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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+.
Paying loving tribute to the exploitation movies of multiple eras and cultures, this double-feature dabbles in kung fu, anime, spaghetti western and Blaxploitation, its writer and director, Quentin Tarantino, deliriously hopping styles like a movie-crazy kid swapping out VHS tapes. But in all the pyrotechnics, Tarantino maintains his gift for quotable dialogue and charismatic characters, ending his blood-soaked saga on a surprisingly warm note. Our critics praised the “odd, feverish integrity” of “Vol. 1,” and called “Vol. 2” “the most voluptuous comic-book movie ever made.”Watch ‘Vol. 1’ / ‘Vol. 2’ on AmazonPaying loving tribute to the exploitation movies of multiple eras and cultures, this double-feature dabbles in kung fu, anime, spaghetti western and Blaxploitation, its writer and director, Quentin Tarantino, deliriously hopping styles like a movie-crazy kid swapping out VHS tapes. But in all the pyrotechnics, Tarantino maintains his gift for quotable dialogue and charismatic characters, ending his blood-soaked saga on a surprisingly warm note. Our critics praised the “odd, feverish integrity” of “Vol. 1,” and called “Vol. 2” “the most voluptuous comic-book movie ever made.”Watch ‘Vol. 1’ / ‘Vol. 2’ 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 Green, a telemarketer who discovers the secret to success and must determine how nakedly to exploit it. That sounds like a fairly straightforward setup, but Riley approaches the material with the surrealistic 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 Green, a telemarketer who discovers the secret to success and must determine how nakedly to exploit it. That sounds like a fairly straightforward setup, but Riley approaches the material with the surrealistic 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 director Rob Reiner and the screenwriter Nora Ephron all but defined the contemporary romantic comedy with this sparkling, charming and uproariously funny story of Sally (Meg Ryan) and Harry (Billy Crystal), who test their theories about if men and women can be friends. Stretching from their post-grad years to their early 30s, Harry and Sally’s story is filled with quotable dialogue, colorful characters and one of the great punchlines in modern comedy (“I’ll have what she’s having”). But it’s also a thoughtful exploration of gender roles and romantic expectations, and by the time Reiner and Ephron arrive at their lush Year’s Eve wrap-up, they’ve earned the extravagance. (Crystal also shines in “City Slickers.”)Watch it on AmazonThe director Rob Reiner and the screenwriter Nora Ephron all but defined the contemporary romantic comedy with this sparkling, charming and uproariously funny story of Sally (Meg Ryan) and Harry (Billy Crystal), who test their theories about if men and women can be friends. Stretching from their post-grad years to their early 30s, Harry and Sally’s story is filled with quotable dialogue, colorful characters and one of the great punchlines in modern comedy (“I’ll have what she’s having”). But it’s also a thoughtful exploration of gender roles and romantic expectations, and by the time Reiner and Ephron arrive at their lush Year’s Eve wrap-up, they’ve earned the extravagance. (Crystal also shines in “City Slickers.”)Watch it on Amazon
This adaptation of the 2014 sci-fi novel by M.R. Carey dwells in the realm of British postapocalyptic zombie horror familiar to fans of “28 Days Later” and “28 Weeks Later,” but uses its genre trappings as a vehicle for a thoughtful character study and knotty morality play. At its center is the remarkable Sennia Nanua in the title role, a young student who has learned how to stifle her hunger for human flesh but finds her self-discipline challenged amid a zombie uprising. Gemma Arterton, Paddy Considine and Glenn Close provide ample support as the teachers who may be her key to survival (and vice versa). Creepy and efficient, it’s a slick thriller with a classy pedigree that nonetheless raises plenty of goose flesh.Watch it on AmazonThis adaptation of the 2014 sci-fi novel by M.R. Carey dwells in the realm of British postapocalyptic zombie horror familiar to fans of “28 Days Later” and “28 Weeks Later,” but uses its genre trappings as a vehicle for a thoughtful character study and knotty morality play. At its center is the remarkable Sennia Nanua in the title role, a young student who has learned how to stifle her hunger for human flesh but finds her self-discipline challenged amid a zombie uprising. Gemma Arterton, Paddy Considine and Glenn Close provide ample support as the teachers who may be her key to survival (and vice versa). Creepy and efficient, it’s a slick thriller with a classy pedigree that nonetheless raises plenty of goose flesh.Watch it on Amazon
