The Best Free Movies on Peacock (November 2021)

Movies Lists Peacock
Share Tweet Submit Pin
The Best Free Movies on Peacock (November 2021)

Peacock might have an unassuming name compared to the beefy energy drink title that is HBO Max or the clear branding of Amazon, but the NBCUniversal streamer isn’t slouching with its offerings. The quality of films in its vast library are by and large quite good (that’s what happens when a studio starts its own streaming service), with the added bonus that it has a free, ad-supported tier—which is even better than the likes of Hulu, which still charges a monthly fee in addition to running commercials. And its free TV isn’t bad either.

Hiding behind the paywall (or the week-long trial subscription, if you want to binge some movies) are collections including animated classics—like Chicken Run—and Alfred Hitchcock favorites—Rope, Psycho, Rear Window, Vertigo and more—but on the free side of things, the pickings certainly aren’t slim. Tons of well-loved filmmakers are represented, from Werner Herzog and David Cronenberg to Spike Lee and Steven Spielberg. November saw two films turnover from this list as Peacock seems to be settling on its library.

Whether it’s horror, drama, documentary, or westerns, Peacock has enough to keep you satisfied—and we’ll be updating this list every month to keep you apprised of the latest and greatest.

Here are the best free movies on Peacock right now:


1. Dead Ringers

dead-ringers-movie-poster.jpg Year: 1988
Director: David Cronenberg
Stars: Jeremy Irons, Geneviève Bujold, Heidi von Palleske, Barbara Gordon, Shirley Douglas
Rating: R
Runtime: 115 minutes

Watch on Peacock

In Dead Ringers, David Cronenberg reins in the extremities of his earlier genre works into something resembling a chamber drama—except there’s always a catch with Cronenberg, and this time he almost cruelly toys with the identities of identical twins, gynecologists Elliot and Beverly Mantle (very loosely based on Stewart and Cyril Marcus), played by a Jeremy Irons who is doubled on himself through black movie magic. Cronenberg also plays with the audience’s perception of the duo, taking steps to establish Beverly as the “good” twin (more sensitive) and Elliot as the “bad” one (more bullish) before eventually degrading those categorizations and blurring the lines between the two characters, in more ways than one. A troubled relationship with actress-patient Claire Niveau (a fierce Genevieve Bujold) creates fissures in the relational dynamic of the twins, which in turn creates fissures in their minds; things get to a point where freakish gynecological tools are created due to imagined mutation spreading. The later scenes of the film take on a haunting quality as Elliot and Beverly become untethered from each other and, thus, their reality. They do manage to find each other again, but this is a David Cronenberg joint; don’t expect a happy ending. Dead Ringers is a brooding rumination on the external realities we use to define ourselves, what happens when our duality is divided and the subconscious ways in which we plant the seeds of our own destruction. More, it’s about doubling our Jeremy Irons intake in one sitting, which is always a worthy cause. —Chad Betz


2. Harry Potter and the Prisoner of Azkaban

azkaban.jpg Year: 2004
Director: Alfonso Cuaron
Stars: Daniel Radcliffe, Rupert Grint, Emma Watson, Gary Oldman, Alan Rickman
Rating: PG
Runtime: 141 minutes

Watch on Peacock

Unlike predecessor Chamber of Secrets, third Potter entry Prisoner of Azkaban straddles a sublime balance between childhood revelry and encroaching doom as Harry (Daniel Radcliffe), Hermione (Emma Watson) and Ron (Rupert Grint) age into an ambivalent future—the same tonal tug-of-war which also defined Mexican director Alfonso Cuaron’s earlier efforts, including A Little Princess and Y Tu Mamá También. Cuaron insists on a brisker pace and, in many instances, a sheer goofiness that can’t be found anywhere else in the books or movies. The Potterverse reaches peak Dahl homage in the film’s opening scenes, when Harry warps his aunt Marge (Pam Ferris) into bloated balloon, mirroring the actions of another alliteration-named magician who happened to run a chocolate factory. Shrunken voodoo head bus navigators, a monster book of monsters and Professor Snape (Alan Rickman) in heels round out a feverish, lighthearted romp through the Wizarding World. And yet, this film’s greatness is in its demarcation: Azkaban firmly yanks the rug back as it progresses, painting a severe contrast between Harry’s past years and his future peril. The titular prisoner, Sirius Black (Gary Oldman), introduces a new moral ambiguity which exposes the HP epic as a metaphor for totalitarianism and racism. The books and movies’ magic never became more meta than when it asked its young wizards to funnel their happiness into the Patronus spell—a weapon against wraith-like spiritual parasites that miraculously passed a PG rating. Those scenes alone confirm Potter as an eternal pop culture emblem for hope in the face of seemingly hopeless futures. —Sean Edgar


