Best Free Movies to Stream: Crackle, Freevee, Pluto, Youtube, Tubi

The 100 Best Free Movies to Stream (September 2024)

Monthly expenses for streaming services can add up quickly. Fortunately for movie-lovers, there are plenty of films streaming for free—and legally—across a variety of sites. These range from public domain classics on YouTube to more recent selections available to watch on the vast world of AVOD. These ad-based sites (you’ll watch for free, but with commercials) include the likes of Crackle, Plex, Freevee, Pluto TV, Roku and Tubi. And if you’ve got a student ID or a public library card, there’s a huge selection of movies available for free check-out at Kanopy and Hoopla.

We’ve gathered up the best of the best from these services to bring you the 100 best free movies to stream:

The 20 Best Free Movies on CrackleCrackle has one of the best selections of free films, from classics to cult favorites to more recent hits.

1. Short Term 12

Year: 2013
Director: Destin Daniel Cretton
Stars: Brie Larson, John Gallagher Jr., Kaitlyn Dever, Rami Malek, Alex Calloway, Lakeith Stanfield
Rating: R
Runtime: 97 minutes

As it progresses, Short Term 12 remains rigorously structured in terms of plot; yet it never feels calculated. In fact, the film serves as a fine example of how invisible screenwriting can be. By allowing his characters’ irrational emotions to influence events and instigate key turning points, Cretton capably masks the film’s finely calibrated story mechanics. And while everything seemingly comes to a head during a key crisis, it’s only fitting that the story ends with a denouement that bookends its opening. Cretton’s clear-eyed film is far too honest to try and convince us that there’s been any sort of profound change for Grace or anyone else. Instead, it’s content to serve as a potent reminder that tentative first steps can be every bit as narratively compelling as great leaps of faith. —Curtis Woloschuk

2. Chopping Mall

Year: 1986
Director: Jim Wynorski
Stars: Kelli Maroney, Tony O’Dell, John Terlesky, Suzee Slater, Barbara Crampton, Russell Todd
Rating: R
Runtime: 95 minutes

Calling Chopping Mall the best film by director Jim Wynorski isn’t saying much—at all—but it remains a minor ’80s horror/sci-fi classic despite that. The premise is irresistible pulp, dressed in ’80s neon teen fashion—a group of kids hide out in the mall past closing time so they can party (and score) in one of the furniture stores overnight. Little do they know, however, that the mall recently unveiled a new fleet of deadly efficient security robots that are, shall we say, more than a little twitchy. The cast gives us Kelli Maroney, who also appears in the similarly teen-inflected Night of the Comet, and Roger Corman regular Dick Miller as the janitor, once again playing his signature role: “Dawn of the Dead, except with much more gallows humor. Today, genre fans are likely to fondly remember Chopping Mall for the fact that it contains one of the greatest single practical effects of the era; the graphic explosion of Suzee Slater’s head, followed by the robot’s wry line of “Thank you, have a nice day.” You’ve gotta love it. —Jim Vorel

3. Sophie’s Choice

Year: 1982
Director: Alan J. Pakula
Stars: Meryl Streep, Kevin Kline, Peter MacNicol
Rating: R
Runtime: 150 minutes

William Styron’s soul-shattering story of an ethereally beautiful concentration camp survivor is brought to life on screen by Meryl Streep. Streep learned to speak French with a Polish accent in order to preserve the integrity of one of the most important literary characters of the modern age. Alan Pakula allows Streep to do what she does best: She dons the character like a perfectly fitted coat. The result is one of the greatest film performances of all time. Sophie’s Choice is the embodiment of the horror of war and its aftermath.—Joan Radell

4. Das Cabinet des Dr. Caligari (The Cabinet of Dr. Caligari)

Year: 1920
Director: Robert Wiene

The Cabinet of Dr. Caligari brought German Expressionist film to full view with art direction that’s every bit as dark and twisted as the story it tells. Set in an environment full of askew streets, warped roofs and staircases that travel at impossible angles, no film has the same spooky feel as this tale of a mysterious doctor and the sleepwalker he uses as a murder weapon. While the film’s influence is immeasurable, its visuals were more a catalyst for ideas than a target of direct imitation. This is partly because the look is so out there, and partly because the graphical set design could have lent itself more to the film medium—the painted-on shadows and canvas backdrops can make it seem as if the characters are walking on plywood theater stages rather than through a demented cityscape.

5. His Girl Friday

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

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

6. D.O.A.

Year: 1950
Director: Rudolf Maté
Stars: Edmond O’Brien, Pamela Britton
Rating: PG-13
Runtime: 83 minutes

In one of the most intriguing opening scenes in film history, D.O.A. commences with a lengthy tracking shot of a man as he stumbles into the police office to make an unusual request—he wants to report his own murder. This opening image just about sums up D.O.A., a brisk yet exhilarating noir thriller with one hell of a high-concept. After being administered a deadly poison, the main character has only a few days to discover who dosed him and why. What follows is a glorious mix of high-stakes melodrama and entertaining sleaze all compacted into a concise hour-and-twenty minute running time. —M.R.

7. Gaslight

Year: 1946
Director: George Cukor
Stars: Charles Boyer, Ingrid Bergman, Joseph Cotten, Angela Lansbury
Rating: NR
Runtime: 114 minutes

It was always a fantastic film; a tale of sadistic psychological torture, murder and greed. But today George Cukor’s suspense-gem has also attained mandatory-viewing status because it is the source text for the term “gaslighting.” The word has been swept into public discourse and mass misuse and misunderstanding. What gaslighting is (and isn’t) is defined by this film. You arguably need to see it before you can use that word and understand what you’re saying. But that alone wouldn’t be just cause in a bad movie. This is not a bad movie; in fact it’s a treasure. Mysterious, rich in feeling, deliciously creepy, and with jewel-tone supporting performances by Angela Lansbury and Joseph Cotten, it was a great psychological thriller in its day and it remains one now. So, yeah-come for the psychopathology lesson, but stay for the stunning “God’s-eye” style direction by Cuckor (no unreliable narrators here!), and wonderful performances by Ingrid Bergman and Charles Boyer as a traumatized woman and a sociopath determined to drive her out of her mind. —A.G.

8. Godzilla

Year: 1954
Director: Ishiro Honda
Stars: Sachio Sakai, Takashi Shimura, Momoko Kochi, Akira Takarada
Rating: NR
Runtime: 95 minutes

Early in Godzilla, before the monster is even glimpsed off the shore of the island of Odo, a local fisherman tells visiting reporter Hagiwara (Sachio Sakai) about the play they’re watching, describing it as the last remaining vestige of the ancient “exorcism” his people once practiced. Hagiwara watches the actors “sacrifice” a young girl to the calamitous sea creature to satiate its hunger and cajole it into leaving some fish for the people to enjoy–at least until the next sacrifice. Ishiro Hondo’s smash hit monster movie—the first of its kind in Japan, the most expensive movie ever made in the country at the time, not even a decade after the atomic bombing of Hiroshima and Nagasaki—is, after 20-something sequels over three times as many years, a surprisingly elegiac exorcism of its own, a reminder of one nation’s continuing trauma during a time when the rest of the world jonesed to forget. As J Hoberman describes in his essay for the film’s Criterion release, much of Honda’s disaster imagery is “coded in naturalism,” a verite-like glimpse of the harrowing destruction wrought by the beast but indistinguishable from the aftermath of the Americans’ attacks in 1945, especially when the U.S. and Russia, among other powers, were testing H-bombs in the Pacific in the early 1950s, bathing the Japanese in even more radiation than that in which they’d already been saturated. And yet, Godzilla is a sci-fi flick, replete with a “mad” scientist in an eye patch and a human in a rubber dinosaur suit flipping over model bridges. That Honda handles such goofiness with an unrelentingly poetic hand, purging his nation’s psychological grief in broadly intimate volleys, is nothing short of astounding. Shots of Godzilla trudging through thick smoke, spotlights highlighting his gaping maw as the Japanese military’s weapons do nothing but shock the dark with beautiful chiaroscuro, have been rarely matched in films of its ilk (and in the director’s own legion of sequels); Honda saw gods and monsters and, with the world entering a new age of technological doom, found no difference between the two. —Dom Sinacola

9. Night of the Living Dead

Year: 1968
Director: George A. Romero
Stars: Duane Jones, Judith O’Dea
Rating: NR
Runtime: 97 minutes

What more can be said of Night of the Living Dead? It’s pretty obviously the most important zombie film ever made, and hugely influential as an independent film as well. George Romero’s cheap but momentous movie was a quantum leap forward in what the word “zombie” meant in pop culture, despite the fact that the word “zombie” is never actually uttered in it. More importantly, it established all of the genre rules: Zombies are reanimated corpses. Zombies are compelled to eat the flesh of the living. Zombies are unthinking, tireless and impervious to injury. The only way to kill a zombie is to destroy the brain. Those rules essentially categorize every single zombie movie from here on out–either the film features “Romero-style zombies,” or it tweaks with the formula and is ultimately noted for how it differs from the Romero standard. It’s essentially the horror equivalent of what Tolkien did for the idea of high fantasy “races.” After The Lord of the Rings, it became nearly impossible to write contrarian concepts of what elves, dwarves or orcs might be like. Romero’s impact on zombies is of that exact same caliber. There hasn’t been a zombie movie made in the last 47 years that hasn’t been influenced by it in some way, and you can barely hold a conversation on anything zombie-related if you haven’t seen it–so go out and watch it, if you haven’t. The film still holds up well, especially in its moody cinematography and stark, black-and-white images of zombie arms reaching through the windows of a rural farmhouse. Oh, and by the way–NOTLD is public domain, so don’t get tricked into buying it on a shoddy DVD. —Jim Vorel

10. Nosferatu the Vampyre

Year: 1979
Director: Werner Herzog
Stars: Klaus Kinski, Isabelle Adjani, Bruno Ganz, Roland Topor, Walter Ladengast
Rating: PG
Runtime: 107 minutes

Werner Herzog recreates the cornerstone of vampire cinema (and German expressionist filmmaking, for that matter) through an ever-mounting nightmare of unsettling, disjointed vignettes. Which isn’t anything new for the German director, but his methods and sensibility do lend themselves naturally to the language of phantasmagoria, as he tells a well-known story via one subconscious-upending image after another. As in any Herzog film, the story is never intended to hold together flawlessly—only barely logically—but to imprint indelibly upon the insides of the viewers’ eyelids the stark silhouette of evil borne absurdly from the primeval fear in all of us. That Klaus Kinski also plays Count Dracula means that madness bristles at the edge of every manicured line of chiaroscuro: Nosferatu revels in the beauty of horror. In fact, Roger Ebert said, “Here is a film that does honor to the seriousness of vampires. No, I don’t believe in them. But if they were real, here is how they must look.” —Dom Sinacola

11. The Phantom of the Opera

Year: 1925
Director: Rupert Julian
Stars: Lon Chaney, Mary Philbin
Rating: NR
Runtime: 79 minutes

Before Dracula and the official birth of Universal Horror, there was Phantom of the Opera. (By the way: It sucks that none of the major streamers, including Netflix and Shudder, have the rights to show all of the classic Universal Monster series. I want to be able to watch Son of Frankenstein or The Wolf Man streaming on demand some day, guys! Get those licensing deals in place!) Regardless, it’s nice that Shudder has at least one of these old classics, on account of it being in the public domain. This is the original version of Phantom, starring Lon Chaney Sr., the “Man of a Thousand Faces.” The pace is slow, the acting style on display is rather alien to watch today— overdramatic holdovers from the vaudeville era—and you know how the classic story goes, but man: Chaney’s face. t’s one of the truly iconic faces of horror, right alongside Boris Karloff, Bela Lugosi and Chaney’s own son, Lon Chaney Jr., who would go on to play The Wolf Man. Phantom of the Opera is indispensable for Chaney’s self-devised makeup, which reportedly had theater patrons fainting in the aisles in 1925. —Jim Vorel

12. Sleepaway Camp

Year: 1983
Director: Robert Hiltzik
Stars: Felissa Rose, Mike Kellin, Katherin Kamhi, Paul DeAngelo, Jonathan Tiersten
Rating: R
Runtime: 84 minutes

Of all the camp-based Friday the 13th rip-offs, Sleepaway Camp is probably the best one that isn’t The Burning. Our main character is Angela, a troubled girl who absolutely everyone picks on for no good reason. Seriously—it’s one of those ’80s era movies with a main character who is an “outsider” constantly harassed by dozens of people, but without any impetus or explanation—it’s just Angela’s lot in life. Everyone who meets her immediately hates her guts and subjects her to cruel taunting. But soon, the people at the camp who were mean to Angela start getting knocked off. The movie seems calculated to come off as a straight horror film, but the death scenes are often so outlandish that it veers pleasurably into horror comedy, as well. Highlights include the lecherous camp cook, who gets a giant vat of boiling water dumped on his face, or the kid who gets a beehive dropped into the outhouse with him. If you love classic slashers, it’s a must-see, especially for the ending. I won’t spoil anything, but Sleepaway Camp can proudly lay claim to one of the most shocking, WTF endings in slasher movie history. —Jim Vorel

13. Black Christmas

Year: 1974
Director: Bob Clark
Stars: Olivia Hussey, Margot Kidder, Keir Dullea, Andrea Martin, John Saxon
Rating: R
Runtime: 98 minutes