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. (Hoss is also excellent in “A Most Wanted Man.”)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. (Hoss is also excellent in “A Most Wanted Man.”)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
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
Quentin Tarantino followed up “Pulp Fiction” by reworking Elmore Leonard’s novel “Rum Punch” into a vehicle for the 1970s exploitation movie legend Pam Grier, and the result has all the hallmarks of a Tarantino picture: memorable and musical dialogue, playful construction, eccentric supporting characters and a throwback aesthetic. But Grier and Robert Forster (as a seen-it-all bail bondsman) lend the picture a maturity and gravitas that can elude even Tarantino’s best work. (Crime caper fans should also check out “Bound.”)Watch it on AmazonQuentin Tarantino followed up “Pulp Fiction” by reworking Elmore Leonard’s novel “Rum Punch” into a vehicle for the 1970s exploitation movie legend Pam Grier, and the result has all the hallmarks of a Tarantino picture: memorable and musical dialogue, playful construction, eccentric supporting characters and a throwback aesthetic. But Grier and Robert Forster (as a seen-it-all bail bondsman) lend the picture a maturity and gravitas that can elude even Tarantino’s best work. (Crime caper fans should also check out “Bound.”)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. (Akira Kurosawa’s “Ran” is another epic story with a personal touch.)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. (Akira Kurosawa’s “Ran” is another epic story with a personal touch.)
Watch it on AmazonWatch it on Amazon
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.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.Watch it on Amazon
Joel and Ethan Coen won their first Oscars for best picture and best director (and their second for best screenplay) for this gripping, moody, and darkly funny adaptation of Cormac McCarthy’s dusty 2005 novel. Telling the stories of a ruthless killer (Javier Bardem, who took home an Oscar for best supporting actor), a morally flexible rancher (Josh Brolin) and a small-town sheriff whose paths cross when a border drug deal goes south, the Coens construct a Western contemporary in both its setting and style, setting the table for the standard standoffs and shootouts, then turning those expectations inside out. The result is a picture with genre trappings, but more on its mind than gunplay and drug money.Watch it on AmazonJoel and Ethan Coen won their first Oscars for best picture and best director (and their second for best screenplay) for this gripping, moody, and darkly funny adaptation of Cormac McCarthy’s dusty 2005 novel. Telling the stories of a ruthless killer (Javier Bardem, who took home an Oscar for best supporting actor), a morally flexible rancher (Josh Brolin) and a small-town sheriff whose paths cross when a border drug deal goes south, the Coens construct a Western contemporary in both its setting and style, setting the table for the standard standoffs and shootouts, then turning those expectations inside out. The result is a picture with genre trappings, but more on its mind than gunplay and drug money.Watch it on Amazon
Jennifer Lawrence stars as Katniss Everdeen, a resourceful teenager who volunteers to compete in a dangerous televised title event where people engage in blood sport to entertain the rich. The film series hadn’t quite found its footing in this initial outing, but it contains much of what makes the movies memorable — the tense action sequences, the striking costume and production design and especially Lawrence’s tough, muscular work in the leading role. (The sequels “The Hunger Games: Catching Fire,” “The Hunger Games: Mockingjay — Part One” and “The Hunger Games: Mockingjay — Part Two” are also on Prime.)Jennifer Lawrence stars as Katniss Everdeen, a resourceful teenager who volunteers to compete in a dangerous televised title event where people engage in blood sport to entertain the rich. The film series hadn’t quite found its footing in this initial outing, but it contains much of what makes the movies memorable — the tense action sequences, the striking costume and production design and especially Lawrence’s tough, muscular work in the leading role. (The sequels “The Hunger Games: Catching Fire,” “The Hunger Games: Mockingjay — Part One” and “The Hunger Games: Mockingjay — Part Two” are also on Prime.)
