Netflix has the movie game down pat. Not only does the streaming service rotate its offerings every month, it's constantly looking for ways to deliver the movies and TV shows you want, wherever you are.
Netflix also gives you the ability to download movies and shows to your phone or tablet, eliminating the need for an internet connection -- that means you can have a few movies ready to go for that cross-country flight. You'll need to download the Netflix app (iTunes and Android), and once you start browsing, you'll see a downward-pointing arrow for titles you can download. To get you started, we picked our favorite downloadable movies, but if you can't find something you like, your best bet is to check out the 100 best movies on Netflix. Never buffer again!
Writer/director Andrea Arnold lets you sit shotgun for the travels of a group of wayward youth in American Honey, a seductive drama about a "mag crew" selling subscriptions and falling in and out of love with each other on the road. Seen through the eyes of Star, played by Sasha Lane, life on the Midwest highway proves to be directionless, filled with a stream of partying and steamy hookups in the backs of cars and on the side of the road, especially when she starts to develop feelings for Shia LaBeouf’s rebellious Jake. It’s an honest look at a group of disenfranchised young people who are often cast aside, and it’s blazing with energy. You’ll buy what they're selling.
For his follow-up to his two action epics, The Raid and The Raid 2, director Gareth Evans dials back the hand-to-hand combat but still keeps a few buckets of blood handy in this grisly supernatural horror tale. Dan Stevens stars as Thomas Richardson, an early 20th century opium addict traveling to a cloudy island controlled by a secretive cult that's fallen on hard times. The religious group is led by a bearded scold named Father Malcolm (Michael Sheen) who may or may not be leading his people astray. Beyond a few bursts of kinetic violence and some crank-filled torture sequences, Evans plays this story relatively down-the-middle, allowing the performances, the lofty themes, and the windswept vistas to do the talking. It's a cult movie that earns your devotion slowly, then all at once.
The Aviator (2004)
The Aviator is a tour-de-force historical epic that hinges on Leonardo DiCaprio as American aviator Howard Hughes, whose mental state stymies grandiose ambitions. DiCaprio loves a good man tormented by internal and external demons, but in this three-hour masterpiece, Martin Scorsese pushes the 30-year-old Leo to bring all of Howard Hughes' many contradictions to life: the swaggering young playboy billionaire, the starlet romancer, the daredevil innovator, and the shrunken madman, unshorn, guzzling milk, pissing in bottles, and muttering "the way of the future" over and over again. It's one of the most harrowing on-screen depictions of how mental illness can wrench a life apart, and one of Leo's unobjectable triumphs.
The Ballad of Buster Scruggs (2018)
The Coen brothers gave some big-name-director cred to Netflix by releasing their six-part Western anthology on the streaming service, and while it's not necessarily their best work, Buster Scruggs is clearly a cut above most Netflix originals. Featuring star turns from Liam Neeson, Tom Waits, Zoe Kazan, and more, the film takes advantage of Netflix's willingness to experiment by composing a sort of death fugue that unfolds across the harsh realities of life in Manifest Destiny America. Not only does it revel in the massive, sweeping landscapes of the American West, but it's a thoughtful meditation on death that will reveal layer after layer long after you finish.
In 1981, Barack Obama touched down in New York City to begin work at Columbia University. As Barry imagines, just days after settling into his civics class, a white classmate confronts the Barry with an argument one will find in the future president's Twitter @-mentions: "Why does everything always got to be about slavery?" Exaltation is cinematic danger, especially when bringing the life of a then-sitting president to screen. Barry avoids hagiography by staying in the moment, weighing race issues of a modern age and quieting down for the audience to draw its own conclusions. Devon Terrell is key, steadying his character as smooth-operating, socially active, contemplative fellow stuck in an interracial divide. Barry could be any half-black, half-white kid from the '80s. But in this case, he's haunted by past, present, and future.
