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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+.
The saga of Rocky Balboa, the club fighter plucked from obscurity to fight the heavyweight champ, seemed to have ended with Sylvester Stallone’s 2006 back-to-basics effort “Rocky Balboa.” But nearly a decade later, Ryan Coogler cast a fresh eye on the saga, recasting Stallone’s Rocky as the mentor to Adonis Johnson (Michael B. Jordan), the son of Rock’s old rival-turned-friend Apollo Creed (Carl Weathers). What sounds like a desperate attempt to revive a failing franchise is instead a powerful story of legacy, loss and love, thanks to the energetic direction of Coogler (who would next helm “Black Panther”) and the sensitive performances of Jordan, an Oscar-nominated Stallone and Tessa Thompson, who plays Bianca, the romantic interest. Our critic called it “a dandy piece of entertainment, soothingly old-fashioned and bracingly up-to-date.”Watch it on AmazonThe saga of Rocky Balboa, the club fighter plucked from obscurity to fight the heavyweight champ, seemed to have ended with Sylvester Stallone’s 2006 back-to-basics effort “Rocky Balboa.” But nearly a decade later, Ryan Coogler cast a fresh eye on the saga, recasting Stallone’s Rocky as the mentor to Adonis Johnson (Michael B. Jordan), the son of Rock’s old rival-turned-friend Apollo Creed (Carl Weathers). What sounds like a desperate attempt to revive a failing franchise is instead a powerful story of legacy, loss and love, thanks to the energetic direction of Coogler (who would next helm “Black Panther”) and the sensitive performances of Jordan, an Oscar-nominated Stallone and Tessa Thompson, who plays Bianca, the romantic interest. Our critic called it “a dandy piece of entertainment, soothingly old-fashioned and bracingly up-to-date.”Watch it on Amazon
Three crime stories — a hit man out to dinner with his boss’s wife, a boxer who decides not to throw the big fight and a contract killing gone awry — are shuffled like cards in a deck, told out of order and with delightful narrative curveballs in this 1994 hodgepodge from the writer-director Quentin Tarantino. He writes the kind of tasty, self-aware dialogue that actors love to devour, and he puts together an enviable ensemble cast of big names, fallen stars and rising talents to deliver it. Our critic called it a work of “depth, wit and blazing originality.”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 in crime and in bed, 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.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 in crime and in bed, 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.Watch it on Amazon
The director Spike Jonze, who made his name with stylish and freewheeling music videos for the likes of the Beastie Boys and Weezer, made his feature directorial debut with this brain-busting surrealist comedy from the wild mind of the screenwriter Charlie Kaufman (also a first-timer). John Cusack stars as a frustrated puppeteer whose job as a filing clerk leads him to discover a portal into the mind of the actor John Malkovich (who appears, gamely, as himself). A lesser film would have settled on that high concept and ridden it out; Kaufman and Jonze burrow deeper into the implications and possibilities of the nutty narrative, resulting in one of the most imaginatively off-kilter films of its time.Watch it on AmazonThe director Spike Jonze, who made his name with stylish and freewheeling music videos for the likes of the Beastie Boys and Weezer, made his feature directorial debut with this brain-busting surrealist comedy from the wild mind of the screenwriter Charlie Kaufman (also a first-timer). John Cusack stars as a frustrated puppeteer whose job as a filing clerk leads him to discover a portal into the mind of the actor John Malkovich (who appears, gamely, as himself). A lesser film would have settled on that high concept and ridden it out; Kaufman and Jonze burrow deeper into the implications and possibilities of the nutty narrative, resulting in one of the most imaginatively off-kilter films of its time.Watch it on Amazon
Nicolas Cage won — and earned — the Academy Award for best actor for his wrenching portrayal of a failed screenwriter who goes to Sin City to drink himself to death. Elisabeth Shue was nominated for an Oscar for her turn as a prostitute who falls into something like love with the suicidal writer, and it speaks to the richness of their performances and the texture of Mike Figgis’s direction that such a melodramatic narrative, populated by well-worn stock characters, has such emotional immediacy. Our critic called this moving indie drama “passionate and furiously alive.” (For more Oscar-winning drama, stream “Ordinary People.”)Watch it on AmazonNicolas Cage won — and earned — the Academy Award for best actor for his wrenching portrayal of a failed screenwriter who goes to Sin City to drink himself to death. Elisabeth Shue was nominated for an Oscar for her turn as a prostitute who falls into something like love with the suicidal writer, and it speaks to the richness of their performances and the texture of Mike Figgis’s direction that such a melodramatic narrative, populated by well-worn stock characters, has such emotional immediacy. Our critic called this moving indie drama “passionate and furiously alive.” (For more Oscar-winning drama, stream “Ordinary People.”)Watch it on Amazon
Robin Williams won the Academy Award for his supporting work in this, the breakthrough film for Matt Damon and Ben Affleck (who also picked up Oscars for their original screenplay). Damon stars as Will Hunting, a Boston janitor whose secret gift for advanced mathematics puts him on a fast track out of the working class — a journey he’s not quite sure he’s ready to make. Williams shines as the psychologist who tries to steer him right, and Affleck is superb in the relatively unshowy role of Will’s supportive best friend; Gus Van Sant’s direction is similarly modest but affecting. “The script’s bare bones are familiar,” our critic wrote, “yet the film also has fine acting, steady momentum, a sharp eye and a very warm heart.” (Affleck’s even-earlier “Dazed and Confused” is also on Prime.)Watch it on AmazonRobin Williams won the Academy Award for his supporting work in this, the breakthrough film for Matt Damon and Ben Affleck (who also picked up Oscars for their original screenplay). Damon stars as Will Hunting, a Boston janitor whose secret gift for advanced mathematics puts him on a fast track out of the working class — a journey he’s not quite sure he’s ready to make. Williams shines as the psychologist who tries to steer him right, and Affleck is superb in the relatively unshowy role of Will’s supportive best friend; Gus Van Sant’s direction is similarly modest but affecting. “The script’s bare bones are familiar,” our critic wrote, “yet the film also has fine acting, steady momentum, a sharp eye and a very warm heart.” (Affleck’s even-earlier “Dazed and Confused” is also on Prime.)Watch it on Amazon
