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The Best Movies on Amazon Prime Video Right Now The Best Movies on Amazon Prime Video Right Now
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As Netflix pours more of its resources into original content, Amazon Prime Video is picking up the slack, adding new movies for its subscribers each month. Its catalog has grown so impressive, in fact, that it’s a bit overwhelming — and at the same time, movies that are included with a Prime subscription regularly change status, becoming available only for rental or purchase. It’s a lot to sift through, so we’ve plucked out 100 of the absolute best movies included with a Prime subscription right now, to be updated as new information is made available.As Netflix pours more of its resources into original content, Amazon Prime Video is picking up the slack, adding new movies for its subscribers each month. Its catalog has grown so impressive, in fact, that it’s a bit overwhelming — and at the same time, movies that are included with a Prime subscription regularly change status, becoming available only for rental or purchase. It’s a lot to sift through, so we’ve plucked out 100 of the absolute best movies included with a Prime subscription right now, to be updated as new information is made available.
Here are our lists of the best TV shows and movies on Netflix, and the best of both on Hulu and Disney+.Here are our lists of the best TV shows and movies on Netflix, and the best of both on Hulu and Disney+.
Cate Blanchett is Lydia Tár, an acclaimed orchestral conductor, composer and instructor whose precariously balanced life and career begin to collapse around her in this “cruelly elegant, elegantly cruel” character study from the writer and director Todd Field (“In the Bedroom”). Blanchett was nominated for best actress at last year’s Oscars for her electrifying turn as a woman whose genius has long excused her considerable flaws; Nina Hoss is terrific as the longtime partner who can no longer look the other way. Field directs the story of Lydia’s fall from grace with chilly, riveting precision and welcome psychological nuance. (For more Oscar-nominated acting, try “Hotel Rwanda” or “21 Grams.”)Watch it on AmazonCate Blanchett is Lydia Tár, an acclaimed orchestral conductor, composer and instructor whose precariously balanced life and career begin to collapse around her in this “cruelly elegant, elegantly cruel” character study from the writer and director Todd Field (“In the Bedroom”). Blanchett was nominated for best actress at last year’s Oscars for her electrifying turn as a woman whose genius has long excused her considerable flaws; Nina Hoss is terrific as the longtime partner who can no longer look the other way. Field directs the story of Lydia’s fall from grace with chilly, riveting precision and welcome psychological nuance. (For more Oscar-nominated acting, try “Hotel Rwanda” or “21 Grams.”)Watch it on Amazon
Riz Ahmed is devastatingly good as Ruben, a drummer whose entire life — his music, his relationship, his self-image — is upended by a sudden case of extreme hearing loss, in this wrenching drama from the writer and director Darius Marder. Ruben’s sense of solitude, even with others, quickly transforms to self-consciousness, then self-doubt, then self-destruction. “Sound of Metal” is ultimately less about finding a cure than finding the stillness within oneself. Marder works in a quiet, observational style, skillfully avoiding clichés, taking turns both satisfying and moving. Our critic praised the film’s “distinctive style.”Watch it on AmazonRiz Ahmed is devastatingly good as Ruben, a drummer whose entire life — his music, his relationship, his self-image — is upended by a sudden case of extreme hearing loss, in this wrenching drama from the writer and director Darius Marder. Ruben’s sense of solitude, even with others, quickly transforms to self-consciousness, then self-doubt, then self-destruction. “Sound of Metal” is ultimately less about finding a cure than finding the stillness within oneself. Marder works in a quiet, observational style, skillfully avoiding clichés, taking turns both satisfying and moving. Our critic praised the film’s “distinctive style.”Watch it on Amazon
The writer and director Sarah Polley, adapting the novel by Miriam Toews, tells the haunting tale of an insular religious community ripped apart by the actions of its predatory men. Those crimes are seen briefly, in flashback; the primary focus of Polley’s film is a long, difficult debate between several of the women in the community about what will happen next. Assembling a cast of first-rate actors (including Jessie Buckley, Claire Foy, Judith Ivey, Rooney Mara, Frances McDormand and Ben Whishaw), Polley turns what could have been a polemic into an urgent, thoughtful morality play. (Polley’s “Take This Waltz” is also streaming on Prime.)Watch it on AmazonThe writer and director Sarah Polley, adapting the novel by Miriam Toews, tells the haunting tale of an insular religious community ripped apart by the actions of its predatory men. Those crimes are seen briefly, in flashback; the primary focus of Polley’s film is a long, difficult debate between several of the women in the community about what will happen next. Assembling a cast of first-rate actors (including Jessie Buckley, Claire Foy, Judith Ivey, Rooney Mara, Frances McDormand and Ben Whishaw), Polley turns what could have been a polemic into an urgent, thoughtful morality play. (Polley’s “Take This Waltz” is also streaming on Prime.)Watch it on Amazon
The musician and activist Boots Riley makes his feature directing debut with this wildly funny, frequently bizarre mixture of Marxist dogma and Marx Brothers-style silliness. LaKeith Stanfield (later an Oscar nominee for “Judas and the Black Messiah”) stars as Cassius, a telemarketer who discovers the secret to success and must determine how much to exploit it. That sounds like a fairly straightforward setup, but Riley approaches the material with the eye of an experimental filmmaker, and ends up taking Cassius on a journey into the dark heart of extreme wealth and depravity. You may love it or you may hate it, but you’ve certainly never seen anything quite like it.Watch it on AmazonThe musician and activist Boots Riley makes his feature directing debut with this wildly funny, frequently bizarre mixture of Marxist dogma and Marx Brothers-style silliness. LaKeith Stanfield (later an Oscar nominee for “Judas and the Black Messiah”) stars as Cassius, a telemarketer who discovers the secret to success and must determine how much to exploit it. That sounds like a fairly straightforward setup, but Riley approaches the material with the eye of an experimental filmmaker, and ends up taking Cassius on a journey into the dark heart of extreme wealth and depravity. You may love it or you may hate it, but you’ve certainly never seen anything quite like it.Watch it on Amazon
The filmmaker Park Chan-wook (“Oldboy”) takes the stylistic trappings of a period romance and gooses them with scorching eroticism and one of the most ingenious con-artist plots this side of “The Sting.” Working from the Sarah Waters novel “Fingersmith,” Park begins with the story of a young Korean woman who, as part of a seemingly straightforward swindle, goes to work as a Japanese heiress’s handmaiden, occasionally pausing the plot to slyly reveal new information, reframing what we’ve seen and where we think he might go next. Our critic called it “amusingly slippery entertainment.” (For an earlier example of peak erotic thriller, stream “Play Misty for Me.”)Watch it on AmazonThe filmmaker Park Chan-wook (“Oldboy”) takes the stylistic trappings of a period romance and gooses them with scorching eroticism and one of the most ingenious con-artist plots this side of “The Sting.” Working from the Sarah Waters novel “Fingersmith,” Park begins with the story of a young Korean woman who, as part of a seemingly straightforward swindle, goes to work as a Japanese heiress’s handmaiden, occasionally pausing the plot to slyly reveal new information, reframing what we’ve seen and where we think he might go next. Our critic called it “amusingly slippery entertainment.” (For an earlier example of peak erotic thriller, stream “Play Misty for Me.”)Watch it on Amazon