Watch it on AmazonWatch it on Amazon
Steven Soderbergh won the Academy Award for best director for this tough, wise and somewhat cynical take on the war on drugs. He tells it in three interlocking stories, all captured with the energy of a ground-level documentary. The result is a panorama of a film, its variety of styles and aesthetics masterfully matching the geopolitical complexity of its subject. The performances are stunning, with standout turns by Benicio Del Toro (who won an Oscar for the role) as a good cop trying to play both sides of the fence, Catherine Zeta-Jones as a California housewife whose husband’s arrest brings out her inner kingpin, and Michael Douglas as the political expert who discovers exactly how much he doesn’t know. Our critic called it “a tragic cinematic mural of a war being fought and lost.” (For more Oscar winners, stream “Amadeus” and “Lilies of the Field.”)Watch it on AmazonSteven Soderbergh won the Academy Award for best director for this tough, wise and somewhat cynical take on the war on drugs. He tells it in three interlocking stories, all captured with the energy of a ground-level documentary. The result is a panorama of a film, its variety of styles and aesthetics masterfully matching the geopolitical complexity of its subject. The performances are stunning, with standout turns by Benicio Del Toro (who won an Oscar for the role) as a good cop trying to play both sides of the fence, Catherine Zeta-Jones as a California housewife whose husband’s arrest brings out her inner kingpin, and Michael Douglas as the political expert who discovers exactly how much he doesn’t know. Our critic called it “a tragic cinematic mural of a war being fought and lost.” (For more Oscar winners, stream “Amadeus” and “Lilies of the Field.”)Watch it on Amazon
The director Craig Brewer followed up the triumph of “Hustle & Flow” with this burbling stew of gut bucket blues, old-time religion and sweaty sexuality. Samuel L. Jackson is at his bristling best as a farmer and bluesman who attempts to reform a sex addict (Christina Ricci, terrific) by making her go cold turkey. The subject matter is provocative, and Brewer knows it — so he embraces it, giving the picture the pulpy flair and devil-may-care spirit of a ’70s exploitation movie.Watch it on AmazonThe director Craig Brewer followed up the triumph of “Hustle & Flow” with this burbling stew of gut bucket blues, old-time religion and sweaty sexuality. Samuel L. Jackson is at his bristling best as a farmer and bluesman who attempts to reform a sex addict (Christina Ricci, terrific) by making her go cold turkey. The subject matter is provocative, and Brewer knows it — so he embraces it, giving the picture the pulpy flair and devil-may-care spirit of a ’70s exploitation movie.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 “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 “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. (For more historical drama, try “The French Lieutenant’s Woman.”)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. (For more historical drama, try “The French Lieutenant’s Woman.”)Watch it on Amazon
Steven Spielberg won his second Academy Award for best director with this World War II epic that our critic called “soberly magnificent.” The film fuses the types and tropes of vintage war pictures with a more contemporary, less romanticized view of the horrors of combat. The latter are fully on display in the virtuosic, nearly dialogue-free recreation of the Omaha Beach landing at the start of the film, as vivid and visceral a demonstration that “war is hell” as has ever been put to celluloid. And while the story that follows — a no-nonsense captain (Tom Hanks) leads his shellshocked unit into Normandy in an attempt to find the sole surviving son (Matt Damon) of a battle-torn family — may be less intense, it’s no less powerful.Watch it on AmazonSteven Spielberg won his second Academy Award for best director with this World War II epic that our critic called “soberly magnificent.” The film fuses the types and tropes of vintage war pictures with a more contemporary, less romanticized view of the horrors of combat. The latter are fully on display in the virtuosic, nearly dialogue-free recreation of the Omaha Beach landing at the start of the film, as vivid and visceral a demonstration that “war is hell” as has ever been put to celluloid. And while the story that follows — a no-nonsense captain (Tom Hanks) leads his shellshocked unit into Normandy in an attempt to find the sole surviving son (Matt Damon) of a battle-torn family — may be less intense, it’s no less powerful.Watch it on Amazon
