Pluto TV is best-known for its livestreaming of TV shows and movies, but to find what you’re looking for with the reliability of a streamer, check out its free and on-demand movies. Its UI might be a little tricky to navigate, especially since it’s got that autoplaying “remember, it’s TV!” thing happening, but once you switch to the On Demand offerings, you’ll see that there are a ton of movies available, including Oscar-winners, Bruce Lee movies, and oodles of horror. Its user interface might be a bit clunky (or exactly what you want if you just miss having regular ol’ TV to flip through), but the selection is almost always on point.
Here are the 10 best movies on Pluto TV:
1. The Truman Show
Year: 1998
Director: Peter Weir
Stars: Jim Carrey, Laura Linney, Ed Harris
Rating: PG
Peter Weir’s delightful, hilarious The Truman Show wouldn’t get made anymore. It’s a star-studded event film centered around a simple and dystopian premise: Jim Carrey’s eponymous character has unwittingly been raised from birth as a reality TV star and only now has begun to suspect that everybody in his life is a hired actor. Carrey’s clear-eyed acting is worlds away from the zany roles that catapulted him to fame a few short years prior, though, as was typically the case with Carrey roles in the ’90s, copious amounts of special effects work go toward creating a believable simulated reality for Carrey’s endearing everyman to be trapped within. The heartfelt monologues and devastating revelations as he fights to escape his gilded cage shine all the brighter for it. The fight to break away from control, from a sanitized and curated existence dictated by a literal white father figure in the sky, rings alarmingly two decades years later, when social media has made performative brand managers of us all. Truman is an unlikely and often hapless hero in his own story, but his eventual hijacking of his own narrative—and his final defiance of his literal and figurative creator figure—form one of the most heroic cinematic arcs of the last 20 years. —Kenneth Lowe
2. Zodiac
Year: 2007
Director: David Fincher
Stars: Jake Gyllenhaal, Mark Ruffalo, Robert Downey Jr., Brian Cox, John Carroll Lynch
Rating: R
I hate to use the word “meandering,” because it sounds like an insult, but David Fincher’s 2007 thriller is meandering in the best possible way—it’s a detective story about a hunt for a serial killer that weaves its way into and out of seemingly hundreds of different milieus, ratcheting up the tension all the while. Jake Gyllenhaal is terrific as Robert Graysmith, an amateur sleuth and the film’s through line, while the story is content to release its clues and theories to him slowly, leaving the viewer, like Graysmith, in ambiguity for long stretches, yet still feeling like a fast-paced burner. It’s not Fincher’s most famous film, but it’s absolutely one of the most underrated thrillers since 2000. There are few scenes in modern cinema more taut than when investigators first question unheralded character actor John Carroll Lynch, portraying prime suspect Arthur Leigh Allen, as his facade slowly begins to erode—or so we think. The film is a testament to the sorrow and frustration of trying to solve an ephemeral mystery that often seems to be just out of your grasp. —Shane Ryan
3. 28 Days Later
Year: 2002
Director: Danny Boyle
Stars: Cillian Murphy, Naomie Harris, Christopher Eccleston, Megan Burns, Brendan Gleeson
Rating: R
The classical zombie film was effectively dead by the time 28 Days Later came along in 2002 and completely reanimated the concept. (And yes, we all know that the “infected” in this film aren’t technically zombies, so please don’t feel that you have to remind us.) The definition of “zombies” is fluid, and always expanding. Here, they’re living rather than dead, poor souls infected by the “rage virus” that makes them run amok, tearing through whatever living thing they see. It’s a modernization of the same fears that powered Romero’s ghouls—unthinking assailants who will stop at nothing and are now more dangerous than ever because they move at a full-on sprint. It’s hard to overstate how big a quantum leap that mobility was for the zombie genre–the early scenes of 28 Days Later where Jim (Cillian Murphy) tries to navigate a deserted London in hospital scrubs, chased by fast-moving zombies, did for this genre what Scream did for the slasher revival, sans the humor. Indeed, 28 days Later is a dead-serious horror film, marking a return to seeing these types of creatures as a legitimate, frightening threat. It’s indicative of another trend of the 2000s, which was to reimagine the classic rules of zombie cinema to fit the needs of the film. The Zack Snyder Dawn of the Dead remake replicated a lot of this film’s DNA when it was released two years later, although it marries the concept with the more traditional Romero ghoul. Together, those two movies gave birth to the concept of the 21st-century serious zombie film. —Jim Vorel
4. Caddyshack
Year: 1980
Director: Harold Ramis
Stars: Chevy Chase, Rodney Dangerfield, Ted Knight, Bill Murray, Michael O’Keefe
Rating: R
There are four faces on the movie poster, and all of them are equally crucial to Caddyshack‘s enduring popularity. From Ted Knight’s aristocratic bluster, to Rodney Dangerfield’s irreverent populism, to the glib playboy Chevy Chase, to Bill Murray’s iconic idiot, Caddyshack has one of the greatest casts of any comedy in memory. Add in a sharp script from National Lampoon co-founder Doug Kenney and amiably shaggy direction from Harold Ramis, and you have an all-time classic.—Garrett Martin
5. Stranger Than Fiction
Year: 2006
Director: Marc Forster
Stars: Will Ferrell, Maggie Gyllenhaal, Dustin Hoffman, Queen Latifah, Emma Thompson
Rating: PG-13