This “passionate, wise and deeply felt” drama from the writer and director Pedro Almodóvar won the Oscar for best foreign-language film, and understandably so — it’s one of his finest and funniest films, a love letter to the stage and those who inhabit it. Telling a story with enough buried secrets and stunning turns to recall Douglas Sirk and Tennessee Williams, Almodóvar follows the nurse Manuela (Cecilia Roth), as the loss of her son leads her on a heart-wrenching (and occasionally gut-busting) journey into her colorful past. Penélope Cruz co-stars. (Amazon is also streaming Almodóvar’s “Broken Embraces.”)Watch it on AmazonThis “passionate, wise and deeply felt” drama from the writer and director Pedro Almodóvar won the Oscar for best foreign-language film, and understandably so — it’s one of his finest and funniest films, a love letter to the stage and those who inhabit it. Telling a story with enough buried secrets and stunning turns to recall Douglas Sirk and Tennessee Williams, Almodóvar follows the nurse Manuela (Cecilia Roth), as the loss of her son leads her on a heart-wrenching (and occasionally gut-busting) journey into her colorful past. Penélope Cruz co-stars. (Amazon is also streaming Almodóvar’s “Broken Embraces.”)Watch it on Amazon
Justin Simien’s “clever campus comedy” is witty, wise and occasionally brutal, taking on the subjects of race, class, privilege and higher education. The dialogue is thoughtful and rich, delving into tricky topics with glee while zigzagging away from didacticism — these sound like real conversations and arguments, rather than just soapboxing. And the characters aren’t mouthpieces; they inhabit recognizable rubrics (campus radical, ingratiating jock, brainy outcast, social climber) without falling into stereotypes. (Fans of character-driven indie fare should also check out “Zebrahead.”)Watch it on AmazonJustin Simien’s “clever campus comedy” is witty, wise and occasionally brutal, taking on the subjects of race, class, privilege and higher education. The dialogue is thoughtful and rich, delving into tricky topics with glee while zigzagging away from didacticism — these sound like real conversations and arguments, rather than just soapboxing. And the characters aren’t mouthpieces; they inhabit recognizable rubrics (campus radical, ingratiating jock, brainy outcast, social climber) without falling into stereotypes. (Fans of character-driven indie fare should also check out “Zebrahead.”)Watch it on Amazon
This Sundance sensation is a heart-wrenching story of grief, pain, regret and struggle. The director and co-writer Jordana Spiro tells the story of Angel (Dominique Fishback), released from jail on the eve of her 18th birthday and torn between getting her life together and finishing the crime that put her there. Spiro adopts a no-nonsense approach, digging into the probationary process and the various ways in which the deck is already stacked against her protagonist. In an unforgettable performance, Fishback eschews showy moments for a lived-in authenticity.Watch it on AmazonThis Sundance sensation is a heart-wrenching story of grief, pain, regret and struggle. The director and co-writer Jordana Spiro tells the story of Angel (Dominique Fishback), released from jail on the eve of her 18th birthday and torn between getting her life together and finishing the crime that put her there. Spiro adopts a no-nonsense approach, digging into the probationary process and the various ways in which the deck is already stacked against her protagonist. In an unforgettable performance, Fishback eschews showy moments for a lived-in authenticity.Watch it on Amazon
This crackling riff on the hit 1959 television series could have been just another in the endless series of color-by-number TV-to-movie adaptations. But the personnel involved made it something special. Directed with stylishness and wit by Brian De Palma, written with toughness by David Mamet and scored with operatic intensity by Ennio Morricone, the film featured memorable performances by Kevin Costner, an Oscar-winning Sean Connery and an appropriately scenery-chewing Robert De Niro. With so much firepower, “The Untouchables” transcended its roots to become one of the snazziest, sharpest crime pictures of the 1980s.Watch it on AmazonThis crackling riff on the hit 1959 television series could have been just another in the endless series of color-by-number TV-to-movie adaptations. But the personnel involved made it something special. Directed with stylishness and wit by Brian De Palma, written with toughness by David Mamet and scored with operatic intensity by Ennio Morricone, the film featured memorable performances by Kevin Costner, an Oscar-winning Sean Connery and an appropriately scenery-chewing Robert De Niro. With so much firepower, “The Untouchables” transcended its roots to become one of the snazziest, sharpest crime pictures of the 1980s.Watch it on Amazon
Steven Spielberg’s first theatrical release (after the astonishing made-for-TV movie “Duel”) is based on a true story and vibrates with verisimilitude, filling out scenes with authentic locations and colorful supporting characters, often played by local non-actors. But it’s also, essentially, a two-hour chase scene, executed with breathless bravado by a director who was already a master craftsman, choreographing his automotive ballets as large-scale slapstick. “Sugarland” refuses to paint its Texas characters in broad strokes, so the flaws of the antiheroes are weighed equally with the decency of the lawmen. And this may be Goldie Hawn’s finest performance, who funnels her persona (with its unquestionable warmth and charisma) into a genuine and singular character.Watch it on AmazonSteven Spielberg’s first theatrical release (after the astonishing made-for-TV movie “Duel”) is based on a true story and vibrates with verisimilitude, filling out scenes with authentic locations and colorful supporting characters, often played by local non-actors. But it’s also, essentially, a two-hour chase scene, executed with breathless bravado by a director who was already a master craftsman, choreographing his automotive ballets as large-scale slapstick. “Sugarland” refuses to paint its Texas characters in broad strokes, so the flaws of the antiheroes are weighed equally with the decency of the lawmen. And this may be Goldie Hawn’s finest performance, who funnels her persona (with its unquestionable warmth and charisma) into a genuine and singular character.Watch it on Amazon
A decade after winning the Oscar for her adaptation of “Sense and Sensibility,” Emma Thompson returned to the typewriter to pen the film version of a slightly less venerated literary property: the “Nurse Matilda” children’s novels, by the British author Christianna Brand. But it doesn’t feel like slumming; Thompson invests her screenplay with all the winking wit you would expect, and she absolutely goes for broke in her performance of the title role, a kind of warts-and-all Mary Poppins. The director Kirk Jones orchestrates the chaos with a sure hand; our critic praised its “twisted visual imagination.” (“Much Ado About Nothing,” featuring a markedly different Thompson performance, is also on Prime.)Watch it on AmazonA decade after winning the Oscar for her adaptation of “Sense and Sensibility,” Emma Thompson returned to the typewriter to pen the film version of a slightly less venerated literary property: the “Nurse Matilda” children’s novels, by the British author Christianna Brand. But it doesn’t feel like slumming; Thompson invests her screenplay with all the winking wit you would expect, and she absolutely goes for broke in her performance of the title role, a kind of warts-and-all Mary Poppins. The director Kirk Jones orchestrates the chaos with a sure hand; our critic praised its “twisted visual imagination.” (“Much Ado About Nothing,” featuring a markedly different Thompson performance, is also on Prime.)Watch it on Amazon
The “Girls” creator and star Lena Dunham is about the last person you’d imagine to direct a film adaptation of a children’s book set in 13th-century England. (Perhaps that’s why she did it.) What she accomplishes is a minor miracle: a delightful film that inserts a modern comic sensibility into the past, without resorting to anachronism or satire. She gets a big assist from the star (and “Game of Thrones” alum) Bella Ramsey, who brings the title character to vivid, playful life, involving us in her tribulations and frustrations, as her oft-drunken father (Andrew Scott, the “hot priest” of “Fleabag”) desperately attempts to marry her off. Our critic called it a “winning,” “headstrong comedy.”Watch it on AmazonThe “Girls” creator and star Lena Dunham is about the last person you’d imagine to direct a film adaptation of a children’s book set in 13th-century England. (Perhaps that’s why she did it.) What she accomplishes is a minor miracle: a delightful film that inserts a modern comic sensibility into the past, without resorting to anachronism or satire. She gets a big assist from the star (and “Game of Thrones” alum) Bella Ramsey, who brings the title character to vivid, playful life, involving us in her tribulations and frustrations, as her oft-drunken father (Andrew Scott, the “hot priest” of “Fleabag”) desperately attempts to marry her off. Our critic called it a “winning,” “headstrong comedy.”Watch it on Amazon