3. Midnight Run

midnight_run_poster.jpg Year: 1988
Director: Martin Brest
Stars: Robert De Niro, Charles Grodin, Yaphet Kotto, Dennis Farina, John Ashton
Rating: R
Runtime: 122 minutes

Watch on Peacock

The ’80s created the textbook action/comedy formula, and director Martin Brest was smack dab in the middle of it. His Beverly Hills Cop was originally written as a straight action movie, until Eddie Murphy was cast in the lead role. Instead of keeping the overall self-serious tone of the film and just inserting some out-of-place comedy set pieces into the narrative, Murphy and Brest infused a lighthearted tone across the entire project, while keeping the basic requirements of an action structure in place. Midnight Run, Brest’s follow-up to Beverly Hills Cop, perfects this fusion. None of the action sequences take themselves too seriously, and none of comedy comes across as mugging, desperate to extract easy chuckles. The premise and structure are very simple and fairly predictable: It’s a traditional road movie wherein a grizzled bounty hunter (Robert DeNiro) has to transport a mob accountant (Charles Grodin) across the country, with the mob and the police squarely on their tail. What makes Midnight Run still feel fresh after 30 years is Brest’s aforementioned handle on tone, and the terrific chemistry between DeNiro and Grodin, so on point it’s surprising they weren’t reunited for other similar flicks after this. Usually the rough masculine bounty hunter would be the wild card against the accountant’s stuffy straight man, yet DeNiro and Grodin find refreshing ways of tinkering with that formula, with DeNiro’s character eventually coming across as a regular good guy who was dealt more than a few bad hands, and Grodin as a lovable but sometimes infuriating weirdo. —Oktay Ege Kozak


4. James White

james-white.jpg Year: 2015
Director: Josh Mond
Stars: Christopher Abbott, Cynthia Nixon, Kid Cudi, Ron Livingston
Rating: R
Runtime: 86 minutes

Watch on Peacock

Eventually while watching James White, you’ll decide you simply cannot get a bead on its main character. The sooner you do, the better: Like no movie in recent memory, the feature debut of writer-director Josh Mond is a small marvel of even-handed empathy. Played by Christopher Abbott, James White has a restless energy, a self-destructive streak, a bratty sense of entitlement, and a fierce devotion to those he loves. So, what does that make him, exactly? A cautionary tale? Utterly insufferable? A misunderstood romantic? James White never quite decides, which isn’t the same as not having strong opinions about its central figure. Mond has nothing but feelings for White, and they’re compellingly complicated. Loosely based on Mond’s own life, James White spans about five months, but the jaggedness of the telling makes the movie feel like the scenes are simply ripped-out patches in a much larger quilt of a life. There’s a looseness to the film that’s attuned to White’s own twitchy psyche, but Mond constructs his story with care, keeping an eye on its emotional through line. White’s life is in tumult when we first meet him, but we soon get the impression that his life is always fraying—it’s just that, this time, his distant father has died and now that’s become the central focus of his personal whirlwind. White isn’t so much grieving the loss—he hardly knew the man—but, rather, is concerned about his divorced mother Gail (a terrific Cynthia Nixon), who has stage 4 cancer and doesn’t need the additional emotional blow. The second half of James White is given over to Gail’s unalterable condition, and Abbott and Nixon hunker down as their characters travel down a road that only has one final destination. Even then, though, Mond refuses to give in to sentimentality or easy takeaways. To call James White a coming-of-age tale is simplistic—plus, it creates an expectation that its protagonist actually grows in some sort of quantifiable, conventional way. Maybe White will turn over a new leaf later after the credits roll, but it will take more than an 85-minute film for such a change to occur. —Tim Grierson


