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Whether you’re looking for comedies, thrillers, or just the highest-rated movies, here are the best movies on Amazon Prime. From Amazon original movies like Manchester By the Sea and The Big Sick to classic movies like Night of the Living Dead, there’s something for everyone to enjoy.
The 19 Best Movies on Amazon Prime:
The best movies on Amazon Prime in January 2020
1) The Big Sick
The real-life relationship between Kumail Nanjiani and Emily Gordon provides the basis for this charming romantic comedy. The movie deals with the dynamic of the couple’s interracial relationship and how it affects their families—his family more than hers—as well as Gordon’s hospital stay and medically induced coma. Nanjiani and Gordon wrote the script, with Nanjiani playing himself and Zoe Kazan playing Gordon. The movie is an honest, hilarious reminder that our differences are the best things about us. An Amazon original movie, The Big Sick is one of 2017’s best films. —Eddie Strait
Most filmmakers would kill to make a film as accomplished as Hereditary, writer-director Ari Aster’s debut. It’s atmospheric as hell, features outstanding acting, and is full of terrifying imagery. The film centers on a family dealing with the loss of their grandmother. The family’s grief is amplified by disturbing visions and more tragedy. Anchored by great performances by Toni Collette (who, in a just world, would get an Oscar for her work) and Alex Wolff, Hereditary the kind of horror movie that burrows itself into your head and sticks with you long after you finish watching it. —E.S.
It’s seen its share of parodies, but Frank Capra’s 1946 film remains a bittersweet classic. It has some of the same narrative elements of A Christmas Carol, as an angel tries to stop George Bailey (Jimmy Stewart) from taking his life by showing him all the good he’s done. But it’s also a movie about family, second chances, and goodwill. —Audra Schroeder
4) Eighth Grade
2018 was a great year for horror films, and yet few induced as many squirms as this story of Kayla navigating her last week of eighth grade. Watching Kayla go through one awkward encounter after another is almost guaranteed to trigger traumatic middle school flashbacks (are there any other kind?) in viewers, which is a testament to the film’s authenticity. Critics heaped praise on writer-director Bo Burnham for capturing the mindset of a 13-year-old girl, and rightfully so. But the key to the movie’s success is that Burnham recognizes that awkwardness does not end when you move on to high school, or as you get older. Burnham and lead actress Elsie Fisher have captured the mundanities of life in a way that is extraordinary. —E.S.
5) Lady Bird
Greta Gerwig’s rise through the indie film world reached its peak with Lady Bird. Gerwig wrote and directed this coming-of-age story set in early 2000s Sacramento. It follows Lady Bird (Saoirse Ronan) through her senior year of high school as she navigates friendship, romance, and prepares for life after high school. Most importantly, it’s about her relationship with her mother, played by Laurie Metcalf. Gerwig and Lady Bird nail the period details and the more universal truths about growing up that you can’t help but see some of yourself in the film. —E.S.
This mid-aughts indie from director Brad Anderson began the run of Christian Bale, Shape-Shifting Method Actor. Bale famously dropped down to 120 pounds by following a diet of water, an apple, and a cup of coffee per day in order to play an insomniac machinist. After an accident on the job, Trevor Reznik (Bale) goes on a quest for answers. The film is weird, paranoid, and tense, and it only gets weirder and even more intense as it goes on. —E.S.
If you’re following these recommendations in order, then this is the capper to a Coen Brothers evening. Llewyn Davis plays like one of the title character’s songs: haunting, sorrowful, and ultimately wonderful. Oscar Isaac gives a lived-in performance that rings so true you’ll be disappointed that he doesn’t have a blues side project going. The movie takes place over the course of a week, with Llewyn playing his songs and trying to grab his big break—if he could just get out of his own way long enough to let it happen. We’re getting to the point where we’ll start seeing “best of the decade” lists coming together, and this film is sure to appear on many lists. Many people skipped it during its 2013 release, and if you’re one of those people, or if you haven’t seen it in a while, it’s time to rectify that. —E.S.
