, though hardly new in the horror canon, his film’s full purpose, and his conclusions are devastatingly bleak. When The Wailing arrives at its final, spectacular half hour, you’ll vow never to ask these questions about your own life, ever. You may not leave the theater scared, but you will leave it scarred, which is by far a more substantive response than naked fear. —Andy Crump


64. The Lighthouse

Year: 2019
Director: Robert Eggers
Stars: Robert Pattinson, Willem Dafoe, Valeriia Karaman
Genre: Drama, Horror
Rating: R
Runtime: 110 minutes

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Sometimes a film is so bizarre, so elegantly shot and masterfully performed, that despite its helter-skelter pace and muddled messaging I can’t help but fall in love with it. So it was with the latest film by Robert Eggers. An exceptional, frightening duet between Robert Pattinson and Willam Dafoe, The Lighthouse sees two sailors push one another to the brink of absolute madness, threatening to take the audience with them. Fresh off the sea, Thomas Wake (Dafoe) and Ephraim Winslow (Pattinson) arrive at the isolated locale and immediately get to work cleaning, maintaining and fixing up their new home. Everything comes in twos: two cups, two plates, two bowls, two beds. The pair work on the same schedule every day, only deviating when Thomas decides something different needs Ephraim’s attention. Like newlyweds sharing meals across from one another each morning and every evening, the men begin to develop a relationship. It takes a long time for either of the men to speak. They’re both accustomed to working long days in relative silence. They may not possess the inner peace of a Zen monk, but their thought processes are singular and focused. Only the lighthouse and getting back to the mainland matters. Eggers uses the sound of the wind and the ocean to create a soundscape of harsh conditions and natural quarantine. The first words spoken invoke a well-worn prayer, not for a happy life, or a fast workday, but to stave off death. A visceral ride, The Lighthouse explores man’s relationship to the sea, specifically through the lens of backbreaking labor. Thomas and Ephraim’s relationship is like a Rorschach test. At times they are manager and worker, partners, enemies, father and son, competitors, master and pet, and victim and abuser. In many ways Eggers’ latest reminds of Last Tango in Paris, which explored a similar unhealthy relationship dynamic. Just as captivating, The Lighthouse shines. —Joelle Monique


66. Leave No Trace

Year: 2018
Director: Debra Granik
Stars: Ben Foster, Thomasin McKenzie, Dale Dickey, Dana Millican, Jeff Kober, Alyssa Lynn
Genre: Drama
Rating: PG
Runtime: 109 minutes

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It takes all of Leave No Trace before anyone tells Will (Ben Foster) he’s broken. The man knows, perhaps ineffably, that something’s fundamentally wrong inside of him, but it isn’t until the final moments of Debra Granik’s film that someone gives that wrongness finality, that someone finally allows Will to admit—and maybe accept—he can’t be fixed. Why: Granik affords us little background, save tattoos and a few helicopter-triggered flashbacks and a visit to the hospital to acquire PTSD meds all implying that Will is a military vet, though what conflict he suffered and for how long remains a mystery. As does the fate of Will’s deceased wife, mother to teenage girl Tom (Thomasin McKenzie). As does the length of time Will and his daughter have been living off the grid, hidden within the more than 5,000 acres of Portland’s Forest Park, a damp, verdant chunk of the city’s northwest side overlooking the Willamette River. As does the pain at the heart of Leave No Trace, though it hurts no less acutely for that. Toward the end of this quietly stunning film, Tom shows her father a beehive she’s only recently begun to tend, slowly pulling out a honeycomb tray and tipping a scrambling handful of the insects into her cupped palm without any fear of being stung. Will looks on, proud of his daughter’s connection to such a primal entity, knowing that he could never do the same. Will begins to understand, as Tom does, that she is not broken like him. Leave No Trace asserts, with exquisite humanity and a long bittersweet sigh, that the best the broken can do is disappear before they break anyone else. —Dom Sinacola


67. Suspiria

Year: 2018
Director: Luca Guadagnino
Starring: Dakota Johnson, Tilda Swinton, Mia Goth, Angela Winkler, Ingrid Caven
Rating: R
Runtime: 153 minutes