Leonard Bernstein, Stephen Sondheim and Arthur Laurents’s ingenious musical adaptation of “Romeo and Juliet,” which updated its setting and story to the streets and gangs of New York, remains one of the towering achievements of the Broadway stage. So it’s no surprise that it spawned one of the great movie musicals. The original stage director and choreographer Jerome Robbins and the filmmaker Robert Wise shared directorial duties, thrillingly placing the show’s songs and dances on the real streets of New York City while using the proximity and intimacy of the camera to render the longing and loss of the story even more poignant. Natalie Wood and Richard Beymer perform admirably in the leads, but Rita Moreno and George Chakiris steal the show in support — and won Oscars for their efforts, two of the film’s astonishing ten-statue haul, which included prizes for best picture and best director. (For more classic ’60s cinema, stream “Judgment at Nuremberg” or “The Man Who Shot Liberty Valance.”)Watch it on AmazonLeonard Bernstein, Stephen Sondheim and Arthur Laurents’s ingenious musical adaptation of “Romeo and Juliet,” which updated its setting and story to the streets and gangs of New York, remains one of the towering achievements of the Broadway stage. So it’s no surprise that it spawned one of the great movie musicals. The original stage director and choreographer Jerome Robbins and the filmmaker Robert Wise shared directorial duties, thrillingly placing the show’s songs and dances on the real streets of New York City while using the proximity and intimacy of the camera to render the longing and loss of the story even more poignant. Natalie Wood and Richard Beymer perform admirably in the leads, but Rita Moreno and George Chakiris steal the show in support — and won Oscars for their efforts, two of the film’s astonishing ten-statue haul, which included prizes for best picture and best director. (For more classic ’60s cinema, stream “Judgment at Nuremberg” or “The Man Who Shot Liberty Valance.”)Watch it on Amazon
Sidney Lumet made his feature directorial debut with this “incisively revealing” ensemble piece — one of the great courtroom dramas, or more accurately, jury room dramas. Twelve jurors huddle up to determine the fate of the man they’ve just watched on trial for murder, and what seems to be an open-and-shut conviction is complicated by the questions and protestations of a single juror (Henry Fonda). Lee J. Cobb is his primary antagonist; Jack Warden, Martin Balsam and E.G. Marshall are among the impressive cast.Watch it on Amazon
The wild and wooly Marx Brothers teamed with the ace comedy director Leo McCarey (“The Awful Truth,” “Love Affair”) for this delightfully anarchic mixture of knockabout farce and political satire. Groucho Marx stars as Rufus T. Firefly, who takes over the fictional country of Fredonia in a backroom deal and drives it right into the ground — and into war, with the help of two wildly incompetent spies (brothers Chico and Harpo). Never mind the plot; it’s just a clothesline to hang a series of classic comic set pieces, including a hilarious confrontation at a peanut stand, the uproariously funny war climax and, most memorably, Groucho and Harpo’s beloved “mirror sequence.”Watch it on AmazonThe wild and wooly Marx Brothers teamed with the ace comedy director Leo McCarey (“The Awful Truth,” “Love Affair”) for this delightfully anarchic mixture of knockabout farce and political satire. Groucho Marx stars as Rufus T. Firefly, who takes over the fictional country of Fredonia in a backroom deal and drives it right into the ground — and into war, with the help of two wildly incompetent spies (brothers Chico and Harpo). Never mind the plot; it’s just a clothesline to hang a series of classic comic set pieces, including a hilarious confrontation at a peanut stand, the uproariously funny war climax and, most memorably, Groucho and Harpo’s beloved “mirror sequence.”Watch it on Amazon
Sofia Coppola won her first Oscar — a well-deserved plaudit for best original screenplay — for her sophomore feature, a dreamily evocative tale of a young, somewhat aimless woman (Scarlett Johansson), all but abandoned by her husband in a Tokyo hotel, who crosses paths with an American movie star (Bill Murray) and finds a partner in international ennui. Murray has never been better onscreen, finding just the right note of reserved bemusement (our critic praised this “vodka-and-bitters version of himself and the persona that made him famous”), while Johansson proves herself a movie star of uncommon confidence. (Coppola’s debut feature, “The Virgin Suicides,” is also on Prime.)Watch it on AmazonSofia Coppola won her first Oscar — a well-deserved plaudit for best original screenplay — for her sophomore feature, a dreamily evocative tale of a young, somewhat aimless woman (Scarlett Johansson), all but abandoned by her husband in a Tokyo hotel, who crosses paths with an American movie star (Bill Murray) and finds a partner in international ennui. Murray has never been better onscreen, finding just the right note of reserved bemusement (our critic praised this “vodka-and-bitters version of himself and the persona that made him famous”), while Johansson proves herself a movie star of uncommon confidence. (Coppola’s debut feature, “The Virgin Suicides,” is also on Prime.)Watch it on Amazon
The director David Cronenberg rarely made traditional horror films, and this 1983 adaptation of the best seller by Stephen King is no exception. It’s as much science-fiction as horror, focusing on a regular Joe (Christopher Walken, muted and effective) who comes out of a five-year coma with the ability to see the futures of those he touches. This thoughtful and tricky picture is as interested in moral dilemmas and historical ramifications as it is in thrills and chills; our critic found it “unsettling” and “quietly forceful.” (King aficionados will also love Brian De Palma’s take on “Carrie.”)Watch it on AmazonThe director David Cronenberg rarely made traditional horror films, and this 1983 adaptation of the best seller by Stephen King is no exception. It’s as much science-fiction as horror, focusing on a regular Joe (Christopher Walken, muted and effective) who comes out of a five-year coma with the ability to see the futures of those he touches. This thoughtful and tricky picture is as interested in moral dilemmas and historical ramifications as it is in thrills and chills; our critic found it “unsettling” and “quietly forceful.” (King aficionados will also love Brian De Palma’s take on “Carrie.”)Watch it on Amazon
The writer and director J.C. Chandor’s feature debut was a high-profile affair — one of the first films to directly address the 2008 financial crisis — “relentless in its honesty and shrewd in its insights and techniques,” per our critic. Chandor’s gripping script telescopes the action to a 24-hour period and the setting to a single Wall Street investment bank, as the implications and consequences of the impending crisis become clear, and the firm’s strong personalities bounce and collide. A tiptop ensemble cast brings verve to the key players, with fine performances Paul Bettany, Jeremy Irons, Demi Moore, Zachary Quinto (who was also a producer), Kevin Spacey and Stanley Tucci. (“The Wolf of Wall Street” is a slightly more cynical examination of the world of high finance.)Watch it on AmazonThe writer and director J.C. Chandor’s feature debut was a high-profile affair — one of the first films to directly address the 2008 financial crisis — “relentless in its honesty and shrewd in its insights and techniques,” per our critic. Chandor’s gripping script telescopes the action to a 24-hour period and the setting to a single Wall Street investment bank, as the implications and consequences of the impending crisis become clear, and the firm’s strong personalities bounce and collide. A tiptop ensemble cast brings verve to the key players, with fine performances Paul Bettany, Jeremy Irons, Demi Moore, Zachary Quinto (who was also a producer), Kevin Spacey and Stanley Tucci. (“The Wolf of Wall Street” is a slightly more cynical examination of the world of high finance.)Watch it on Amazon