Beasts of No Nation (2015)
True Detective Season 1 director Cary Fukunaga's wartime drama is not a movie you put on in the background. Adapted from Uzodinma Iweala's novel of the same name, this visceral character study tracks a preadolescent after he's recruited to be a child soldier in an African civil war (its specifics are left purposely ambiguous). Lorded over by a gruff commander (Idris Elba), the movie is loud, tender, and violent -- a coming-of-age story in which the characters may not live to come of age.
Black Hawk Down (2001)
It's hard to tell the actors apart in Black Hawk Down: they're all dressed in military fatigues, often with helmets and goggles that obscure their faces; there's dust everywhere; and yelling is the preferred method of communication. To say that Ridley Scott's chronicle of a 1993 US military raid in Mogadishu doesn't cohere isn't exactly a negative critique. It's a part of the movie's frenzied, discombobulating aesthetic. Faces blur. The soundtrack pummels you with gunfire. Helicopters whirl overhead. It's experiential, the type of movie that's tough to shake -- even on a puny computer screen.
Blue Is the Warmest Color (2013)
Released into a media storm overly concerned with its lengthy, controversially filmed sex scene, Abdellatif Kechiche's three-hour opus drowns tabloid buzz with sensual and sensitive drama. Make time for the tender, inquisitive exploits of Adèle (Adèle Exarchopoulos), who falls hard for the cerulean lure of Emma (Spectre's Léa Seydoux). The runtime breathing room gives Kechiche the chance to explore every glance, every touch, every kiss, and every misstep in their relationship. It's a love epic, where minor notes play like power chords.
Fair warning: Some people really, really, really, really, really hated this, but we dug it. Richard Linklater's saga of 12 formative years in young Mason's life (Ellar Coltrane) initially piqued our curiosity because of the director's real-time filming approach. The ambitious movie's two-hour, 46-minute runtime yields an intimate portrait of a family's ups and downs, tender performances from parents Ethan Hawke and Patricia Arquette, and an illuminating look at how actors' talents age and grow.
Burn After Reading (2008)
The Coens followed up their No Country for Old Men Best Picture win at the Oscars by turning sharply back to comedy. Burn After Reading is absurd and acerbic, a political hoopla revolving around a prized MacGuffin -- a CD containing government secrets! -- that isn't a MacGuffin at all. A gaggle of "serious" actors, most notably Brad Pitt, Tilda Swinton, John Malkovich, and Coen stalwarts Frances McDormand and George Clooney, shoot for the stratosphere as they weave through the mad, mad, mad, mad world of Washington, DC. And because this is a Coen brothers movie, blood spills freely as everyone from personal trainers to CIA spies sink deeper and deeper into confusion. An ode to empowered idiocy, complete with a dildo chair.
Some mysteries simmer; this one smolders. In his adaptation of a Haruki Murakami short story, writer and director Lee Chang-dong includes many elements of the acclaimed author's slyly mischievous style -- cats, jazz, cooking, and an alienated male writer protagonist all pop up -- but he also invests the material with his own dark humor, stray references to contemporary news, and an unyielding sense of curiosity. We follow aimless aspiring novelist Lee Jong-su (Yoo Ah-in) as he reconnects with Shin Hae-mi (Jeon Jong-seo), a young woman he grew up with, but the movie never lets you get too comfortable in one scene or setting. When Steven Yeun's Ben, a handsome rich guy with a beautiful apartment and a passion for burning down greenhouses, appears, the film shifts to an even more tremulous register. Can Ben be trusted? Yeun's performance is perfectly calibrated to entice and confuse, like he's a suave, pyromaniac version of Tyler Durden. Each frame keeps you guessing.
Unlike the Unfriended films or this summer's indie hit Searching, this web thriller from director Daniel Goldhaber and screenwriter Isa Mazzei isn't locked into the visual confines of a computer screen. Though there's plenty of online screen time, allowing for subtle bits of commentary and satire, the looser style allows the filmmakers to really explore the life and work conditions of their protagonist, rising cam girl Alice (Madeline Brewer). We meet her friends, her family, and her customers. That type of immersion in the granular details makes the scarier bits -- like an unnerving confrontation in the finale between Alice and her evil doppelganger -- pop even more.