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Dario Argento’s original synthesized his many experiments with the giallo form—the mid-century thrillers and violent crime stores much of Argento’s peers were churning out—into something essential. Gone were the questions of whodunit, the investigative layer of procedure litigating how such evil could make its way into this world, replaced by both a focus on the victims of this murder mystery and a sensual connection to the horrors flaying their young bodies apart. That the film takes place in Munich’s Tanz Dance Academy, though little dancing occurs, projects the film’s insinuated physicality onto the walls and floor as chimeric splashes of fairy tale color, especially (of course) red—we always remember the red—its vibrancy emphasized by Goblin’s monolithic score. Women, in Argento’s film, are vessels: for life, for gore, for art. Luca Guadagnino’s remake, and David Kajganich’s screenplay, simply tell the audience this—over and over and over. What Argento implied, Guadagnino makes literal. And so much of Guadagnino’s film is about transformation—how Germany had to reimagine itself to break the spell of its evil past; how art contorts oneself, irrevocably changes those who create it; how even the media in which the director works must adapt and mature and evolve to transcend the reluctance that a movie like Suspiria maybe should have been remade in 2018 at all. What Argento made subtext, Guadagnino reveals as text: As much as Suspiria explored the essence of giallo, Guadagnino explores the essence of Suspiria. Less fetishized, much less fantasized, the violence of 2018’s Suspiria is so much more harrowing than Argento’s, because Suspiria 1977 is its violence, and Suspiria 2018 wields its violence like an upsetting symbol, simultaneously too real and too absurd. Much of Guadagnino’s Suspiria feels beholden to nothing, indulgent and overwrought, existing only for itself. Art should never have to justify its own existence, but also: Why does this exist? What motivations conceived this film that seems to want very little—to maybe even dislike—the movie on which it’s based? And yet, it’s unforgettable, as ravishing as anything Guadagnino’s lazily captured in the Italian countryside, as disturbing as any horror film you’ve seen this year and, like the 1977 original, unlike anything you’ve ever felt helplessly drawn to before. —Dom Sinacola


68. Nightbreed

Year: 1990
Director: Clive Barker
Stars: Craig Sheffer, Anne Bobby, David Cronenberg, Charlie Haid, Hugh Quarshie, Hugh Ross
Rating: R
Runtime: 99 minutes

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Nightbreed is an odd duck of a movie, stranded somewhere between legitimate horror film and dark fantasy story. Clive Barker directs, only a few years after Hellraiser, but here his ambition perhaps got the best of him. It’s pretty clear that he wanted Nightbreed to be something akin to a horror epic, a movie with a profound message about identity, acceptance and community. In execution, though, it has a hard time picking what tone it’s supposed to be emanating. Sometimes it’s darkly humorous. Sometimes it’s legitimately spooky. Other times you’re not sure whether you’re supposed to be taking the action on screen seriously or not. One thing that is spectacular throughout is the art direction, sets, costuming and makeup. Some of the character designs may come off as “silly,” but just as many of them are likely to end up in your nightmares. Nightbreed is a mixed bag, a would-be inspiring story about monsters trying to build a safe community to peacefully live their lives, but lacking the iconic nature of Barker’s most famous creations. —Jim Vorel


69. Midsommar

Year: 2019
Director: Ari Aster
Stars: Florence Pugh, Jack Reynor, Will Poulter, William Jackson Harper, Vilhelm Blomgren
Genre: Horror, Drama, Comedy
Rating: R
Runtime: 140 minutes

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Christian (Jack Reynor) cannot give Dani (Florence Pugh) the emotional ballast she needs to survive. This was probably the case even before the family tragedy that occurs in Midsommar’s literal cold open, in which flurries of snow limn the dissolution of Dani’s family. We’re dropped into her trauma, introduced to her only through her trauma and her need for support she can’t get. This is all we know about her: She is traumatized, and her boyfriend is barely decent enough to hold her, to stay with her because of a begrudging obligation to her fragile psyche. His long, deep sighs when they talk on the phone mirror the moaning, retching gasps Pugh so often returns to in panic and pain. Her performance is visceral. Midsommar is visceral. There is viscera, just, everywhere. As in his debut, Hereditary, writer-director Ari Aster casts Midsommar as a conflagration of grief—as in Hereditary, people burst into flames in Midsommar’s climactic moments—and no ounce of nuance will keep his characters from gasping, choking and hollering all the way to their bleakly inevitable ends. Moreso than in Hereditary, what one assumes will happen to our American 20-somethings does happen, prescribed both by decades of horror movie precedent and by the exigencies of Aster’s ideas about how human beings process tragedy. Aster births his worlds in pain and loss; chances are it’ll only get worse. One gets the sense watching Midsommar that Aster’s got everything assembled rigorously, that he’s the kind of guy who can’t let anything go—from the meticulously thought-out belief system and ritual behind his fictional rural community, to the composition of each and every shot. Aster and his DP Pawel Pogorzelski find the soft menace inherent to their often beautiful setting, unafraid of just how ghastly and unnatural such brightly colored flora can appear—especially when melting or dilating, breathing to match Dani’s huffs and the creaking, wailing goth-folk of The Haxan Cloak. Among Midsommar’s most unsettling pleasures are its subtle digital effects, warping its reality ever so slightly (the pulsing of wood grain, the fish-eye lensing of a grinning person’s eye sockets) so that once noticed, you’ll want it to stop. Like a particularly bad trip, the film bristles with the subcutaneous need to escape, with the dread that one is trapped. In this community in the middle of nowhere, in this strange culture, in this life, in your body and its existential pain: Aster imprisons us so that when the release comes, it’s as if one’s insides are emptying cataclysmically. In the moment, it’s an assault. It’s astounding. —Dom Sinacola