Manchester by the Sea is a tough watch, what with it revolving around a handyman, Lee (Casey Affleck, who won an Oscar for his performance), dealing with his brother’s (Kyle Chandler) death. Lee has to take in his nephew, Patrick (Academy Award-nominated Lucas Hedges) and grapple with his past failings. Despite the gloomy setting and gloomier subject matter, Manchester has a wicked funny bone. Writer-director Kenneth Lonergan specializes in crafting sincere characters and dialogue so authentic you’ll want to start a GoFundMe to help Lee and Lucas stay afloat while they figure things out. —E.S.
9) Midsommar (1/10)
Finally, a breakup vacation horror movie that shows the true cost of following your bliss. Ari Aster’s follow-up to 2018 debut Hereditary, once again explores grief, but in a different light. Dani (Florence Pugh) tags along with her boyfriend Christian (Jack Reynor) on a trip to Sweden, only to find herself in the middle of a hellish ceremony cushioned with trippy sequences, sun-bleached images, and drawn-out pagan rituals. Midsommar relies more on aesthetic and visuals than plot, but the pain and horror will linger long after the brightness disappears. —A.S.
10) First Reformed
Ethan Hawke does career best work in Paul Schrader’s First Reformed. Hawke plays Toller, a minister in upstate New York. Toller’s faith in humanity is put to the test by what he perceives to be growing indifference to global warming. His growing despair, issues from his past, and deteriorating health lead Toller down a dark and potentially dangerous path. First Reformed is an intense film, as is Schrader’s specialty, but also a deeply rewarding one. —E.S.
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11) High Life
Robert Pattinson continues his streak of choosing fascinating roles and movies with Claire Denis’ High Life. Pattinson plays Monte, a man living on a spaceship heading toward a blackhole. But Monte isn’t alone. He has his daughter to care for, which gives the movie one of its strongest thematic through lines. Monte is also a criminal serving a death sentence, and the other adults on the ship are in the same position. High Life goes to some truly disturbing and fascinating places that is sure to baffle and delight audiences in equal measure.
For a movie that could’ve gone wrong in so many ways, The Disaster Artist avoids pratfalls to deliver a kind-hearted take on a trainwreck. James Franco’s performance as human enigma Tommy Wiseau is good enough to make you wish he was the main character instead of generically likable Greg (Dave Franco). The Disaster Artist is an ode to movie-making that doesn’t require any inside baseball knowledge to appreciate. There is a potentially darker, more compelling story waiting to be unearthed, but that’s beside the point. The movie was clearly made with affection for its subject, and it proves infectious. Even if you haven’t seen The Room, the cult classic the film is based on, you’ll still be entertained by The Disaster Artist. —E.S.
13) Last Flag Flying
Richard Linklater finally has his road trip movie. Set in December 2003, Last Flag Flying opens with Steve Carell’s soft-spoken Larry “Doc” Shepherd tracking down his old friend Sal Nealon, played with foul-mouthed vigor by Bryan Cranston. The two were in Vietnam together, and Larry enlists him to help transport the body of his son, who was killed in Iraq. They pick up fellow vet Richard Mueller (Laurence Fishburne), who is now a man of God. And with that collection of personalities, the film sets off on an emotional journey that paints early aughts patriotism in dreary strokes. While his past films often focus on youth and romance, Last Flag Flying is more somber: 9/11 is still fresh; America’s less than a year into the Iraq War; we see footage of Saddam Hussein being captured and George W. Bush on TV. But the film is also a portrait of damaged men in middle age, which doesn’t always make for the most entertaining content. —A.S.