Fun fact—nine years before he directed holiday classic A Christmas Story, Bob Clark created the first true, unassailable “slasher movie” in Black Christmas. Yes, the same person who gave TBS its annual Christmas Eve marathon fodder was also responsible for the first major cinematic application of the phrase “The calls are coming from inside the house!” Black Christmas, which was insipidly remade in 2006, predates John Carpenter’s Halloween by four years and features many of the same elements, especially visually. Like Halloween, it lingers heavily on POV shots from the killer’s eyes as he prowls through a dimly lit sorority house and spies on his future victims. As the mentally deranged killer calls the house and engages in obscene phone calls with the female residents, one can’t help but also be reminded of the scene in Carpenter’s film where Laurie (Jamie Lee Curtis) calls her friend Lynda, only to hear her strangled with the telephone cord. Black Christmas is also instrumental, and practically archetypal, in solidifying the slasher legend of the so-called “final girl.” Jessica Bradford (Olivia Hussey) is actually among the better-realized of these final girls in the history of the genre, a remarkably strong and resourceful young woman who can take care of herself in both her relationships and deadly scenarios. It’s questionable how many subsequent slashers have been able to create protagonists who are such a believable combination of capable and realistic. —Jim Vorel

14. Hunt for the Wilderpeople

Year: 2016
Director: Taika Waititi
Stars: Sam Neill, Julian Dennison, Rima Te Wiata, Rachel House, Oscar Kightley, Tioreore Ngatai-Melbourne, Rhys Darby
Rating: NR
Runtime: 101 minutes

Bella’s (Rima Te Wiata) first encounter with Ricky (Julian Dennison), the new foster child she’s agreed to take on, doesn’t inspire confidence, especially with her clumsy jokes at the expense of his weight. In turn, with child-services representative Paula (Rachel House) painting Ricky as an unruly wild child, one dreads the prospect of seeing the kid walk all over this possibly in-over-her-head mother. But Bella wears him down with kindness. And Ricky ends up less of a tough cookie than he—with his fondness for gangsta rap and all that implies—initially tried to project. An adaptation of Barry Crump’s novel Wild Pork and Watercress, Taika Waititi’s Hunt for the Wilderpeople thrives on upending preconceived notions. The director shows sympathy for Ricky’s innocence, which is reflected in the film’s grand-adventure style. Cinematographer Lachlan Milne’s sweeping, colorful panoramas and a chapter-based narrative structure gives Hunt for the Wilderpeople the feel of a storybook fable, but thanks to the warm-hearted dynamic between Ricky and Hec (Sam Neill), even the film’s most whimsical moments carry a sense of real underlying pain: Both of these characters are outsiders ultimately looking for a home to call their own. —Kenji Fujishima

15. Mothra vs Godzilla

Year: 1964
Director: Ishiro Honda
Stars: Akira Takarada, Yuriko Hoshi, Hiroshi Koizumi, Yû Fujiki, Kenji Sahara, Emi Itô, Yumi Itô, Yoshifumi Tajima, Jun Tazaki, Kenzô Tabu
Rating: PG
Runtime: 88 minutes

One of the all-time classic pairings of two monsters, Mothra vs. Godzilla was the moment many kids became Godzilla fans for life. Still serious, before the Showa series transitioned into children’s entertainment, it features Godzilla as an unsympathetic monster who is completely impervious to earthly weapons. Mothra, on the other hand, is a perfect hero and protector of the Earth. For being a giant moth, she puts up a pretty great fight against Godzilla. In typical Mothra fashion she’s eventually bested, but her larvae are able to save the day. Each adult Mothra has a pretty short shelf life, as it turns out.–Jim Vorel

16. Ida

Year: 2013
Director: Pawel Pawlikowski
Stars: Agata Trzebuchowska, Agata Kulesza
Rating: PG-13
Runtime: 80 minutes

A compelling examination of how the past can shape us even when we don’t know anything about it, Pawel Pawlikowski’s quiet Polish film takes place in the 1960s, when World War II has ended but still grips people’s lives. In the title role, Agata Trzebuchowska—with a well-tuned balance between naivete and curiosity despite being a non-professional actor—plays a nun-in-training who learns that her family was Jewish and killed during Nazi occupation. She embarks on an odyssey to find their graves with her cynical, alcoholic aunt Wanda (Agata Kulesza), former prosecutor for the communist government. The relationship between the two characters grows more and more complex as they go deeper down the rabbit hole of their family’s past. Shot in black-and-white and academy ratio (1.37:1) by cinematographers Łukasz Żal and Ryszard Lenczewski, Ida uses its frame to distinct effect, often resigning characters to the lower third of the screen. The effect can be unsettling, but intriguing; that space could contain the watchful power of Ida’s lord, but it could also be nothing more than an empty void. After a life of certitude, Ida has to decide for herself. —Jeremy Mathews

17. One Shot

Year: 2021
Director: James Nunn

Filmmaker James Nunn reunites with Scott Adkins once again for a gimmicky and often unpleasant tour around a militarized island newly under siege, all made to look like it’s one 90-minute shot. For some of that runtime, you wish they would learn about cutting so you didn’t have to watch someone walk across a field or down a base hallway in real time—especially as the walk-and-talk dialogue is filled with a silly terrorist plot and grating characters that’d make a Call of Duty writer note the lack of nuance. But for the stuff that matters, the gunfights and the knifefights and the fistfights, you’ll be glad Nunn and his team trusted in the process. Adkins is still an exceptional workhorse, not just as a combatant but as a dramatic performer. With the handheld camera mostly following him tight throughout, he’s a compelling presence even when he’s not breaking arms or cutting throats. He’s even magnetic when he’s reloading. Gamers will note the visual language of third-person shooters (or those of an FPS, extrapolated outward), as camera angles around cover or over shoulders replicate their visceral placement. There’s a lot to appreciate in the technical planning and execution here. Sure, it’s a terrible script and nobody really gets anything to do (though Adkins’ SEAL squadmates all acquit themselves well), but a brutal last 20-minute blitz will make all but the deepest sticks in the mud scoot to the edges of their seats.—Jacob Oller

18. Stagecoach

Year: 1939
Director: John Ford
Stars: Claire Trevor, John Wayne, Andy Devine, John Carradine, Thomas Mitchell, Louise Platt, George Bancroft, Donald Meek, Berton Churchill, Tim Holt
Rating: NR
Runtime: 96 minutes

And just like that, with one swift zoom shot, John Ford gave John Wayne his breakthrough role and reintroduced American audiences to the man who would become one of their most lasting movie icons. Two Johns, making it happen. Stagecoach isn’t exactly a John Wayne movie despite the fact that John Wayne is in it; this was before the days of The Searchers, of She Wore a Yellow Ribbon, of The Quiet Man, even of Hondo, movies that each helped shape Wayne’s persona and forge his screen legend bit by bit. In Stagecoach, he’s just a man with a rifle, a mission of vengeance and a soft spot for a prostitute named Dallas. Rather than the tradition of Wayne, the film belongs to the tradition of strangers on a journey; it’s about an unlikely and incongruous grouping of humans banding together to make it to a common destination. They ride a dangerous road, but Ford’s great gift as a filmmaker is his knack for making peril buoyant and entertaining, and in Stagecoach he does both effortlessly. —Andy Crump

19. Assault on Precinct 13

Year: 1976
Director: John Carpenter
Stars: Austin Stoker, Darwin Joston, Laurie Zimmer
Rating: R
Runtime: 91 minutes

Assault on Precinct 13 launches into its action-packed second act with one of the more audacious, transgressive acts you’ll ever see in a film–it almost feels like a taboo you wouldn’t even see in a horror film today, and I wouldn’t dare ruin it for you. Suffice to say, that one moment of unthinkable violence is the starting gun on a gritty thriller from John Carpenter, two years before Halloween made him a much bigger name. As such, you might expect Assault on Precinct 13 to be a more conventional or safe film, but if anything, it’s significantly more complex a project than Halloween would have been. Taking inspiration from Night of the Living Dead, Carpenter weaves a criminal action tale about an officer holding down a decommissioned police station that comes under siege by dozens of gang members. The interpersonal dynamics between officer and prisoners almost reflects the suspicion and brotherhood that would later be displayed between the arctic residents of Carpenter’s The Thing, and the shootouts are just as bloody. Even on a budget, it’s one of the best action movies of the ‘70s. – Jim Vorel

20. Support the Girls

Year: 2018
Director: Andrew Bujalski
Stars: Regina Hall, Haley Lu Richardson, Shayna McHayle, Brooklyn Decker
Rating: R
Runtime: 90 minutes

As Hooters fades more and more from the American consciousness, locations closing everywhere and the urges of its typical past patrons transmogrified into more sinister, shadier proclamations online, the concept of the “breastaurant,” a bygone signifier once as prevalent off highways as a Cracker Barrel, provides for yet another sign of service industry jobs in decline—and a perfect subject for Andrew Bujalski, a filmmaker emerging as America’s great bard of the working class. Over the course of one harrowing day at Double Whammies, Manager Lisa Conroy (Regina Hall, bastion) goes about her run-of-the-mill duties—standing up to volatile customers, training new waitresses, dealing with a seemingly inept cable guy—in addition to organizing a car wash fundraiser for an employee and her shitty boyfriend, serving as whipping girl to the restaurant’s shitty owner (James LeGros, male insecurity personified) and generally navigating the exhausting reality of what her job is and what it represents. Isn’t she better than this? Bujalski, wonderfully, answers “no,” because she’s very good at her job, and her staff adores her—led by magnanimous performances from Haley Lu Richardson and rapper/artist Junglepussy—and work is work is work. And what are any of us supposed to do when increasingly the fruits of our labor are taken from us, devalued or dragged through the street, squashed or screamed into oblivion, our jobs both defining us and dooming us to a lack of any real definition? Support the Girls understands the everyday pain of those contradictions, without judgment standing by our side, patting us on the back. One has to do what one has to do anymore. —Dom Sinacola

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21. Terrifier

Year: 2016
Director: Damien Leone
Stars: Jenna Kanell, Samantha Scaffidi, David Howard Thornton
Rating: NR
Runtime: 86 minutes

It’s really no easy feat to put together a modern slasher movie with retro inspiration, walking the delicate line between genre parody and loving homage. Too many have tried exactly this and ended up with a result that spends all its time winking at genre tropes, rather than simply delivering the goods. Terrifier is one of the few that at least partially works in the spirit in which it was intended, thanks to its depraved attitude, stylish bloodletting and key central performance. This movie hinges entirely around the quality of David Howard Thornton’s performance as “Art the Clown,” elevating it from what could be perceived as simply a riff on Stephen King’s It to a genuine genre effort of merit. Much of that just boils down to Thornton’s terrific facial expressions as Art, and his stellar costuming and design—he is tailor made to be a recurring slasher film character, and had this series first cropped up in 1982, we probably would have seen half a dozen Art the Clown sequels. The rest of the production is on the cheap side—it often feels like they’re going for the degraded film stock look of Tarantino’s Death Proof, but can’t quite pull it off—but there’s more than enough gore to satisfy any horror fan’s hunger. If killer clowns are your thing, it’s essential. —Jim Vorel

22. Mandy

Year: 2018
Director: Panos Cosmatos

More than an hour in, the film’s title appears, growing lichen-like, sinister and near-illegible, as all great metal album covers are. The name and title card—Mandy—immediately follows a scene in which our hero forges his own Excalibur, a glistening, deformed axe adorned with pointy and vaguely erotic edges and appurtenances, the stuff of H.R. Giger’s wettest dreams. Though Red (Nicolas Cage) could use, and pretty much does use, any weapon at hand to avenge the brutal murder of his titular love (Andrea Riseborough), he still crafts that beautiful abomination as ritual, infusing his quest for revenge with dark talismanic magic, compelled by Bakshi-esque visions of Mandy to do her bidding on the corporeal plane. He relishes the ceremony and succumbs to the rage that will push him to some intensely extreme ends. We know almost nothing about his past before he met Mandy, but we can tell he knows his way around a blunt, deadly object. So begins Red’s unhinged murder spree, phantasmagoric and gloriously violent. A giant bladed dildo, a ludicrously long chainsaw, a hilarious pile of cocaine, the aforementioned spiked LSD, the aforementioned oracular chemist, a tiger, more than one offer of sex—Red encounters each as if it’s the rubble of a waking nightmare, fighting or consuming all of it. Every shot of Mandy reeks of shocking beauty, stylized at times to within an inch of its intelligibility, but endlessly pregnant with creativity and control, euphoria and pain, clarity and honesty and the ineffable sense that director Panos Cosmatos knows exactly how and what he wants to subconsciously imprint into the viewer. Still, Mandy is a revenge movie, and a revenge movie has to satiate the audience’s bloodlust. Cosmatos bathes Red (natch) in gore, every kill hard won and subcutaneously rewarding. There is no other film this year that so effectively feeds off of the audience’s anger, then sublimates it, releasing it without allowing it to go dangerously further. We need this kind of retribution now; we’re all furious with the indifferent unfairness of a world and a life and a society, of a government, that does not care about us. That does not value our lives. Mandy is our revenge movie. Watch it big. Watch it loud. Watch yourself exorcised on screen. —Dom Sinacola