In Joe Swanberg’s “nimble, knowing and altogether excellent” hangout flick, Luke (Jake Johnson) and Kate (Olivia Wilde), pals and co-workers at a Chicago brewery, wonder if they’ve chosen the right romantic partners — just as those partners (Anna Kendrick and Ron Livingston) are asking themselves the same question. The film’s casual style, which emphasizes improvisation and naturalistic performance, nicely balances the story; it’s the kind of rom-com for which you’re pretty sure how it’s going to turn out, but it’s fun to get there anyway. (Rom-com fans can also stream “Four Weddings and a Funeral” or “The Wedding Singer.”)Watch it on AmazonIn Joe Swanberg’s “nimble, knowing and altogether excellent” hangout flick, Luke (Jake Johnson) and Kate (Olivia Wilde), pals and co-workers at a Chicago brewery, wonder if they’ve chosen the right romantic partners — just as those partners (Anna Kendrick and Ron Livingston) are asking themselves the same question. The film’s casual style, which emphasizes improvisation and naturalistic performance, nicely balances the story; it’s the kind of rom-com for which you’re pretty sure how it’s going to turn out, but it’s fun to get there anyway. (Rom-com fans can also stream “Four Weddings and a Funeral” or “The Wedding Singer.”)Watch it on Amazon
The classic gangster movie gets a snazzy musical makeover in this bouncy film adaptation of the Broadway hit, itself based on the colorful New York characters of Damon Runyon’s fiction. Joseph L. Mankiewicz (“All About Eve”) directs with energy and pizazz, coaxing cheerful, engaged performances out of Frank Sinatra, Jean Simmons, Vivian Blaine and that most unlikely of crooners, Marlon Brando. Our critic called it “as tinny and tawny and terrific as any hot-cha musical film you’ll ever see.” (For more classic musical fun, stream “That’s Entertainment!” and “Holiday Inn”; for more Brando, try “One-Eyed Jacks.”)Watch it on AmazonThe classic gangster movie gets a snazzy musical makeover in this bouncy film adaptation of the Broadway hit, itself based on the colorful New York characters of Damon Runyon’s fiction. Joseph L. Mankiewicz (“All About Eve”) directs with energy and pizazz, coaxing cheerful, engaged performances out of Frank Sinatra, Jean Simmons, Vivian Blaine and that most unlikely of crooners, Marlon Brando. Our critic called it “as tinny and tawny and terrific as any hot-cha musical film you’ll ever see.” (For more classic musical fun, stream “That’s Entertainment!” and “Holiday Inn”; for more Brando, try “One-Eyed Jacks.”)Watch it on Amazon
This debut film from the director Andrew Patterson wears its “Twilight Zone” influence right on its sleeve, opening (on a vintage television, no less) with the spooky intro to an anthology series called “Paradox Theater,” and presenting this story as “tonight’s episode.” This is a film that bursts with affection for analog, with the look, feel and (above all) sound of black-and-white tube TVs, reel-to-reel tape recorders, telephone switchboards and the distant voices of a radio disc jockey and his mysterious callers. Patterson orchestrates it all with the grinning giddiness of a campfire storyteller — he’s having a great time freaking us out. Our critic called it “a small-scale movie that flexes plenty of filmmaking muscle.”Watch it on AmazonThis debut film from the director Andrew Patterson wears its “Twilight Zone” influence right on its sleeve, opening (on a vintage television, no less) with the spooky intro to an anthology series called “Paradox Theater,” and presenting this story as “tonight’s episode.” This is a film that bursts with affection for analog, with the look, feel and (above all) sound of black-and-white tube TVs, reel-to-reel tape recorders, telephone switchboards and the distant voices of a radio disc jockey and his mysterious callers. Patterson orchestrates it all with the grinning giddiness of a campfire storyteller — he’s having a great time freaking us out. Our critic called it “a small-scale movie that flexes plenty of filmmaking muscle.”Watch it on Amazon
In the mid-2000s, an analyst named Daniel J. Jones (portrayed by an excellent Adam Driver) pored through 6.3 million pages of documents to write the Senate Intelligence Committee’s Report on the C.I.A.’s detention and interrogation program. This taut, angry film from Scott Z. Burns dramatizes that investigative process and what Jones discovered — and the steady growth of his righteous indignation. Burns, in what our critic deemed a “smart, layered screenplay,” deftly translates the story’s intellectual urgency into emotional agency, making the political into something decidedly personal. (Driver is also in fine form in “Paterson.”)Watch it on AmazonIn the mid-2000s, an analyst named Daniel J. Jones (portrayed by an excellent Adam Driver) pored through 6.3 million pages of documents to write the Senate Intelligence Committee’s Report on the C.I.A.’s detention and interrogation program. This taut, angry film from Scott Z. Burns dramatizes that investigative process and what Jones discovered — and the steady growth of his righteous indignation. Burns, in what our critic deemed a “smart, layered screenplay,” deftly translates the story’s intellectual urgency into emotional agency, making the political into something decidedly personal. (Driver is also in fine form in “Paterson.”)Watch it on Amazon
Stanley Kubrick’s towering masterpiece has thrilled, baffled and stimulated audiences since its initial release. Adapting the work of Arthur C. Clarke, and ostensibly telling the story of a journey into deepest space and the sentient computer that takes it over, Kubrick spent untold amounts of money and time to create the most realistic and convincing images of outer space ever put to celluloid (our critic called the special effects “the best I have ever seen”). But “2001” is no mere space opera; it is a visual tone poem, a “multisensory ode to cosmic mystery, fate and the future.” (Kubrick’s “Paths of Glory” is also on Prime.)Watch it on AmazonStanley Kubrick’s towering masterpiece has thrilled, baffled and stimulated audiences since its initial release. Adapting the work of Arthur C. Clarke, and ostensibly telling the story of a journey into deepest space and the sentient computer that takes it over, Kubrick spent untold amounts of money and time to create the most realistic and convincing images of outer space ever put to celluloid (our critic called the special effects “the best I have ever seen”). But “2001” is no mere space opera; it is a visual tone poem, a “multisensory ode to cosmic mystery, fate and the future.” (Kubrick’s “Paths of Glory” is also on Prime.)Watch it on Amazon
It would seem impossible to craft an entertaining film adaptation of Michael Lewis’s dense nonfiction account of number-crunching in baseball — much less to make one as breezy and “exuberant” as this one. But the screenplay by Steven Zaillian and Aaron Sorkin finds the proper balance of egghead theory and character development, Bennett Miller’s direction is fleet-footed without being lightweight, Brad Pitt’s restless charisma has rarely found a more appropriate showcase, and the supporting cast (including Jonah Hill, Philip Seymour Hoffman, Robin Wright and Chris Pratt) is, well, an all-star team.Watch it on AmazonIt would seem impossible to craft an entertaining film adaptation of Michael Lewis’s dense nonfiction account of number-crunching in baseball — much less to make one as breezy and “exuberant” as this one. But the screenplay by Steven Zaillian and Aaron Sorkin finds the proper balance of egghead theory and character development, Bennett Miller’s direction is fleet-footed without being lightweight, Brad Pitt’s restless charisma has rarely found a more appropriate showcase, and the supporting cast (including Jonah Hill, Philip Seymour Hoffman, Robin Wright and Chris Pratt) is, well, an all-star team.Watch it on Amazon
John Cleese writes and stars in this uproariously funny satire of ugly Americans, British politeness and caper movies. Jamie Lee Curtis is Wanda, the femme fatale of a criminal crew who sets her sights on Cleese’s uptight barrister; Kevin Kline is her partner, who is very jealous and very stupid (but don’t call him that); Cleese’s fellow Monty Python alum Michael Palin is a criminal of a much meeker sort. The director Charles Crichton, who helmed many of England’s classic Ealing Studios comedies, orchestrates the insanity with verve. (For more wild comedy, stream “Bubba Ho-Tep.”)Watch it on AmazonJohn Cleese writes and stars in this uproariously funny satire of ugly Americans, British politeness and caper movies. Jamie Lee Curtis is Wanda, the femme fatale of a criminal crew who sets her sights on Cleese’s uptight barrister; Kevin Kline is her partner, who is very jealous and very stupid (but don’t call him that); Cleese’s fellow Monty Python alum Michael Palin is a criminal of a much meeker sort. The director Charles Crichton, who helmed many of England’s classic Ealing Studios comedies, orchestrates the insanity with verve. (For more wild comedy, stream “Bubba Ho-Tep.”)Watch it on Amazon