5. Bernie

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

Watch on Peacock

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


6. Fear and Loathing in Las Vegas

fear-and-loathing-in-las-vegas-poster.jpg Year: 1998
Director: Terry Gilliam
Stars: Johnny Depp, Benicio Del Toro, Craig Bierko
Runtime: 118 minutes

Watch on Peacock

Terry Gilliam’s Fear and Loathing in Las Vegas was harshly criticized upon its release: It was dubbed too incoherent, without enough character development, too indulgent in its sickening display of excess—though critics had to concede that it was surprisingly faithful adaptation of Hunter S. Thompson’s novel of the same name. So for those fans of Thompson’s writing, Fear and Loathing feels right—how else to capture the hallucinatory nightmare of the original work? Gilliam and his collaborators create a staggeringly baroque vision of Las Vegas able to easily induce in any viewer the feeling that he or she has been huffing some of the same detrimental vapors inhaled onscreen. Johnny Depp and Benicio del Toro are appropriately unhinged as Raoul Duke and his attorney Dr. Gonzo, respectively, and other recognizable faces (Cameron Diaz, Flea, Gary Busey) flit in and out of the film as if in a dream. It may be an incoherent mess, but it’s a one-of-a-kind mess, capturing the seductive incoherency at the heart of its source material. —Maura McAndrew


7. Body Bags

body-bags-poster.jpg Year: 1993
Directors: John Carpenter, Tobe Hooper, Larry Sulkis
Stars: Stacy Keach, Mark Hamill, David Warner, Sheena Easton, Debbie Harry, Twiggy, Robert Carradine
Rating: R
Runtime: 91 minutes

Watch on Peacock

Sometimes, even anthologies with less-than-stellar stories can get by on sheer charming commitment to gross-out delights, and that’s John Carpenter’s Body Bags for you. Originally conceived as a gorier, more grotesque spin on the Tales From the Crypt formula for Showtime, the series was cancelled after only a few potential episodes had been filmed. Not wanting to lose the material, Carpenter simply assembled his favorites into a feature film. Each segment isn’t particularly memorable, except for the closer, which features Mark Hamill as a baseball player who loses an eye and then gains the eye of a serial killer via a donation. You can guess where things go from there. What is memorable about Body Bags is the goofy wraparound segments, which feature Carpenter himself as a Crypt Keeper-esque mortician who gleefully hacks apart bodies and drinks formaldehyde, showing a much lighter hearted personality than you’d expect from the director of dour films like The Thing or Prince of Darkness. It’s fun to watch Body Bags today for the not-so-subtle genre references (“Another grisly murder in Haddonfield today…”) and the incredible array of character actors and cameos that were lined up, including the likes of Wes Craven as a leering perv, Stacy Keach as a guy receiving miracle hair transplants, Charles Napier as a baseball manager, Twiggy as a housewife (reuniting these two from The Blues Brothers), Roger Corman as a doctor, Tom Arnold as a mortician and Sam Raimi as a corpse.—Jim Vorel


8. Being John Malkovich


being_john_malkovich_poster.jpg Year: 1999
Director: Spike Jonze
Stars: John Cusack, Cameron Diaz, Catherine Keener, John Malkovich
Runtime: 112 minutes

Watch on Peacock

The feature film debut from director Spike Jonze and writer Charlie Kaufman is a long, absurd joke whose punchline is its final shot: the view of a man who whimpers as he’s forced to watch his loved ones forget he’s ever existed. Being John Malkovich admits, with sad clarity, that our lives are totally out of our control. In the film, we follow street puppeteer Craig (John Cusack, looking like a small, humming pile of hair) as he confronts the economic viability of his chosen occupation by getting an admin job on the 7 ½ floor of building that also happens to hide a tiny door which leads, if one crawls through cobwebs and puddles, to the inside of John Malkovich’s head, wherein for 15 minutes the brain tourist can vicariously live through famous actor John Malkovich’s eyes before getting spit up into a ditch off the New Jersey Turnpike. Having had his way with marionettes for years, Craig slowly understands how to control Malkovich while inside his head, crouching in the man’s sewer of an unconscious to hide away from the requisite 15-minute limit, but not before falling in love with a coworker (Catherine Keener) who seems to be falling in love with Craig’s wife, Lotte (Cameron Diaz), but only via various liaisons through John Malkovich’s manipulable corpus. Throughout, Jonze and Kaufman only afford as much logic as is needed to movie the story from one weird scenario to another, but never letting the bleak heart of the film’s happenings overtake how goofily the plot unfolds. Visual detritus litters Jonze’s shots: A chucked can from a speeding car bounces off Malkovich’s head, the culprit recognizing Malkovich in time enough to call him out by name, though why John Malkovich poorly disguised in a ball cap and covered in ectoplasm would be on the side of the road in Jersey is anyone’s guess; a documentary features Brad Pitt briefly only to ignore him; an alternate universe Charlie Sheen embraces his receding hairline. Ideas pile atop more ideas, until the whole thing collapses in on itself, the film’s centerpiece basically John Malkovich singing his own name to himself over and over, attempting to seduce John Malkovich into accepting what we don’t really understand. —Dom Sinacola