23. Requiem for a Dream

Year: 2000
Director: Darren Aronofsky

If you’ve never seen Requiem for a Dream, you’ve probably still mitotically absorbed its iconography: the hyper-real confection of close-up images (the whoosh of the syringe, the dilation of a pupil) symbolizing the addict’s high; the chest-mounted camera following every tremor of an actor’s performance while the world behind the actor’s head comes unglued; the breathless start-stop pace director Darren Aronofsky employs, meshing hypnotic reverie with near-intolerable intensity; even Clint Mansell’s soundtrack, which has practically become movie trailer shorthand for capital-“E” Epicness. All of it was first a revelation in Aronofsky’s cult classic, which follows four people (Ellen Burstyn, Jered Leto, Jennifer Connelly and Marlon Wayans, each in a career-best role) as their lives crunch headfirst against rock-bottom, all shreds of whatever happiness they once knew completely obliterated by heroin, or opioids, or delusions of grandeur, or maybe just modern urban life. Aronofsky’s gaze is unflinching, but what’s often lost in considerations of the film’s influence—of its iconic status almost 20 years later—is how empathetically Aronofsky attempts to climb into his characters’ heads, never judging these tragic people’s decisions, just hoping that they will someday be able to do better. He knows they won’t, and we know that too, but the brilliance of the director’s second film is that he was ever able to get us to feel any hope at all. —Dom Sinacola

24. Ip Man

Year: 2008
Director: Wilson Yip
Stars: Donnie Yen, Lynn Hung, Dennis To, Syun-Wong Fen, Simon Yam, Gordon Lam
Rating: R

2008’s Ip Man marked, finally, the moment when the truly excellent but never fairly regarded Donnie Yen came into his own, playing a loosely biographical version of the legendary grandmaster of Wing Chung and teacher of a number of future martial arts masters (one of whom was Bruce Lee). In Foshan (a city famous for martial arts in southern/central China), an unassuming practitioner of Wing Chung tries to weather the 1937 Japanese invasion and occupation of China peacefully, but is eventually forced into action. Limb-breaking, face-pulverizing action fills this semi-historical film, which succeeds gloriously both as compelling drama and martial arts fan-bait. —K. Alexander Smith

25. Ginger Snaps

Year: 2000
Director: John Fawcett
Stars: Emily Perkins, Katharine Isabelle, Kris Lemche, Mimi Rogers
Rating: N/A
Runtime: 108 minutes

Ginger Snaps is a high school werewolf story, but before you go making any Twilight comparisons, let me state for the record: Where Twilight is maudlin, Ginger Snaps is vicious. A pair of death-obsessed, outsider sisters, Ginger and Brigitte, are faced with issues of maturation and sexual awakening when Ginger (Katharine Isabelle) is bitten by a werewolf. As she begins to become bolder and more animalistic in her desires, the second, meeker sister (Emily Perkins) searches for a way to reverse the damages before Ginger carves a path of destruction through their community. Reflecting the influence of Cronenberg-style body horror and especially John Landis’s American Werewolf in London, Ginger Snaps is a surprisingly effective horror movie and mix of drama/black comedy that brought the werewolf mythos into suburbia in the same sort of way Fright Night managed to do so with vampires. It also made a genre star of Isabelle, who has since appeared in several sequels and above-average horror flicks such as American Mary. Even if the condition of lycanthropism is an obvious parallel to the struggles of adolescence and puberty, Ginger Snaps is the one film that has taken that rich vein of source material and imbued it with the same kind of punk spirit as Heathers. —Jim Vorel

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26. The Texas Chain Saw Massacre

Year: 1974
Director: Tobe Hooper
Stars: Marilyn Burns, Paul A. Partain, Edwin Neal, Jim Siedow, Gunnar Hansen
Rating: R
Runtime: 83 minutes

One of the most brutal mainstream horror films ever released, The Texas Chain Saw Massacre, based on notorious Wisconsin serial killer Ed Gein, resembles art-house verité built on the grainy physicality of its flat Texas setting. Plus, it introduced the superlatively sinister Leatherface, the iconic chainsaw-wielding giant of a man who wears a mask made of human skin, whose freakish sadism is upstaged only by the introduction of his cannibalistic family with whom he resides in a dilapidated house in the middle of the Texas wilderness, together chowing on the meat Leatherface and his brothers harvest, while Grandpa drinks blood and fashions furniture from victims’ bones. Still, The Texas Chain Saw Massacre might not be the goriest horror film ever made, but as an imaginal excavation of the subterranean anxieties of a post-Vietnam rural American populace, it’s pretty much unparalleled. Twisted, dark and beautiful all at once, it careens through a wide variety of tones and techniques without ever losing its singular intensity. (And there are few scenes in this era of horror with more disturbing sound design than the bit where Leatherface ambushes a guy with a single dull hammer strike to the head before slamming the metal door shut behind him.) —Rachel Haas and Brent Ables

27. Aguirre, the Wrath of God

Year: 1972
Director: Werner Herzog
Stars: Klaus Kinski, Elena Rojo, Ruy Guerra, Del Negro
Rating: R
Runtime: 90 minutes

The Rosetta Stone to understanding the relationship between director Werner Herzog and actor Klaus Kinski is contained within watching the way Herzog sees Kinski as Aguirre, the Conquistador circa 1560 who, through the sheer power of his belligerence, led a small army of Spaniards to their certain doom. In Kinski’s disturbing, hobbled presence, Aguirre is delusion manifest, his need to find the lost City of Gold while trekking through the unforgiving rain forests of Peru so corrupt and surreal it appears to be crippling his body from the inside out, crawling free from his heart and escaping his bug-eyes. Herzog exploits that delusion when he casts Kinski—known IRL for his self-aggrandizing optics and unbelievable cruelty—and in Aguirre, the Wrath of God is no purer sense of just how wholly Herzog knows Kinski’s true nature, letting it seep into—infect—the reality of the film itself: “Based on a true story” wasn’t so debased a cinematic term until Fargo took up the challenge decades later. Which is pretty much how Herzog treats true stories anyway—his documentary subjects he’s known to openly manipulate, and even Paul Cronin’s Werner Herzog: A Guide for the Perplexed book, a series of conversations amounting to a career retrospective, Cronin prologues with a lengthy explanation for how involved Herzog was in editing and rewriting his own interviews. What’s left in lieu of fealty to the story of Gonzalo Pizzaro’s ill-fated expedition is something so much more visceral: A reenactment of the story’s—and therefore History’s—pain, absurdity and grand illusion. —Dom Sinacola

28. Melancholia

Year: 2011
Director: Lars von Trier
Stars: Kirsten Dunst, Charlotte Gainsbourg, Alexander Skarsgård
Rating: R
Runtime: 135 minutes

If you want a really, really disturbingly beautiful apocalypse, you can’t go wrong with Lars von Trier. Melancholia is the second of a trilogy of films in which the director dives into the nature of depression. It revolves around two sisters, Justine (Kirsten Dunst) and Claire (Charlotte Gainsbourg)—after a staccato series of prologue images set to Wagner (if you’ve ever experienced severe depression you’ll recognize the choppy, distanced, “underwater” quality of this first section), we open on Justine’s wedding reception. There is something seriously wrong with these people. Or is there? It seems like Justine’s boss is actually harassing her for ad copy in the middle of her own wedding toast. It seems like her father is a raging narcissist and her mother is “honest” in a way that makes you want to never take a phone call from her, ever. Everything seems off. And that’s before anyone realizes a runaway planet called Melancholia might be on a collision course with Earth. —Amy Glynn

29. Henry: Portrait of a Serial Killer

Year: 1986
Director: John McNaughton

Henry stars Merle himself, Michael Rooker, in a film which is essentially meant to approximate the life of serial killer Henry Lee Lucas, along with his demented sidekick Otis Toole (Tom Towles). The film was shot and set in Chicago on a budget of only $100,000, and is a depraved journey into the depths of the darkness capable of infecting the human soul. That probably sounds like hyperbole, but Henry really is an ugly film–you feel dirty just watching it, from the filth-crusted urban streets to the supremely unlikeable characters who prey on local prostitutes. It’s not an easy watch, but if gritty true crime is your thing, it’s a must-see. Some of the sequences, such as the “home video” shot by Henry and Otis as they torture an entire family, gave the film a notorious reputation, even among horror fans, as an unrelenting look into the nature of disturbingly mundane evil. —Jim Vorel

30. Blood and Black Lace

Year: 1964
Director: Mario Bava

You can credit films such as Psycho or Peeping Tom for laying the groundwork for the slasher genre, and 1974’s Black Christmas for first bringing all the elements together into what is undeniably a “slasher movie,” but Mario Bava’s foundational 1964 giallo is so close as to almost merit that title as the first “true” slasher in almost every way that matters. Blood and Black Lace is an absolutely gorgeous, sumptuous movie that is all the better to see on the big screen, if you can, featuring dramatic splashes of primary colors used to maximum impact. The story is a blend of darkly comic murder mystery and titillation-tinged exploitation, featuring a gaggle of female models stalked by a mysterious assailant whose face is covered in an impenetrable stocking mask with blank features—a killer who looks for all intents and purposes like the DC Comics character The Question. It’s an immediately iconic image that seared its imprint into an entire Italian genre, and subsequent killers would reflect so many of this character’s features, from the black gloves and long coat to the mask itself. Although many tried to ape its visuals, very few could match the decadence and the sense of luxurious (and deadly) excess that Bava captures in Blood and Black Lace. —Jim Vorel

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31. Charade

Year: 1963
Director: Stanley Donen
Stars: Audrey Hepburn, Cary Grant, Walter Matthau

Audrey Hepburn was closely associated with Stanley Donen through his genre-making directorial career, serving as the ideal shape to enact all his chic, balletic blocking. But Hepburn’s turn in Charade is markedly different from her performances in Funny Face or Two for the Road; in Charade she is embodying and mocking the Hitchcockian muse with an otherwise unseen wryness. With Cary Grant (in their only on-screen collaboration), the central duo use their physical prowess, influenced by their pre-acting work (Hepburn’s as a dancer, Grant’s as a performer on the vaudeville circuit) to lean into the hijinks that pepper this mystery. Charade is a genuinely thrilling satire, one adorned with Audrey Hepburn’s deliciously bitchy commentary. –Anna McKibbin

32. Emma.

Year: 2020
Director: Autumn de Wilde
Stars: Anya Taylor-Joy, Johnny Flynn, Bill Nighy, Mia Goth, Josh O’Connor, Callum Turner, Miranda Hart
Genre: Comedy, Romance
Rating: PG
Runtime: 132 minutes

Shot as though each frame were a frothy realist painting, scored as though it were a Chaplin-esque silent film and pulled together by a cast of comedically impeccable performances, Autumn de Wilde’s feature-length debut, Emma., is made up almost entirely of thrillingly executed moments. More comedy of manners than straight romance, both Jane Austen’s novel and de Wilde’s film take as their subject a happily single Emma Woodhouse (Anya Taylor-Joy), the “handsome, clever, and rich” mistress of an English country estate, as she fills her days as by mounting a series of ego-driven (if well-intentioned) matchmaking schemes. Signaled by the film’s opening in the soft dawn hours of the village’s latest Emma-orchestrated wedding day, these schemes have a history of being remarkably successful—successful enough, at least, that on one side, Emma has her co-dependent, doom-and-gloom father (a charming, if anxious, Bill Nighy) cautioning her not to start any schemes that might take her away from him, while on the other, she has the Woodhouses’ handsome family friend, Mr. Knightley (a refreshingly fiery Johnny Flynn), cautioning her against riding so high on her previous matchmaking coups that she starts an audacious scheme even she can’t pull it off. Beyond creating what would be a solid moviegoing experience in any context, the warm, boisterous sense of community this deep attention to detail works to build is, as Paste’s Andy Crump highlights in his thoughtful interview with de Wilde and Taylor-Joy, exactly what any 2020 take on a 205-year-old comedy of manners needed to cultivate. With our current cultural moment so defined by protracted digital isolation—and its cousin, anonymity-enabled cruelty—the best thing de Wilde’s Emma. could do was lean so hard into the sublimity of Austen’s original that, for the entirety of its gloriously phone-free two-hour runtime, its audience might feel, collectively, transported. —Alexis Gunderson

33. The Vast of Night

Year: 2019
Director: Andrew Patterson
Starring: Sierra McCormick, Jake Horowitz
Rating: PG-13
Genre: Sci-Fi

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

34. Southern Comfort

Year: 1981
Director: Walter Hill
Stars: Martin Lawrence, Will Smith, Anna Thomson
Rating: R
Genre: Action

Despite being one of the originators of 1979’s Alien (doing an uncredited and highly impactful treatment on the script, and shepherding the franchise as writer and producer through several films), Walter Hill has never made a straight-up horror film. Southern Comfort is the closest he’s gotten, and the white-knuckle tension here is bound to put more lumps in your throat and knots in your stomach than just about anything else you can find. Set in 1973, we follow a squad of Louisiana Army National Guardsmen (including Keith Carradine, Powers Boothe, Fred Ward and Peter Coyote) on a routine weekend maneuver who, through hubris and immaturity, antagonize a group of Cajuns native to the swampland they’re occupying. With only dummy ammunition at their disposal, the men are placed in dire circumstances as they fight to survive against folks who know how to utilize the land as a weapon. Its themes—American invaders corrupted by their exceptionalism into thinking they had some sort of ownership over land that doesn’t belong to them, only to be met with resistance from a native opposition much wiser and more capable than the Americans assumed them to be—led to immediate assumptions that Southern Comfort was a metaphor for Vietnam. Hill vehemently rejects this, stating, “People are going to say this is about Vietnam. They can say whatever they want, but I don’t want to hear another word about it.” While the comparisons are obvious, Hill also has a point: This sort of narcissistic egotism and colonizer mentality isn’t solely exemplified by the Vietnam War. It’s firmly on display throughout American history, present and future. Southern Comfort was a notoriously tough shoot for its cast and crew, as these characters traverse through a marshland that’s attacking them at every turn. With inept leadership and undisciplined subordinates, Southern Comfort presents us not a virtuous squadron of American military heroes, but a foolish gang of hooligans who get what’s coming to them. It’s a film which exemplifies Hill’s skills as an action director, with masterful cross-cutting to keep the tension at a fever pitch, slowly burning as the situation starts dire and somehow keeps getting worse. If Streets of Fire has the greatest opening of Hill’s career, Southern Comfort has the strongest ending, with a final section in which the surviving soldiers think they’ve found salvation when they hitch a ride into a small Cajun community barbecue only to slowly realize this is the biggest trap of all. Nerve-shredding filmmaking at its finest.–Mitchell Beaupre