Todd Haynes’ story about lesbian love in the 1950s is a gorgeous film from start to finish: from the direction (every frame is as lush as a painting) to the awards-worthy performances (Rooney Mara as the gawky, vulnerable Therese and Cate Blanchett as the alluring, perfectly coiffed Carol -- seriously, give this woman’s hair-swoop its own award). No matter which way you swing, Carol is one of the most tender cinematic depictions ever of what it feels like to be in love -- how the quality of light changes, how time slows, how every fleeting gesture takes on the deliberateness of sign language -- and why two people would be willing to go against everything society expects of them in order to hold on to it.
Clouds of Sils Maria (2016)
Set against the heavenly hills of Sils Maria, Switzerland, this chamber drama traps an aging actress (Juliette Binoche), her raw and responsive assistant (Kristen Stewart), and an ingenue gunning for fame (Chloë Grace Moretz), as they swirl through each other's lives like a mist. There's little plot to describe in Clouds of Sils Maria; you come to watch three premier actresses drill into psychology and they deliver in spades.
Dallas Buyers Club (2013)
This biopic about Ron Woodruff, a particularly rebellious Texan who learns he's HIV-positive in the 1980s, is peak Matthew McConaughey and led to his infamous acceptance speech after winning the Oscar for Best Actor. (In case you've forgotten, he says his hero is himself in the future.) Jean-Marc Vallée's searing Texas landscapes and unflinching look at the progression of a disease few people understood give this movie a unique spin on the conventional biopic.
Jake Gyllenhaal stars in Denis Villeneuve's (Arrival) creepy sci-fi thriller about a man who discovers he has a doppelganger. The double has been a literary trope for just about as long as people have been creating art (Enemy is based on Nobel laureate José Saramago's novel The Double), but Gyllenhaal's unnerving performance and Villeneuve's claustrophobic, monochromatic directing make Enemy a particularly sophisticated riff on a well-worn theme. It's a mind-bending exploration of identity, and the ending will leave you lying awake, puzzling over what it all means.
The Fighter (2010)
David O. Russell’s (Silver Linings Playbook, American Hustle) The Fighter packs a punch. The Oscar-nominated biographical drama stars Mark Wahlberg as underdog boxer Micky Ward alongside Christian Bale, in yet another transformative role as Ward’s older half-brother/trainer Dicky Eklund. Lined with action and grit, the film follows Ward’s unpredictable rise in the ranks in the world of championship welterweight boxing with the contested help of his washed up brother who descended into drug addiction and a life of seedy crime. Tethered to his success is the strength of the destructive closeness of his family, including his mother played by Melissa Leo, and the relationships outside of it, like that of his girlfriend played by a scene-stealing Amy Adams -- meaning The Fighter is a hard knocks lesson in what it means to look out for someone, as well as a masterclass in acting.
Frances Ha (2012)
Before winning hearts and Oscar nominations with her coming-of-age comedy Lady Bird, Greta Gerwig starred in the perfect companion film, about an aimless 27-year-old who hops from New York City to her hometown of Sacramento to Paris to Poughkeepsie and eventually back to New York in hopes of stumbling into the perfect job, the perfect relationship, and the perfect life. Directed by Noah Baumbach (The Meyerowitz Stories), and co-written by both, Frances Ha is a measured look at adult-ish life captured the kind of intoxicating black and white world we dream of living in.
Fyre: The Greatest Party That Never Happened (2019)
Everyone's favorite disaster of a festival received not one, but two streamingdocumentaries in the same week. Netflix's version has rightly faced some criticism over its willingness to let marketing company Fuck Jerry off the hook (Jerry Media produced the doc), but that doesn't take away from the overall picture it portrays of the festival's haphazard planning and the addiction to grift from which Fyre's founder, Billy McFarland, apparently suffers. It's schadenfreude at its best.