Two “lifers,” locked up together indefinitely in Shawshank prison, form a bond that transcends decades of their lives and, ultimately, their own incarcerations in this heart-wrenching adaptation of a novella by Stephen King. Tim Robbins is in fine form as Andy Dufresne, convicted of a crime he didn’t commit and dedicated to proving it. As Red, the guy who can get anything for anybody, Morgan Freeman (who also narrates) crafts the quintessential Morgan Freeman performance: folksy and friendly, but with a layer of steel underneath. Our critic called it “a slow, gentle story of camaraderie and growth.”Watch it on AmazonTwo “lifers,” locked up together indefinitely in Shawshank prison, form a bond that transcends decades of their lives and, ultimately, their own incarcerations in this heart-wrenching adaptation of a novella by Stephen King. Tim Robbins is in fine form as Andy Dufresne, convicted of a crime he didn’t commit and dedicated to proving it. As Red, the guy who can get anything for anybody, Morgan Freeman (who also narrates) crafts the quintessential Morgan Freeman performance: folksy and friendly, but with a layer of steel underneath. Our critic called it “a slow, gentle story of camaraderie and growth.”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
Writer-director 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 mere mouthpieces; they inhabit recognizable rubrics (campus radical, ingratiating jock, brainy outcast, social climber) without falling into easy stereotypes.Watch it on AmazonWriter-director 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 mere mouthpieces; they inhabit recognizable rubrics (campus radical, ingratiating jock, brainy outcast, social climber) without falling into easy stereotypes.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.” (“New Hollywood” fans will also want to stream the similarly groundbreaking “Last Tango in Paris.”)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.” (“New Hollywood” fans will also want to stream the similarly groundbreaking “Last Tango in Paris.”)Watch it on Amazon
Melanie Griffith shines, Sigourney Weaver snarls, and Harrison Ford shows off his comic chops in this sparkling Wall Street rom-com from the director Mike Nichols. Griffith stars as Tess McGill, a secretary who tires of merely daydreaming about corporate success and decides to do something about it after her back-stabbing boss (Weaver) has a skiing accident. Kevin Wade’s script is reasonably wise to the ways of the boardroom, but the real draw here is the fun and flirtatious chemistry of Griffith and Ford, who team up for a big business deal, and perhaps more. Our critic deemed it “always fun even when at its most frivolous.”Watch it on AmazonMelanie Griffith shines, Sigourney Weaver snarls, and Harrison Ford shows off his comic chops in this sparkling Wall Street rom-com from the director Mike Nichols. Griffith stars as Tess McGill, a secretary who tires of merely daydreaming about corporate success and decides to do something about it after her back-stabbing boss (Weaver) has a skiing accident. Kevin Wade’s script is reasonably wise to the ways of the boardroom, but the real draw here is the fun and flirtatious chemistry of Griffith and Ford, who team up for a big business deal, and perhaps more. Our critic deemed it “always fun even when at its most frivolous.”Watch it on Amazon
This wry and witty cult comedy from the director Dean Parisot mixes two wonderful comic ideas. It is, first and foremost, a winking satire of “Star Trek” and also the entire fan-catering “geek” culture. The movie focuses on a short-lived “Trek”-style television show that has become an object of obsession for a generation of super fans. And it is also a swashbuckling comic adventure of its own, playfully borrowing the “Three Amigos” model of fictional characters mistaken for real heroes, as the cast of the sci-fi show is drafted to prevent a real alien invasion. Sigourney Weaver is having a blast, Tim Allen invokes the bloated ego of his Shatner-esque star with ease and Alan Rickman steals the show as the classically trained Shakespearean actor saddled with the show’s Spock role. (For more comedy, stream “I’m Gonna Git You Sucka” and “Saved!”)Watch it on AmazonThis wry and witty cult comedy from the director Dean Parisot mixes two wonderful comic ideas. It is, first and foremost, a winking satire of “Star Trek” and also the entire fan-catering “geek” culture. The movie focuses on a short-lived “Trek”-style television show that has become an object of obsession for a generation of super fans. And it is also a swashbuckling comic adventure of its own, playfully borrowing the “Three Amigos” model of fictional characters mistaken for real heroes, as the cast of the sci-fi show is drafted to prevent a real alien invasion. Sigourney Weaver is having a blast, Tim Allen invokes the bloated ego of his Shatner-esque star with ease and Alan Rickman steals the show as the classically trained Shakespearean actor saddled with the show’s Spock role. (For more comedy, stream “I’m Gonna Git You Sucka” and “Saved!”)Watch it on Amazon