35. Blow Out

Year: 1981
Director: Brian De Palma

Brian De Palma’s Blow Out, a spiritual sequel to Michelangelo Antonioni’s 1966 film Blow Up, tells the story of B-movie sound technician, Jack Terry (John Travolta), who witnesses a strange car accident while recording one night near Philadelphia’s Henry Avenue Bridge. When he rescues Sally (Karen Allen), the vehicle’s passenger, he becomes entwined in a political scandal. Echoing both Blow Up and Coppola’s The Conversation (1974), the film weaves a web of conspiracy and paranoia, as Jack and Sally, two lost and drifting souls, decide to do the right thing, exposing a plot against the governor at their own risk. Blow Out, too, is an iconic “gritty Philadelphia” film, one that seems to take joy in undercutting the city’s pride: The whole plot hinges on corrupt politicians and their operatives, there’s a “Liberty Bell Strangler” on the loose and its climactic moment of violence plays before a giant American flag during the city’s “Liberty Day” parade. The film revisits De Palma’s reoccurring obsession with voyeurism, one that suits the public spaces of Philadelphia. From the train station, to the subway, to the streets, to even the characters’ own apartments, someone’s always listening—except, of course, in the film’s ironic dénouement, when screams go unheard on the teeming city streets. —Maura McAndrew

36. The Handmaiden

Year: 2016
Director: Park Chan-wook
Stars: Kim Tae-ri, Kim Min-hee, Ha Jung-woo, Cho Jin-woong
Rating: NR
Genre: Drama

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

37. Lake Mungo

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

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

38. Prince: Sign ‘o’ the Times

Year: 1987
Directors: Prince, Albert Magnoli
Stars: Prince
Rating: PG-13
Runtime: 85 minutes

Prince’s 1987 concert documentary is one hour and 24 minutes of a generation’s greatest musical performer at the peak of his career (sorry, Boss). With his touring band that included Sheila E. on drums, Miko Weaver on guitar, Levi Seacer Jr. on bass, Eric Leeds on sax, Boni Boyer and Dr. Fink on keyboards, and Cat Glover dancing, the film pulls mostly from his 1987 double-album Sign O’ the Times, with hits like the title track, a piano interlude of “Little Red Corvette” and “U Got the Look.” It was filmed at two European shows, but much of the music was re-recorded later at Paisley Park. Still, it has an urgency that only Prince can deliver, in multiple outfits, of course. Released theatrically in the States, the film received more love after it left theaters. Now it’s one of the best ways to see what the big deal is about a Prince concert. —Josh Jackson

39. Blue Ruin

Year: 2014
Director: Jeremy Saulnier
Stars: Macon Blair, Devin Ratray, Amy Hargreaves
Rating: R
Genre: Thriller

Occasionally, the national news will carry stories about a horrific local murder that took place in some part of the country where we don’t live. And because it happened somewhere else, possibly far away from any major cities, maybe we make assumptions about the sorts of people who live there—negative assumptions. We stop seeing these individuals as being like us—instead, we view them as some kind of weird “other.” And so we turn off our empathy and count our blessings that we don’t live wherever “there” is. What’s so striking about Blue Ruin is how writer-director Jeremy Saulnier both plays into those dismissive assumptions while also subverting them. His dark revenge tale flaunts its small-town strangeness, but it also keeps a sharp eye on the human beings at the story’s center. Blue Ruin may occasionally be midnight-movie lurid, but not at the expense of deeper questions about vengeance’s diminishing returns. —T.G.

40. King of New York

Year: 1990
Director: Abel Ferrara
Stars: Christopher Walken, Laurence Fishburne, David Caruso
Rating: R
Genre: Drama

Abel Ferrara’s modern day take on Robin Hood transposes the crusader of the common man to the scum-infested streets of the Big Apple, where Christopher Walken’s formerly incarcerated drug lord Frank White returns to his old stomping ground. His strategy for social (and personal) reform: Eliminate competing kingpins and their rackets, and channel profits to the lower classes while funding a hospital in the South Bronx. A win/win, albeit a perverted one, right? Except that we know better. When the cops (David Caruso and Wesley Snipes among them) are just as morally flexible as the crooks (as Walken’s associate, “Larry” Fishburne is unhinged), none of these figures on the margins are going to wind up any closer to a fighting chance. As unapologetic judge and jury, Walken is never better, nor cooler: “I must’ve been away too long because my feelings are dead. I feel no remorse,” he states flatly. B-movie vet Ferrara (Ms .45, China Girl) revels in the extremes in textures, juxtaposing the inner city guts and grime with the blinged-out glamour of White’s penthouse lifestyle—this gangster film wound up a gangsta touchstone for ’90s hip-hop. King of New York’s standing on this list could arguably be swapped with Ferrara’s even more corrosive follow-up two years later, Bad Lieutenant, another pitch-black fable about attempts at redemption gone spectacularly awry—it’s hardly surprising that, exceptional as Harvey Keitel was in the 1992 film, the lead role was originally intended for Walken. —A.S.

41. Beyond the Infinite Two Minutes

Year: 2021
Director: Junta Yamaguchi
Stars: Kazunari Tosa, Riko Fujitani, Masashi Suwa
Rating: PG
Runtime: 70 minutes

Junta Yamaguchi’s 71-minute, no-budget sci-fi gimmick, Beyond the Infinite Two Minutes plays out like watching a point-and-click game’s Let’s Play. Elements and characters around a café are used to impact (or is it that they inherit impact from their inevitable usefulness?) a temporal delay that a schmuck (Kazunari Tosa) discovers. A screen upstairs shows what will happen two minutes into the future, from the perspective of a screen downstairs. The logic isn’t that important; it’s a different breed of mumblecore than Primer, and better for it. Filled with silly slackers trying to understand the central, clever conceit and filled with even sillier ideas about what to do with it, Beyond the Infinite Two Minutes has shades of One Cut of the Dead: The faux one-take construction, the small cast’s dedicated energy, the inept and nearly slapstick sense of humor. But it’s not even as slick as that horror film, the scrappiness growing on you as the plot starts to poke and prod at its own premise. As its narrative seeds arrive, grow and pay off in small yet satisfying ways, it’s hard not to feel pleased that this little troupe pulled the thing off—if only, in some small way, because you start to sense that Future You will have already been won over by their DIY spirit.—Jacob Oller

42. The Lost City of Z

Year: 2017
Director: James Gray
Stars: Charlie Hunnam, Robert Pattinson, Sienna Miller
Rating: PG-13
Genre: Drama

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

43. The Texas Chain Saw Massacre

Year: 1974
Director: Tobe Hooper
Stars: Marilyn Burns, Paul A. Partain, Edwin Neal, Jim Siedow, Gunnar Hansen
Rating: R
Genre: Horror

44. Grave Encounters

Year: 2011
Directors: Colin Minihan and Stuart Ortiz, “The Vicious Brothers”
Stars: Sean Rogerson, Ashleigh Gryzko, Mackenzie Gray, Juan Riedinger, Merwin Mondesir, Matthew K. McBride
Genre: Horror

It’s hard to understand why Grave Encounters doesn’t have a better reputation among horror geeks, who largely seem to be aware of it but deride the found-footage movie as either derivative or cheesy. In our own estimation, it’s one of the best found footage offerings of the last decade, and certainly one of the most legitimately frightening, as well as humorous when it wants to be. It’s structured as a pitch-perfect parody of inane TV ghost-hunting shows, in the style of Travel Channel’s Ghost Adventures, and imagines the satisfying results of what might happen when one of these crews full of charlatans is subjected to a genuinely evil location. But Grave Encounters goes beyond what is expected of it—you hear that premise and expect some frantic, handicam running around and screaming in the dark, but it delivers far more. The FX work, on a small budget, is some of the best you’re ever going to see in a found-footage film, and the nature of the haunting is significantly more mind-bending and ambitious than it first appears. We’ll continue to defend this film, although you should steer clear of the less inspired sequel. —Jim Vorel

45. The Invitation

Year: 2015
Director: Karyn Kusama
Stars: Logan Marshall-Green, Tammy Blanchard, Michiel Huisman, Emayatzy Corinealdi
Rating: R
Genre: Horror

46. Wheels on Meals

Year: 1984
Director: Sammo Hung
Stars: Jackie Chan, Sammo Hung, Yuen Biao
Rating: NR
Genre: Action, Comedy

Wheels on Meals is a silly, silly movie—but damn is its action amazing. Hong Kong trios don’t get better than Jackie Chan, Yuen Biao and Sammo Hung, although Hung’s role in this one is minimal. Rather, everything comes down to some incredible fight scenes featuring Chan and Benny “The Jet” Urquidez, a real-life American kickboxing champion who makes the perfect dance partner for Chan in several high-octane brawls. Their final confrontation isn’t just a great scene, it might be the best one-on-one fight of Chan’s career, with Benny proving he’s Jackie’s match. In fact, it’s The Jet who pulls off one of the coolest fight scene feats I’ve ever seen, the supposedly unintentional (and unfaked) “candle kick,” in which a missed spin kick generates such force that it blows out all of the lit candles on a candelabra several feet away. The film’s backbone is a story about a kidnapped Spanish heiress, but its kicks are far more fascinating. —Jim Vorel

47. Secretary

Year: 2002
Director: Steven Shainberg
Stars: James Spader, Maggie Gyllenhaal
Rating: R
Runtime: 104 minutes

With a Sundance release in 2002, Secretary quickly became notable for its somewhat unconventional take on the romantic comedy. With a wispy Maggie Gyllenhaal in the lead role, her transformation from self-abusing masochist to active participant in a sadomasochistic love affair is entrancing. Enough fantasy to dispel any criticism of the apparent lack of safe words, the film does appropriately transition from having Mr. Grey (a role tailor made for James Spader, that similarly makes you wonder if the only two works of fiction the author of 50 Shades of Grey had been exposed to was this and Twilight) hold the power in the relationship to having Lee take control later in the film. This point hits the nail on the head in understanding that it is the submissive that ultimately holds the most power in sadomasochistic relations. While suffering from some vagueness and perhaps naivety in terms of what a healthy sadomasochistic relationship really looks like, Secretary nonetheless is perhaps the most important mainstream informer into sadomaso relations before 50 Shades of Grey entered the popular consciousness.–Justine Smith

48. The Invisible Man

Release: February 28, 2020
Director: Leigh Whannell
Starring: Elisabeth Moss, Oliver Jackson-Cohen, Harriet Dyer, Aldis Hodge, Storm Reid, Michael Dorman
Genre: Horror, Mystery & Suspense, Science Fiction & Fantasy
Rating: R
Runtime: 110 minutes

Aided by elemental forces, her exquisitely wealthy boyfriend’s Silicon Valley house blanketed by the deafening crash of ocean waves, Cecilia (Elisabeth Moss) softly pads her way out of bed, through the high-tech laboratory, escaping over the wall of his compound and into the car of her sister (Harriet Dyer). We wonder: Why would she run like this if she weren’t abused? Why would she have a secret compartment in their closet where she can stow an away bag? Then Cecilia’s boyfriend appears next to the car and punches in its window. His name is Adrian Griffin (Oliver Jackson-Cohen), and according to Cecilia, Adrian made a fortune as a leading figure in “optics” (OPTICS!) meeting the self-described “suburban girl” at a party a few years before. Never one to be subtle with his themes, Leigh Whannell has his villain be a genius in the technology of “seeing,” in how we see, to update James Whale’s 1933 Universal Monster film—and H.G. Wells’ story—to embrace digital technology as our primary mode of modern sight. Surveillance cameras limn every inch of Adrian’s home; later he’ll use a simple email to ruin Cecilia’s relationship with her sister. He has the money and resources to peer into any corner of Cecilia’s life. His gaze is unbroken. Cecilia knows that Adrian will always find her, and The Invisible Man is rife with the abject terror of such vulnerability. Whannell and cinematographer Stefan Duscio have a knack for letting their frames linger with space, drawing our attention to where we, and Cecilia, know an unseen danger lurks. Of course, we’re always betrayed: Corners of rooms and silhouette-less doorways aren’t empty, aren’t negative, but pregnant with assumption—until they aren’t, the invisible man never precisely where we expect him to be. We begin to doubt ourselves; we’re punished by tension, and we feel like we deserve it. It’s all pretty marvelous stuff, as much a well-oiled genre machine as it is yet another showcase for Elisabeth Moss’s herculean prowess. —Dom Sinacola