Gerald's Game (2017)
Like his previous low-budget Netflix-released horror release, Hush, a captivity thriller about a deaf woman fighting off a masked intruder, Mike Flanagan's Stephen King adaptation of Gerald's Game wrings big scares from a small location. Sticking close to the grisly plot details of King's seemingly "unfilmable" novel, the movie chronicles the painstaking struggles of Jessie Burlingame (Carla Gugino) after she finds herself handcuffed to a bed in an isolated vacation home when her husband, the titular Gerald, dies from a heart attack while enacting his kinky sexual fantasies. She's trapped -- and that's it. The premise is clearly challenging to sustain for a whole movie, but Flanagan and Gugino turn the potentially one-note set-up into a forceful, thoughtful meditation on trauma, memory, and resilience in the face of near-certain doom.
Good Will Hunting (1997)
It might be hard to believe now, but once upon a time, Jason Bourne and Batfleck wrote an Academy Award-winning script. As the titular Will Hunting, a directionless MIT janitor with a jaw-dropping gift for mathematics, Matt Damon sparred with the late Robin Williams' beautifully portrayed psychologist to create a moving picture that weighs embracing ambition with remembering one's roots. Minnie Driver, South Boston accents, and quality dive bar scenes are also in the mix -- the movie's still a must-see, or must-re-see.
The Graduate (1967)
Dustin Hoffmann's early career masterpiece of privileged malaise holds up, because it turns out that America hasn't matured enough to deal in any meaningful sense with the existential angst its productivity-first ethos creates. Today, the one word Benjamin Braddock would hear might be two: "Venture capital" or "data mining" or "fintech startups" or "new media," but the vast meaningless would be the same. And, of course, we can't forget the iconic Anne Bancroft, whose Mrs. Robinson is one of the most memorable characters in American film. She's got a whole song named for her!
The Hateful Eight (2015)
Quentin Tarantino has something to say about race, violence, and American life, and it's going to ruffle feathers. Like Django Unchained, the writer-director reflects modern times on the Old West, but with more scalpel-sliced dialogue, profane poetry, and gore. Stewed from bits of Agatha Christie, David Mamet, and Sam Peckinpah, The Hateful Eight traps a cast of blowhards (including Samuel L. Jackson as a Civil War veteran, Kurt Russell as a bounty hunter known as "The Hangman," and Jennifer Jason Leigh as a psychopathic gang member) in a blizzard-enveloped supply station. Tarantino ups the tension by shooting his suffocating space in "glorious 70mm." Treachery and moral compromise never looked so good.
Like Mean Girls but with murder, this dark '80s cult classic features Winona Ryder and Christian Slater at their peak cool as two young lovers who start bumping off the popular kids in their high school (including a group of pre-Plastics mean girls all named Heather). While the film flopped at the time, the movie seemed pre-destined to be a cult classic, packed as it was with iconic images and lines: Veronica's monocle, the red power scrunchie, the croquet-playing, "What's your damage, Heather!?," and of course, "Fuck me gently with a chainsaw." Years ahead of its time, Heathers was a sharp satire of sickly sweet '80s teen movies, a lethal dose of cinematic Drano that we still can't believe ever got green-lit (and that certainly wouldn't pass muster in today's post-Columbine world).
Hot Fuzz (2007)
Shaun of the Dead spoofers Edgar Wright and Simon Pegg set their sights on bumbling police officers trying to solve a murder in a small English town. The duo watched countless buddy-cop flicks to fully satirize the genre, and it paid off, with laughably bad chase sequences and uproarious slapstick gags. They prove how much fun action movies can be when they lighten up a little (OK, a lot). Remember: It's not murder, it's ketchup.
The Hurt Locker (2008)
Before director Katheryn Bigelow made the CIA-torture propaganda movie Zero Dark Thirty, she became the first woman to win an Academy Award for directing thanks to this heart-pounding depiction of Explosive Ordnance Disposal units in Iraq. It may exaggerate the day-to-day realities of the Iraq War, but the thesis -- war is a drug -- implies that it's possible to get hooked, turning a nation and its soldiers into war addicts. It's so potent a drug that Jeremy Renner's anti-hero, Staff Sergeant William James, can't give it up even when facing death and the possibility of reuniting with his family. Not quite as rah-rah American as Bigelow's follow-up.