A young boy’s friendship with an alien robot in small-town America provides the spine for this charming animated adventure from director Brad Bird (who went on to direct the Pixar classics “The Incredibles” and “Ratatouille”). Set amid the early years of the Cold War, the film is a throwback to cartoons of that era, not only in terms of its art direction and plotting but also in its more traditional style of animation. “The Iron Giant” is a good old-fashioned piece of full-family entertainment, providing thrills for the kids alongside wry humor and vintage references for their parents. (For more family-friendly entertainment, check out “How to Train Your Dragon” and “Paddington.”)Watch it on AmazonA young boy’s friendship with an alien robot in small-town America provides the spine for this charming animated adventure from director Brad Bird (who went on to direct the Pixar classics “The Incredibles” and “Ratatouille”). Set amid the early years of the Cold War, the film is a throwback to cartoons of that era, not only in terms of its art direction and plotting but also in its more traditional style of animation. “The Iron Giant” is a good old-fashioned piece of full-family entertainment, providing thrills for the kids alongside wry humor and vintage references for their parents. (For more family-friendly entertainment, check out “How to Train Your Dragon” and “Paddington.”)Watch it on Amazon
This smash sci-fi-comedy hybrid plays, in many ways, like a sly satire of star Will Smith’s “Independence Day” from the previous summer, treating an alien invasion not as doomsday event, but a fact of life — burdened mostly by the inconveniences of bureaucracy. Tommy Lee Jones stars as Agent K, a longtime member of the agency in charge of tracking and regulating extraterrestrial visitors, while Smith stars as Agent J, the new recruit who must learn the ropes. The screenplay knows that the old-pro-meets-young-hotshot setup is a chestnut and treats it with the proper irreverence, while Barry Sonnenfeld’s inventive direction gracefully amplifies the absurdity in every scenario. The result is a rarity: a big-budget tentpole that displays both jaw-dropping effects and a sense of humor.Watch in on AmazonThis smash sci-fi-comedy hybrid plays, in many ways, like a sly satire of star Will Smith’s “Independence Day” from the previous summer, treating an alien invasion not as doomsday event, but a fact of life — burdened mostly by the inconveniences of bureaucracy. Tommy Lee Jones stars as Agent K, a longtime member of the agency in charge of tracking and regulating extraterrestrial visitors, while Smith stars as Agent J, the new recruit who must learn the ropes. The screenplay knows that the old-pro-meets-young-hotshot setup is a chestnut and treats it with the proper irreverence, while Barry Sonnenfeld’s inventive direction gracefully amplifies the absurdity in every scenario. The result is a rarity: a big-budget tentpole that displays both jaw-dropping effects and a sense of humor.Watch in 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. (Fans of revisionist Westerns can also stream “One-Eyed Jacks” and “The Assassination of Jesse James by the Coward Robert Ford.”)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. (Fans of revisionist Westerns can also stream “One-Eyed Jacks” and “The Assassination of Jesse James by the Coward Robert Ford.”)Watch it on Amazon