The Coen Brothers “beautifully adapted” the 1969 John Wayne classic (and the Charles Portis novel that inspired it) in this, their first traditional western, and the genre proved a perfect fit for their grandiose characters, colloquial dialogue style and cockeyed worldview. Jeff Bridges is a hoot, situating his Marshal Reuben J. Cogburn as a hybrid of Wayne, the Dude from “The Big Lebowski” and a crotchety grandfather, but the show-stealer is the newcomer Hailee Steinfeld, an absolute firecracker as the young woman who hires him to track down her father’s killer.Watch it on AmazonThe Coen Brothers “beautifully adapted” the 1969 John Wayne classic (and the Charles Portis novel that inspired it) in this, their first traditional western, and the genre proved a perfect fit for their grandiose characters, colloquial dialogue style and cockeyed worldview. Jeff Bridges is a hoot, situating his Marshal Reuben J. Cogburn as a hybrid of Wayne, the Dude from “The Big Lebowski” and a crotchety grandfather, but the show-stealer is the newcomer Hailee Steinfeld, an absolute firecracker as the young woman who hires him to track down her father’s killer.Watch it on Amazon
The director Sergio Leone brought his signature dusty landscapes, offbeat music, brutal violence and morally flexible protagonists to this Hollywood studio production. Henry Fonda is truly chilling as a ruthless villain, conveying a pure evil not even hinted at in his decades of good-guy turns, and the film’s heroine (Claudia Cardinale) and her tough-guy companions (Charles Bronson and Jason Robards) make an unlikely but effective team. Atmospheric, bracing and effortlessly cool, with an unforgettable closing confrontation. (Western fans will also enjoy “El Dorado” and “Red River.”)Watch it on AmazonThe director Sergio Leone brought his signature dusty landscapes, offbeat music, brutal violence and morally flexible protagonists to this Hollywood studio production. Henry Fonda is truly chilling as a ruthless villain, conveying a pure evil not even hinted at in his decades of good-guy turns, and the film’s heroine (Claudia Cardinale) and her tough-guy companions (Charles Bronson and Jason Robards) make an unlikely but effective team. Atmospheric, bracing and effortlessly cool, with an unforgettable closing confrontation. (Western fans will also enjoy “El Dorado” and “Red River.”)Watch it on Amazon
Matt Damon turns in one of his best performances — by turns desperate, sexy and chilling — in this first-rate adaptation of the novel by Patricia Highsmith. Damon stars as the title character, a clever con artist who uses a fleeting instance of mistaken identity to ingratiate himself into the sphere of the rich and beautiful (namely, Jude Law and Gwyneth Paltrow) and to stay there at any cost. The director Anthony Minghella carries off the drama and suspense with aplomb and handily orchestrates the excellent cast, which also includes Cate Blanchett and a memorably weaselly Philip Seymour Hoffman.Watch it on AmazonMatt Damon turns in one of his best performances — by turns desperate, sexy and chilling — in this first-rate adaptation of the novel by Patricia Highsmith. Damon stars as the title character, a clever con artist who uses a fleeting instance of mistaken identity to ingratiate himself into the sphere of the rich and beautiful (namely, Jude Law and Gwyneth Paltrow) and to stay there at any cost. The director Anthony Minghella carries off the drama and suspense with aplomb and handily orchestrates the excellent cast, which also includes Cate Blanchett and a memorably weaselly Philip Seymour Hoffman.Watch it on Amazon
It looks, at first glance, like the perfect New York City romance: a roomy apartment on the Upper West Side, a gorgeous wife and her handsome actor husband, a bouncing baby on the way. Look closer. Roman Polanski’s “mainstream masterpiece” is a chilling examination of the terror that lurks just beneath those shiny surfaces, beneath the wide-eyed good intentions of new friends and the cheerful opportunism of the young couple at it center. Mia Farrow does some of her finest acting as the increasingly sickly mother-to-be, John Cassavetes is appropriately devil-may-care as her career-minded husband, and Ruth Gordon won an Oscar for her work as the couple’s nosy next-door neighbor. (Fans of vintage genre films will also enjoy “The Naked Kiss” and “Bird With the Crystal Plumage.”)It looks, at first glance, like the perfect New York City romance: a roomy apartment on the Upper West Side, a gorgeous wife and her handsome actor husband, a bouncing baby on the way. Look closer. Roman Polanski’s “mainstream masterpiece” is a chilling examination of the terror that lurks just beneath those shiny surfaces, beneath the wide-eyed good intentions of new friends and the cheerful opportunism of the young couple at it center. Mia Farrow does some of her finest acting as the increasingly sickly mother-to-be, John Cassavetes is appropriately devil-may-care as her career-minded husband, and Ruth Gordon won an Oscar for her work as the couple’s nosy next-door neighbor. (Fans of vintage genre films will also enjoy “The Naked Kiss” and “Bird With the Crystal Plumage.”)
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This thrillingly unpredictable rom-com/crime movie mash-up from the director Jonathan Demme (“The Silence of the Lambs”) begins as a boy-meets-girl movie with a slightly psychosexual edge, seeming to tell the story of how a wild girl (Melanie Griffith) and a straight guy (Jeff Daniels) meet in the middle. Then Ray (a sensational Ray Liotta) turns up and hijacks the entire movie, turning into something much darker and more dangerous. Throughout, Demme keeps the focus on his colorful characters and sharp dialogue.This thrillingly unpredictable rom-com/crime movie mash-up from the director Jonathan Demme (“The Silence of the Lambs”) begins as a boy-meets-girl movie with a slightly psychosexual edge, seeming to tell the story of how a wild girl (Melanie Griffith) and a straight guy (Jeff Daniels) meet in the middle. Then Ray (a sensational Ray Liotta) turns up and hijacks the entire movie, turning into something much darker and more dangerous. Throughout, Demme keeps the focus on his colorful characters and sharp dialogue.
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Harrison Ford was still known primarily as Han Solo and Indiana Jones when he flexed his considerable dramatic muscles in this taut crime drama from director Peter Weir (“Picnic at Hanging Rock,” “Dead Poets Society”). He stars as John Book, a Philadelphia police detective investigating a murder whose only witness is a young Amish boy. So he follows the boy and his mother (Kelly McGillis) back to their insular community to protect them. Weir deftly intermingles this suspenseful mystery story with an affecting human drama, in which Book finds himself drawn not only to the small Amish town but also to the young mother — which raises the stakes considerably. McGillis is wonderfully conflicted as a woman who wants only to do right, and Ford’s multifaceted performance serves as a fine reminder that he can play real, flawed people, not just popcorn icons.Harrison Ford was still known primarily as Han Solo and Indiana Jones when he flexed his considerable dramatic muscles in this taut crime drama from director Peter Weir (“Picnic at Hanging Rock,” “Dead Poets Society”). He stars as John Book, a Philadelphia police detective investigating a murder whose only witness is a young Amish boy. So he follows the boy and his mother (Kelly McGillis) back to their insular community to protect them. Weir deftly intermingles this suspenseful mystery story with an affecting human drama, in which Book finds himself drawn not only to the small Amish town but also to the young mother — which raises the stakes considerably. McGillis is wonderfully conflicted as a woman who wants only to do right, and Ford’s multifaceted performance serves as a fine reminder that he can play real, flawed people, not just popcorn icons.