49. Escape From New York

Year: 1981
Director: John Carpenter

In the far future of 1997, when the president’s Air Force One flight is hijacked and crash-lands in the now-maximum security prison of Manhattan, there’s only one man who can save him, a one-eyed Kurt Russell who goes by the name of Snake. He struggles to thwart The Duke’s plans to use the President as a human shield in his march to freedom, all while maintaining his badass disdain for the US government. Written in the wake of the Watergate scandal, John Carpenter’s view of the future is a decidedly cynical one: Snake may be trying to save the president, but not without his classic sneer. —Sean Doyle

50. Robot Carnival

Year: 1987
Director: Various

Silent animated shorts set to dramatic orchestral music, commonly known as Silly Symphonies, were all the rage in America throughout the 1920s and ’30s. Perhaps the most famous example from this era of animation was Fantasia, produced by Walt Disney and released to critical acclaim in 1940. Robot Carnival is anime’s answer to that film, a collection of nine short films produced by nine of the most esteemed anime directors and character designers of their time. For sure, not every short shines as a pillar of canonical greatness, e.g., Hiroyuki Kitazume’s “Starlight Angel” or Hidetoshi Omori’s “Deprive.” But when a short does shine, it’s a sight to behold. Koji Morimoto’s “Franken’s Gear” is a brilliant choice for an opener, while Manabu Ohashi’s “Cloud” is a melancholic gem that memorably experiments through the use of scratchboard animation. Hiroyuki Kitakubo’s “Strange Tales of Meiji Machine Culture: Westerner’s Invasion” is a imaginative take on the Giant Robot subgenre that’s as ridiculous as its name, and Takashi Nakamura’s “Chicken Man and Red Neck” is the true anime analog to Fantasia’s iconic “Night on Bald Mountain.” Even if Robot Carnival was not an awesome collection—and it is—it would still be a remarkable timestamp of when a constellation of talented young director align to create a project born completely out of a love for the medium.—Toussaint Egan

The 5 Best Free Movies on PlutoTVPluto TV is best-known for its livestreaming of TV shows and movies, but it also has some good on-demand movies available, including tons of Oscar-winners, Bruce Lee movies and Star Trek films. Its user interface might be a bit clunky, but the selection is on point.

51. Raiders of the Lost Ark

Year: 1981
Director: Steven Spielberg
Stars: Harrison Ford, Karen Allen, Paul Freeman, Wolf Kahler, Ronald Lacey
Rating: PG
Runtime: 115 minutes

A near-perfect distillation of the excitement and fun of the radio and pulp serials of yesteryear, Raiders of the Lost Ark established Harrison Ford’s wookie-free leading man credentials once and for all (with an assist from Blade Runner). The film also raises the question: Has anyone had a more impressive, more industry-transformative five-year run than Spielberg and Lucas did from 1977-1982? —Michael Burgin

52. No Country For Old Men

Year: 2007
Directors: Joel and Ethan Coen
Starring: Josh Brolin, Javier Bardem, Tommy Lee Jones, Kelly Macdonald, Woody Harrelson
Rating: R
Genre: Drama

What is it about the Coen Brothers’ inconsolable No Country for Old Men that still chills the blood, even under the South Texas sun? No doubt its inscrutability plays a role: Is it a Western, a noir or a morality play? And the Academy Award-winning performance by Javier Bardem disturbs because he himself remains a mystery: Is Anton Chigurh a merciless hitman or the Angel of Death? The story of a drug deal gone wrong soon reveals its true theme: the futility of being good and just in the face of abject evil. But the Coens also meditate on the faltering of the physical body. “Age’ll flatten a man,” Tommy Lee Jones’ Sherrif Bell esteems, and for this Texan, the evocation of my childhood landscape—right down to the tiniest detail—means that the specter of Chigurh will haunt not only the end of my life but stomp through its earliest remembrances as well.—Andy Beta

53. ParaNorman

Year: 2012
Director: Chris Butler, Sam Fell
Stars: Kodi Smit-McPhee, Tucker Albrizzi, Anna Kendrick, Casey Affleck, Leslie Mann, Jeff Garlin
Rating: PG
Runtime: 92 minutes

The beautifully crafted stop-motion film ParaNorman opens with two important pieces of information. First, we observe our young hero as he watches a B-zombie flick, complete with choppy edits and a boom mic that creeps its way into the frame. This lets us know that the filmmakers approach the upcoming story with tongues firmly planted in cheeks. Second, Norman carries on a conversation with his grandmother. This part of the scene is only significant once we learn that grandma is quite dead. The tale that follows is part Something Wicked This Way Comes, part The Goonies. The town of Blithe Hollow, once a colonial village, now a struggling tourist trap, has lived under the threat of a witch’s curse for 300 years—long enough for fear to transmogrify into camp. Norman can see and talk with ghosts, an ability that might make him quite popular with the dead set, but one that does little to improve his social standing with his living schoolmates… or his immediate family. At school, Norman is subject to bullying from students and teachers alike, and we quickly come to care for this small, tough, sweet boy as he patiently cleans the word “freak” from his locker. Another social outcast, the rotund Neil latches onto Norman, becoming his new best friend (whether Norman wants one or not). The arrival of Neil also indicates the arrival of the true heart of this endearing film, which is its humor. ParaNorman took two years to animate, and it shows in the exquisite craftsmanship of its design and execution. The artistic direction illustrates such a love for detail and texture that every bit of scenic design, from the town hall to a plastic bag caught in a fence, creates a perfect world for this story. Lead Animator Travis Knight and his sprawling team of animators, designers, and fabricators execute the vision with great flair. The result is a clear-headed and touching film about finding your own purpose, accepting others as they are and, most importantly, forgiveness. —Clay Steakley

4. Moonstruck

Year: 1987
Director: Norman Jewison
Stars: Cher, Nicolas Cage, Danny Aiello, Olympia Dukakis, Vincent Gardenia
Rating: PG
Runtime: 102 minutes

Snap out of it! A rom-com with a genuinely romantic sensibility (the hopeless kind), Moonstruck is an undeniably adorable comedy about chance, family and what it means to “settle.” Pragmatic widow Loretta (Cher) agrees to marry a nice sensible guy (Danny Aiello), but soon finds herself in a sitch with his passionate and mercurial younger brother Ronny (Nicolas Cage). Cher’s comedic chops are not insignificant, and the chemistry between her and Cage is great. The film has an incredible wealth of wonderful supporting performers (perhaps most notably Olympia Dukakis, who plays Cher’s mother). Norman Jewison’s directorial sensibility here might not qualify as “high art” but it’s a damn fine rom-com, with crackling dialogue, tons of energy and seductively likable characters: A paean to the joys and inevitable sorrows of dealing with your family, this film has spirit and smarts and soul. And a certain image of Cher in opera garb kicking a beer can up a silent Brooklyn street that one could be forgiven for characterizing as “iconic.” —Amy Glynn

55. Point Break

Year: 1991
Director: Kathryn Bigelow
Stars: Patrick Swayze, Keanu Reeves, Gary Busey, Lori Petty
Rating: R
Runtime: 122 minutes

There are plenty of late ’80s/early ’90s action flicks anyone could cite, but few epitomized the near-paradoxical dudebro melodrama of the era with as much heart and sincerity as Kathryn Bigelow’s Point Break. Johnny Utah—played by the only one on this Earth who could believably play a human being named that, Keanu Reeves, with the sedate gusto that would further vaunt him to action star fame—is an FBI agent who must learn how to be an X-treme surfer in order to infiltrate a cadre of bank robbers led by Bodhi (Patrick Swayze in peak hunk form). Inevitably, Johnny and Bodhi bond—and then clash—over their mutual thirst for salt water, high-stakes adventure and the love of a strong woman (Lori Petty, a wonderfully anti-typical blockbuster love interest), climaxing in the now-iconic scene of Reeves, consumed by X-treme angst, hollering and firing his gun into the sky, a scene so cemented in the cinematic canon that any aging, pacifist Millennial who has never fired a gun before still secretly wet-dreams about having the chance to do the same before their time on this godforsaken planet runs out. —Dom Sinacola

The 20 Best Free Movies on TubiTubi’s biggest strength is in the documentary and classic categories.

56. Blue Velvet

Year: 1986
Directors: David Lynch
Stars: Kyle MacLachlan, Isabella Rossellini, Dennis Hopper
Rating: R
Runtime: 120 minutes

Blue Velvet represents everything cinema can be: horrific, hilarious, reality heightened to inexplicable, nearly intolerable heavens. This is storytelling as symbology, traditional American genres like noir and the thriller picked apart with unsettling aplomb. For example, take the noir part of this equation: Lynch concocts an oedipal circumstance out of Kyle MacLachlan’s innocent boy and Dennis Hopper’s evil “daddy,” with Isabella Rossellini’s sexy “mommy” persona both an unobtainable feminine figure and a sweet presence that must be protected. As adorable everyman Jeffrey Beaumont (MacLachlan) is seduced ever deeper into the disgusting underground of American domesticity (represented by a series of insectoid images, the denizens of our creepy crawly underworld), his outlook is light, and psychopathic Frank Booth’s (Hopper) is dark—in fact, Frank comments on this. Of course, he’s talking literally about the illumination of the room, but he also huffs helium and calls himself Van Gogh, so every gesture, every sideways word should be taken with a grain of salt. Or fertilizer. And so, in black and white, Lynch finds blue: There is something deeply sad about the kind of normal, everyday stuff Lynch fixates upon, and in Blue Velvet that sadness is, whether we like it or not, the closest a film in the 1980s ever got to realizing the American Dream. —D.S.

57. Stalag 17

Year: 1953
Director: Billy Wilder

Tonally, Billy Wilder’s prisoners of war story is a true dramedy, fitting into an odd post-war space when American cinemagoers were apparently content to laugh at the horrors faced by prisoners, even while being reminded of the deadly results of incarceration, which were obviously even more dire for victims of the Holocaust. It’s William Holden who makes the film click and hum, portraying American airman Sefton as a somewhat sleazy but clever profiteer who figures that if he’s going to spend time in a POW camp, he might as well be an enterprising big shot while he’s there, living as comfortably as he can. In comparison with a film like The Great Escape, which would later come along and tell a story ringing with many of the same tropes, albeit without the screwball sense of humor, Stalag 17 is both an escape story and a light mystery, centered around the identity of the German informant who is sabotaging each attempt by the Americans to flee the camp and defy the Germans. With a cast of colorful characters and good-natured humor, Stalag 17 somehow takes a horrific premise and mines it for laughs more successfully than one would have thought possible. —Jim Vorel

58. The Changeling

Year: 1980
Director: Peter Medak
Stars: George C. Scott, Trish Van Devere, Melvyn Douglas, John Colicos
Rating: R
Runtime: 107 minutes

George C. Scott tempers his natural irascibility to play a melancholy composer grieving for his recently deceased wife and daughter in Peter Medak’s conflation of haunted house movie and supernatural whodunit. Dubbed one of the scariest movies of all time by Martin Scorsese, The Changeling deals the terror out in spades, with Medak playing up the tightening fear of the unknown with the precision of a horror maestro. (Indeed, it’s amazing Medak had never even been near the genre before.) Having moved into a new home, a century-old manor also occupied by the restless spirit of a young boy, Scott’s John Russell digs to discover the tale of an institutional cover-up, and of power wielded monstrously in the name of financial gain. The Changeling may be a showcase for an effortlessly magnetic veteran lead, but it’s also a mystery thriller that engrosses as it frightens. What begins as another haunted house story ends as a commentary on the history of America: a nation built not just on hard work, but also on blood and not-always-heroic sacrifice. —Brogan Morris

59. Talladega Nights

Year: 2006
Director: Adam McKay
Stars: Will Ferrell, John C. Reilly, Sacha Baron Cohen, Gary Cole, Michael Clarke Duncan, Leslie Bibb, Jane Lynch, Amy Adams
Rating: PG-13
Runtime: 108 minutes

There are so many reasons to love this movie: Will Ferrell and Amy Adams recreating White Snake’s “Here I Go Again” video; Elvis Costello and Mos Def randomly hanging out with Ricky Bobby’s French nemesis, delightfully played by Sasha Baron Cohen; Ricky Bobby trying to overcome his fears by driving with a cougar in the car. But the chief reason is Will Ferrell’s prayer to “Eight-Pound, Six-Ounce, Newborn Baby Jesus, don’t even know a word yet, just a little infant, so cuddly, but still omnipotent.”—Josh Jackson

60. House on Haunted Hill

Year: 1959
Director: William Castle

Every William Castle movie has its own campy charms, but House on Haunted Hill is the guy’s masterpiece. It’s got it all: Vincent Price at his goofiest, a big spooky house, a mystery and a profoundly non-frightening walking skeleton. The gimmick this time around was referred to by Castle as “Emergo,” and it amounted to a plastic skeleton on a pulley system being flown over the audience—not his most creative, but shameless enough that only Castle would stoop so low. To me, this is the quintessential 1950s horror film, even though it comes at the end of the decade. It’s totally tame by today’s standards but has some fun, over-the-top performances, a bit of witty dialog and a large helping of cheese. I can watch this thing over and over without ever getting tired of it. It’s like horror comfort food. The colorized version is even more fun, replacing the static black-and-white original with an unrealistic palette of color-coded characters you will remind you of the cast of Clue. —Jim Vorel