I Am the Pretty Thing That Lives in the House (2016)
A meditative horror flick that's more unsettling than outright frightening, I Am the Pretty Thing That Lives in the House follows the demise of Lily, a live-in nurse (Ruth Wilson) who's caring for an ailing horror author. As Lily discovers the truth about the writer's fiction and home, the lines between the physical realm and the afterlife blur. The movie's slow pacing and muted escalation might frustrate viewers craving showy jump-scares, but writer-director Oz Perkins is worth keeping tabs on. He brings a beautiful eeriness to every scene, and his story will captivate patient streamers. Fans should be sure to check out his directorial debut, The Blackcoat's Daughter.
I Don't Feel at Home in This World Anymore (2017)
In this maniacal mystery, Ruth (Melanie Lynskey), a nurse, and her rattail-sporting, weapon-obsessed neighbor, Tony (Elijah Wood), hunt down a local burglar. Part Cormac McCarthy thriller, part wacky, Will Ferrell-esque comedy, I Don't Feel at Home in This World Anymore is a cathartic neo-noir about everyday troubles. Director Macon Blair's not the first person to find existential enlightenment at the end of an amateur detective tale, but he might be the first to piece one together from cussing octogenarians, ninja stars, Google montages, gallons of Big Red soda, upper-deckers, friendly raccoons, exploding body parts, and the idiocy of humanity.
In Bruges (2008)
Colin Farrell is a seriously funny actor. In playwright Martin McDonagh's sly directorial debut, Farrell plays Ray, an Irish hitman wracked with guilt over the accidental killing of a young boy. Instead of using his rugged good looks to play yet another "badass" assassin character, Farrell goes full neurotic, twitching his eyes and fidgeting like a child struggling to stay still in class. It's a hilarious, manic performance that makes the film's comic moments pop, and allows its somber, reflective moments to sneak up on you like a dark stranger approaching in an alley. You won't know what hit you.
Indiana Jones and the Raiders of the Lost Ark (1981)
With a bullwhip, a leather jacket, and an "only Harrison Ford can pull this off" fedora, director Steven Spielberg invented the modern Hollywood action film by doing what he does best: looking backward. As obsessed as his movie-brat pal and collaborator George Lucas with the action movie serials of their youth, the director mined James Bond, Humphrey Bogart, Westerns, and his hatred of Nazis to create an adventure classic. To watch Raiders of the Lost Ark now is to marvel at the ingenuity of specific sequences (the boulder! The truck scene! The face-melting!) and simply groove to the self-deprecating comic tone (snakes! Karen Allen! That swordsman Indy shoots!). The past has never felt so alive.
Ip Man (2008)
There aren't many biopics that also pass for decent action movies. Somehow, Hong Kong action star Donnie Yen and director Wilson Yip made Ip Man (and three sequels!) based on the life of Chinese martial-arts master Yip Kai-man, who famously trained Bruce Lee. What's their trick to keeping this series fresh? Play fast and loose with the facts, up the melodrama with each film, and, when in doubt, cast Mike Tyson as an evil property developer. The fights are incredible, and Yen's portrayal of the aging master still has the power to draw a few tears from even the most grizzled tough guy.
The Lobster (2016)
Greek style master Yorgos Lanthimos' dystopian allegory against romance sees Colin Farrell forced to choose a partner in 45 days or he'll be turned into an animal of his choice, which is a lobster. Stuck in a group home with similarly unlucky singles, Farrell's David decides to bust out and join other renegades in a kind of anti-love terror cell that lives in the woods. It's part comedy of manners, part futuristic thriller, and it looks absolutely beautiful -- Lanthimos handles the bizarre premise with grace and a naturalistic eye that reminds the viewer that humans remain one of the most interesting animals to exist on this planet.
The Look of Silence (2014)
The stronger one of Joshua Oppenheimer's films confronting the mid-1960s genocide in Indonesia (the other is The Act of Killing) follows an optometrist as he meets and interviews the individuals responsible for the death of his brother, none of whom have been held accountable before. It sounds so simplistic, and at first it plays so serenely, then gradually, it builds into a powerful record of the candid confessions of men still considered heroes in their country. This documentary focuses on the legacy of events that will soon only be in the hands and minds of a generation detached from and mistaken about what happened 50 years ago.