Stranger Than Fiction is the film that should have represented Will Ferrell’s big dramatic break, a sadly underseen and sweetly winning tale of modern fantasy, about a sadsack IRS agent who wakes up one morning to find himself having been thrust overnight into a literary quandary: He suddenly seems to be the main character of a novel, and he can hear the author’s narration in his head, warning him of an impending and tragic death. That knowledge of his upcoming demise serves as an impetus for poor Harold Crick (Ferrell) to start really living his life for the first time ever, embracing the messiness of human experience, romance and sacrifice, even as he attempts to track down the source of the authorial voice (Emma Thompson, neurotic to the max) and kindly ask if she’d reconsider killing him. It’s all somewhat shmaltzy, but you can’t help but be won over by Ferrell’s warmth and plainspoken decency as Harold, and Dustin Hoffman is particularly good as a wry literature professor who takes a grudging interest in Harold’s case, helping him attempt to decode what kind of story he might be in. Stranger Than Fiction steers itself in a surprisingly profound direction as it ponders the intersection of fate and responsibility, both for those who understand the consequences of their action or inaction, and the creators whose work grows beyond their ability to control. —Jim Vorel
6. The Wolf of Wall Street
Year: 2013
Director: Martin Scorsese
Stars: Leonardo DiCaprio, Jonah Hill, Margot Robbie, Matthew McConaughey, Kyle Chandler, Rob Reiner, Jon Favreau, Jean Dujardin, Jon Bernthal
Rating: R
The decade’s been both kind and not so kind to good ol’ Marty, ten years of bad takes questioning his credentials for directing Silence, for denying Marvel movies the honorific of “cinema,” for forcing audiences to showers en masse following screenings of The Wolf of Wall Street. And yet it’s impossible to keep him down; he’s immune to controversy and he thrives on lively debate, which is why, at 70 years old, his chronicle of the life, times and crimes of Jordan Belfort (Leonardo DiCaprio)—a stock broker and inveterate fraudster who bilked over 1,000 schlemiels, suckers and saps out of billions (and got off easy)—feels like something an artist half his age directed. The Wolf of Wall Street is a pissed off film. It’s also a horny, pervy, brutal, an impeccably made and fundamentally hideous film. At every passing image, Scorsese’s white-hot rage burns around the edges of the frame. The director has his own beefs and conflicts with his Christian faith, but here his presence is felt as a furious deity sitting in judgment on the fun Belfort has screwing over his clients, two-timing his first wife, jerking around his second wife and doing more blow in three hours than Scorsese himself did in the 1970s and ’80s. The easy knock to make against this movie is that it endorses the finance bro culture it navigates over the course of its running time, because at no point does Scorsese impose manufactured morality on what happens in front of us; instead he plays the hits as Belfort wrote them, showing the audience exactly what Belfort did while running his company, Stratton Oakmont, and while running around on his spouses. That the film ultimately ends with Belfort out on the prowl again is the ultimate indictment: Being rich allowed this man to get away with financial murder, because being rich, in the end, makes everything better. “Being rich makes everything better,” for some, is the movie’s embraced philosophy, but The Wolf of Wall Street doesn’t appreciate displays of wealth unhinged. It reviles them. Scorsese puts energy into the film, a spring in its every greedy step; one could call such debauchery without consequences a “good time.” But The Wolf of Wall Street doesn’t care about that kind of time as much as it cares about hanging Belfort out to dry. —Andy Crump
7. Moonstruck
Year: 1987
Director: Norman Jewison
Stars: Cher, Nicolas Cage, Danny Aiello, Olympia Dukakis, Vincent Gardenia
Rating: PG
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
8. Point Break
Year: 1991
Director: Kathryn Bigelow
Stars: Patrick Swayze, Keanu Reeves, Gary Busey, Lori Petty
Rating: R
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
9. Henry: Portrait of a Serial Killer
Year: 1986
Director: John McNaughton
Stars: Michael Rooker, Tom Towles, Tracy Arnold
Rating: X
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
10. Django
Year: 1966
Director: Sergio Corbucci
Stars: Franco Nero, Loredana Nusciak, José Bódalo, Ángel Álvarez, Eduardo Fajardo
Rating: NR
Ah, Django. Who can say no to that soundtrack? Who can pass up the grizzled mug of Franco Nero, or the filmic stylings of Sergio Corbucci? Quentin Tarantino certainly couldn’t, and thus we have Django Unchained as a delightfully violent relic of 2012 (see No. 85). More importantly, we have Django and we have Django, a righteous, coffin-dragging, gunslinging, erstwhile Union soldier wandering the United States-Mexico border who winds up caught between tattered remnants of the Confederacy and Mexican revolutionaries. Django cuts a figure of cool reserve, the kind we’ve come to associate with the Spaghetti Western’s antihero archetype; he’s out for a cause, his own cause, and he sees his cause realized through the subterfuge and manipulation favored by his forebears (A Fistful of Dollars, and by extension Yojimbo). But as great as the character is, it’s Django’s level of violence plus Corbucci’s gifts as a craftsman that make the film indelible. If it’s tame by our standards today, then consider that Django was a new ceiling in screen bloodshed back in 1966, and rife with pissed-off political and social subtext to match. Corbucci’s pastiche of spiritual hypocrisy, unveiled rancor for the Ku Klux Klan, and contempt for glorified misogyny make for a dizzying, surreal genre experience against his mud-caked, bloodstained backdrop. Django isn’t just one of the best Spaghetti Westerns of all time. It’s one of the best Westerns of all time, period. —A.C.