Paul Newman turns in one of his most iconic performances as the former war hero Lucas Jackson, whose tenacious, rascally free spirit and refusal to submit to authority maddens his keepers on a Florida chain gang — and inspires his fellow prisoners. The director Stuart Rosenberg cranks up the sweaty atmosphere and high intensity, placing the viewer right alongside Luke as he fights, runs and bets his way through his sentence. Our critic praised its “intelligent contemplation of the ironies of life.”Watch it on AmazonPaul Newman turns in one of his most iconic performances as the former war hero Lucas Jackson, whose tenacious, rascally free spirit and refusal to submit to authority maddens his keepers on a Florida chain gang — and inspires his fellow prisoners. The director Stuart Rosenberg cranks up the sweaty atmosphere and high intensity, placing the viewer right alongside Luke as he fights, runs and bets his way through his sentence. Our critic praised its “intelligent contemplation of the ironies of life.”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.” (Check out Pacino on the other side of the law in “Scarface.”)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.” (Check out Pacino on the other side of the law in “Scarface.”)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.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.Watch it on Amazon
Sarah Polley spent the 1990s turning in lively and exciting performances in indies like “The Sweet Hereafter” and “Guinevere,” and she’d easily be one of our most compelling contemporary actors had she continued down that road. Instead, she went behind the camera. This was her sophomore effort, with Michelle Williams as Margot, a young wife and mother who feels the irresistible tingle of a new attraction, and must decide how to grapple with it. Polley carefully eschews predictable conflicts or easy outcomes, and tells a story packed with the hard truths of real life and real love. Seth Rogen, Luke Kirby and Sarah Silverman round out the top-notch cast.Watch it on Amazon Sarah Polley spent the 1990s turning in lively and exciting performances in indies like “The Sweet Hereafter” and “Guinevere,” and she’d easily be one of our most compelling contemporary actors had she continued down that road. Instead, she went behind the camera. This was her sophomore effort, with Michelle Williams as Margot, a young wife who feels the irresistible tingle of a new attraction, and must decide how to grapple with it. Polley carefully eschews predictable conflicts or easy outcomes, and tells a story packed with the hard truths of real life and real love. Seth Rogen, Luke Kirby and Sarah Silverman round out the top-notch cast.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 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 “Rooster” Cogburn as a hybrid of Wayne, the Dude from “The Big Lebowski” and your 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. (Western fans will also enjoy “Open Range” and “One-Eyed Jacks.”)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 “Rooster” Cogburn as a hybrid of Wayne, the Dude from “The Big Lebowski” and your 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. (Western fans will also enjoy “Open Range” and “One-Eyed Jacks.”)Watch it on Amazon
The director Edgar Wright and the actor Simon Pegg co-wrote the screenplay to this wickedly entertaining and strikingly stylized riff on hyperkinetic action movies. Pegg stars as a London cop whose effectiveness is making the rest of the force look bad, so he’s sent to a rural village to spin his wheels alongside a movie-obsessed goofball of a partner (Nick Frost). But this quaint little hamlet may not be so sleepy after all. Manohla Dargis praised the picture’s “fusillade of film-geek jokes and charming nonsense.” (Wright, Pegg and Frost’s other collaborations, “Shaun of the Dead” and “The World’s End,” are also on Prime.)Watch it on AmazonThe director Edgar Wright and the actor Simon Pegg co-wrote the screenplay to this wickedly entertaining and strikingly stylized riff on hyperkinetic action movies. Pegg stars as a London cop whose effectiveness is making the rest of the force look bad, so he’s sent to a rural village to spin his wheels alongside a movie-obsessed goofball of a partner (Nick Frost). But this quaint little hamlet may not be so sleepy after all. Manohla Dargis praised the picture’s “fusillade of film-geek jokes and charming nonsense.” (Wright, Pegg and Frost’s other collaborations, “Shaun of the Dead” and “The World’s End,” are also on Prime.)Watch it on Amazon