14) His Girl Friday
This pitch-perfect screwball comedy captures the classic Hollywood era at its finest. Cary Grant stars as a hard-nosed New York City newspaper editor trying to win back his ex-wife and star investigative reporter, played by Rosalind Russell, and still get the paper out the door. Based on the Ben Hecht/Charles MacArthur play The Front Page, 1940’s His Girl Friday takes place almost entirely in a newsroom, which gives the movie a certain intensity, while Howard Hawks (the titan behind The Big Sleep, Red River, and Bringing Up Baby, another Grant essential) ensures the dialogue and laughs come faster than print deadlines. —Austin Powell
15) The Stranger
Though Orson Welles will always be best-known for Citizen Kane, serious cinephiles should also make an effort to check out his less famous works. This 1946 film stars Edward G. Robinson as a war crimes investigator hunting down a former Nazi (Welles) living under an assumed identity in Connecticut. It’s fascinating to see Robinson, famous for portraying onscreen gangsters, ostensibly playing the good guy here. The Oscar-nominated script, which includes contributions from an uncredited John Huston, is full of great dialogue as well. —Chris Osterndorf
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The Florida Project is one of the best movies of 2017 and not enough people know about it. Writer-director Sean Baker follows up his iPhone-filmed Tangerine with this traditionally shot movie set at a Florida motel. It follows 6-year-old Moonee and her mother Halley, played by newcomers Brooklyn Prince and Bria Vinaite, respectively. The movie is told primarily from Moonee’s perspective, meaning there are many scenes of carefree kids finding fun wherever they can. Moonee and Halley both wreak havoc in their own ways, and their put-upon building manager Bobby (Willem Dafoe) often looks out for both of them, in addition to his other long-term tenants. The movie balances the joy of childhood and the ever-encroaching realities of adulthood in a way that is so true to life it can be hard to watch at times. The Florida Project challenges you to find sympathy for people you may normally look down on. It’s one of the best movies on Amazon Prime, and it deserves a larger audience. —E.S.
17) True Grit (2010)
John Wayne and Glen Campbell left some big shoes to fill in 1969’s True Grit, the first movie adaptation of Charles Portis’ 1968 novel. So for the 2010 remake, the Coen Brothers teamed up with executive producer Steven Spielberg and enlisted an all-star cast including Jeff Bridges, Matt Damon, and Josh Brolin. Mattie Ross (a teenaged Hailee Steinfeld) hires Cogburn (Bridges) to catch Tom Chaney (Brolin), an outlaw who murdered her father. They link up with a Texas Ranger named LaBeouf (Damon), and the ensuing adventure tests their “true grit.” They learn a lot about each other—and even more about themselves. —Bryan Rolli
The Mission: Impossible films continue to get better, and Fallout is the best entry yet. The plot revolves around Ethan Hunt and his team as they search for stolen plutonium and yada yada yada. The story is a continuation of the previous entry, Rogue Nation, and the two movies make an excellent pair. The stunt work in Fallout is absolutely breathtaking, as is Tom Cruise’s commitment to performing his own stunts. With returning players Ving Rhames, Simon Pegg, Rebecca Ferguson, and new additions in Henry Cavill and Angela Bassett, Fallout offers an embarrassment of riches.
19) Leave No Trace
Tom (Thomasin Mackenzie) and Will (Ben Foster) are a daughter and father who live off the grid in the forests of Portland, Oregon. One mistake interrupts their quiet existence, forcing them into housing and a “normal” life. This incursion in their routines forces the two to reckon with themselves and what they what out of life, and if those things are compatible with their relationship. With Leave No Trace, Mackenzie, Foster, and director Debra Granik have crafted an intimate film about parenting, modern society, and self-discovery. —E.S.
20) The Handmaiden
If you haven’t seen it yet, stop everything you’re doing and spend the next two-and-a-half hours in Park Chan-wook’s exhilarating The Handmaiden. The movie is chock full of twists and role-reversals and is so much fun that mentioning any story specifics would be unfair. Chan-wook is one of the world’s most entertaining directors, and The Handmaiden is arguably one of his best. Everything that makes him great is on display here, from the dizzying tonal shifts to the luscious photography, and idiosyncratic indulgences. —E.S.
21) The Apartment
The holidays aren’t always the most wonderful time of the year, which is spelled out in Billy Wilder’s 1960 film. But The Apartment is still one of the best NYC Christmas films, and it parallels the feeling of loneliness that accompanies the holidays with hopefulness. Jack Lemmon and Shirley MacLaine are charming in this Mad Men-era rom-com about the slog of the corporate ladder and finding love. —A.S.