9. Nosferatu the Vampyre

nosferatu-the-vampyre-poster.jpg Year: 1979
Director: Werner Herzog
Stars: Klaus Kinski, Isabelle Adjani, Bruno Ganz, Roland Topor, Walter Ladengast
Rating: PG
Runtime: 107 minutes

Watch on Peacock

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


10. Frost/Nixon

frost-nixon.jpg Year: 2008
Director: Ron Howard
Stars: Frank Langella, Michael Sheen, Kevin Bacon, Rebecca Hall
Rating: R
Runtime: 122 minutes

Watch on Peacock

A small-scale film with a large purview, Frost/Nixon strategically captures the interview as journalistic art, as we watch David Frost (Michael Sheen) attempt to destabilize the most difficult of subjects, Richard “Tricky Dick” Nixon (Frank Langella, in a captivating performance). The film doesn’t much dig into David Frost personally, other than to indicate that he’s an entertainer above all, used to coasting on his natural charisma and not quite prepared for the potentially career-ruining interview he’s signed himself up for. There are some fun, awkward scenes with Frost and his research team (featuring the always-enjoyable Sam Rockwell and Oliver Platt), meeting and greeting the former president, too. But most of Frost/Nixon’s running time is dedicated to what Nixon dubs a “duel,” and it is exhilarating to watch Frost, initially pummeled by the pro opposite him, come back to life in the final round.


11. Short Term 12

short-term-12.jpg 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

Watch on Peacock

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


12. Highlander

highlander-movie-poster.jpg Year: 1986
Director: Russell Mulcahy
Stars: Christopher Lambert, Sean Connery, Roxanne Hart, Clancy Brown
Rating: R
Runtime: 111 minutes

Watch on Peacock

The premise is delightfully bananas: In this world, a small group of people who are immortal wander the Earth in competition for a vague “Prize.” Unable to have children, they regenerate all bodily harm unless decapitated—whereupon some weird electromagnetic life force is transferred to the victor of the duel in an explosive phenomenon known as “The Quickening.” With each Quickening, an immortal gains the knowledge and power of his defeated foe. The last non-headless man left standing at the end of “The Game” claims “The Prize.” Immortals have a weird ability to sense one another when they get closer—probably because there would be no other way to easily identify one another otherwise. The only specific prohibition on their bloody bouts seems to be that fighting on holy ground of any kind is forbidden. (Why? Who enforces it if somebody violates the rule, the Immortal Police?) This seems pretty promising: Fighters who grow in strength and power, exponentially, with each successive victory, until only the two absolute baddest remain. They’d probably be throwing Kamehameha waves and kicking over buildings after thousands of years of accumulated power, right? Nope, it just comes down to two dudes with swords clanging away at one another in a poorly lit, abandoned, vaguely industrial setting. Despite this, the film has endured with a gritty story, Sean Connery goofing around, an unforgettably crass and vile villain and Queen on the soundtrack. Australian director Russell Mulcahy’s background was in music videos—Highlander has that same kind of stylized, operatic, overblown nature. —Kenneth Lowe


13. Eternal Sunshine of the Spotless Mind

eternal-sunshine-of-the-spotless-mind-poster.jpg Year: 2004
Director: Michel Gondry
Stars: Jim Carrey, Kate Winslet, Kirsten Dunst
Rating: R
Runtime: 107 minutes

Watch on Peacock

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


14. They Live

they-live-poster.jpg Year: 1988
Director: John Carpenter
Stars: Roddy Piper, Keith David
Rating: R
Runtime: 93 minutes