Christopher Nolan made his first big splash with this, his second feature film, a stylish film noir riff that tells its familiar story in an exuberantly inventive way: In order to mirror the disorientation of its protagonist, Leonard (Guy Pearce), who has lost his ability to create new memories, Nolan tells the story by ordering its scenes in reverse chronology. As Leonard pursues an investigation of his wife’s murder, revelations fold back on themselves and betrayals become clear to the audience before they’re known to him. Yet even without that narrative flourish, “Memento” would be a scorching piece of work, loaded with sharp performances, moody cinematography and a noir-inspired sense of doom. (Nolan’s “Interstellar” is also on Prime.)Watch it on AmazonChristopher Nolan made his first big splash with this, his second feature film, a stylish film noir riff that tells its familiar story in an exuberantly inventive way: In order to mirror the disorientation of its protagonist, Leonard (Guy Pearce), who has lost his ability to create new memories, Nolan tells the story by ordering its scenes in reverse chronology. As Leonard pursues an investigation of his wife’s murder, revelations fold back on themselves and betrayals become clear to the audience before they’re known to him. Yet even without that narrative flourish, “Memento” would be a scorching piece of work, loaded with sharp performances, moody cinematography and a noir-inspired sense of doom. (Nolan’s “Interstellar” is also on Prime.)Watch it on Amazon
Tom Cruise’s long-awaited sequel to his 1986 smash was a shockingly successful attempt to have it both ways. The filmmakers updated its events and characters for contemporary audiences, but it’s not an outright subversion, either. “Maverick” checks the boxes of the original — there’s thrilling action, sunglasses and leather jackets aplenty, and Cruise at his coolest — and its audience-pleasing conclusion feels like an honest-to-God throwback. (For more ’80s-style adventure, check out “The Lost City” on Prime.)Watch it on AmazonTom Cruise’s long-awaited sequel to his 1986 smash was a shockingly successful attempt to have it both ways. The filmmakers updated its events and characters for contemporary audiences, but it’s not an outright subversion, either. “Maverick” checks the boxes of the original — there’s thrilling action, sunglasses and leather jackets aplenty, and Cruise at his coolest — and its audience-pleasing conclusion feels like an honest-to-God throwback. (For more ’80s-style adventure, check out “The Lost City” on Prime.)Watch it on Amazon
Dustin Hoffman won his second Oscar for his meticulously wrought performance as Raymond Babbitt, an autistic savant who meets his brother Charlie (Tom Cruise) for the first time after the death of their father. But “Rain Man” is not a heartfelt, tear-jerking family drama; it’s “a becomingly modest, decently thought-out, sometimes funny film” in which Charlie, a small-time hustler, has to drag his brother on a cross-country road trip to fight what he feels is an unfair inheritance. In retrospect, though Hoffman collected all the awards and accolades, this is Cruise’s film, and it’s a marvelous performance, expertly revealing and exploring the psychological cracks in the gleaming golden-boy persona he spent the ’80s perfecting. (For more Oscar-winning acting, check out “Gaslight” and “King Richard.”)Watch it on AmazonDustin Hoffman won his second Oscar for his meticulously wrought performance as Raymond Babbitt, an autistic savant who meets his brother Charlie (Tom Cruise) for the first time after the death of their father. But “Rain Man” is not a heartfelt, tear-jerking family drama; it’s “a becomingly modest, decently thought-out, sometimes funny film” in which Charlie, a small-time hustler, has to drag his brother on a cross-country road trip to fight what he feels is an unfair inheritance. In retrospect, though Hoffman collected all the awards and accolades, this is Cruise’s film, and it’s a marvelous performance, expertly revealing and exploring the psychological cracks in the gleaming golden-boy persona he spent the ’80s perfecting. (For more Oscar-winning acting, check out “Gaslight” and “King Richard.”)Watch it on Amazon
Matt Damon found a franchise — and kicked off the most influential spy series this side of Bond — with this cracklingly smart and elegantly executed adaptation of Robert Ludlum’s novel. Damon stars as Jason Bourne, though as the film begins, he doesn’t even have that meager piece of self-knowledge; he’s lost all memory of his own identity, but the abilities of gunplay, hand-to-hand combat and high-speed pursuit seem to be built-in muscle memories. Franka Potente makes for a game traveling companion, while Chris Cooper, Brian Cox and Clive Owen are among the many memorable antagonists. (The follow-up, “The Bourne Supremacy,” is also on Prime; Damon is also excellent in “Air.”)Watch it on AmazonMatt Damon found a franchise — and kicked off the most influential spy series this side of Bond — with this cracklingly smart and elegantly executed adaptation of Robert Ludlum’s novel. Damon stars as Jason Bourne, though as the film begins, he doesn’t even have that meager piece of self-knowledge; he’s lost all memory of his own identity, but the abilities of gunplay, hand-to-hand combat and high-speed pursuit seem to be built-in muscle memories. Franka Potente makes for a game traveling companion, while Chris Cooper, Brian Cox and Clive Owen are among the many memorable antagonists. (The follow-up, “The Bourne Supremacy,” is also on Prime; Damon is also excellent in “Air.”)Watch it on Amazon
Alan Moore and David Lloyd’s acclaimed British graphic novel “V for Vendetta” got the big-screen treatment in 2005, with a screenplay by Lana and Lilly Wachowski — their first project after the “Matrix” trilogy. And it feels as connected to their worldview as to Moore and Lloyd’s, set in a landscape removed (but not entirely distant) from ours, in which authoritarian governments and fascism have taken hold. This is no easy piece of work, particularly in its dramatization of acts of terror, which challenge the audience to consider whether such acts are ever justified. The director James McTeigue stages the action both to thrill and to unnerve, and Natalie Portman is fiercely effective as a young woman awakened.Watch it on AmazonAlan Moore and David Lloyd’s acclaimed British graphic novel “V for Vendetta” got the big-screen treatment in 2005, with a screenplay by Lana and Lilly Wachowski — their first project after the “Matrix” trilogy. And it feels as connected to their worldview as to Moore and Lloyd’s, set in a landscape removed (but not entirely distant) from ours, in which authoritarian governments and fascism have taken hold. This is no easy piece of work, particularly in its dramatization of acts of terror, which challenge the audience to consider whether such acts are ever justified. The director James McTeigue stages the action both to thrill and to unnerve, and Natalie Portman is fiercely effective as a young woman awakened.Watch it on Amazon
Robert Rodriguez’s “El Mariachi” (also on Prime) was one of the indie sensations of the early 1990s, a film that attracted as much attention for being filmed on a bare-bones budget than for what was onscreen. So for his follow-up, Rodriguez focused on style, continuing the narrative of his debut film but with the extra bells and whistles provided by movie stars and professional effects. Antonio Banderas smolders as a drifter with a deadly shot, Salma Hayek scorches as the woman who helps him (and, of course, falls for him), and Steve Buscemi, Cheech Marin and Danny Trejo make brief but memorable appearances.Watch it on AmazonRobert Rodriguez’s “El Mariachi” (also on Prime) was one of the indie sensations of the early 1990s, a film that attracted as much attention for being filmed on a bare-bones budget than for what was onscreen. So for his follow-up, Rodriguez focused on style, continuing the narrative of his debut film but with the extra bells and whistles provided by movie stars and professional effects. Antonio Banderas smolders as a drifter with a deadly shot, Salma Hayek scorches as the woman who helps him (and, of course, falls for him), and Steve Buscemi, Cheech Marin and Danny Trejo make brief but memorable appearances.Watch it on Amazon