This period piece dramatizes the 1819 massacre in which British soldiers disrupted a peaceful public meeting of reformers, killing 18 and wounding hundreds. It’s a time-honored story about the war at home, the never-ending battle between the haves and the have-nots. It’s too easy to pick sides in Peterloo, which strips the movie of some much-needed drama. But it’s a beautifully shot movie with standout performances, particularly from Rory Kinnear. It’s enough to make you forget that Peterloo is essentially a shiny piece of propaganda. —Brenden Gallagher
23) A Quiet Place
Not for the faint-hearted, A Quiet Place is one of the scariest films of 2018. The concept is simple: In post-apocalyptic America, John Krasinski and Emily Blunt play the parents of a young family, hiding from deadly aliens who attack based on sound. This family has carved out a surprisingly idyllic existence in the countryside, but they must live in complete silence, communicating only in sign language. Obviously, this is a great idea for a horror movie, but the execution is what really elevates it to greatness. A Quiet Place is warm, thoughtful, and visually beautiful, while also being a muscle-clenching watch. —Gavia Baker-Whitelaw
Every day for bus driver Paterson (Adam Driver) is exactly the same, and every day is also sublimely unique. Making wonderful use of repetition and recurring imagery, indie legend Jim Jarmusch’s latest shows how beauty can be found everywhere, if only you bother to look. Anchored by Driver’s understated performance, Paterson is a celebration of the creative impulse and its ability to impart mystery and import to even the most innocuous of things. —David Wharton
25) What If
Daniel Radcliffe’s post-Harry Potter movies have been all over the map in terms of quality, but they’ve all been interesting. What If stands out for being a low-key anti-rom-com. Radcliffe and Zoe Kazan star as the central duo. They’re happy being friends but have too much chemistry to stay that way forever. Radcliffe and Kazan make for an adorable pair, and their chemistry drives What If’s success. —E.S.
26) A Simple Plan
Before Sam Raimi got snapped up for mega-budget fare with 2002’s Spider-Man, he made A Simple Plan, adapting Scott Smith’s bestselling novel about two brothers and a friend who come across a bag of money and the host of troubles that comes along with it. Paranoia and greed quickly grab hold of the men and lead to their downfall. Toplined by Bill Paxton and Oscar-nominated Billy Bob Thornton, the movie is supremely entertaining. It’s the kind of adult thriller that gets the “why don’t they make ’em like this anymore” tag and carries the mantle until the next one comes along. —E.S.
Few experiences are more joyous than watching a smart sci-fi mind-bender that actually holds up and doesn’t collapse under the weight of its contrivances as it reaches the third-act climax. Coherence takes a simple high concept (parallel realities) and runs with it, keeping its characters (and its audience) intrigued and confused but never fully disoriented. The thrills persist all the way through a fulfilling ending that doesn’t cheat. —E.S.
I know what you’re thinking: school shooting movie, pretty tough sell. Well, you’re not wrong. But We Need to Talk About Kevin is worth watching for how it subverts the genre. From the always bold Lynne Ramsay (Ratcatcher), the film tracks the relationship between Eva (Tilda Swinton) and her son, Kevin (Ezra Miller), from his birth to the incident in question. We Need to Talk About Kevin doesn’t pull its punches: Kevin is naturally disturbing and unsympathetic, and Eva is wary of him from a young age. Was Kevin always the way he was, or was it is mother’s inability to love him that made him that way? And more importantly, should Eva have been a mother to begin with? Some people aren’t meant to be parents. Those are the probing questions Ramsey asks in We Need to Talk About Kevin, ones made all the more haunting by a final scene where mother and son are forced to finally come together, having no one else left to turn to. —C.O.
Richard Linklater’s account of an East Texas murder is a curio, even by his standards. He mixes real interviews with locals of Carthage, Texas, into his fictionalized account of Marjorie Nugent’s murder at the hands of her assistant, Bernie Tiede. Jack Black’s vocal and physical affectations walk the line of caricature, but he never crosses it. He does the best work of his acting career here. Shirley Maclaine matches, and even surpasses, Black’s work as Marjorie. The film is darkly funny and a fascinating look at a relationship gone horribly wrong. —E.S.