70. Honey Boy

Year: 2019
Director: Alma Har’el
Stars: Shia LeBeouf, FKA Twigs, Noah Jupe, Lucas Hedges
Genre: Drama, Comedy
Rating: R
Runtime: 93 minutes

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Honey Boy, to the ear, rings of stunt filmmaking, a redemption tale for freeing Shia LaBeouf from actor prison. In his case, “prison” is more a matter of public opinion than actual industry cancellation, but the truth is that Honey Boy is the truth: LaBeouf wrote the film’s screenplay as part of his rehab treatment after flying so far off the rails over the course of the decade, and in turn the screenplay wound up in the hands of Israeli-American filmmaker Alma Har’el. She sees, in LaBeouf’s story, a portrait of tormented American manhood, passed down like a volatile heirloom from father to son. In turn, she approaches the telling delicately, with compassion and even love for James (LaBeouf), the father, and empathy for Otis, the son, alternately played by Noah Jupe and Lucas Hedges as Har’el cuts from past to present and back again. There’s harsh, guiding realism in Honey Boy, no better articulated than in one key moment where Jupe plays interpreter for James and his mother (voiced by Natasha Lyonne) in a shouting match staged by phone. Caught between James in person and mom in his ear, young Otis does what he does best—performing—as he dictates his parents’ words to one another. The scene cuts deep. Imagining boys and girls like Otis, forced to play referee between squabbling guardians, is made easy by the frankness of Har’el’s filmmaking. But she uses actual realism as a path toward magical realism, the aesthetic in which she resolves the movie, and in so doing resolves Otis’s (and LaBeouf’s) complicated feelings toward dad. Honey Boy is undoubtedly a redemptive film, but it isn’t redemptive at the expense of honesty and accountability. This is perhaps the best apology for bad behavior any celebrity captured in headlines has ever offered, and an extraordinary act of self-examination. —Andy Crump


71. One Child Nation

Year: 2019
Directors: Nanfu Wang, Lynn Zhang
Genre: Documentary
Rating: R
Runtime: 89 minutes

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The idea of the perfect family unit, its presence on television or in advertisements or in books, is a kind of propaganda. Everyone knows this, knows that idea embeds itself into political and cultural consciousnesses, knows that propaganda becomes an integral part of the identity, of the very notion of “family.” In Nanfu Wang and Lynn Zhang’s blistering One Child Nation, Wang digs deep into her past, comprised of the artifacts of propaganda that allowed the “One-Child Policy” in China to flourish. The film strikes a balance between investigative journalism and memoir, interrogating both the cultural texts that propagated the policy’s importance—its “benefits”—as well as the people in her life who were complicit in its consequences. It’s a documentary that cuts close to the bone, its rawness never undermining its commitment to challenging the institutions that allowed such a destructive policy to operate. As Wang questions her own connection to family and policy, the film unearths how politics can so easily shape family life itself. —Kyle Turner


72. Ash Is Purest White

Year: 2018
Director: Jia Zhangke
Stars: Tao Zhiao, Fan Liao
Genre: Drama, Thriller, Romance
Rating: NR
Runtime: 136 minutes