Robin Williams and Nathan Lane are warm, winning and hilarious in this clever riff on the classic French comedy “La Cage Aux Folles.” The screenwriter Elaine May and the director Mike Nichols smoothly reconfigure the material for the Clinton-era culture wars, with Williams and Lane as a longtime gay couple who attempt to hide their sexuality for the strait-laced conservative parents (Gene Hackman and Dianne Wiest) of their son’s fiancée. It’s the kind of farce in which each half-truth and outright deception leads to another, creating a precarious house of cards. Our critic praised its “giddy ingenuity.”Watch it on AmazonRobin Williams and Nathan Lane are warm, winning and hilarious in this clever riff on the classic French comedy “La Cage Aux Folles.” The screenwriter Elaine May and the director Mike Nichols smoothly reconfigure the material for the Clinton-era culture wars, with Williams and Lane as a longtime gay couple who attempt to hide their sexuality for the strait-laced conservative parents (Gene Hackman and Dianne Wiest) of their son’s fiancée. It’s the kind of farce in which each half-truth and outright deception leads to another, creating a precarious house of cards. Our critic praised its “giddy ingenuity.”Watch it on Amazon
Shot on the fly in real locations with smartphones and a cast of mostly first-time actors, this “fast, raucously funny comedy about love and other misadventures” from the director Sean Baker (“The Florida Project”) is a vibrant and heartfelt story of life on the fringe. The plot concerns two transgender sex workers (Kitana Kiki Rodriguez and Mya Taylor) and their various fortunes and misfortunes over a 24-hour period in Los Angeles. Played differently, the material could have been sensationalistic, but it isn’t; Baker is, above all, a humanist, and he loves his characters no matter what kind of trouble they’re causing.Watch it on AmazonShot on the fly in real locations with smartphones and a cast of mostly first-time actors, this “fast, raucously funny comedy about love and other misadventures” from the director Sean Baker (“The Florida Project”) is a vibrant and heartfelt story of life on the fringe. The plot concerns two transgender sex workers (Kitana Kiki Rodriguez and Mya Taylor) and their various fortunes and misfortunes over a 24-hour period in Los Angeles. Played differently, the material could have been sensationalistic, but it isn’t; Baker is, above all, a humanist, and he loves his characters no matter what kind of trouble they’re causing.Watch it on Amazon
The acclaimed writer and director Ramin Bahrani’s early independent films (“Man Push Cart,” “Chop Shop”) examined life at the margins of the American dream. He continues this inquisition with a thoughtful and compelling examination of the desperation and exploitation that ensued after the subprime mortgage crisis. An affecting Andrew Garfield stars as Dennis, a suddenly unemployed construction hand who loses his home and is determined to get it back. Michael Shannon is blisteringly good as the broker who puts him to much-needed work by preying on other overextended middle-class victims. The question at the heart of this pointed morality play is ultimately not whether you’ll sell your soul, but how much it’s really worth.Watch it on AmazonThe acclaimed writer and director Ramin Bahrani’s early independent films (“Man Push Cart,” “Chop Shop”) examined life at the margins of the American dream. He continues this inquisition with a thoughtful and compelling examination of the desperation and exploitation that ensued after the subprime mortgage crisis. An affecting Andrew Garfield stars as Dennis, a suddenly unemployed construction hand who loses his home and is determined to get it back. Michael Shannon is blisteringly good as the broker who puts him to much-needed work by preying on other overextended middle-class victims. The question at the heart of this pointed morality play is ultimately not whether you’ll sell your soul, but how much it’s really worth.Watch it on Amazon
The first half of this unsettling psychological drama is a virtuoso portrait of social awkwardness and inappropriateness as a bride (a spectacular Kirsten Dunst) struggles and fails to overcome her depression at her wedding reception. Her family and friends are an assemblage of human triggers far more distressing to her than the crisis of the film’s second half, in which its learned that a planet is on a collision course with Earth. Our protagonist discovers that when you’ve spent your life feeling like the world is ending, the event itself can produce a strange calm. The writer and director Lars von Trier tells his dark story with bleak humor and operatic flourishes, as well as a deep empathy for the women at its center.The first half of this unsettling psychological drama is a virtuoso portrait of social awkwardness and inappropriateness as a bride (a spectacular Kirsten Dunst) struggles and fails to overcome her depression at her wedding reception. Her family and friends are an assemblage of human triggers far more distressing to her than the crisis of the film’s second half, in which its learned that a planet is on a collision course with Earth. Our protagonist discovers that when you’ve spent your life feeling like the world is ending, the event itself can produce a strange calm. The writer and director Lars von Trier tells his dark story with bleak humor and operatic flourishes, as well as a deep empathy for the women at its center.
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Many of Kelly Reichardt’s acolytes consider this eco-thriller to be among the director’s lesser efforts, and when placed against “Wendy and Lucy” or “First Cow,” perhaps that’s true. But Reichardt on her worst day surpasses most of her contemporaries on their best, and there’s much to recommend in this morally thorny story of a trio of radical environmentalists (Jesse Eisenberg, Dakota Fanning and Peter Sarsgaard) as they meticulously plot and execute a dangerous act of protest. Reichardt hits the thriller beats, but casually and modestly; her emphasis, as ever, is on character, and she finds as much suspense in interactions as in the action itself. (Sarsgaard is also excellent in “Experimenter.”)Watch it on AmazonMany of Kelly Reichardt’s acolytes consider this eco-thriller to be among the director’s lesser efforts, and when placed against “Wendy and Lucy” or “First Cow,” perhaps that’s true. But Reichardt on her worst day surpasses most of her contemporaries on their best, and there’s much to recommend in this morally thorny story of a trio of radical environmentalists (Jesse Eisenberg, Dakota Fanning and Peter Sarsgaard) as they meticulously plot and execute a dangerous act of protest. Reichardt hits the thriller beats, but casually and modestly; her emphasis, as ever, is on character, and she finds as much suspense in interactions as in the action itself. (Sarsgaard is also excellent in “Experimenter.”)Watch it on Amazon
The writer and director Jody Hill, best known for his work on the TV series “Eastbound & Down” and “The Righteous Gemstones,” made his studio debut with this controversy-courting comedy from 2009. Seth Rogen stars as a would-be cop biding his time as a mall security guard, but make no mistake, this is no “Paul Blart: Mall Cop.” Hill’s comedy is bleak, portraying his protagonist as a dangerous, delusional megalomaniac drunk on his (limited) power. And to his credit, the film doesn’t pull its punches, up to and including its eye-opening ending.Watch it on AmazonThe writer and director Jody Hill, best known for his work on the TV series “Eastbound & Down” and “The Righteous Gemstones,” made his studio debut with this controversy-courting comedy from 2009. Seth Rogen stars as a would-be cop biding his time as a mall security guard, but make no mistake, this is no “Paul Blart: Mall Cop.” Hill’s comedy is bleak, portraying his protagonist as a dangerous, delusional megalomaniac drunk on his (limited) power. And to his credit, the film doesn’t pull its punches, up to and including its eye-opening ending.Watch it on Amazon