The Meyerowitz Stories (New and Selected) (2017)
When Danny (Adam Sandler), Matthew (Ben Stiller) and Jean (Elizabeth Marvel), three half-siblings from three different mothers, gather at their family brownstone in New York to tend to their ailing father (Dustin Hoffman), a lifetime of familial politics explode out of every minute of conversation. Their narcissistic sculptor dad didn't have time for Danny. Matthew was the golden child. Jean was weird... or maybe disturbed by memories no one ever knew. Expertly sketched by writer-director Noah Baumbach (The Squid and the Whale) this memoir-like portrait of lives half-lived is the kind of bittersweet, dimensional character comedy we're now used to seeing told in three seasons of prestige television. Baumbach gives us the whole package in two hours.
Sean Penn won a Best Actor Oscar for his portrayal of Harvey Milk, the openly gay public official who galvanized San Francisco's activist movement. Directed by Gus Van Sant (Good Will Hunting), Milk is a traditional, yet elegant biopic that keeps two fingers firmly placed on the pulse of 1970s Castro Street while mirroring debates and actions we're still (still!) witnessing today.
Monty Python and the Holy Grail (1975)
The legendary British comedy troupe took the legend of King Arthur and offered a characteristically irreverent take on it in their second feature film. It's rare for comedy to hold up this well, but the timelessness of lines like, "I fart in your general direction!" "It's just a flesh wound," and "Run away!" makes this a movie worth watching again and again.
Chronicling the boyhood years, teenage stretch, and muted adult life of Chiron, a black gay man making it in Miami, this triptych altarpiece is at once hyper-specific and cosmically universal. Director Barry Jenkins roots each moment in the last; Chiron's desire for a lost lover can't burn in a diner booth over a bottle of wine without his beachside identity crisis years prior, blurred and violent, or encounters from deeper in his past, when glimpses of his mother's drug addiction, or the mentoring acts of her crack supplier, felt like secrets delivered in code. Panging colors, sounds, and the delicate movements of its perfect cast like the notes of a symphony, Moonlight is the real deal, a movie that will only grow and complicate as you wrestle with it.
The South's post-slavery existence is, for Hollywood, mostly uncharted territory. Rees rectifies the overlooked stretch of history with this novelistic drama about two Mississippi families working a rain-drenched farm in 1941. The white McAllans settle on a muddy patch of land to realize their dreams. The Jacksons, a family of black sharecroppers working the land, have their own hopes, which their neighbors manage to nurture and curtail. To capture a multitude of perspectives, Mudbound weaves together specific scenes of daily life, vivid and memory-like, with family member reflections, recorded in whispered voice-over. The epic patchwork stretches from the Jackson family dinner table, where the youngest daughter dreams of becoming a stenographer, to the vistas of Mississippi, where incoming storms threaten an essential batch of crops, to the battlefields of World War II Germany, a harrowing scene that will affect both families. Confronting race, class, war, and the possibility of unity, Mudbound spellbinding drama reckons with the past to understand the present.
No Country for Old Men (2007)
Like a blast from Anton Chigurh's cattle gun, No Country for Old Men came out of nowhere. In 2007, it seemed like the Coen brothers had lost a step, sinking into an era of gentle self-parody. This Josh Brolin-starring neo-Western changed all that. Adapting Cormac McCarthy's brutal, uncompromising thriller, the filmmakers crafted their most purely suspenseful and terrifying film to date. The coin flip, the car crash, and Javier Bardem's haircut have all become parodied pop-cultural fixtures at this point. But the sense of dread the film evokes, amplified by Roger Deakins' shadowy photography, is impossible to shake. It's real. It's scary. And it's coming for you.