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An armed robber (Clive Owen) takes over a Wall Street bank, holding its clerks and customers hostage, but this is no mere “Dog Day Afternoon” riff. The gunman’s exact motives are a puzzle, confounding the brilliant N.Y.P.D. hostage negotiator (Denzel Washington) at its center. The director, Spike Lee, gives what could’ve been a bank-job retread a palpable sense of time and place, and fills his frames with New York characters: wiseguy cops, seen-it-all looky-loos, and slick power brokers (Jodie Foster and Christopher Plummer). But his most fascinating character is Owen’s master criminal, whose true motives Lee keeps under wraps without ever seeming to withhold information. A dazzling and rambunctious crime movie, with a humdinger of an ending.An armed robber (Clive Owen) takes over a Wall Street bank, holding its clerks and customers hostage, but this is no mere “Dog Day Afternoon” riff. The gunman’s exact motives are a puzzle, confounding the brilliant N.Y.P.D. hostage negotiator (Denzel Washington) at its center. The director, Spike Lee, gives what could’ve been a bank-job retread a palpable sense of time and place, and fills his frames with New York characters: wiseguy cops, seen-it-all looky-loos, and slick power brokers (Jodie Foster and Christopher Plummer). But his most fascinating character is Owen’s master criminal, whose true motives Lee keeps under wraps without ever seeming to withhold information. A dazzling and rambunctious crime movie, with a humdinger of an ending.
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This 2004 breakthrough film by the director Michel Gondry is a miraculous combination of science fiction, a romantic-comedy meet-cute and lovelorn drama, somehow delivering on all counts. Working from a typically clever screenplay by Charlie Kaufman (“Being John Malkovich”), he tells the story of a perpetual sad sack (Jim Carrey) who subjects himself to an experimental procedure in hopes of erasing all memory of his ex-girlfriend (Kate Winslet). Our critics called it “a wintry pop song of a film, one you want to play on repeat”; achingly melancholy yet riotously funny, it’s one of the great romances of our scrambled age. (Fans of unconventional rom-com will also enjoy “Heaven Can Wait.”)This 2004 breakthrough film by the director Michel Gondry is a miraculous combination of science fiction, a romantic-comedy meet-cute and lovelorn drama, somehow delivering on all counts. Working from a typically clever screenplay by Charlie Kaufman (“Being John Malkovich”), he tells the story of a perpetual sad sack (Jim Carrey) who subjects himself to an experimental procedure in hopes of erasing all memory of his ex-girlfriend (Kate Winslet). Our critics called it “a wintry pop song of a film, one you want to play on repeat”; achingly melancholy yet riotously funny, it’s one of the great romances of our scrambled age. (Fans of unconventional rom-com will also enjoy “Heaven Can Wait.”)
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This sci-fi-action thriller from director John Carpenter imagines a distant future of 1997, in which the island of Manhattan has become a giant, chaotic, maximum-security prison. (Considering the state of the city in the early ’80s, it wasn’t hard to imagine.) Kurt Russell stars as Snake Plissken, a bank robber who is offered a pardon if he can rescue the kidnapped President of the United States and get him off the island in 24 hours. Carpenter manically orchestrates Plissken’s mission as a darkly funny free-for-all, loaded with slam-bang set pieces and memorable supporting turns by a rogue’s gallery of character actors, all anchored by Russell’s grizzled, unflappable cool.This sci-fi-action thriller from director John Carpenter imagines a distant future of 1997, in which the island of Manhattan has become a giant, chaotic, maximum-security prison. (Considering the state of the city in the early ’80s, it wasn’t hard to imagine.) Kurt Russell stars as Snake Plissken, a bank robber who is offered a pardon if he can rescue the kidnapped President of the United States and get him off the island in 24 hours. Carpenter manically orchestrates Plissken’s mission as a darkly funny free-for-all, loaded with slam-bang set pieces and memorable supporting turns by a rogue’s gallery of character actors, all anchored by Russell’s grizzled, unflappable cool.
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Julia Roberts won the Academy Award for best actress — and Steven Soderbergh solidified his status as one of Hollywood’s great contemporary journeyman directors — with this ruthlessly intelligent yet undeniably crowd-pleasing drama, based on a true story. Roberts plays the title character, a tough-as-nails single mom in deep debt who talks her way into a nothing job at a law firm, only to become the key investigator in a horrifying case of corporate malfeasance. Albert Finney (himself Oscar-nominated) is terrific as her seen-it-all boss. Our critic praised the picture’s “offbeat pacing” and “sharp sense of visual detail.” (For more Oscar-winning acting, stream “Dead Man Walking” or “Scent of a Woman.”)Julia Roberts won the Academy Award for best actress — and Steven Soderbergh solidified his status as one of Hollywood’s great contemporary journeyman directors — with this ruthlessly intelligent yet undeniably crowd-pleasing drama, based on a true story. Roberts plays the title character, a tough-as-nails single mom in deep debt who talks her way into a nothing job at a law firm, only to become the key investigator in a horrifying case of corporate malfeasance. Albert Finney (himself Oscar-nominated) is terrific as her seen-it-all boss. Our critic praised the picture’s “offbeat pacing” and “sharp sense of visual detail.” (For more Oscar-winning acting, stream “Dead Man Walking” or “Scent of a Woman.”)
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Denzel Washington is terrific — smolderingly sexy, offhandedly funny, endlessly engaging — as Ezekiel “Easy” Rawlins, a ’40s-era private detective, in this beautifully crafted adaptation of Walter Mosley’s novel, from the director Carl Franklin (“One False Move”). Yet even with that great performance at its center, Don Cheadle steals the show as “Mouse,” Rawlins’s troublemaking best friend; this was Cheadle’s breakthrough role, and he makes every scene crackle with energy and unpredictability. “Devil” was based on the first of 14 Rawlins novels (to date), and in a just world, we’d have seen Washington play him 13 more times. But at least we got this one. (For more period thrills, try “Allied.”)Denzel Washington is terrific — smolderingly sexy, offhandedly funny, endlessly engaging — as Ezekiel “Easy” Rawlins, a ’40s-era private detective, in this beautifully crafted adaptation of Walter Mosley’s novel, from the director Carl Franklin (“One False Move”). Yet even with that great performance at its center, Don Cheadle steals the show as “Mouse,” Rawlins’s troublemaking best friend; this was Cheadle’s breakthrough role, and he makes every scene crackle with energy and unpredictability. “Devil” was based on the first of 14 Rawlins novels (to date), and in a just world, we’d have seen Washington play him 13 more times. But at least we got this one. (For more period thrills, try “Allied.”)