You’ve seen black comedies, sure, but have you seen Ryan Reynolds play a serial killer who keeps severed body parts in his freezer and endures the harassment of his evil, talking pets? The “Deadpool” star works a precarious balance between helplessness and menace as Jerry, a seemingly harmless factory worker whose bland demeanor hides some disturbing demons; Gemma Arterton and Anna Kendrick star as potential romantic interests and victims. It’s somehow all held together by the sure hand of the director Marjane Satrapi (“Persepolis”), who finds bleak laughs and strikes a perfect note of whimsical peril.Watch it on AmazonYou’ve seen black comedies, sure, but have you seen Ryan Reynolds play a serial killer who keeps severed body parts in his freezer and endures the harassment of his evil, talking pets? The “Deadpool” star works a precarious balance between helplessness and menace as Jerry, a seemingly harmless factory worker whose bland demeanor hides some disturbing demons; Gemma Arterton and Anna Kendrick star as potential romantic interests and victims. It’s somehow all held together by the sure hand of the director Marjane Satrapi (“Persepolis”), who finds bleak laughs and strikes a perfect note of whimsical peril.Watch it on Amazon
Walter Farley’s 1941 children’s novel gets a long-overdue film adaptation in this 1979 adventure picture from the producer Francis Ford Coppola and the director Carroll Ballard (“Fly Away Home”), which expertly fuses the simplicity of the original book with the craftsmanship and sensitivity of its cinematic era. (One of the film’s screenwriters, Melissa Mathison, went on to write “E.T. the Extra-Terrestrial.”) Younger viewers will thrill to the story of a young, shipwrecked boy and the Arabian horse who becomes his best friend; older viewers will find themselves awe-struck by the gorgeous cinematography and the heart-tugging (and Oscar-nominated) supporting turn by Mickey Rooney. (Coppola’s “Cotton Club Encore” and “Tucker: The Man and His Dream” are also on Prime.)Watch it on AmazonWalter Farley’s 1941 children’s novel gets a long-overdue film adaptation in this 1979 adventure picture from the producer Francis Ford Coppola and the director Carroll Ballard (“Fly Away Home”), which expertly fuses the simplicity of the original book with the craftsmanship and sensitivity of its cinematic era. (One of the film’s screenwriters, Melissa Mathison, went on to write “E.T. the Extra-Terrestrial.”) Younger viewers will thrill to the story of a young, shipwrecked boy and the Arabian horse who becomes his best friend; older viewers will find themselves awe-struck by the gorgeous cinematography and the heart-tugging (and Oscar-nominated) supporting turn by Mickey Rooney. (Coppola’s “Cotton Club Encore” and “Tucker: The Man and His Dream” are also on Prime.)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, check out “The Man Who Shot Liberty Valance.”)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, check out “The Man Who Shot Liberty Valance.”)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 AmazonWhen 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
Jennifer Lawrence won the Oscar for best actress for her spectacularly sassy and unapologetically haunted performance in David O. Russell’s (somewhat loose) adaptation of Matthew Quick’s novel. It’s a balancing act of seemingly contradictory tones and styles, slipping nimbly from serious mental-health drama to screwball comedy to romance thanks to the deceptive casualness of Russell’s approach and the skill of his cast — particularly Bradley Cooper as its unsteady protagonist and Robert De Niro and Jacki Weaver (all also Oscar nominees) as his parents. Our critic called it “exuberant” and “a delight.” (The similarly emotionally complex “The Kids Are All Right” is also on Prime, as is Cooper’s directorial debut “A Star is Born.”)Watch it on AmazonJennifer Lawrence won the Oscar for best actress for her spectacularly sassy and unapologetically haunted performance in David O. Russell’s (somewhat loose) adaptation of Matthew Quick’s novel. It’s a balancing act of seemingly contradictory tones and styles, slipping nimbly from serious mental-health drama to screwball comedy to romance thanks to the deceptive casualness of Russell’s approach and the skill of his cast — particularly Bradley Cooper as its unsteady protagonist and Robert De Niro and Jacki Weaver (all also Oscar nominees) as his parents. Our critic called it “exuberant” and “a delight.” (The similarly emotionally complex “The Kids Are All Right” is also on Prime, as is Cooper’s directorial debut “A Star is Born.”)Watch it on Amazon