61. Carnival of Souls

Year: 1962
Director: Herk Harvey

Carnival of Souls is a film in the vein of Night of the Hunter: artistically ambitious, from a first-time director, but largely overlooked in its initial release until its rediscovery years later. Granted, it’s not the masterpiece of Night of the Hunter, but it’s a chilling, effective, impressive little story of ghouls, guilt and restless spirits. The story follows a woman (Candace Hilligoss) on the run from her past who is haunted by visions of a pale-faced man, beautifully shot (and played) by director Herk Harvey. As she seemingly begins to fade in and out of existence, the nature of her reality itself is questioned. Carnival of Souls is vintage psychological horror on a miniscule budget, and has since been cited as an influence in the fever dream visions of directors such as David Lynch. To me, it’s always felt something like a movie-length episode of The Twilight Zone, and I mean that in the most complimentary way I can. Rod Serling would no doubt have been a fan. —Jim Vorel

62. His Girl Friday

Year: 1940
Director: Howard Hawks

63. Young Mr. Lincoln

Year: 1939
Director: John Ford

John Ford—embodiment of the American ideal; institutional director favorited by hardened cinephiles, casual film lovers and old-school auteurs like Sergei Eisenstein alike—does not cater too obliviously to the iconography of Abraham Lincoln (played by Henry Fonda as if Lincoln could’ve been the most charming union organizer any budding socialist has ever seen). Instead, Ford studies the moral mettle of Lincoln from a functional perspective: How does someone become a beloved member of a community? How does a homey sense of logic carve out the crucible of justice? Which pie was better, the apple or the peach? In Ford’s film, which rides the rails of both biopic and a sort of ur-text for a true crime procedural, Fonda’s Lincoln both occupies each frame and limns it, serving as the literal centerpiece for a courtroom drama while defining how the many personalities of a burgeoning Illinois town come together to decide the proper way forward. An early scene, in which Lincoln decides the fate of a feud between a farmer and a tenant, the two men seeking legal guidance from young lawyer Mr. Lincoln orbiting Lincoln’s desk, cinematographers Bert Glennon and Arthur C. Miller keep the camera anchored to Lincoln’s long legs, which Fonda casually props up often throughout the film, plopping down on desk and chairs and assorted posts. It’s as if the filmmakers know that Lincoln’s presence—physically, but also more than physically—defines the space in which the future President reclines. The crux of every argument, every ethical dispute, revolves around the man’s body. Criterion’s HD transfer transforms these carefully-blocked scenes into a sumptuous depth of field, eking out every inch of every shabby room Lincoln stretches within. It’s breathtaking stuff, even as the film ends with the trepidation towards the kind of larger-than-life people we’re intent on—with the political world as transparently mutable as it is and history as fungible as it is—re-evaluating today. —Dom Sinacola

64. Citizenfour

Year: 2014
Director: Laura Poitras

Few documentaries have cameras rolling as history is being made. But director Laura Poitras found herself in the middle of momentous times while making Citizenfour, which takes us behind the scenes as NSA whistleblower Edward Snowden works with (among others) journalist Glenn Greenwald to expose the organization’s systematic surveillance of everyday Americans. From the worried initial meetings in a Hong Kong hotel room to the later fallout across the globe, Citizenfour has the rush of a thriller, humanizing its subjects so that we see the uncertainty and anxiety coursing through them, along with the guts and indignation.—Tim Grierson

65. Rabid

Year: 1977
Director: David Cronenberg
Stars: Marilyn Chambers, Joe Silver, Howard Ryshpan, Patricia Gage, Frank Moore
Rating: R
Runtime: 90 minutes

Another instance where the term “vampire” is debatable, this early work from Canadian body horror maestro David Cronenberg nevertheless offers a valuable and engrossing (not to mention distinctively gross) interpretation of the typical vampire tale. Rather than emerging as some sort of mystical evil force, the vampires of Rabid are the result of a biological mutation caused when a young woman crashes her motorcycle and develops a phallic stinger under her armpit. The obtrusion subsequently develops a craving for blood, spreading a vampiric disease that turns those infected into rabid animals. Like the best horror filmmakers, Cronenberg filters this admittedly absurd premise through a personal lens, highlighting a society gone to paranoia and frenzy after the supposed “liberation” of the 1960s. And while the film is burdened by a sporadically undercooked script and the stilted acting of noted porn star Marilyn Chambers, it remains a valuable insight into the mind of a future master.—Mark Rozeman

66. Tokyo Story

Year: 1953
Director: Yasujiro Ozu
Stars: Chishu Ryu, Chieko Higashiyama, Setsuko Hara
Runtime: 137 minutes

Tokyo Story could be described as a film about regrets. It could also be described as a film about disappointment, or the speed at which families drift apart, or modernity’s absolute indifference to custom and tradition and the old ways. But maybe just save yourself some time and some word count and describe it as a film about life, orchestrated by one of cinema’s most revered masters, Yasujiro Ozu, a director who spent his career making exquisitely calibrated but deceptively simple films. You don’t need to be an insufferable cinephile to enjoy an Ozu movie, especially Tokyo Story, undoubtedly his most accessible, though it does help; this makes him a great gateway filmmaker for anyone looking to increase their appreciation of cinema, and Tokyo Story his gateway film. Its aesthetics are pristine, its performances poignant and powerful, but the most impactful quality Ozu brings to his narrative of intergenerational divide is the passage of time, hours, days, weeks, months, years, all neatly articulated in two plus hours of running time. By the time it all ends, you’ll feel like you’ve lived a life with the Hirayama clan, too. —Andy Crump

67. We Need to Talk About Kevin

Year: 2017
Director: Lynne Ramsay
Stars: Tilda Swinton, John C. Reilly, Ezra Miller
Rating: R
Runtime: 111 minutes

A pitch-black drama from writer/director Lynne Ramsay, We Need to Talk About Kevin is a fascinating study of a sociopath, a family, and the former’s effect on the latter. While it allows Ezra Miller to showcase his alienesque abilities as a problem child, the film’s richest element is the evolving relationship between his parents (John C. Reilly and Tilda Swinton). Reilly and Swinton construct a fractured window into a marriage, with one (possibly evil) rock thrown square through it. Gripping and disturbing, Ramsay’s effort (co-written by Rory Stewart Kinnear) strikes at a vague yet central parental fear through its horrifying specificity: what happens if I screw this up? —Jacob Oller

68. The Texas Chain Saw Massacre

Year: 1974
Director: Tobe Hooper
Stars: Marilyn Burns, Paul A. Partain, Edwin Neal, Jim Siedow, Gunnar Hansen
Rating: R
Runtime: 83 minutes

69. The Graduate

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

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

70. Ginger Snaps

Year: 2000
Director: John Fawcett
Stars: Emily Perkins, Katharine Isabelle, Kris Lemche, Mimi Rogers
Rating: N/A
Runtime: 108 minutes

71. Paths Of Glory

Year: 1998
Director: Stanley Kubrick
Stars: Kirk Douglas, Ralph Meeker, Adolphe Menjou
Rating: NR

François Truffaut is notoriously and sort of erroneously credited as having said that, “There is no such thing as an anti-war movie.” He did say that he could not make a war movie about Algiers on the basis that, “to show something is to ennoble it.” He also said that “every film about war ends up being pro-war.” If this is true then maybe Paths of Glory is the closest the movies will ever get to producing an anti-war statement, though Stanley Kubrick’s trim World War I opus is better qualified as being disdainful of war: You can sense Kubrick’s contempt for his antagonists seething from behind the camera, his righteous indignation at the unapologetic cowardice of the craven old men who send others off to die on the field of battle at their behest. Maybe Paths of Glory isn’t anti-war, but it is pro-human, a film that celebrates true dignity and honor by recognizing that one need not rush forth to meet their inevitable death to be brave.—Andy Crump

72. Dreams

Year: 1990
Directors: Akira Kurosawa

About to be an octogenarian, Kurosawa decided to look inward as a way to chronicle his considerable life experiences, using the various dreams he actually remembered throughout his life as a conduit to communicating the way he saw the world. An anthology of eight dreams, split into eight short films vastly different in style, tone, and even genre, hold together beautifully care of Takao Saito’s and Shôji Ueda’s striking cinematography and the sometimes enchanting, sometimes haunting spiritual mood that envelops every frame. Each segment is memorable in its own right, but the one that stands out is a terrifying nightmare wherein a World War II veteran has to face his dead platoon and rationalize why he survived while the others perished. This section’s effortless success in filling the audience with fear maybe implies some Kurosawa could have found more success in horror had he been interested.–Oktay Ege Kozak

73. Black Narcissus

Year: 1947
Directors: Michael Powell, Emeric Pressburger
Stars: Deborah Kerr, Sabu, David Farrar
Rating: NR
Genre: Drama

A melodrama set in a convent in British-ruled Himalayan India, directed by Michael Powell and Emeric Pressburger and starring Deborah Kerr and David Farrar, Black Narcissus provides a recipe for … strangeness. And it’s a beautiful kind of strangeness. Five nuns are sent to establish a convent, school and hospital in a former harem. It’s difficult to adapt to the new surroundings, and the agent who’s on call to help them do it is, well, he’s a bit of a temptation. There are tragic consequences, naturally. The story’s compelling enough, but what really blows me away about this film is the otherworldly visual sensibility. Powell’s camerawork is mesmerizing and the film is steeped in supersaturated color, underlining the exoticism and confusion faced by the nuns, sending the viewer to another dimension. —Amy Glynn

74. Greed

Year: 1924
Director: Erich von Stroheim
Stars: Zasu Pitts, Gibson Gowland, Jean Hersholt, Dale Fuller, Tempe Pigott
Rating: N/A
Runtime: 236 minutes

In our current age of acclaimed TV series and cinematic trilogies, Erich von Stroheim might have been a king. But in his time, he had a knack for making movies longer than his bosses deemed releasable. So instead of being split and shown over multiple nights, his eight-hour Greed was cut down to 140 minutes. People who saw von Stroheim’s cut said it was a revolutionary work, but even in its abridged form the genius shines through. The deep-focus cinematography captures the detailed art direction and, most memorably, enables a scene in which a funeral procession passes out a window while a wedding goes on in the foreground. But the greatest moment is the famous desolate desert sequence, during which the value of all the money the characters seek is rendered meaningless.–Jeremy Mathews

75. The Invitation

Year: 2016
Director: Karyn Kusama
Stars: Logan Marshall-Green, Tammy Blanchard, Michiel Huisman, Emayatzy Corinealdi, John Carroll Lynch
Rating: N/A
Runtime: 100 minutes

The less you know about Karyn Kusama’s The Invitation, the better. This is true of slow-burn cinema of any stripe, but Kusama slow-burns to perfection. The key, it seems, to successful slow-burning in narrative fiction is the narrative rather than the actual slow-burn. In the case of The Invitation, that involves a tale of deep and intimate heartache, the kind that none of us hopes to ever have to endure in our own lives. The film taps into a nightmare vein of real-life dread, of loss so profound and pervasive that it fundamentally changes who you are as a human being. That’s where we begin: with an examination of grief. It’s remarkable for its foundation, for all of the substantive storytelling infrastructure that Kusama builds the film upon in the first place. The film starts in earnest as Will (Logan Marshall-Green in top form) arrives at a dinner party his ex-wife, Eden (Tammy Blanchard), is throwing at what once was their house. He has brought his girlfriend, Kira (Emayatzy Corinealdi), along with him. But something is undeniably off at Eden’s place, and because Will is the lens through which Kusama’s audience engages with the film, we cannot tell what that something is. There is oh so much more to be said about The Invitation, especially its climax, where all is revealed and we see Will’s fears and Eden’s spiritual affirmations for what they are. Until then you’ll remain on tenterhooks, but to Kusama, jitters and thrills are sensations worth savoring. Where we end is obviously best left unsaid, but The Invitation is remarkable neither for its ending nor for the direction we take to arrive at its ending. Instead, it is remarkable for its foundation, for all of the substantive storytelling infrastructure that Kusama builds the film upon in the first place. —Andy Crump

The 25 Best Free Movies on YouTubeYouTube has a bunch of public domain movies available for free, along with its own catalog of ad-supported films.