Director Sam Raimi (going back to his “Evil Dead” roots after finishing his “Spider-Man” trilogy) opens this delightfully self-aware horror throwback by replicating Universal’s logo animation from the 1908s, and “Drag Me to Hell” feels like it’s from that era — when studio horror didn’t take itself too seriously and offered its audiences a good time. As he puts his protagonist (Alison Lohman) through a string of baroque torments, Raimi throws in trick shots and crazy angles by the handful, loading up on delirious set pieces and over-the-top effects, and serving it with high style. The results have “a tonic playfulness that’s unabashedly retro,” our critic writes. (For more throwback thrills, try “Dead Again.”)Watch it on AmazonDirector Sam Raimi (going back to his “Evil Dead” roots after finishing his “Spider-Man” trilogy) opens this delightfully self-aware horror throwback by replicating Universal’s logo animation from the 1908s, and “Drag Me to Hell” feels like it’s from that era — when studio horror didn’t take itself too seriously and offered its audiences a good time. As he puts his protagonist (Alison Lohman) through a string of baroque torments, Raimi throws in trick shots and crazy angles by the handful, loading up on delirious set pieces and over-the-top effects, and serving it with high style. The results have “a tonic playfulness that’s unabashedly retro,” our critic writes. (For more throwback thrills, try “Dead Again.”)Watch it on Amazon
The director John Ford made a major star out of a B-movie cowboy named John Wayne — and began a collaboration that would continue through decades of fine films — with this masterfully crafted ensemble western. Wayne stars as the Ringo Kid, an outlaw who finds himself helping out the passengers of a stagecoach on a risky route. John Carradine, Andy Devine, Claire Trevor and an Oscar-winning Thomas Mitchell all get a chance to shine, but this is Wayne’s show, and he deftly displays the danger and charisma that made him a screen icon. Our critic called it “a movie of the grand old school, a genuine rib-thumper and a beautiful sight to see.” (Wayne is also in fine form in Howard Hawks’s “Red River” and “El Dorado.”)Watch it on AmazonThe director John Ford made a major star out of a B-movie cowboy named John Wayne — and began a collaboration that would continue through decades of fine films — with this masterfully crafted ensemble western. Wayne stars as the Ringo Kid, an outlaw who finds himself helping out the passengers of a stagecoach on a risky route. John Carradine, Andy Devine, Claire Trevor and an Oscar-winning Thomas Mitchell all get a chance to shine, but this is Wayne’s show, and he deftly displays the danger and charisma that made him a screen icon. Our critic called it “a movie of the grand old school, a genuine rib-thumper and a beautiful sight to see.” (Wayne is also in fine form in Howard Hawks’s “Red River” and “El Dorado.”)Watch it on Amazon
Ava DuVernay directs this “bold and bracingly self-assured” dramatization of the events surrounding Dr. Martin Luther King Jr.’s 1965 marches for voting rights in Selma, Ala. DuVernay is telling the story not of a man but of a movement; the picture bursts with the urgency of promises unkept. David Oyelowo is astonishing as King, capturing the unmistakable cadences but also the man — uncertain, jocular, determined. The stellar ensemble cast includes Dylan Baker, Carmen Ejogo, André Holland, Stephan James, Wendell Pierce, Tim Roth, Tessa Thompson, Lorraine Toussaint, Tom Wilkinson and Oprah Winfrey. (If you like well-made biopics, try “La Bamba.”)Watch it on AmazonAva DuVernay directs this “bold and bracingly self-assured” dramatization of the events surrounding Dr. Martin Luther King Jr.’s 1965 marches for voting rights in Selma, Ala. DuVernay is telling the story not of a man but of a movement; the picture bursts with the urgency of promises unkept. David Oyelowo is astonishing as King, capturing the unmistakable cadences but also the man — uncertain, jocular, determined. The stellar ensemble cast includes Dylan Baker, Carmen Ejogo, André Holland, Stephan James, Wendell Pierce, Tim Roth, Tessa Thompson, Lorraine Toussaint, Tom Wilkinson and Oprah Winfrey. (If you like well-made biopics, try “La Bamba.”)Watch it on Amazon
A fair number of critics initially dismissed this witty and wacky Reese Witherspoon vehicle as lightweight, disposable fluff — a reaction strangely appropriate to this story of a young woman whose peers underestimate her based on looks and impressions. But just as Elle Woods thrived, against all odds, at Harvard Law School, this summer comedy has become a cultural touchstone thanks to its quotable dialogue, masterfully modulated lead performance and timeless message about self-determination in the face of adversity. (For more breezy, female-fronted comedy, check out “Earth Girls Are Easy” and “Valley Girl.”)Watch it on AmazonA fair number of critics initially dismissed this witty and wacky Reese Witherspoon vehicle as lightweight, disposable fluff — a reaction strangely appropriate to this story of a young woman whose peers underestimate her based on looks and impressions. But just as Elle Woods thrived, against all odds, at Harvard Law School, this summer comedy has become a cultural touchstone thanks to its quotable dialogue, masterfully modulated lead performance and timeless message about self-determination in the face of adversity. (For more breezy, female-fronted comedy, check out “Earth Girls Are Easy” and “Valley Girl.”)Watch it on Amazon
Roman Polanski brings a 1970s sensibility to a classic 1940s private eye movie, and explores the tension between those two eras — between what we were traditionally shown and the sex, drugs and moral rot that production codes kept offscreen. Jack Nicholson crafts one of his finest performances as J.J. Gittes, a laid-back Los Angeles gumshoe who gets in way over his head, while Faye Dunaway takes the conventions of the slinky femme fatale and turns them into a portrait of genuine pain. Our critic said the film “pushes beyond the conventions of the genre.”Watch it on AmazonRoman Polanski brings a 1970s sensibility to a classic 1940s private eye movie, and explores the tension between those two eras — between what we were traditionally shown and the sex, drugs and moral rot that production codes kept offscreen. Jack Nicholson crafts one of his finest performances as J.J. Gittes, a laid-back Los Angeles gumshoe who gets in way over his head, while Faye Dunaway takes the conventions of the slinky femme fatale and turns them into a portrait of genuine pain. Our critic said the film “pushes beyond the conventions of the genre.”Watch it on Amazon
The popularity of “Yellowstone” has renewed interest in this Oscar-winning movie by Kevin Costner, filmed in South Dakota, which similarly explored the complicated relationship between Native Americans and white settlers, albeit through a more explicitly historical lens. Costner also stars, as John J. Dunbar, a lieutenant with the Union Army at a remote outpost, who comes to sympathize with — and then essentially join — the Lakota people. The cinematography is gorgeous, the set pieces are big and thrilling, and Costner finds just the right note of resigned rebellion in the leading role.Watch it on AmazonThe popularity of “Yellowstone” has renewed interest in this Oscar-winning movie by Kevin Costner, filmed in South Dakota, which similarly explored the complicated relationship between Native Americans and white settlers, albeit through a more explicitly historical lens. Costner also stars, as John J. Dunbar, a lieutenant with the Union Army at a remote outpost, who comes to sympathize with — and then essentially join — the Lakota people. The cinematography is gorgeous, the set pieces are big and thrilling, and Costner finds just the right note of resigned rebellion in the leading role.Watch it on Amazon
When the big-screen vehicles of comedy team Bud Abbott and Lou Costello were beginning to wane in popularity, the suits at Universal had a great idea: why not combine that franchise with the similarly flagging Universal Monsters? This was the first (and handily best) of those collaborations, with the director Charles Barton mining the expected guffaws out of fraidy-cat Lou’s encounters with Dracula (Bela Lugosi), Frankenstein’s monster (Glenn Strange) and the Wolfman (Lon Chaney Jr.), while also generating real scares and high stakes from the creepy creatures. (Old-school horror fans can also stream the original “Dracula” and “The Mummy.”)Watch it on AmazonWhen the big-screen vehicles of comedy team Bud Abbott and Lou Costello were beginning to wane in popularity, the suits at Universal had a great idea: why not combine that franchise with the similarly flagging Universal Monsters? This was the first (and handily best) of those collaborations, with the director Charles Barton mining the expected guffaws out of fraidy-cat Lou’s encounters with Dracula (Bela Lugosi), Frankenstein’s monster (Glenn Strange) and the Wolfman (Lon Chaney Jr.), while also generating real scares and high stakes from the creepy creatures. (Old-school horror fans can also stream the original “Dracula” and “The Mummy.”)Watch it on Amazon