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Kristen Wiig stars in and co-writes (with her frequent collaborator Annie Mumolo) this “unexpectedly funny” comedy smash from the director Paul Feig. Wiig is Annie, an aimless baker whose lifelong pal Lillian (Maya Rudolph) is getting hitched, and asks Annie to serve as maid of honor. This duty sets off an uproarious series of broad comic set pieces and thoughtful introspection; both the comedy and drama are played to the hilt by an ensemble that includes Rose Byrne, Jon Hamm, Wendi McLendon-Covey, Ellie Kemper, Chris O’Dowd and an Oscar-nominated Melissa McCarthy.Kristen Wiig stars in and co-writes (with her frequent collaborator Annie Mumolo) this “unexpectedly funny” comedy smash from the director Paul Feig. Wiig is Annie, an aimless baker whose lifelong pal Lillian (Maya Rudolph) is getting hitched, and asks Annie to serve as maid of honor. This duty sets off an uproarious series of broad comic set pieces and thoughtful introspection; both the comedy and drama are played to the hilt by an ensemble that includes Rose Byrne, Jon Hamm, Wendi McLendon-Covey, Ellie Kemper, Chris O’Dowd and an Oscar-nominated Melissa McCarthy.
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One of the great Charles Chaplin’s finest films — “indeed, one of the screen’s most lovable classics,” per our critic — is this delightful story of prospectors and dreamers during the Klondike Gold Rush of the late 1890s. Chaplin, in his customary bowler hat and ill-fitting suit, sticks out like a sore thumb among the roughnecks, which provides much of the picture’s humor; more is borne out of the desperate hunger he experiences when the going gets rough, resulting in such iconic sequences as the eating of his own shoe. Few filmmakers mixed pathos and laughs as adroitly as Chaplin, and this is one of his most successful cinematic stews.One of the great Charles Chaplin’s finest films — “indeed, one of the screen’s most lovable classics,” per our critic — is this delightful story of prospectors and dreamers during the Klondike Gold Rush of the late 1890s. Chaplin, in his customary bowler hat and ill-fitting suit, sticks out like a sore thumb among the roughnecks, which provides much of the picture’s humor; more is borne out of the desperate hunger he experiences when the going gets rough, resulting in such iconic sequences as the eating of his own shoe. Few filmmakers mixed pathos and laughs as adroitly as Chaplin, and this is one of his most successful cinematic stews.
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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 a slightly more serious mystery, stream “Dead Again.”)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 a slightly more serious mystery, stream “Dead Again.”)
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So much of this 1981 Steven Spielberg adventure has entered the realm of pop culture immortality — the rolling boulder, the melting Nazi face, the truck chase — that it’s easy to forget how fleet-footed, fresh and funny it is. Riffing on the Saturday afternoon serials that thrilled them as children, Spielberg, the director, and George Lucas, the producer, packed a full series of heroes, villains, cliffhangers and fisticuffs into a single crowd-pleasing feature. Our critic called it “one of the most deliriously funny, ingenious and stylish American adventure movies ever made.” (The sequels “Indiana Jones and the Temple of Doom” and “Indiana Jones and the Last Crusade” are also on Prime, as the comic riff “The Lost City.”)Watch it on AmazonSo much of this 1981 Steven Spielberg adventure has entered the realm of pop culture immortality — the rolling boulder, the melting Nazi face, the truck chase — that it’s easy to forget how fleet-footed, fresh and funny it is. Riffing on the Saturday afternoon serials that thrilled them as children, Spielberg, the director, and George Lucas, the producer, packed a full series of heroes, villains, cliffhangers and fisticuffs into a single crowd-pleasing feature. Our critic called it “one of the most deliriously funny, ingenious and stylish American adventure movies ever made.” (The sequels “Indiana Jones and the Temple of Doom” and “Indiana Jones and the Last Crusade” are also on Prime, as the comic riff “The Lost City.”)Watch it on Amazon
It speaks to the high quality of the entire series that no clear consensus seems to exist on the best film of the “Mission: Impossible” franchise. But there’s a strong case to be made for this, the fourth entry, which was the live-action directorial debut of the Pixar alum Brad Bird (“The Incredibles”). Tom Cruise returns as Agent Ethan Hunt, this time drawn into the complex, globe-trotting pursuit of a nuclear terrorist who frames Hunt and his team for a bombing at the Kremlin. Simon Pegg offers welcome comic relief, the new additions Jeremy Renner and Paula Patton add considerable spice, and two of the set pieces — the aforementioned Kremlin sequence and Cruise’s gripping climb of the Burj Khalifa — are among the franchise’s best. (To catch Cruise in a much weirder mood, try “Vanilla Sky.”)Watch it on AmazonIt speaks to the high quality of the entire series that no clear consensus seems to exist on the best film of the “Mission: Impossible” franchise. But there’s a strong case to be made for this, the fourth entry, which was the live-action directorial debut of the Pixar alum Brad Bird (“The Incredibles”). Tom Cruise returns as Agent Ethan Hunt, this time drawn into the complex, globe-trotting pursuit of a nuclear terrorist who frames Hunt and his team for a bombing at the Kremlin. Simon Pegg offers welcome comic relief, the new additions Jeremy Renner and Paula Patton add considerable spice, and two of the set pieces — the aforementioned Kremlin sequence and Cruise’s gripping climb of the Burj Khalifa — are among the franchise’s best. (To catch Cruise in a much weirder mood, try “Vanilla Sky.”)Watch it on Amazon
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.” (For more breathless action, try “El Mariachi” and “Ronin.”)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.” (For more breathless action, try “El Mariachi” and “Ronin.”)Watch it on Amazon