30) Short Term 12
As Grace (Brie Larson), a counselor at a group home for teens, says early on in Short Term 12: “You have to be an asshole before you can be their friend.” The film spends much of its time exploring the inner lives of these kids as well as the counselors. The Newsroom’s John Gallagher Jr. plays Grace’s boyfriend and co-worker, and their relationship provides some emotional resonance. Lakeith Stanfield (Atlanta) is a standout as Marcus, a young man about to turn 18 and leave the home. All these lives collide, and unexpected friendships form from shared pain. —A.S.
31) My Man Godfrey
This Depression-era comedy about a socialite (Carole Lombard) who hires a tramp named Godfrey (William Powell) to be her butler is still considered one of the funniest classic films ever. Powell, who began is run as the drunken detective Nick Charles in the Thin Man franchise two years earlier, already had plenty of experience flexing his funny bone by this point, but it was Godfrey that cemented his legacy as a comedic genius. —C.O.
32) The Report
After debuting to acclaim and some Oscar buzz at Sundance, The Report barely made a blip when it landed on Amazon, and that’s a shame. Annette Bening and Adam Driver headline this story about the people spear-heading the investigation into the CIA’s use of torture. The Report is a nuts and bolts movie about the story behind the story, along the lines of Spotlight and countless others. If you enjoy process-centric stories, The Report delivers the goods. Driver and Bening give strong performances and writer-director Scott Z. Burns keeps the film moving at a snappy pace. —E.S.
In Alex Garland’s adaptation of Annihilation, we still get to explore Area X, a quarantined area of land besieged by mysterious environmental changes. That’s about where the similarities to the book end. The film uses author Jeff VanderMeer’s spectral setting to get in its characters’ heads. Natalie Portman plays Lena, a biologist and former soldier who is grieving the loss of her husband, Kane (Oscar Isaac). He was sent into Area X on a secret mission and feared dead, but he suddenly returns home—altered. Lena’s mission there is one of truth and redemption, but Portman plays her with appropriate detachment. We don’t really know her true motives, and fellow travelers Anya (Gina Rodriguez), Cass (Tuva Novotny), Josie (Tessa Thompson), and Dr. Ventress (Jennifer Jason Leigh) have their own reasons for going on an apparent suicide mission. —A.S.
34) Late Night
In Late Night, inexperienced comedy writer Molly (Mindy Kaling) and legendary late-night talk show host Katherine Newbury (Emma Thompson) come together to save Katherine’s show, which is on the verge of cancellation. In order to remind everyone of what made Katherine such an important voice in the first place, she and Molly must first transcend the male-dominated workplace. Kaling and Thompson have strong chemistry, but Late Night’s humor never rises above a polite chuckle, its insights are surface level, and it never gives the audience a reason to care about its story. —E.S.
Get your hanky ready, because Wonder will do a number on your emotions. Based on the popular book, Wonder is about Auggie (Jacob Tremblay), a young boy with a medical condition that causes a facial deformity. After years of homeschooling, Auggie’s parents (Julia Roberts and Owen Wilson) send him off to school for fifth grade, where not everyone is so quick to accept Auggie as he is. The movie is a treatise on kindness, and it will resonate with kids and adults alike. Wonder is an uplifting movie that wants to put good into the world.
36) The Conversation
Released in 1974, Francis Ford Coppola was in the middle of an epic run when The Conversation arrived. The Godfather: Part II was just months away from coming out, after the release of the first installment two years earlier. He would follow these titles up with Apocalypse Now in 1979, completing a decades-worth of masterpieces the likes of which he nor few other Hollywood directors would never come close to replicating. Yet for as much success as Coppola had during this time period, it often feels like The Conversation gets left out of, well, the conversation. Despite winning the Palme d’Or at Cannes and receiving three Oscar nominations, it’s a movie that’s overshadowed today by Coppola’s other ‘70s classics. It shouldn’t be, though, as this Gene Hackman-led drama about a surveillance expert plagued by guilt is not only an excellent encapsulation of the paranoia of its time but an increasingly relevant exploration of privacy and conspiracy. —C.O.