Watch on Peacock

Like most of John Carpenter’s movies, They Live can be read however one pleases—they are, after all, mostly about pleasing you. A sharp commentary on consumerism carved gleefully with a dull knife, or maybe something closer to a concerned embrace of the bourgeois joys inherent in dumb violence, or maybe just a weird-ass sci-fi action movie with a weird-ass leading man: They Live is, almost inherently, a joy to watch. It’s as if Carpenter’s tapped into some sort of primordially aligned pleasure axis along your spine, giving you the tingles as he balances insight and idiocy throughout his tale about a drifter (“Rowdy” Roddy Piper) who, with the help of magic sunglasses, discovers that the rich and powerful are just as grotesque as he’d always assumed. Every one of Carpenter’s odd plot choices click into place as if preordained, so that when Piper’s in a completely pointless, six-minute fight scene with Keith David, one can’t help but love that Carpenter’s in on the punchline with all of us, which just happens to be that there is no punchline. The fight scene exists for its own sake—as maybe much of They Live does. Carpenter’s a goddamn genius. —Dom Sinacola


15. Nightbreed


nightbreed poster (Custom).jpg Year: 1990
Director: Clive Barker
Stars: Craig Sheffer, Anne Bobby, David Cronenberg, Charlie Haid, Hugh Quarshie, Hugh Ross
Rating: R
Runtime: 99 minutes

Watch on Peacock

Nightbreed is an odd duck of a movie, stranded somewhere between legitimate horror film and dark fantasy story. Clive Barker directs, only a few years after Hellraiser, but here his ambition perhaps got the best of him. It’s pretty clear that he wanted Nightbreed to be something akin to a horror epic, a movie with a profound message about identity, acceptance and community. In execution, though, it has a hard time picking what tone it’s supposed to be emanating. Sometimes it’s darkly humorous. Sometimes it’s legitimately spooky. Other times you’re not sure whether you’re supposed to be taking the action on screen seriously or not. One thing that is spectacular throughout is the art direction, sets, costuming and makeup. Some of the character designs may come off as “silly,” but just as many of them are likely to end up in your nightmares. Nightbreed is a mixed bag, a would-be inspiring story about monsters trying to build a safe community to peacefully live their lives, but lacking the iconic nature of Barker’s most famous creations. —Jim Vorel


16. The Wiz

the-wiz-poster.jpg Year: 1978
Director: Sidney Lumet
Stars: Diana Ross, Michael Jackson, Richard Pryor
Runtime: 133 minutes

Watch on Peacock

With all respect to Judy Garland and the technicolor dreamworld of Oz, Diana Ross will always and forever be my Dorothy. The Wiz, the 1978 adaptation of The Wizard of Oz that makes the beloved L. Frank Baum tale Blackity-Black as it were, is the first film I can ever remember watching. How lucky am I? The story’s central meditations on finding a place/home of one’s own and finding the courage/wit necessary to traverse life’s obstacles take on new resonance when they are considered by Black characters. Additionally, the film’s dance sequences and iridescent colors—which pop off of the brown skin of extras and main characters alike—is visually stunning. It invites you to luxuriate in it. There is not a performance in this film that flops or falters. Michael Jackson’s Scarecrow, Nipsey Russell’s Tin Man and Ted Ross’ Cowardly Lion? Chef’s kiss to all. There is not a curl out of coil or a choice which doesn’t flutter down and land with ease in this film. Eveline, The Wiz’s Wicked Witch, has her villainous ways grounded in exploitative labor practices rather than an exaggeration of her features or the ogre-tinge of her skin. The disappointment when the wonderful Wiz (Richard Pryor), the omnipotent savior of the damned and discarded, is outed as fake takes on a newer and more startling dramatic weight. And there are few moments in cinema guaranteed to bring me to tears as easily as Diana Ross’ rendition of “Home.” If you love yourself, watch this movie.—Adesola Thomas


17. Black Christmas

black-christmas-poster.jpg Year: 1974
Director: Bob Clark
Stars: Olivia Hussey, Margot Kidder, Keir Dullea, Andrea Martin, John Saxon
Rating: R
Runtime: 98 minutes