Bud Cort, a death-obsessed 19-year-old rich kid, and Ruth Gordon, a 79-year-old woman with a zest for life, play one of the most inspired odd couples in movie history. The director Hal Ashby and the screenwriter Colin Higgins don’t shy away from the shock value of the pairing, but they don’t stop at it either, helping the viewer understand the peculiarities that draw these two lovers together, and make them the people that they are. And it’s all done with such oddball humor that one can’t help but surrender to the film, particularly when observing Harold’s ill-fated dating attempts and Maude’s good-natured criminal activities. (For more dark comedy, stream “Heathers” or “The Fortune Cookie.”)Watch it on AmazonBud Cort, a death-obsessed 19-year-old rich kid, and Ruth Gordon, a 79-year-old woman with a zest for life, play one of the most inspired odd couples in movie history. The director Hal Ashby and the screenwriter Colin Higgins don’t shy away from the shock value of the pairing, but they don’t stop at it either, helping the viewer understand the peculiarities that draw these two lovers together, and make them the people that they are. And it’s all done with such oddball humor that one can’t help but surrender to the film, particularly when observing Harold’s ill-fated dating attempts and Maude’s good-natured criminal activities. (For more dark comedy, stream “Heathers” or “The Fortune Cookie.”)Watch it on Amazon
The esteemed character actor Charles Laughton made his one and only trip behind the camera for this haunting small-town thriller, which melds the conventions of film noir and Hitchcock-style suspense with a healthy taste of Southern Gothic. Robert Mitchum crafts a chilling, unforgettable performance as a mysterious stranger who romances a widowed mother (a superb Shelley Winters) whose children seem to be the only ones capable of seeing the evil within him. Our critic called it “clever and exceptionally effective.” (For more classic drama, stream “Birdman of Alcatraz” or “Paths of Glory.”)Watch it on AmazonThe esteemed character actor Charles Laughton made his one and only trip behind the camera for this haunting small-town thriller, which melds the conventions of film noir and Hitchcock-style suspense with a healthy taste of Southern Gothic. Robert Mitchum crafts a chilling, unforgettable performance as a mysterious stranger who romances a widowed mother (a superb Shelley Winters) whose children seem to be the only ones capable of seeing the evil within him. Our critic called it “clever and exceptionally effective.” (For more classic drama, stream “Birdman of Alcatraz” or “Paths of Glory.”)Watch it on Amazon
Al Pacino, fresh off the success of “The Godfather,” teamed up with the director Sidney Lumet to tell the true story of Frank Serpico, the undercover New York Police Department detective who, at great personal risk and expense, exposed the graft and corruption within the department. Waldo Salt and Norman Wexler’s screenplay (adapting Peter Maas’s nonfiction book) is a sprawling affair, encompassing years of Serpico’s life and work, but it’s an intimate, psychologically nuanced affair — thanks in no small part to Pacino’s magnificent title turn as a cop who will not look the other way. Our critic called it “a new kind of cop film.” (For more ’70s classics, check out “Coffy” and “Saturday Night Fever.”)Watch it on AmazonAl Pacino, fresh off the success of “The Godfather,” teamed up with the director Sidney Lumet to tell the true story of Frank Serpico, the undercover New York Police Department detective who, at great personal risk and expense, exposed the graft and corruption within the department. Waldo Salt and Norman Wexler’s screenplay (adapting Peter Maas’s nonfiction book) is a sprawling affair, encompassing years of Serpico’s life and work, but it’s an intimate, psychologically nuanced affair — thanks in no small part to Pacino’s magnificent title turn as a cop who will not look the other way. Our critic called it “a new kind of cop film.” (For more ’70s classics, check out “Coffy” and “Saturday Night Fever.”)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.” (Fans of character-driven indie fare should also check out “Zebrahead” and “The Weekend.”)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.” (Fans of character-driven indie fare should also check out “Zebrahead” and “The Weekend.”)Watch it on Amazon
Early in Garrett Bradley’s extraordinary documentary (a coproduction of The New York Times), someone asks Fox Rich about her husband, and she replies, “He’s, uh, out of town now.” Technically, it’s true; he’s in Angola prison, for a 1997 bank robbery, serving a 60-year sentence without the possibility of parole. Rich has spent years fighting for her husband’s release — and against mass incarceration — and Bradley interweaves her crusade with years of home video footage, contrasting the possibilities of those early videos and the realities of today. But Rich never gives up hope, and this “substantive and stunning” film suggests that even in the grimmest of circumstances, that spirit can pay dividends.Watch it on AmazonEarly in Garrett Bradley’s extraordinary documentary (a coproduction of The New York Times), someone asks Fox Rich about her husband, and she replies, “He’s, uh, out of town now.” Technically, it’s true; he’s in Angola prison, for a 1997 bank robbery, serving a 60-year sentence without the possibility of parole. Rich has spent years fighting for her husband’s release — and against mass incarceration — and Bradley interweaves her crusade with years of home video footage, contrasting the possibilities of those early videos and the realities of today. But Rich never gives up hope, and this “substantive and stunning” film suggests that even in the grimmest of circumstances, that spirit can pay dividends.Watch it on Amazon
In 1959, the famed novelist and bon vivant Truman Capote traveled to Kansas to write about the shocking murder of the Clutter family; the resulting book, “In Cold Blood,” all but created both the nonfiction novel and the true crime genre. It also changed the author forever, according to this a “fascinating and fine-grained reconstruction” by director Bennett Miller, which argues that Capote’s interactions with (and betrayal of) the killers Dick Hickock and Perry Smith haunted him for the rest of his life. Philip Seymour Hoffman won a much-deserved Oscar for his stunning work in the title role. (For more hard-edge drama, try “We Need to Talk About Kevin.”)In 1959, the famed novelist and bon vivant Truman Capote traveled to Kansas to write about the shocking murder of the Clutter family; the resulting book, “In Cold Blood,” all but created both the nonfiction novel and the true crime genre. It also changed the author forever, according to this a “fascinating and fine-grained reconstruction” by director Bennett Miller, which argues that Capote’s interactions with (and betrayal of) the killers Dick Hickock and Perry Smith haunted him for the rest of his life. Philip Seymour Hoffman won a much-deserved Oscar for his stunning work in the title role. (For more hard-edge drama, try “We Need to Talk About Kevin.”)