Nymphomaniac Vol. 1 & 2 (2013)
Provocateur Lars von Trier (Antichrist, Melancholia) made headlines for filling his orgastic opus with unsimulated sex. While the four-hour-long journey is filled with explicit scenes -- everything from train-car blow jobs to threesomes to fetish whipping where a riding crop takes care of the stimulation -- von Trier has more on his mind than pornographic subversion. His sardonic Nymphomaniac questions sexuality, the roles of men and women in one another's lives, and storytelling on a macro level. The movie's a triumph -- and not just for those who dreamed of seeing Shia LaBeouf thrust on camera.
This wild ride, part action heist, part Miyazaki-like travelogue, and part scathing satire, is fueled by fairy tale whimsy -- but the Grimm kind, where there are smiles and spilled blood. Ahn Seo-hyun plays Mija, the young keeper of a "super-pig," bred by a food manufacturer to be the next step in human-consumption evolution. When the corporate overlords come for her roly-poly pal, Mija hightails it from the farm to the big city to break her out, crossing environmental terrorists, a zany Steve Irwin-type (Jake Gyllenhaal), and the icy psychos at the top of the food chain (including Tilda Swinton's childlike CEO) along the way. Okja won't pluck your heartstrings like E.T., but there's grandeur in its frenzy, and the film's cross-species friendship will strike up every other emotion with its empathetic, eco-friendly, and eccentric observations.
Personal Shopper (2017)
As Maureen, a French socialite's personal shopper who believes that if she hangs around Paris long enough, she'll make contact with her recently deceased twin brother, Kristen Stewart is a conduit of the spirits of Vivien Leigh, James Dean, and the leading ladies of Hitchcock thrillers. She's enigmatic yet seductive, the perfect set of observing, questioning eyes to lead us down a windy exploration of grief. Personal Shopper becomes a supernatural horror, psychosexual drama, high-tension suspense, and the type of playful character drama that the French have perfected, all while orbiting Maureen's racing mind, which we see provoked by everything from séance YouTube videos to anonymous text messages.
Oliver Stone's Platoon is not the kind of patriotic film that romanticizes war. Based on his own experiencing in Vietnam, the controversial filmmaker documents the brutality of fighting an aimless fight in the rogue jungle by following the relentless tour of rookie volunteer soldier Chris Taylor (Charlie Sheen). Through combat and a moral dilemma that occurs within their platoon, Stone examines the duality of man amidst violent trauma. A cannon Vietnam War film, yes, but also one of cinema's best human stories, as Taylor's greatest conflict is a fear of becoming numb when so much loss is happening around him.
Private Life (2018)
Over a decade since the release of her last dark comedy, The Savages, writer and director Tamara Jenkins is back with a sprawling movie in the same vein: more hyper-verbal jerks you can't help but love. Richard (Paul Giamatti) and Rachel (Kathryn Hahn) are a Manhattan-dwelling couple who have spent the last few years attempting to have a baby with little success. When we meet them, they're already in the grips of fertility mania, willing to try almost anything to secure the offspring they think they desire. With all the details about injections, side effects, and pricey medical procedures, the movie functions as a taxonomy of modern pregnancy anxieties, and Hahn brings each part of the process to glorious life. Eventually, the pair recruits 25-year-old college dropout Sadie (Kayli Carter), the step-daughter of Richard's brother, to serve as an egg donor. Soon, they form their own unconventional family united by feelings of inadequacy and hope for the future. The final shot, which features a moment of silence after over two hours of near constant chatter, is one you won't forget.
Pulp Fiction (1994)
No other modern movie so effortlessly created its own language and mythology of cool, where mere objects evoke oceans of meaning. Many have tried, but only Quentin Tarantino could cut and paste his passions into a collage. Both wickedly funny and surprisingly thoughtful, it's even better than you remember it being in the 1990s. Travolta still sizzles. The dialogue still pops. The soundtrack still sings. Forget the loftier films he'd make later in his career -- this is his masterpiece.
Rain Man (1988)
Barry Levinson's Oscar-winning classic follows a young hustler (Tom Cruise) who vies for the trust and custody of his older brother (Dustin Hoffman), an autistic savant, after the latter inherits their father's multimillion dollar estate. As the unlikely duo hits the road across the Western US, they (spoiler!) learn as much about themselves as they do each other. It's a must (re-)watch, the kind of potent dramedy that'll still split your sides and empty your tear ducts within the same scene.