Watch on Peacock

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


18. Prom Night

prom-night-poster.jpg Year: 1980
Director: Paul Lynch
Stars: Jamie Lee Curtis, Leslie Nielsen, Casey Stevens, Anne-Marie Martin, Antoinette Bower
Rating: R
Runtime: 91 minutes

Watch on Peacock

It is perhaps odd to think, in the post-Jason Voorhees era of slasher villains, that slasher killers of the early ’80s were often weirdly justified in their slayings. Sure, there are some “escaped maniacs on the loose,” but many are basically avenging angels, punishing groups of young people for a terrible crime they tried to sweep under the rug, with Prom Night standing as one of the classic examples. Starring Jamie Lee Curtis in her first slasher role after Halloween, Prom Night knows it’s trying to cash in on that earlier film’s success, but it also manages to stand on its own, inspiring imitations all the way to I Know What You Did Last Summer. Portions of the film are kind of rote, and even the best-looking versions you can find today have a soft, gauzy quality that makes the picture look a little strange, but when Prom Night is good, it’s great. Oddly, it’s not really Curtis who gets the best sequences, but actress Eddie Benton as Wendy, who participates in one half of what is maybe the best (and certainly most formative) chase sequence in the history of the horror genre. Stalked by an axe-wielding killer in a ski mask, the frenzied, eight-minute scene spools out for an eternity as Wendy is chased through the locked, echoing halls of the high school, illuminated in impressionistic, Argento-esque shafts of red light. Not all of Prom Night can live up to it (the disco dance sequences are dreadful), but the chase alone makes it a classic. —Jim Vorel


19. Sleepaway Camp

sleepaway camp poster (Custom).jpg Year: 1983
Director: Robert Hiltzik
Stars: Felissa Rose, Jonathan Tiersten, Karen Fields, Christopher Collet, Mike Kellin
Rating: R
Runtime: 84 minutes

Watch on Peacock

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


20. Prince: Sign ‘o’ the Times

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

Watch on Peacock

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


21. MacGruber

macgruber-poster.jpg Year: 2010
Directors: Jorma Taccone
Stars: Will Forte, Kristen Wiig, Ryan Phillippe
Rating: R
Runtime: 90 minutes

Watch on Peacock

Adapted from a reoccurring SNL sketch—also created by director Taccone—MacGruber is not for everybody. Though it pulled through on the strength of committed performances from Will Forte and Kristin Wiig, this bizarre MacGyver parody was the last sketch you’d want to watch for ninety minutes. When the movie was announced, it felt like the first SNLfilm in ten years would be more It’s Pat than The Blues Brothers. But it wasn’t. With the sleep deprivation from producing a feature-length film alongside a weekly TV show reportedly inspiring the film’s more insane sequences (like the “celery-in-ass” distraction), Taccone’s film leans so far into action movie clichés that it ends up being undeniable. What resulted was one of the most effectively hilarious films in recent memory. With MacGruber routinely tearing throats out, fucking his ghost-wife (Maya Rudolph) in a graveyard, assembling and then losing a team of WWE wrestling stars in about five minutes, and battling a villain named Dieter Von Cunth (Val Kilmer), it was no surprise that critics despised this film and audiences stayed away. That’s a shame, because as far as belly-laughs go, it’s pretty hard to beat “just tell me what you want me to fu-uck!” —Graham Techler


22. The Social Network

the-social-network.jpg Year: 2010
Director: David Fincher
Stars: Jesse Eisenberg, Andrew Garfield, Justin Timberlake, Armie Hammer, Max Minghella
Rating: R
Runtime: 128 minutes

Watch on Peacock

The Social Network follows the evolution of one of the most financially successful and problematic institutions of the 21st century. The film opens with a break-up scene between Mark Zuckerberg (Jesse Eisenberg), a young man completely devoid of social skills, and his girlfriend Erica (Rooney Mara). Zuckerberg confuses Erica with his literal, machine-like translations of her every word while occasionally throwing in a sarcastic witticism. Throughout the film this sort of wordplay ebbs and flows with comedy and tragedy. After Erica walks out on him, an inebriated Mark goes back to his Harvard dorm room and disses Erica with aspersions to her character and bra size on the school’s social page for everyone to see while also creating a new social website which, with help from a few friends, eventually becomes Facebook. Most of the film takes place as a series of flashbacks based on testimony in two lawsuits filed against Zuckerberg. The first is from a trio of Harvard upperclassmen who claim to have contracted Zuckerberg to create the network, and who also belong to an elite club that Mark wishes to be a part of. The other suit comes from his best friend and Facebook co-founder Eduardo Saverin (Andrew Garfield) whose story in the film is as central as that of Zuckerberg’s. The disintegration of their relationship begins when the creator of Napster, Sean Parker (Justin Timberlake) takes a bandwagon seat on the rising company while creating a wedge between the co-founders. Garfield is wonderful as the unsure Saverin who wants to carefully guide Facebook into its future while Zuckerberg and Parker are full steam ahead. Like Oliver Stone’s 1987 film Wall Street, greed is still king and the wolves are at the door. —Tim Basham