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The actor Zero Mostel is an absolute gas in this leading role of this “leering clown of a movie,” adapted from the Broadway smash with energy and verve by the director Richard Lester (“A Hard Day’s Night”). Mostel stars as Pseudolus, a fast-talking and faster-thinking slave in ancient Rome who cooks up a plot to win his freedom, with uproarious complications blocking his path at every turn. Lester keeps things moving at a healthy clip, smoothly weaving in slapstick set pieces and songs from the great Stephen Sondheim. Keep an eye out for Buster Keaton in his final feature film role. (For more vintage musical comedy, stream “How to Succeed in Business Without Really Trying.”)Watch it on AmazonThe actor Zero Mostel is an absolute gas in this leading role of this “leering clown of a movie,” adapted from the Broadway smash with energy and verve by the director Richard Lester (“A Hard Day’s Night”). Mostel stars as Pseudolus, a fast-talking and faster-thinking slave in ancient Rome who cooks up a plot to win his freedom, with uproarious complications blocking his path at every turn. Lester keeps things moving at a healthy clip, smoothly weaving in slapstick set pieces and songs from the great Stephen Sondheim. Keep an eye out for Buster Keaton in his final feature film role. (For more vintage musical comedy, stream “How to Succeed in Business Without Really Trying.”)Watch it on Amazon
Edward Norton made his memorable film debut in this crackling legal drama, based on the novel by William Diehl. Norton co-stars as Aaron Stampler, a young man accused of killing a powerful Chicago priest. Richard Gere is Martin Vail, the slimy, hotshot lawyer who, smelling headlines, takes on Aaron’s case pro bono, and finds himself in way over his head. The director, Gregory Hoblit, smoothly orchestrates a brooding mood and top-notch supporting cast, including Laura Linney, Frances McDormand, Andre Braugher, Alfre Woodard, John Mahoney and Maura Tierney. (The earlier Gere vehicle “Internal Affairs” is also on Prime.)Watch it on AmazonEdward Norton made his memorable film debut in this crackling legal drama, based on the novel by William Diehl. Norton co-stars as Aaron Stampler, a young man accused of killing a powerful Chicago priest. Richard Gere is Martin Vail, the slimy, hotshot lawyer who, smelling headlines, takes on Aaron’s case pro bono, and finds himself in way over his head. The director, Gregory Hoblit, smoothly orchestrates a brooding mood and top-notch supporting cast, including Laura Linney, Frances McDormand, Andre Braugher, Alfre Woodard, John Mahoney and Maura Tierney. (The earlier Gere vehicle “Internal Affairs” is also on Prime.)Watch it on Amazon
Robert Eggers, the director of “The Witch” and “The Lighthouse,” goes big — very big — with this epic Viking adventure, based on the Scandinavian legend of Amleth. Alexander Skarsgard stars in the title role, a young prince who is ousted from his kingdom when his uncle (Claes Bang) kills his father (Ethan Hawke). He grows into a young man and fierce warrior, vowing to avenge his father and save his mother (Nicole Kidman). Eggers stages the medieval action with thrilling gusto. (A contemporary filmmaker takes on the period epic, with similarly striking results, in Martin Scorsese’s “The Last Temptation of Christ.”)Watch it on AmazonRobert Eggers, the director of “The Witch” and “The Lighthouse,” goes big — very big — with this epic Viking adventure, based on the Scandinavian legend of Amleth. Alexander Skarsgard stars in the title role, a young prince who is ousted from his kingdom when his uncle (Claes Bang) kills his father (Ethan Hawke). He grows into a young man and fierce warrior, vowing to avenge his father and save his mother (Nicole Kidman). Eggers stages the medieval action with thrilling gusto. (A contemporary filmmaker takes on the period epic, with similarly striking results, in Martin Scorsese’s “The Last Temptation of Christ.”)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 young adult novel set in medieval England, circa 1290. (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 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 young adult novel set in medieval England, circa 1290. (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 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
George Clooney turns in one of his most nuanced performances in this sharp and affecting comedy-drama from the writer and director Jason Reitman (“Juno”). Clooney uses his movie-star good looks and charisma in service of the supremely confident Ryan Bingham, a man who specializes in being the corporate bad guy (he is brought in to handle the layoffs), but whose confidence slowly deteriorates; Anna Kendrick is pitch-perfect as the young woman who is seeking to streamline their profession, and consequently put him out of a job. Our critic praised this “laugh-infused stealth tragedy.” (If you like the feel of this melancholy comedy-drama, add “50/50” to your watch list.)Watch it on AmazonGeorge Clooney turns in one of his most nuanced performances in this sharp and affecting comedy-drama from the writer and director Jason Reitman (“Juno”). Clooney uses his movie-star good looks and charisma in service of the supremely confident Ryan Bingham, a man who specializes in being the corporate bad guy (he is brought in to handle the layoffs), but whose confidence slowly deteriorates; Anna Kendrick is pitch-perfect as the young woman who is seeking to streamline their profession, and consequently put him out of a job. Our critic praised this “laugh-infused stealth tragedy.” (If you like the feel of this melancholy comedy-drama, add “50/50” to your watch list.)Watch it on Amazon
James Marsh’s documentary tells the exhilarating story of the French daredevil Philippe Petit, whose team of friends and accomplices sneaked into the World Trade Center one night in 1974 and spent the night running a high-wire between the Twin Towers, so Petit could dazzle downtown New York with an early morning tightrope walk. Marsh ingeniously meshes archival footage and contemporary interviews with stylish re-enactments, framing Petit’s daring feat as a heist movie where the payoff is the possibility of death. A.O. Scott called it a “thorough, understated and altogether enthralling documentary.”Watch it on AmazonJames Marsh’s documentary tells the exhilarating story of the French daredevil Philippe Petit, whose team of friends and accomplices sneaked into the World Trade Center one night in 1974 and spent the night running a high-wire between the Twin Towers, so Petit could dazzle downtown New York with an early morning tightrope walk. Marsh ingeniously meshes archival footage and contemporary interviews with stylish re-enactments, framing Petit’s daring feat as a heist movie where the payoff is the possibility of death. A.O. Scott called it a “thorough, understated and altogether enthralling documentary.”Watch it on Amazon
After years of playing second banana, John Candy got his first shot at a full-on leading role in this zippy family comedy from the legendary director Carl Reiner. Candy plays an air traffic controller and perpetually harried family man whose attempt at a mellow summer vacation goes hilariously awry, thanks to unexpected injuries, sunburns and awkward encounters with the snooty locals (including a delightfully slimy Richard Crenna). The script is a fairly formulaic, post-“Caddyshack” snobs versus slobs affair. But Candy is a charming, likable, charismatic lead, and he and Rip Torn make for an unexpectedly excellent comedy team.Watch it on AmazonAfter years of playing second banana, John Candy got his first shot at a full-on leading role in this zippy family comedy from the legendary director Carl Reiner. Candy plays an air traffic controller and perpetually harried family man whose attempt at a mellow summer vacation goes hilariously awry, thanks to unexpected injuries, sunburns and awkward encounters with the snooty locals (including a delightfully slimy Richard Crenna). The script is a fairly formulaic, post-“Caddyshack” snobs versus slobs affair. But Candy is a charming, likable, charismatic lead, and he and Rip Torn make for an unexpectedly excellent comedy team.Watch it on Amazon