Few film actors have enjoyed a send-off as affectionate as Harry Dean Stanton, the inimitable and prolific character actor whose penultimate film role was also one of his few leads. He plays the title character, a 90-year-old firecracker and curmudgeon who knows his end is near, but isn’t going out quietly. The director John Carroll Lynch, a distinguished character actor himself, handles his leading man with affection and respect, surrounding him with a handful of friends and previous collaborators, including David Lynch, Tom Skerritt and Ed Begley Jr.Watch it on AmazonFew film actors have enjoyed a send-off as affectionate as Harry Dean Stanton, the inimitable and prolific character actor whose penultimate film role was also one of his few leads. He plays the title character, a 90-year-old firecracker and curmudgeon who knows his end is near, but isn’t going out quietly. The director John Carroll Lynch, a distinguished character actor himself, handles his leading man with affection and respect, surrounding him with a handful of friends and previous collaborators, including David Lynch, Tom Skerritt and Ed Begley Jr.Watch it on Amazon
You can see the DNA of “Mad Men” — not to mention pretty much every other sophisticated romantic comedy of the modern era — in this uproariously funny and deeply melancholic best picture winner from the writers Billy Wilder and I. A. L. Diamond. Jack Lemmon is pitch-perfect as an office drone whose bachelor apartment becomes the go-to hideaway for his corporate superiors, and thus a tool for climbing to their ranks; Shirley MacLaine sparkles as the elevator operator who catches his fancy, and who has a secret or two of her own. Our critic dubbed it “a gleeful, tender and even sentimental film.” (For a more contemporary satire of the business world, try Martin Scorsese’s “The Wolf of Wall Street.”)Watch it on AmazonYou can see the DNA of “Mad Men” — not to mention pretty much every other sophisticated romantic comedy of the modern era — in this uproariously funny and deeply melancholic best picture winner from the writers Billy Wilder and I. A. L. Diamond. Jack Lemmon is pitch-perfect as an office drone whose bachelor apartment becomes the go-to hideaway for his corporate superiors, and thus a tool for climbing to their ranks; Shirley MacLaine sparkles as the elevator operator who catches his fancy, and who has a secret or two of her own. Our critic dubbed it “a gleeful, tender and even sentimental film.” (For a more contemporary satire of the business world, try Martin Scorsese’s “The Wolf of Wall Street.”)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 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 classic action, check out “Marathon Man” and “The Train.”)Watch it on Amazon
The writing and directing duo of Tyler Nilson and Michael Schwartz created this gentle comedy-drama to showcase the talents of Zack Gottsagen, a young actor with Down syndrome, playing a character with the same condition. His is a journey of discovery and self-realization, a Huck Finn-style trip alongside a fisherman (Shia LaBeouf) with troubles of his own, rendered with charming humanity and picturesque beauty. The supporting cast is stuffed, but Dakota Johnson is the standout as the young man’s caretaker, and the fisherman’s potential romantic interest. Our critic praised the picture’s “relaxed and amiable vibe.” (For more indie drama, check out “The Virgin Suicides.”)The writing and directing duo of Tyler Nilson and Michael Schwartz created this gentle comedy-drama to showcase the talents of Zack Gottsagen, a young actor with Down syndrome, playing a character with the same condition. His is a journey of discovery and self-realization, a Huck Finn-style trip alongside a fisherman (Shia LaBeouf) with troubles of his own, rendered with charming humanity and picturesque beauty. The supporting cast is stuffed, but Dakota Johnson is the standout as the young man’s caretaker, and the fisherman’s potential romantic interest. Our critic praised the picture’s “relaxed and amiable vibe.” (For more indie drama, check out “The Virgin Suicides.”)
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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 “Nights of Cabiria” and “Paths of Glory.”)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 “Nights of Cabiria” and “Paths of Glory.”)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 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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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.” (Action fans will also enjoy “El Mariachi.”)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.” (Action fans will also enjoy “El Mariachi.”)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” is a similarly nuanced coming-of-age story.)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” is a similarly nuanced coming-of-age story.)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” 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” on Prime.)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