76. Steamboat Bill, Jr.

Year: 1928
Director: Buster Keaton and Charles Reisner
Stars: Buster Keaton, Ernest Torrence, Marion Byron
Rating: NR
Runtime: 77 minutes

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Steamboat Bill, Jr.’s climactic cyclone sequence—which is at once great action and great comedy—would on its own earn the film a revered place in the canon of great all time silent film. The iconic shot of a house’s facade falling on Keaton is only one of many great moments in the free-flowing, hard-blowing sequence. But Steamboat Bill, Jr. also showcases some of Keaton’s marvelous intimacy as an actor, such as a scene in which his father tries to find him a more manly hat, or during a painfully hilarious attempt to pantomime a jailbreak plan. —Jeremy Mathews

77. Sunrise

Year: 1927
Director: F.W. Murnau
Stars: Janet Gaynor, George O’Brien, Margaret Livingston
Rating: NR
Runtime: 110 minutes

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During the last few years of the 1920s, the excitement was palpable as brilliant filmmakers pushed to unlock the medium’s full potential. Sunrise was born of that ambition, as Fox brought German genius F.W. Murnau to Hollywood, where he and his cameramen used all the resources at their disposal to create some of the most stunning visuals ever put on celluloid. Telling the story of a husband who strays and then tries to redeem himself, Murnau’s camera flies over country fields, gets tangled in the bustle of the city and desperately looms over a lake in a storm, while his actors, George O’Brien and Janet Gaynor, radiate with sincerity. —Jeremy Mathews

78. Fear and Desire

Year: 1953
Director: Stanley Kubrick

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A 24-year-old Stanley Kubrick’s feature debut, which he later described as “a bumbling amateur film exercise,” Fear and Desire proves the filmmaker a clear-eyed judge of his own work. That’s not to say there’s nothing to like in the hour-long war film, a meandering and tepid critique of the ahem “police action” in Korea, but that those things to like are immature interests engaged with by a filmmaker still learning the craft. The purple prose of future Pulitzer-winner Howard Sackler fills both dialogue and voiceover with strained metaphors and abstract intellectualizing, and the actors, by and large, respond to the overwritten material by overacting it. Frank Silvera, who would appear in Kubrick’s much better follow-up Killer’s Kiss, finds the most humanity in the quartet of soldiers crash-landed behind enemy lines by going grimier and gruffer than the rest. His no-frills blue collar approach—contrasted against the simpering mania of Paul Mazursky (the Bob & Carol & Ted & Alice filmmaker making his acting debut here) and near comic-strip sincerity of Kenneth Harp—encourage us to read some of the intentional ambiguity of the film’s emotions on his face. And Kubrick’s faces are still at the forefront: A mid-movie freakout between Mazursky’s private and a local woman he’s captured is both the film’s best scene and perhaps the director’s first example of that disconcerting straight-at-the-camera look that—thanks to A Clockwork Orange, The Shining, Fear and Desire’s superior foil, Full Metal Jacket, and others—has become known as the Kubrick Stare. Representative of violence and desire and how those two always seem to be neighbors in men, the look is a brief but telling stylistic choice in a scene filled with pet themes and physicalizations of these ideas. Grasping hands and spilled stew create some of the most memorable images, but that the images are what remain most memorable from the movie is itself a kind of indicator. As a film, Fear and Desire doesn’t live up to its experimental ambitions; as a “film exercise,” it’s a showcase for a director who’s got an eye and is quickly developing everything else.—Jacob Oller

79. Our Hospitality

Year: 1923
Directors: Buster Keaton, Jack Blystone
Stars: Buster Keaton, Natalie Talmadge, Joe Keaton
Rating: NR
Runtime: 74 minutes

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Buster Keaton was never one for grandiose social commentary, but he loved observing absurd human behavior. So he had no trouble making Our Hospitality, about a generations-long family feud that comes head-to-head with a southern hospitality code. That code says that you can’t kill someone when they’re a guest in your house, so when Keaton’s character unknowingly stumbles into his enemy family’s home, he can’t leave. Keaton has a great time attempting escapes, with the inside of the house serving as his safe zone if things go wrong. The funniest moment is the dinner prayer, during which everyone is watching everyone else rather than actually praying. A river chase sequence, including a killer waterfall stunt, brings things to a perfect climax. And I didn’t even mention the first act’s use of Stephenson’s Rocket—the historically accurate, ridiculously puny train that transports our hero from New York City. This film also just entered the public domain on Jan. 1. —Jeremy Mathews

80. Sherlock Jr.

Year: 1924
Director: Buster Keaton

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You could make a highlight reel of classic silent comedy moments using only Buster Keaton’s Sherlock, Jr., and no one could justly complain. In the 91 years since Keaton made his love letter to cinema, no one has crafted a better examination of the relationship between the audience and the silver screen. Keaton plays a movie theater projectionist and wannabe detective who dreams he walks into a movie screen and becomes a suave hero—the perfect metaphor for the appeal of the movies. Keaton plays with reality through virtuoso special effects, but also captures genuine stunts in single takes. (He broke his neck in one scene and still finished the take.) He daringly subverts structure—the conflict is resolved halfway through the movie with no help from the hero. He brings visual poetry to slapstick with rhyming gags. The laughs coming from failure in the real world and serendipity in the fantasy movie world, but the mechanics parallel each other. And he strings it all into a romp that never stops moving toward more hilarity.—Jeremy Mathews

81. The General

Year: 1926
Directors: Buster Keaton and Clyde Bruckham
Stars: Joseph Keaton, Marion Mack, Glen Cavender
Rating: NR
Runtime: 79 minutes

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When Yankee spies steal his locomotive and kidnap his girlfriend, a Southern railroad engineer (“The Great Stone Face” Buster Keaton) is forced to pursue his two beloveds across enemy lines. While a few Charlie Chaplin pictures give it a run for its money, The General is arguably the finest silent comedy ever made—if not the finest comedy ever made. At the pinnacle of Buster Keaton’s renowned career, the film didn’t receive critical or box-office success when released, but it has aged tremendously. It’s a spectacle of story, mishmashing romance, adventure, action (chases, fires, explosions) and comedy into a seamless silent masterpiece. —David Roark

82. Black Dynamite

Year: 2009
Director: Scott Sanders
Stars: Michael Jai White, Byron Minns, Tommy Davidson, Kevin Chapman
Rating: R
Runtime: 84 minutes

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It may seem to be a bit late to spoof the blaxploitation films of the 1970s, but don’t tell the guys who made Black Dynamite. Scott Sanders, Michael Jai White and Byron Minns have made a funny satire whose distance from the source material works to its advantage. It pulls its style from films like Shaft and Coffy, using a low-grade film stock, polyester clothing, and afro wigs to mimic their textured look, but it pulls most of its humor from the same vein of silliness that produced movies like Airplane!, expecting an audience that responds to absurdity, not movie allusions. Even if your nearest exposure to Foxy Brown is through a Quentin Tarantino homage, Black Dynamite likely has a joke aimed at you.–Robert Davis

83. Nosferatu

Year: 1929
Director: F. W. Murnau
Stars: Max Schreck, Alexander Granach, Gustav von Wangenheim
Runtime: 63 minutes

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F.W. Murnau’s sublimely peculiar riff on Dracula has been a fixture of the genre for so long that to justify its place on this list seems like a waste of time. Magnificent in its freakish, dour mood and visual eccentricities, the movie invented much of modern vampire lore as we know it. It’s once-a-year required viewing of the most rewarding kind. —Sean Gandert

84. Barry Lyndon

Year: 1975
Director: Stanley Kubrick
Stars: Ryan O’Neal, Marisa Berenson, Patrick Magee, Hardy Kruger, Diana Koerner, Gay Hamilton
Rating: PG
Runtime: 185 minutes

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Stanley Kubrick is one of the few filmmakers in the medium’s history to have multiple masterpieces to his name, but among those masterpieces, it’s Barry Lyndon that’s both most masterful and least appreciated. Barry Lyndon embodies everything about Kubrick that today we identify as “Kubrickian”: his rigorous construction, his attention to detail, his sheer ambition, all while offering the polite argument that maybe history doesn’t give him proper credit for his skill as an actor’s director. Maybe that’s because most of Kubrick’s other films don’t exactly hinge on great performances as much as they pivot on great craft and great screenwriting (though this isn’t a bulletproof argument; see The Shining, for instance). Barry Lyndon is an actor’s stage, handsomely, deliberately, impeccably constructed for the sake of Kubrick’s cast—this is a movie designed to cede the spotlight to stars Ryan O’Neal, Marisa Berenson, Patrick Magee, et al. while making damn well sure that they’re working against the most beautiful backdrop possible.–Andy Crump

85. The Navigator

Year: 1924
Directors: Buster Keaton, Donald Crisp
Stars: Buster Keaton, Kathryn McGuire, Fred Vroom
Runtime: 63 minutes

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The Navigator mines an ocean liner for every gag imaginable. Keaton plays a clueless rich young man who finds himself stranded on a giant, adrift ship with the clueless rich young woman who rejected him serving as his only company. These two spoiled upper-class twerps don’t know how to open canned food, let alone operate a ship, and have to improvise in hilarious ways to get things under control. The scene where the two characters each suspect someone else is on the boat, but can’t find anyone else, plays out in classic Keaton fashion: with perfectly timed wide shots that make it more believable that the two keep missing each other. The best moment may be a spooky night when the characters let the creepiness of the boat get the best of them. —Jeremy Mathews

86. The Scarecrow

Year: 1920
Director: Buster Keaton, Eddie Cline
Stars: Buster Keaton, Joe Roberts, Joe Keaton
Runtime: 21 minutes

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There are Buster Keaton two-reelers with more ambitious special effects, more epic stunts and more elaborate chase scenes, but in my experience, none get more laughs than The Scarecrow. The film never stops to catch a breath as it moves from place to place, always setting up and paying off new laughs. The best moments include an ingeniously designed one-room house, an appearance from the great Luke the Dog, and some truly divine knockabout between Keaton, Joe Roberts and Keaton’s father, Joe. —Jeremy Mathews

87. Bernie

Year: 2011
Director: Richard Linklater
Stars: Jack Black, Matthew McConaughey, Shirley MacLaine
Runtime: 104 minutes

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Bernie is as much about the town of Carthage, Texas, as it is about its infamous resident Bernie Tiede (Jack Black), the town’s mortician and prime suspect in the murder of one of its most despised citizens, Marjorie Nugent (Shirley MacLaine). Unlike Nugent, Bernie is conspicuously loved by all. When he’s not helping direct the high school musical, he’s teaching Sunday school. Like a well-played mystery, Linklater’s excellent, darkly humorous (and true) story is interspersed with tantalizing interviews of the community’s residents. Linklater uses real East Texas folks to play the parts, a device that serves as the perfect balance against the drama that leads up to Bernie’s fatal encounter with the rich bitch of a widow. The comedy is sharp, with some of the film’s best lines coming from those townsfolk. —Tim Basham

88. Blackmail

Year: 1929
Director: Alfred Hitchcock
Stars: Anny Ondra, John Longden, Donald Calthrop
Runtime: 86 minutes

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Alfred Hitchcock’s first sound film was also his last silent, as Blackmail was made in both formats. While the sound version is known for Hitchcock’s experiments with the new technology (most famously a scene that emphasizes the word “knife”), the silent version flows much smoother. And Donald Calthrop’s performance of the blackmailer feels even creepier with just his face and body language doing the job. —Jeremy Mathews

89. Pumping Iron

Year: 1977
Director: Robert Fiore, George Butler
Rating: PG
Runtime: 85 minutes

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Behold arrogance anthropomorphized: A 28-year-old Arnold Schwarzenegger, competing for his sixth Mr. Olympia title, effortlessly waxes poetic about his overall excellence, his litanies regarding the similarities between orgasming and lifting weights merely fodder between bouts of pumping the titular iron and/or flirting with women he can roll up into his biceps like little flesh burritos. He is both the epitome of the human form and almost tragically inhuman, so corporeally perfect that his physique seems unattainable, his status as a weightlifting wunderkind one of a kind. And yet, in the other corner, a young, nervous Lou Ferrigno primes his equally large body to usurp Arnold’s title, but without the magnanimous bluster and dick-wagging swagger the soon-to-be Hollywood icon makes no attempt to hide. Schwarzenegger understands that weightlifting is a mind game (like in any sport), buttressed best by a healthy sense of vanity and privilege, and directors Fiore and Butler mine Arnold’s past enough to divine where he inherited such self-absorption. Contrast this attitude against Ferrigno’s almost morbid shyness, and Pumping Iron becomes a fascinating glimpse at the kind of sociopathy required of living gods. —Dom Sinacola

90. The Kid

Year: 1921
Director: Charlie Chaplin
Stars: Charlie Chaplin, Jackie Coogan, Edna Purviance
Runtime: 60 minutes

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Charlie Chaplin’s first full-length film and one of his finest achievements, The Kid tells the story of an abandoned child and the life he builds with The Little Tramp. Chaplin went against heavy studio opposition to create a more serious film in contrast to his earlier work. However, The Kid features just as much slapstick humor as his previous shorts, but placed within a broader, more dramatic context. —Wyndham Wyeth

91. Night of the Living Dead

Year: 1968
Director: George A. Romero
Stars: Judith O’Dea, Russell Streiner, Duane Jones
Rating: R
Runtime: 90 minutes

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It’s not really necessary to delve into how influential George Romero’s first zombie film has been to the genre and horror itself—it’s one of the most important horror movies ever made, and one of the most important independent films as well. The question is more accurately, “how does it hold up today?”, and the answer is “okay.” Unlike, say Dawn of the Dead (not on Shudder), Night is pretty placid most of the time. The story conventions are classic and the black-and-white cinematography still looks excellent, but some of the performances are downright irritating, particularly that of Judith O’Dea as Barbara. Duane Jones more than makes up for that as the heroic Ben, however, in a story that is very self-sufficient and provincial—just one small group of people in a house, with no real thought to the wider world. It’s a horror film that is a MUST SEE for every student of the genre, which is easy, considering that the film actually remains in the public domain. But in terms of entertainment value, Romero would perfect the genre in his next few efforts. Also recommended: The 1990 remake of this film by Tom Savini, which is unfairly derided just for being faithful to its source. —Jim Vorel