Because of copyright issues that put the film in the public domain, Night of the Living Dead has long been one of the easiest classic horror films to get your hands on. But that doesn’t make it any less worth seeking out. A movie that invented a genre, spawned numerous sequels and remakes, and eventually grossed 250 times its production budget (which was just a little over $100,000), Night of the Living Dead really is as great and as important as you’ve heard. George A. Romero’s accidental tackling of race gives the film added subtext, and the way it approached violence in a year like 1968 makes Night of the Living Dead a key snapshot of its time. Reviled upon its release, it would go on to be a cult classic, before receiving a critical re-appreciation and even being selected by the Library of Congress to be a part of the National Film Registry. —C.O.
Spike Lee channels the provocateur of his early days with this fire-breathing musical about gang violence in Chicago. It’s based on the Greek play Lysistrata by Apostrophe, and it’s set in a world where women withhold sex in an attempt to stop men from their violence. The first Amazon original movie, Chi-raq is not quite on par with Lee’s best, but it’s not far off. Lee is a vital voice, and Chi-raq proves he’s still got it. —E.S.
39) Thunder Road
Writer, director, and star Jim Cummings walks a tight line in this story about a police officer struggling with his emotions. Officer Jim Arnaud (Cummings) is having a rough go of it, between his divorce and the death of his mother. This character study balances intense personal drama with bone-dry humor. If nothing else, you should check out the film’s opening scene in which Arnaud hilariously struggles to eulogize his mother. Arnaud is the kind of guy who just can’t get out of his own way. You’ll laugh, you’ll cringe, and you may even cry. —E.S.
40) Logan Lucky
Steven Soderbergh returned to feature films after his four-year hiatus with this NASCAR heist film. Toplined by a great cast (including Channing Tatum, Adam Driver, Daniel Craig, Katie Holmes, Riley Keough, and Katherine Waterston), Logan Lucky channels the easy energy and breezy fun of Soderbergh’s Ocean’s films. The movie won’t blow you away with its originality, but when everyone is operating at this level, the joy becomes infectious. —E.S.
41) Young Adult
Jason Reitman and Diablo Cody rekindled their Juno magic with the acerbic and darker Young Adult. Charlize Theron stars as Mavis, an author, who returns home after her divorce and sets out to win back her married ex. Mavis is a tough, compelling character, and Theron gives one of her best performances. Movies about characters struggling to grow up have become a cliché at this point, but Young Adult is sharp enough to offer an insightful and pretty funny approach. —E.S.
42) Jackass 3D
It’s easy to overlook the sublime artistry of the Jackass films, what with all the bodily harm and gross-out gags taking center stage. But beneath the pain is some of the finest modern-day slapstick action you can find. Johnny Knoxville and company are showmen of the highest order. Not only do they risk their lives and sanity for our amusement, but they also put a lot of creative care into their work. If you have enjoyed any Jackass work in the past, you’ll definitely enjoy 3D, and if you don’t care for their work, well, you probably skipped over this blurb already. —E.S.
43) Good Time
Robert Pattinson is electrifying as Connie, a slick-talking schemer who always has a plan and penchant for making problems worse. After a bank robbery gone wrong lands his brother in Rikers, Connie spends all night trying to hustle up the money to post bond. Up-and-coming writer-directors Josh and Benny Safdie keep the action tight and the pace snappy, never allowing Connie or the audience to take a breath. As Connie hits new lows, Pattinson does some of his best work to date. The characters may be having a rough night, but it’s one the audience won’t soon forget. —E.S.
44) Big Fan
To anyone who thinks they or someone they know has an unhealthy obsession with sports, I humbly submit Robert Siegel’s Big Fan. Siegel, who wrote The Wrestler, made his directorial debut with this story about a lonely guy and his toxic fandom. That guy is played by Patton Oswalt, who excels as a dramatic actor. Big Fan is the kind of movie where you might think you’re better than the characters, but by the end, you’re completely sucked into their world. You’ll either realize you have a problem or be thankful that you’re not like Oswalt’s character, but either way you’ll be glad you watched Big Fan. —E.S.