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Ash Is Purest White’s story spans decades, a staggeringly beautiful epic, as comedic as it is heartbreaking, that stills feels impossibly intimate—confined, even, and not by space or imagery, but by emotion. China, over the decades through which the film sweeps, tumbles amidst modernization with little care for those who can’t afford to change with the times. Then there is love, passion and crime: At its heart, Ash Is Purest White is a romance between two criminals, Qiao (Tao Zhao) and Bin (Fan Liao). They are serious people with serious demeanors, their day-to-day lives oscillating between the nothingness of a routine lifestyle and violence. Yet, the violence is rarely ever seen—though when it is, Zhangke Jia directs it with a sense of relentless desperation and urgency—and most of the violence of the emotional sort. Yet, there is also a grand sense of human comedy that hangs over the film’s proceedings, as the stories of Jia’s core characters reflect China at large: Everything is changing, nothing is sacred, the past pales in comparison to the rapidly approaching future. Reality can be fought, but time is inescapable—always encroaching and always passing us by. —Cole Henry


73. To Catch a Thief

Year: 1955
Director: Alfred Hitchcock
Stars: Cary Grant, Grace Kelly, John Williams
Genre: Drama, Romance
Rating: PG
Runtime: 106 minutes

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But really—he didn’t do it. Cary Grant plays John Robie, a retired jewel thief who’s enjoying his golden years tending vines on the French Riviera. Just when the Grenache is hitting the perfect Brix level, a series of copycat heists put Robie back in the thiefly limelight. Seeking to clear things up, he compiles a list of locals who are known to have heistable jewels, and being a smart and wily guy, he starts tailing a very, very pretty one (Francie, played by Grace Kelly). Budding romance can be an accidental side-effect of these things, but when Francie’s ice does go missing, she suspects John and it sours their relationship, as one might expect. John goes on the proverbial lam to get to the bottom of it. Talk about jewels! Nothing ever sparkled quite like Cary Grant and Grace Kelly onscreen together, especially with the legendary Edith Head on costume design—and their peerless charisma is in amazing hands here. The film itself is a bauble, unapologetically so: light and frothy and absolutely not Rear Window (none of which is an indictment). Sometimes it’s enough for something to simply be charming and beautiful. This film proves it. —Amy Glynn


74. Vivarium

Year: 2020
Director: Lorcan Finnegan
Stars: Jesse Eisenberg, Imogen Poots
Rating: R
Runtime: 97 minutes

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A quirky real estate story, where first-time homeowners Tom (Jesse Eisenberg) and Gemma (Imogen Poots) get a lot more than they bargained for, Vivarium is a low-key sci-fi nightmare of the mundane in the vein of early David Cronenberg. Director Lorcan Finnegan’s film also functions as a relationship allegory, where Tom and Gemma find themselves stuck in a trendy neighborhood of cookie-cutter homes where starting a family isn’t just an expectation but something foisted upon them. It isn’t as grisly as something like Shivers, but more affecting in its surreal design and hopelessness. Eisenberg and Poots own the screen as a disintegrating couple coping in distinct ways to their newfound terrarium where they are observed, manipulated, and—perhaps most disturbingly of all—objectively provided for by unseen and undefinable forces. Its 2020 release feels especially fitting as repetition and hopelessness become permanent residents of the couple’s home. Genre elements seep into the film, accelerating in hiccups and starts that are as arresting as the film’s intentionally artificial design. Startling sound dubbing, odd colorizing, and a few genuine “Oh shit” moments make Vivarium a tight, nasty fable that would fit in with the best Twilight Zone episodes. —Jacob Oller


75. Hell House LLC

Year: 2015
Director: Stephen Cognetti
Stars: Ryan Jennifer, Danny Bellini, Gore Abrams, Jared Hacker, Adam Schneider, Alice Bahlke
Rating: N/A
Runtime: 83 minutes

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This is just about as lean and minimalist a concept as you can choose for a modern found footage horror movie, but Hell House LLC is much more a practice in execution than imaginative settings. It’s the documentary-style story of a haunted house crew that picks a decidedly wrong location for their attraction, and boom—they all wind up dead. Very standard set-up for a “no one gets out alive” entry in the found footage genre, but Hell House LLC actually does have some inspiring scares and performances. It gets a whole lot out of very small set-ups and deliveries, such as the shifting positioning of props and the life-size (and appropriately horrifying) clown costumes, shooting scenes in what looks very much like “real time,” with no cuts. There’s a naturalistic air to the actors’ sense of frustration and unease as weird events start to mount, but of course it all goes quite off the deep end and into unintentional humor in the closing moments. Still, there are many islands of genuine, blood pressure-raising fear in this well-executed film. Certainly, it’s better than most found footage efforts in the post-Paranormal Activity landscape.—Jim Vorel

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