August Wilson’s Pulitzer Prize-winning play about an African American family’s struggles in 1950s Pittsburgh was first performed on Broadway in 1987; after Denzel Washington starred in its 2010 revival, he retained much of the original cast for this film adaptation. As a director, Washington does little to expand upon the play; he seems well aware that the film is carried by the lyricism of the words and the power of the performances, particularly his nuanced portrayal of the bitter Troy Maxson and Viola Davis’s heart-rending turn as his wife, Rose. (Washington fans can also stream “Man on Fire” and “Much Ado About Nothing” on Prime.)Watch it on AmazonAugust Wilson’s Pulitzer Prize-winning play about an African American family’s struggles in 1950s Pittsburgh was first performed on Broadway in 1987; after Denzel Washington starred in its 2010 revival, he retained much of the original cast for this film adaptation. As a director, Washington does little to expand upon the play; he seems well aware that the film is carried by the lyricism of the words and the power of the performances, particularly his nuanced portrayal of the bitter Troy Maxson and Viola Davis’s heart-rending turn as his wife, Rose. (Washington fans can also stream “Man on Fire” and “Much Ado About Nothing” on Prime.)Watch it on Amazon
In this inspiring story of empowerment and hope, Keisha Castle-Hughes stars as Pai, a young Maori woman who bucks the rules and traditions of her tribe. She was nominated for an Oscar, and deserved it — this is a complicated portrayal of a driven young woman, one who simply cannot understand the limits her family has placed on her, and sees no need to abide by them. The director, Niki Caro, situates herself and her film inside the culture, filling her scenes and frames with keenly observed details and richly drawn characters. Our critic wrote, “it has the inspiring resonance of found art.” (For more family-friendly fare, check out John Sayles’s “The Secret of Roan Inish.”)Watch it on AmazonIn this inspiring story of empowerment and hope, Keisha Castle-Hughes stars as Pai, a young Maori woman who bucks the rules and traditions of her tribe. She was nominated for an Oscar, and deserved it — this is a complicated portrayal of a driven young woman, one who simply cannot understand the limits her family has placed on her, and sees no need to abide by them. The director, Niki Caro, situates herself and her film inside the culture, filling her scenes and frames with keenly observed details and richly drawn characters. Our critic wrote, “it has the inspiring resonance of found art.” (For more family-friendly fare, check out John Sayles’s “The Secret of Roan Inish.”)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 is film is propelled by the rowdy hum of those rooms and the colorful personalities of the people who inhabit them. (“Downhill Racer” and “Husbands” work 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 is film is propelled by the rowdy hum of those rooms and the colorful personalities of the people who inhabit them. (“Downhill Racer” and “Husbands” work a similarly shaggy vibe.)Watch it on Amazon
Pawel Pawlikowski’s Oscar winner looks and sounds like an unapproachable foreign prestige picture, a grim post-Holocaust story in an austere style with moody (and gorgeous) black-and-white photography. And it is indeed a vivid historical drama and an evocative road movie. But its real subject is the bond between two very different women, young Anna (Agata Trzebuchowska) and her aunt Wanda (Agata Kulesza) — a cold relationship that slowly thaws during this forceful and resonant trip through their shared history. It’s an emotional story about coming to terms with family secrets, containing, our critic wrote, “a cosmos of guilt, violence and pain.” (Pawlikowski’s “Cold War” is also on Prime.)Watch it on AmazonPawel Pawlikowski’s Oscar winner looks and sounds like an unapproachable foreign prestige picture, a grim post-Holocaust story in an austere style with moody (and gorgeous) black-and-white photography. And it is indeed a vivid historical drama and an evocative road movie. But its real subject is the bond between two very different women, young Anna (Agata Trzebuchowska) and her aunt Wanda (Agata Kulesza) — a cold relationship that slowly thaws during this forceful and resonant trip through their shared history. It’s an emotional story about coming to terms with family secrets, containing, our critic wrote, “a cosmos of guilt, violence and pain.” (Pawlikowski’s “Cold War” is also on Prime.)Watch it on Amazon
The ’50s gangster movie gets a snazzy musical makeover in this 1955 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.” (If you love classic musicals, add “Funny Girl” to your watch list; for more Sinatra, try “The Manchurian Candidate.”)Watch it on AmazonThe ’50s gangster movie gets a snazzy musical makeover in this 1955 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.” (If you love classic musicals, add “Funny Girl” to your watch list; for more Sinatra, try “The Manchurian Candidate.”)Watch it on Amazon
The “one night” of the title of Regina King’s feature directorial debut is Feb. 25, 1964 — the night Muhammad Ali (then known as Cassius Clay) took down Sonny Liston for the world heavyweight championship. But the fight footage is brief, because King isn’t making a boxing movie; she’s making a film about Black identity, filled with conversations that are still being had, and questions that are still being asked. The four participants — Ali (Eli Goree), Malcolm X (Kingsley Ben-Adir), Sam Cooke (Leslie Odom Jr.), and Jim Brown (Aldis Hodge) — are giants in their fields and are friends celebrating a victory. It’s a moving, powerful film, confrontational and thought-provoking. Our critic called it “one of the most exciting movies I’ve seen in quite some time.”Watch it on AmazonThe “one night” of the title of Regina King’s feature directorial debut is Feb. 25, 1964 — the night Muhammad Ali (then known as Cassius Clay) took down Sonny Liston for the world heavyweight championship. But the fight footage is brief, because King isn’t making a boxing movie; she’s making a film about Black identity, filled with conversations that are still being had, and questions that are still being asked. The four participants — Ali (Eli Goree), Malcolm X (Kingsley Ben-Adir), Sam Cooke (Leslie Odom Jr.), and Jim Brown (Aldis Hodge) — are giants in their fields and are friends celebrating a victory. It’s a moving, powerful film, confrontational and thought-provoking. Our critic called it “one of the most exciting movies I’ve seen in quite some time.”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. (For more indie comedy-drama, stream “Raising Victor Vargas” or “Panic.”)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. (For more indie comedy-drama, stream “Raising Victor Vargas” or “Panic.”)Watch it on Amazon
The South Korean master 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 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 saw it as an “amusingly slippery entertainment.” (Thriller fans should also check out “Dressed to Kill” and “Breakdown.”)Watch it on AmazonThe South Korean master 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 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 saw it as an “amusingly slippery entertainment.” (Thriller fans should also check out “Dressed to Kill” and “Breakdown.”)Watch it on Amazon
Asghar Farhadi writes and directs this lucid and contemplative morality play, in which a married couple must grapple with the fallout of an assault on the wife in their home, particularly when the husband’s desire for vengeance surpasses her own. Farhadi’s brilliance at capturing the complexities of his native Iran’s culture is as astonishing as ever — particularly when coupled with insights into victimhood, justice, poverty and intimacy that know no borders. Our critic praised the picture’s “rich and resonant ideas.” (Fans of international cinema may also enjoy “Transit” and Farhadi’s “A Hero.”)Watch it on AmazonAsghar Farhadi writes and directs this lucid and contemplative morality play, in which a married couple must grapple with the fallout of an assault on the wife in their home, particularly when the husband’s desire for vengeance surpasses her own. Farhadi’s brilliance at capturing the complexities of his native Iran’s culture is as astonishing as ever — particularly when coupled with insights into victimhood, justice, poverty and intimacy that know no borders. Our critic praised the picture’s “rich and resonant ideas.” (Fans of international cinema may also enjoy “Transit” and Farhadi’s “A Hero.”)Watch it on Amazon