Al Pacino followed up the triumph of “The Godfather” with this gripping police drama, based on the true story of a New York Police Department whistle-blower. Pacino stars as Frank Serpico, the socially conscious “hippie” cop who rises quickly to become an undercover officer, only to discover rampant corruption and extortion among New York’s finest. Pacino’s bravura performance is a simmering cauldron of righteous indignation; the director Sidney Lumet grounds the film in documentary-style authenticity. Our critic called it “Lumet’s toughest, most provocative film in years.” (If you love ’70s N.Y.C. cinema, “Saturday Night Fever” is also on Prime.)Watch it on AmazonAl Pacino followed up the triumph of “The Godfather” with this gripping police drama, based on the true story of a New York Police Department whistle-blower. Pacino stars as Frank Serpico, the socially conscious “hippie” cop who rises quickly to become an undercover officer, only to discover rampant corruption and extortion among New York’s finest. Pacino’s bravura performance is a simmering cauldron of righteous indignation; the director Sidney Lumet grounds the film in documentary-style authenticity. Our critic called it “Lumet’s toughest, most provocative film in years.” (If you love ’70s N.Y.C. cinema, “Saturday Night Fever” is also on Prime.)Watch it on Amazon
Oliver Stone’s best picture win for “Platoon” propelled him to the ranks of leading American filmmakers, but his other 1986 feature is an equally impressive achievement. Here, he tells the story of Richard Boyle (who wrote the script with Stone), a freewheeling, freeloading photojournalist who travels to El Salvador in the early 1980s looking to take some pictures and ends up taking up a crusade. James Woods stars; our critic praised his “nervous energy and self-mocking wit.”Watch it on AmazonOliver Stone’s best picture win for “Platoon” propelled him to the ranks of leading American filmmakers, but his other 1986 feature is an equally impressive achievement. Here, he tells the story of Richard Boyle (who wrote the script with Stone), a freewheeling, freeloading photojournalist who travels to El Salvador in the early 1980s looking to take some pictures and ends up taking up a crusade. James Woods stars; our critic praised his “nervous energy and self-mocking wit.”Watch it on Amazon
The director Steven Soderbergh adroitly fused art-house experimentation and genre storytelling in this tale of a revenge-seeking ex-con (Terence Stamp, in a career-best performance). Soderbergh complicates the straight-ahead narrative by combining fractured timelines, stream-of-consciousness editing and even clips from an earlier Stamp performance (in Ken Loach’s “Poor Cow”). In doing so, he turns what could’ve been a “Death Wish” remake into a thoughtful, mournful, elegiac meditation — on family, on forgiveness, on the past in general and the ’60s in particular. (Crime film aficionados will also enjoy “Bound” and “The Batman.”)Watch it on AmazonThe director Steven Soderbergh adroitly fused art-house experimentation and genre storytelling in this tale of a revenge-seeking ex-con (Terence Stamp, in a career-best performance). Soderbergh complicates the straight-ahead narrative by combining fractured timelines, stream-of-consciousness editing and even clips from an earlier Stamp performance (in Ken Loach’s “Poor Cow”). In doing so, he turns what could’ve been a “Death Wish” remake into a thoughtful, mournful, elegiac meditation — on family, on forgiveness, on the past in general and the ’60s in particular. (Crime film aficionados will also enjoy “Bound” and “The Batman.”)Watch it on Amazon
Desiree Akhavan writes, directs and stars in this devastatingly funny, breathtakingly candid and unexpectedly sexy comedy-drama. She’s is a singular comic voice, and since she’s playing a variation on herself (a bisexual Brooklynite filmmaker and daughter of immigrants), the picture boasts an offhand candor and casual approach to ethnicity, class and identity that makes it distinctive even among the indie set. Our critic praised the picture’s “clever and unpredictable turns of phrase.”Watch it on AmazonDesiree Akhavan writes, directs and stars in this devastatingly funny, breathtakingly candid and unexpectedly sexy comedy-drama. She’s is a singular comic voice, and since she’s playing a variation on herself (a bisexual Brooklynite filmmaker and daughter of immigrants), the picture boasts an offhand candor and casual approach to ethnicity, class and identity that makes it distinctive even among the indie set. Our critic praised the picture’s “clever and unpredictable turns of phrase.”Watch it on Amazon
The director Frank Capra and the actor Jimmy Stewart took a marvelously simple premise — a suicidal man is given the opportunity to see what his world would have been like without him — and turned it into a holiday perennial. But “It’s a Wonderful Life” is too rich and complex to brand with a label as simple as “Christmas movie”; it is ultimately a story about overcoming darkness and finding light around you, a tricky transition achieved primarily through the peerless work of Stewart as a good man with big dreams who can’t walk away from the place where he’s needed most. Our critic called it a “quaint and engaging modern parable.” (For more Stewart, stream “The Man Who Shot Liberty Valance”; for more classic postwar cinema, try “The Best Years of Our Lives.”)Watch it on AmazonThe director Frank Capra and the actor Jimmy Stewart took a marvelously simple premise — a suicidal man is given the opportunity to see what his world would have been like without him — and turned it into a holiday perennial. But “It’s a Wonderful Life” is too rich and complex to brand with a label as simple as “Christmas movie”; it is ultimately a story about overcoming darkness and finding light around you, a tricky transition achieved primarily through the peerless work of Stewart as a good man with big dreams who can’t walk away from the place where he’s needed most. Our critic called it a “quaint and engaging modern parable.” (For more Stewart, stream “The Man Who Shot Liberty Valance”; for more classic postwar cinema, try “The Best Years of Our Lives.”)Watch it on Amazon
When Aubrey Plaza arrived on the scene over a decade ago, her bone-dry wit, acerbic delivery and supporting turns in comic films and television suggested the second coming of Janeane Garofalo. But her electrifying dramatic work over the past few years suggests something closer to Gena Rowlands. In “Black Bear,” the scorching portrait of psychosexual one-upmanship begins as a love triangle, with Plaza as an actor-turned-filmmaker on a remote retreat with a married couple (Christopher Abbott and Sarah Gadon, both excellent). Over the course of a long night, the trio flirt, hint and accuse, rearranging and regrouping their allegiances. And then it goes somewhere else entirely, grippingly blurring the lines between life, art and their respective commentaries. (Fans of character-driven indie fare should also check out “Zebrahead” or “Panic.”)Watch it on Amazon
The scandals of the Pentagon Papers and Watergate, coupled with a general post-’60s distrust of authority and institution, led to a miniboom of taut, paranoid conspiracy thrillers (“The Conversation,” “The Parallax View” and “Winter Kills” among them). One of the best is this spy scorcher from the director Sydney Pollack, inspired by the James Grady novel; Robert Redford stars as Joseph Turner, a mild-mannered researcher at a low-profile C.I.A. outpost in New York City, whose entire office is executed while he’s out to lunch. On the run, Turner must transform himself from an analyst into an agent and figure out who is trying to kill him (and why). (For more Redford, stream “Barefoot in the Park”; for more classic action, check out “Marathon Man” and “The Train.”)Watch it on AmazonThe scandals of the Pentagon Papers and Watergate, coupled with a general post-’60s distrust of authority and institution, led to a miniboom of taut, paranoid conspiracy thrillers (“The Conversation,” “The Parallax View” and “Winter Kills” among them). One of the best is this spy scorcher from the director Sydney Pollack, inspired by the James Grady novel; Robert Redford stars as Joseph Turner, a mild-mannered researcher at a low-profile C.I.A. outpost in New York City, whose entire office is executed while he’s out to lunch. On the run, Turner must transform himself from an analyst into an agent and figure out who is trying to kill him (and why). (For more Redford, stream “Barefoot in the Park”; for more classic action, check out “Marathon Man” and “The Train.”)Watch it on Amazon