92. Ghost in the Shell

Year: 1995
Director: Mamoru Oshii

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It’s difficult to overstate how enormous of an influence Ghost in the Shell exerts over not only the cultural and aesthetic evolution of Japanese animation, but over the shape of science-fiction cinema as a whole in the 21st century. Adapted from Masamune Shirow’s original 1989 manga, the film is set in the mid-21st century, a world populated by cyborgs in artificial prosthetic bodies, in the fictional Japanese metropolis of Niihama. Ghost in the Shell follows the story of Major Motoko Kusanagi, the commander of a domestic special ops task-force known as Public Security Section 9, who begins to question the nature of her own humanity surrounded by a world of artificiality. When Motoko and her team are assigned to apprehend the mysterious Puppet Master, an elusive hacker thought to be one of the most dangerous criminals on the planet, they are set chasing after a series of crimes perpetrated by the Puppet Master’s unwitting pawns before the seemingly unrelated events coalesce into a pattern that circles back to one person: the Major herself. Everything about Ghost in the Shell shouts polish and depth, from the ramshackle markets and claustrophobic corridors inspired by the likeness of Kowloon Walled City, to the sound design, evident from Kenji Kawai’s sorrowful score, to the sheer concussive punch of every bullet firing across the screen. Oshii took Shirow’s source material and arguably surpassed it, transforming an already heady science-fiction action drama into a proto-Kurzweil-ian fable about the dawn of machine intelligence. Ghost in the Shell is more than a cornerstone of cyberpunk fiction, it’s a story about what it means to craft one’s self in the digital age, a time where the concept of truth feels as mercurial as the net is vast and infinite. —Toussaint Egan

93. The Last Man on Earth

Year: 1964
Directors: Ubaldo Ragona, Sidney Salkow
Stars: Vincent Price, Tony Cerevi, Franca Bettoja
Runtime: 86 minutes

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Richard Matheson’s I Am Legend has proven notoriously difficult to adapt while keeping any of its ideas intact, but compared to the later Omega Man or 2007 version of I Am Legend with Will Smith, this is probably the best overall take on the story. Some have called it Vincent Price’s best film, featuring wonderfully gothic settings in Rome where the last human man on Earth wages a nightly war against the “infected,” who have taken on the characteristics of classical vampires. It doesn’t fully commit to the inversion of protagonist/antagonist of the source material, but it makes the use of Price’s magnetic screen presence and ability to monologue. No one ever watches a Vincent Price movie and thinks “I wish there was less Vincent Price in this,” and The Last Man on Earth delivers a showcase for the actor at the height of his powers. Night of the Living Dead director George Romero has stated that without The Last Man on Earth, the modern zombie would never have been conceived. —Jim Vorel

94. Buchanan Rides Alone

Year: 1958
Director: Budd Boetticher
Stars: Randolph Scott, Craig Stevens, Barry Kelley
Rating: NR
Runtime: 80 minutes

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How many times can Randolph Scott be captured, freed, then captured again? In Buchanan Rides Alone, the answer seems to be “as many times as it takes to fill 80 minutes.” Adapting Jonas Ward’s The Name’s Buchanan, this cheeky Western sees a chipper oak tree of a man (Scott) weather the ax-blows of a corrupt, family-run town. Agry and its namesake clan is deadset against the strong, silent Texan—and that only becomes more violent when he hops in to defend Juan De La Vega (Manuel Rojas), a Mexican man taking revenge on a young drunk Agry for raping his sister. No good deed goes unpunished, especially when the sheriff, the hotel manager, and the judge are all also named Agry. Peter Whitney (as the hotel manager) is the silliest of the bunch, bumbling around in a physical performance so boisterous that it compliments, even nurtures, Scott’s rigid morality. This streak of humor keeps the repetitive plot (remember, they are constantly getting thrown into jail) alive, and its sense of duty in the face of greedy little bullies is invigorating. L.Q. Jones’ henchman steals a few scenes as a fellow Texan caught in Scott’s gravitational pull. A handful of too-tight close-ups and a final stand-off over some cash-filled saddlebags allows Boetticher to flex his bag of economical filmmaking tricks, all in service of an oddly endearing tale of honorable outsiders vs. gluttonous insiders.—Jacob Oller

95. The Red Turtle

Year: 2016
Director: Michaël Dudok de Wit
Stars: Emmanuel Garijo, Tom Hudson
Rating: PG
Genre: Animation, Drama

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Wordless, The Red Turtle is an attempt to find new ways to communicate old truths—or old new ways, ways that feel new but aren’t. There is one word in The Red Turtle, but its isolation amongst the loud non-language of the rest of the film—the ever-present, somnambulant waves; the fauna of the film’s tiny “deserted” island; Laurent Perez del Mar’s score, which itself feels tuned to the natural rhythm of the world emerging within Michaël Dudok de Wit’s animated film—makes us question if it is actually a word at all. “Hey!” our nameless main character yells, otherwise carrying on a lifetime of subverbal communication, but it’s uttered so often amidst de Witt’s carefully built soundscape that it’s not all that impossible for the director to convince you there are no words in his film. Perhaps, a man of both Dutch and British descent, de Wit finds language a barrier between the audience and the emotional breadth of his (admittedly pretty archetypal) story, further inspired to ditch dialogue altogether by the film’s joint Japanese-French funding, and by the fact that if there’s any feature-length cinematic medium more forgiving of having no words, it’s animation. Consider that one simple example among many of the film’s power: Just as The Red Turtle could make you doubt whether a word you’ve known your whole life is actually that, so does it leave you with plenty of wonder—whether all animated films could be so lovely, so careful, so obviously the work of one person who’s given his everything to a single story because he might not have an opportunity to do so ever again. —D.S.

96. The Lady Vanishes

Year: 1938
Director: Alfred Hitchcock
Stars: Margaret Lockwood, Michael Redgrave, Paul Lukas
Rating: PG
Runtime: 99 minutes

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Pretty much predating every trope you’ve ever come to expect out of a genre that gets its name from keeping the audience keyed-up, The Lady Vanishes is both hilariously dated and a by-the-numbers primer on how to make a near-perfect thriller. Far from Hitchcock’s first foray into suspense, the film follows a soon-to-be-married woman, Iris (Margaret Lockwood), who becomes tangled in the mysterious circumstances surrounding the titular lady’s disappearance aboard a packed train. No shot in the film is extraneous, no piece of dialogue pointless—even the ancillary characters, who serve little ostensible part besides lending complexity to Iris’s search for the truth, are crucial to building the tension necessary to making said lady’s vanishing believable. The film is a testament to how, even by 1938, Hitchcock was shaving each of his films down to their most empirical parts, ready to create some of the most vital genre pictures of the 1950s. —Dom Sinacola

97. Donnie Darko

Year: 2001
Director: Richard Kelly
Stars: Jake Gyllenhaal, Jena Malone, Mary McDonnell, Holmes Osborne, Patrick Swayze, Maggie Gyllenhaal, Daveigh Chase, James Duval, Arthur Taxier
Rating: R
Runtime: 113 minutes

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Apparently, at some point in its burgeoning cult ascendency, director Richard Kelly admitted that even he didn’t totally get what’s going on in Donnie Darko—going so far as to release a “Director’s Cut” in 2005 that supposedly cleared up some of the film’s more unwieldy stuff. Yet another example of a small budget wringed of its every dime, Kelly’s debut crams love, weird science, jet engines, superhero mythology, wormholes, armchair philosophy, giant bunny rabbits and Patrick Swayze (as a child molester, no less) into a film that should be celebrated for its audacity more than its coherency. It also helps that Jake Gyllenhaal leads a stellar cast, all totally game. In Donnie Darko, the only thing that’s clear is Kelly’s attitude: that at its core cinema is the art of manifesting the unbelievable, of doing what one wants to do when one wants to do it. —Christian Becker

98. Eternal Sunshine of the Spotless Mind

Year: 2004
Director: Michel Gondry
Stars: Jim Carrey, Kate Winslet, Kirsten Dunst
Rating: R
Runtime: 107 minutes

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In what might be Charlie Kaufman’s finest script, boy meets girl, unaware that they might be living out a doomed eternal recurrence. A brain-wipe firm allows its clients to erase choice people or events from their memory. Turns out, Joel (a repressed Jim Carrey) and Clementine (a vibrant Kate Winslet) have done this before. Technology is the Great Enabler and, perhaps, a secret destroyer—except that the science fiction aspect of Eternal Sunshine of the Spotless Mind is just an auxiliary to the core relational dynamic. Stripped of fantasy, the film’s theme is no Luddite cautionary tale but rather just a melancholy observation of human relationships. This is how it’s always been. We’re quite accomplished at failing each other…and ourselves. There’s nothing so condemnatory as that statement in Eternal Sunshine, a film that watches and weeps at a whimsical circus breaking down. It immerses us in Joel’s mind, Gondry’s in-camera effects and nearly experimental editing taking us tumbling through the increasingly tragic process of removing Clementine. When I first saw this film in the theater in 2004, I swore I would never do the thing that Joel does to try to heal himself, but I’ve lived some life since then and now I’m not sure I can say the same. I’ve deleted phone numbers and pictures on Facebook, had about a month where I was vigilantly untagging myself; I’m sometimes scared to even look at my feed. It doesn’t matter what the social environment is, humans will use whatever’s available to mitigate pain, especially emotional pain. But sometimes we need the thing we want to be rid of; there’s no actualization without vulnerability, risk, and, inevitably, hurt. The final shot of Eternal Sunshine lingers in my memory, always on loop: Joel and Clementine, stumbling in play away from the camera, on a snowy beach in Montauk. It seems like an extrapolation of the final shot of The 400 Blows: “Stuck in stasis” has become “stuck in repeat.” And, yet, in that shot is acceptance, possibly even hope. There are no spotless minds, but perhaps some still can shine. —Chad Betz

99. Paprika

Year: 2006
Director: Satoshi Kon
Stars: Megumi Hayashibara, Toru Furuya, Koichi Yamadera
Rating: R
Genre: Animation, Sci-Fi

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In a career of impeccable films, Paprika is arguably Kon’s greatest achievement. Adapted from the 1993 novel by Yasutaka Tsutsui (whose other notable novel, The Girl Who Leapt Through Time, would form the basis of Mamoru Hosoda’s 2006 film of the same name), Kon could not have asked for source material that better suited his thematic idiosyncrasies as a director. Paprika follows the story of Atsuko Chiba, a psychiatrist working on revolutionary psychotherapy treatment involving the DC Mini, a device that allows the user to record and navigate one’s dreams in a shared simulation. By day Atsuko maintains an unremittingly cold exterior, but by night she moonlights as the film’s titular protagonist: a vivacious dream detective who consults clients on her own terms. When a pair of DC Minis are stolen and loosed upon the world, causing a stream of havoc which manifests the collective unconscious into the waking world, it’s up to Paprika and her colleagues to save the day. The summation of Kon’s decade-long career as a director, Paprika is a cinematic trompe l’oeil of psychedelic colors and exquisite animation. Kon’s transition cuts are memorable and mind bending, the allusions to his immense palate of cinematic influences are savvy, and his appeal to the multiplicity of the human experience as thoughtful and poignant as ever. Unfortunately, Paprika would turn out to be Kon’s last film, as he would later tragically pass away in 2010 from pancreatic cancer. One fact remains evident when looking back on the sum total of his life’s work: Satoshi Kon was, and remains, one of the greatest anime directors of his time. He will be sorely missed.–Toussaint Egan

100. Heathers

Year: 1989
Director: Michael Lehmann
Stars: Winona Ryder, Christian Slater, Kim Walker
Rating: R
Runtime: 102 minutes

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

The 100 Best Free Movies to Stream (September 2024)

1. Short Term 12

2. Chopping Mall

3. Sophie’s Choice

4. Das Cabinet des Dr. Caligari (The Cabinet of Dr. Caligari)

5. His Girl Friday

6. D.O.A.

7. Gaslight

8. Godzilla

9. Night of the Living Dead

10. Nosferatu the Vampyre

11. The Phantom of the Opera

12. Sleepaway Camp

13. Black Christmas

14. Hunt for the Wilderpeople

15. Mothra vs Godzilla

16. Ida

17. One Shot

18. Stagecoach

19. Assault on Precinct 13

20. Support the Girls

21. Terrifier

22. Mandy

23. Requiem for a Dream

24. Ip Man

25. Ginger Snaps

26. The Texas Chain Saw Massacre

27. Aguirre, the Wrath of God

28. Melancholia

29. Henry: Portrait of a Serial Killer

30. Blood and Black Lace

31. Charade

32. Emma.

33. The Vast of Night

34. Southern Comfort

35. Blow Out

36. The Handmaiden

37. Lake Mungo

38. Prince: Sign ‘o’ the Times

39. Blue Ruin

40. King of New York

41. Beyond the Infinite Two Minutes

42. The Lost City of Z

43. The Texas Chain Saw Massacre

44. Grave Encounters

45. The Invitation

46. Wheels on Meals

47. Secretary

48. The Invisible Man

49. Escape From New York

50. Robot Carnival

51. Raiders of the Lost Ark

52. No Country For Old Men

53. ParaNorman

4. Moonstruck

55. Point Break

56. Blue Velvet

57. Stalag 17

58. The Changeling

59. Talladega Nights

60. House on Haunted Hill

61. Carnival of Souls

62. His Girl Friday

63. Young Mr. Lincoln

64. Citizenfour

65. Rabid

66. Tokyo Story

67. We Need to Talk About Kevin

68. The Texas Chain Saw Massacre

69. The Graduate

70. Ginger Snaps

71. Paths Of Glory

72. Dreams

73. Black Narcissus

74. Greed

75. The Invitation

76. Steamboat Bill, Jr.

77. Sunrise

78. Fear and Desire

79. Our Hospitality