23. An American Werewolf in London

american werewolf poster (Custom).jpg Year: 1981
Director: John Landis
Stars: David Naughton, Jenny Agutter, Griffin Dunne, John Woodvine
Rating: R
Runtime: 97 minutes

Watch on Peacock

Few directors have ever displayed such an innate tact for combining dark humor and horror the way John Landis does. At the height of his powers in the early ’80s, one year removed from The Blues Brothers, Landis opted for a much dirtier, grittier, scarier story that stands as what is still the best werewolf movie of all time. When two travelers backpacking across the English moors are attacked by a werewolf, one is killed and the other infected with the wolf’s curse. Haunted by the simultaneously unnerving and hilarious visions of his dead friend, he must decide how to come to terms with the monster he has become, even as he strikes up a relationship with a beautiful nurse played by Jenny Agutter. The film lulls you into comfort with its witticism before springing shocking, gory dream sequences on the viewer, which repeatedly arrive unannounced. The key moment is the protagonist’s incredibly painful, traumatic full transformation, set to the crooning of Sam Cooke doing “Blue Moon,” which is still unsurpassed in the history of the genre. Legendary FX and monster makeup artist Rick Baker took home the first-ever Academy Award for For Best Makeup and Hairstyling for creating a scene that has given the wolf-averse nightmares ever since. – Jim Vorel


24. Out of Sight

out-of-sight-poster.jpg Year: 1998
Director: Steven Soderbergh
Stars: George Clooney, Jennifer Lopez, Ving Rhames, Don Cheadle, Dennis Farina, Albert Brooks
Rating: R
Runtime: 120 minutes

Watch on Peacock

As through Jim Jarmusch’s eyes in Only Lovers Left Alive, Detroit via Steven Soderbergh is a metropolis equal parts romance and history, both a place where people can escape their typical lives for a time and a place that people want to escape to leave behind the suffocating weight of centuries of human industry. Though he photographs the city in the cobalt blues of cold temperatures and the biting grays of colorless winter, Soderbergh seems to revel in the weird sprawl of Metro Detroit, fascinated by how the violence of boxing matches at the State Theater can so quickly—as if it were only a matter of changing a green screen—lapse into the wealthy compounds of Bloomfield Hills or the crystalline hotel rooms of the Renaissance Center, where you can eat a $25 burger listening to gun shots in the street below. Out of Sight is by far the best Elmore Leonard adaptation, the only one to truly embrace Leonard’s hometown as a place far more magical—far more dangerous and upsetting and beautiful and enchanting—than any director has ever admitted before. The rollicking yarn about a bank robber and consummate prisoner Jack Foley (George Clooney) who meets U.S. Marshal Karen Sisco (Jennifer Lopez) mid-prison-break and then entertains dreams of going clean to weirdly woo her, the film’s dedicated to its Michigan metropolis because no other locale has similarly, best and marvelously charmed its way to the bottom. —Dom Sinacola


25. E.T. the Extra-Terrestrial

e-t-poster.jpg Year: 1982
Director: Steven Spielberg
Stars: Henry Thomas, Drew Barrymore, Dee Wallace, Peter Coyote
Genre: Science-Fiction, Action & Adventure
Rating: PG
Runtime: 114 minutes

Watch on Peacock

Steven Spielberg’s classic is many things: an ode to friendship which resonates with children and adults alike, one of the top-grossing films of all time and the moment Spielberg’s career, on a scale of 1-10, reached 11. Though the Academy would not award Spielberg the Best Director trophy until there were more Nazis involved, E.T. remains today perhaps the most deft expression of his directorial hand. —Michael Burgin