Our critic deemed Stanley Kramer’s adaptation of Jerome Lawrence and Robert E. Lee’s play (based on the notorious Scopes “monkey trial”) to be “triumphant,” its climax “one of the most brilliant and engrossing displays of acting ever witnessed on the screen.” The actors in question are Fredric March and Spencer Tracy, in career-best form as a Bible-pounding orator and an agnostic defense attorney on opposite theological and philosophical sides of the evolution debate. Kramer cranks up the carnival atmosphere, to great effect, and pulls a rare (and entertaining) nonmusical supporting turn from Gene Kelly as an H.L. Mencken-esque reporter. (Fans of classic cinema will also enjoy “The Shop Around the Corner” and “The Manchurian Candidate.”)Watch it on AmazonOur critic deemed Stanley Kramer’s adaptation of Jerome Lawrence and Robert E. Lee’s play (based on the notorious Scopes “monkey trial”) to be “triumphant,” its climax “one of the most brilliant and engrossing displays of acting ever witnessed on the screen.” The actors in question are Fredric March and Spencer Tracy, in career-best form as a Bible-pounding orator and an agnostic defense attorney on opposite theological and philosophical sides of the evolution debate. Kramer cranks up the carnival atmosphere, to great effect, and pulls a rare (and entertaining) nonmusical supporting turn from Gene Kelly as an H.L. Mencken-esque reporter. (Fans of classic cinema will also enjoy “The Shop Around the Corner” and “The Manchurian Candidate.”)Watch it on Amazon
Columbo wasn’t the only famous detective brought to life by the one and only Peter Falk; he also brought back Humphrey Bogart (albeit as the private eye Lou Peckinpaugh) in this “funny, affectionate” spoof of Bogart’s classics “Casablanca,” “The Maltese Falcon,” “The Big Sleep,” and any number of others. Neil Simon penned the script, but this is a far cry from the character-driven, relationship-heavy likes of “The Odd Couple” or “Barefoot in the Park,” veering closer to the rapid-fire farce of Simon’s “Your Show of Shows” collaborator Mel Brooks. But he does it well, Falk is admirably game, and the talented supporting players (including Eileen Brennan, Stockard Channing, Dom DeLuise, Madeline Kahn, Ann-Margret, Marsha Mason and Paul Williams) do their jobs with pizzaz. (Brennan and Kahn reunited for the similarly silly “Clue”; for more ’70s comedy, stream “The Bad News Bears.”)Columbo wasn’t the only famous detective brought to life by the one and only Peter Falk; he also brought back Humphrey Bogart (albeit as the private eye Lou Peckinpaugh) in this “funny, affectionate” spoof of Bogart’s classics “Casablanca,” “The Maltese Falcon,” “The Big Sleep,” and any number of others. Neil Simon penned the script, but this is a far cry from the character-driven, relationship-heavy likes of “The Odd Couple” or “Barefoot in the Park,” veering closer to the rapid-fire farce of Simon’s “Your Show of Shows” collaborator Mel Brooks. But he does it well, Falk is admirably game, and the talented supporting players (including Eileen Brennan, Stockard Channing, Dom DeLuise, Madeline Kahn, Ann-Margret, Marsha Mason and Paul Williams) do their jobs with pizzaz. (Brennan and Kahn reunited for the similarly silly “Clue”; for more ’70s comedy, stream “The Bad News Bears.”)
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This white-knuckle zombie-apocalypse thriller from the South Korean director Yeon Sang-ho, set onboard train hurtling toward possible safety, is a fantastic entry in the “relentless action in a confined space” subgenre (recalling “Snowpiercer,” “The Raid,” “Dredd” and the granddaddy of them all, “Die Hard”). The set pieces are energetic, the makeup effects are convincing, and the storytelling is ruthless. (Don’t get too attached to anyone.) But it’s not all blood and bluster; there’s a patient, deliberate setup before the orgy of gore and mayhem, leading to a surprising outpouring of emotion at the story’s conclusion. Our critic deemed it “often chaotic but never disorienting,” and praised its “spirited set pieces.”Watch it on AmazonThis white-knuckle zombie-apocalypse thriller from the South Korean director Yeon Sang-ho, set onboard train hurtling toward possible safety, is a fantastic entry in the “relentless action in a confined space” subgenre (recalling “Snowpiercer,” “The Raid,” “Dredd” and the granddaddy of them all, “Die Hard”). The set pieces are energetic, the makeup effects are convincing, and the storytelling is ruthless. (Don’t get too attached to anyone.) But it’s not all blood and bluster; there’s a patient, deliberate setup before the orgy of gore and mayhem, leading to a surprising outpouring of emotion at the story’s conclusion. Our critic deemed it “often chaotic but never disorienting,” and praised its “spirited set pieces.”Watch it on Amazon
The writer and director Paul Thomas Anderson picked up nominations for best director, best original screenplay and best picture for this richly textured, quietly bittersweet and frequently funny story of growing up in the San Fernando Valley in the 1970s. The actor Cooper Hoffman is charismatic and charming as a young would-be entrepreneur; the musician Alana Haim, in a star-making performance of astonishing depth, is the perpetually out-of-reach object of his affections. It’s the kind of movie that sneaks up on you with its warmth and insight. Manohla Dargis called it “a shaggy, fitfully brilliant romp.” (“Armageddon Time,” “Rumble Fish” and “Cooley High” are similarly nuanced coming-of-age stories.)Watch it on AmazonThe writer and director Paul Thomas Anderson picked up nominations for best director, best original screenplay and best picture for this richly textured, quietly bittersweet and frequently funny story of growing up in the San Fernando Valley in the 1970s. The actor Cooper Hoffman is charismatic and charming as a young would-be entrepreneur; the musician Alana Haim, in a star-making performance of astonishing depth, is the perpetually out-of-reach object of his affections. It’s the kind of movie that sneaks up on you with its warmth and insight. Manohla Dargis called it “a shaggy, fitfully brilliant romp.” (“Armageddon Time,” “Rumble Fish” and “Cooley High” are similarly nuanced coming-of-age stories.)Watch it on Amazon
The director Robert Altman teamed up with his frequent collaborator Elliott Gould, and paired him up with George Segal, for this “fascinating, vivid” snapshot of two lovable losers. Gould and Segal play a pair of Los Angeles gamblers, floating from card table to racetrack to casino, in constant search of that one big score. Such a payday presents itself at the end of their journey, but Altman is too unconventional a filmmaker to put much stock in that destination. He’s more interested in the journey, and his film is propelled by the rowdy hum of those rooms and the colorful personalities of the people who inhabit them. (“Husbands” works a similarly shaggy vibe.)Watch it on AmazonThe director Robert Altman teamed up with his frequent collaborator Elliott Gould, and paired him up with George Segal, for this “fascinating, vivid” snapshot of two lovable losers. Gould and Segal play a pair of Los Angeles gamblers, floating from card table to racetrack to casino, in constant search of that one big score. Such a payday presents itself at the end of their journey, but Altman is too unconventional a filmmaker to put much stock in that destination. He’s more interested in the journey, and his film is propelled by the rowdy hum of those rooms and the colorful personalities of the people who inhabit them. (“Husbands” works a similarly shaggy vibe.)Watch it on Amazon
This “meticulously acted” serio-comic drama was the feature filmmaking debut of Joey Soloway, the creator of “Transparent” and “I Love Dick.” Kathryn Hahn is astonishing in the leading role, clearly conveying her dissatisfied housewife’s longings and nerves but keeping her intentions enigmatic, and Juno Temple is electrifying as a young woman who’s learned how to use her sexuality as a weapon without fully considering the carnage left in its wake. Their byplay is vibrant, and it gets messy in fascinating ways; this is a sly, smart sex comedy that plumbs unexpected depths of sadness and despair.Watch it on AmazonThis “meticulously acted” serio-comic drama was the feature filmmaking debut of Joey Soloway, the creator of “Transparent” and “I Love Dick.” Kathryn Hahn is astonishing in the leading role, clearly conveying her dissatisfied housewife’s longings and nerves but keeping her intentions enigmatic, and Juno Temple is electrifying as a young woman who’s learned how to use her sexuality as a weapon without fully considering the carnage left in its wake. Their byplay is vibrant, and it gets messy in fascinating ways; this is a sly, smart sex comedy that plumbs unexpected depths of sadness and despair.Watch it on Amazon