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Writer-director David Robert Mitchell’s sprawling, meandering, episodic neo-noir is a frustrating and fascinating work. Andrew Garfield stars as Sam, a directionless thirty-something who investigates the disappearance of one of his neighbors. Sam’s search takes him all over Los Angeles and the closer he gets to a solution, the less things make sense. Under the Silver Lake is not for everyone, to put it kindly, but those who respond to it will really love it. —E.S.
David Gordon Green’s film tells the story of Jeff Bauman, who lost his legs in the Boston Marathon bombing. Jake Gyllenhaal turns in a reliably good performance of Bauman, capturing his isolation and struggle as he adapts to his new life. Green does a nice job mixing in the personal story with the larger narrative of the bombing aftermath. While this is Gyllenhaal’s movie, Tatiana Maslany matches him beat for beat as Jeff’s girlfriend. Stronger embraces the struggle of people, and a city, temporarily broken but not beaten.
Jenny Slate and Gillian Robespierre, star and director of the acclaimed Obvious Child, respectively, reteam on Landline, a ‘90s-set family drama. It’s about sisters who uncover their father’s affair and the effects of that news coming to light. It’s a plotline straight out of the indie movie starter pack, but it’s elevated by strong work from the cast. Abby Quinn makes a noteworthy debut playing Slate’s sister, and Edie Falco, John Turturro, Finn Wittrock, and Mark Duplass are all terrific. —E.S.
48) A Ghost Story
Rooney Mara and Casey Affleck play a couple whose happy life is upended when the husband dies. He returns in ghost form, a sheet with black eyes, to stay in the house for eternity while his wife moves on. Writer-director David Lowery has constructed a movie about time, space, and grief that’s intimate in its setting and expansive in its ideas. A Ghost Story is a distinct vision anchored by bold creative choices. —E.S.
Whit Stillman’s adaptation of Jane Eyre’s Lady stars Kate Beckinsale as a widow on a mission to find husbands who offer the most financial stability for her daughters. Love & Friendship is hilarious and refreshingly self-aware. The film earned a great deal of acclaim, with Beckinsale and Tom Bennett singled out amongst a strong cast. If you’re new to Stillman’s work, this is a great introduction. —E.S.
50) Sweeney Todd: The Demon Barber of Fleet Street
This is probably the last great film Johnny Depp and Tim Burton made, together or separately, before descending into parodies of themselves. Depp isn’t a natural singer, but his raspy voice makes for a good Sweeney. Ditto for Helena Bonham Carter, who steals the show as Mrs. Lovett, a role she was born to play. 2007 was a great year for film, but Burton’s excellent Sondheim adaptation is too often left out of the conversation. At the very least, Sweeney Todd deserves to be recognized as one of the best on-screen musicals of the last several decades. —C.O.
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51) The Spy Who Dumped Me
Audrey and Morgan (Mila Kunis and Kate McKinnon) are best friends forced into a little light espionage courtesy of Audrey’s ex-boyfriend who happens to be a spy. The pair go on a globetrotting adventure with assassins hot on their trail. The movie is at its best when Kunis and McKinnon are playing off each other. The action, like their aim, is a bit scattershot, but the comedy hits the mark more often than not. —E.S.
The Foot Fist Way is the rawest, purest form of Danny McBride. He plays a brash tae kwon do instructor, Ben Simmons, who shares his considerable lack of skills with kids. Fists and foul-mouthed barbs fly as Simmons trains the kids for a tournament. Simmons is a rough draft version of Kenny Powers, and it’s worth watching to see McBride and co-writer and director Jody Hill before they blew up. If you’re a fan of McBride’s style, you owe it to yourself to catch up with The Foot Fist Way. —E.S.
53) The Neon Demon
Nicolas Winding Refn’s movies are not for everyone. He makes aggressive, confrontational films that practically dare you to turn them off. But he’s too skilled a craftsman to completely dismiss outright. The Neon Demon is about a young woman (Elle Fanning) breaking into and ascending the ranks in the L.A. modeling world. The movie is a treatise on the male gaze, the perceived vapidity of models, and the dog-eat-dog nature of the industry—or at least the version of the industry depicted here. The good thing about Refn and The Neon Demon is that you’ll know within the first few minutes of the movie if it’s something you want to see. —E.S.
54) Mystery Team
The simple pitch of 2009’s Mystery Team is The Wire meets Encyclopedia Brown. It stars Donald Glover, Dominic Dierkes, and D.C. Pierson (who also wrote the script) as three high school seniors who continue the mystery-solving business they started as kids. The Mystery Team gets their biggest case to date when a young girl hires them to figure out who killed her parents. The barrage of jokes is relentless, and the hit rate is high. The cast is packed with tons of now-familiar faces (Aubrey Plaza, Ellie Kemper, Kay Cannon, Bobby Moynihan, and Matt Walsh all pop up) and energetic directing by Dan Eckman. —E.S.
No one asked for remakes of Carrie or The Wicker Man, but in this rare case, Dario Argento’s Suspiria makes a surprisingly good choice for a reboot. Dakota Johnson stars as Susie Bannion, a naive, self-trained dancer fleeing a strict Mennonite upbringing by way of a German dance school. Instead of trying to make a clumsy statement about female empowerment, Suspiria’s femininity feels like a natural addition to the witch movie canon. Best viewed while wearing a ballgown and a fur stole, preferably while drinking something expensive in a crystal goblet, and smiling faintly at the memory of your recently murdered husband. —G.B.W.
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Vince Vaughn has never been better on screen. He plays a man who gets himself mixed up with the wrong people and finds himself in prison. In order to keep his wife safe, he must brawl (there it is) his way through to the jailhouse kingpin. Anyone familiar with S. Craig Zahler’s Bone Tomahawk knows that means plenty of skull-cracking violence will ensue. Brawl is a brutal, somewhat stunning B-movie. Oh, and there’s a scene where Vaughn pummels and tears apart a car with his bare hands. —E.S.
57) A Simple Favor
When Stephanie (Anna Kendrick) befriends Emily (Blake Lively), one of the other moms at her son’s school, she gets more than a new friend. Stephanie leads a strictly scheduled life, while Emily is laid-back and much more likely to fill up a flask than a daily planner. But fun afternoon drinking sessions quickly lead to a murder mystery, with Stephanie trying to solve Emily’s disappearance and assumed murder. A Simple Favor is a fun, twisty mystery that will keep you guessing and laughing till the end.
This update of the Goldie Hawn-Kurt Russell classic stars Anna Faris and Eugenio Derbez as Kate and Leo, respectively. She’s a struggling single mother; he’s a wealthy playboy. After Leo suffers a head injury that gives him amnesia, Kate uses it to her advantage. As you can imagine, the initial animosity between the two turns into genuine affection, but not without some bumps along the way. Overboard is a slight, silly movie that rides the charms of Faris and Derbez.
This is one of the finest, kookiest, and most underrated Nic Cage joints around. Cage stars as John Koestler, an M.I.T. professor who discovers a link between a seemingly random set of numbers and past and future disasters. With the fate of the world hanging in the balance, John must stop what is preordained before it’s too late. Knowing is a movie that constantly ups the stakes and upends audience expectations. It goes to some truly wild places, anchored by solid work from Cage, lively direction from Alex Proyas, and a script that just won’t quit. —E.S.
60) Child’s Play
Horror’s favorite son continues to terrorize people after 30 years. Taking it back to the beginning, Child’s Play is about a mother who gets her son a highly coveted doll. The gift quickly turns into a curse when the doll, inhabited by the spirit of a murderer, begins a killing spree that covers seven movies and a remake The blend of absurdity and horror that separates Chucky from other horror icons.
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Editor’s note: This article is regularly updated for relevance.
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Eddie Strait is a member of the Austin Film Critic Association. His reviews focus primarily on streaming entertainment, with an emphasis on Netflix, Hulu, Amazon Prime, and other on-demand services.