All those billions Netflix spent paid off in the form of several Oscar nominations for Roma, including one for Best Picture and a win for Best Director. Whether experienced in the hushed reverence of a theater, watched on the glowing screen of a laptop, or, as Netflix executive Ted Sarandos has suggested, binged on the perilous surface of a phone, Alfonso Cuarón's black-and-white passion project seeks to stun. A technical craftsman of the highest order, the Children of Men and Gravity director has an aesthetic that aims to overwhelm -- with the amount of extras, the sense of despair, and the constant whir of exhilaration -- and this autobiographical portrait of kind-hearted maid Cleo (Yalitza Aparicio) caring for a family in the early 1970s has been staged on a staggering, mind-boggling scale. Cuarón's artful pans aren't just layered for the sake of complexity: He's often placing different emotions, historical concepts, and class distinctions in conversation with each other. What are these different components in the painstakingly composed shots actually saying to each other? That remains harder to parse. Still, there's an image of Cleo and the family eating ice cream together after a devastating dinner in the foreground while a wedding takes place in the background that you won't be able to shake. The movie is filled with compositions like that, tinged with careful ambiguity and unresolvable tensions.
The big-screen adaptation of Emma Donoghue's best-selling novel, about a mother raising her son in captivity after being abducted as a teenager, has built-in challenges. Most of the film takes place in an 11x11 garden shed. And the drama plays out from the perspective of a 5-year-old. But Lenny Abrahamson's film version is as much a cinematic triumph as the book was a literary one. Anchored by stirring performances from young Jacob Tremblay and Oscar winner Brie Larson, who cements her status as one of the finest actresses working today, Room is a haunting tribute to survival in the most horrific of circumstances.
Say hello to Tony Montana's little friend in Brian De Palma's coke-kingpin epic. The role established Al Pacino as an over-acting force to be reckoned with in the (unlikely) part of the Cuban drug-pusher, and the production features a slick look at Miami's '80s excesses. While the movie's most notorious scenes can feel a little broad -- did they really need to use a chainsaw? -- the set-pieces are held together by a endlessly quotable script from Oliver Stone and some of De Palma's flashiest directorial flourishes.
Schindler's List (1993)
A passion project for Steven Spielberg, who shot it back-to-back with another masterpiece, Jurassic Park, Schindler's List tells the story of Oskar Schindler, a German businessman who reportedly saved over 1,200 Jews during the Holocaust. Frank, honest, and stark in its depiction of Nazi violence, the three-hour historical drama is a haunting reminder of the world's past, every frame a relic, every lost voice channeled through Itzhak Perlman's mourning violin.
She's Gotta Have It (1986)
Before checking out Spike Lee's Netflix original series of the same name, be sure to catch up with where it all began. Nola (Tracy Camilla Johns) juggles three men during her sexual pinnacle, and it's all working out until they discover one another. She's Gotta Have It takes some dark turns, but each revelation speaks volumes about what real romantic independence is all about.
Did people go overboard in praising Snowpiercer when it came out? Maybe. But it's important to remember that the movie arrived in the sweaty dog days of summer, hitting critics and sci-fi lovers like a welcome blast of icy water from a hose. The film's simple, almost video game-like plot -- get to the front of the train, or die trying -- allowed visionary South Korean director Bong Joon-ho to fill the screen with excitement, absurdity, and radical politics. Chris Evans never looked more alive, Tilda Swinton never stole more scenes, and mainstream blockbuster filmmaking never felt so tepid in comparison. Come on, ride the train!
Taxi Driver (1976)
Travis Bickle (a young Bobby De Niro) comes back from the Vietnam War and, having some trouble acclimating to daily life, slowly unravels while fending off brutal insomnia by picking up work as a... taxi driver... in New York City. Eventually he snaps, shaves his hair into a mohawk and goes on a murderous rampage while still managing to squeeze in one of the most New York lines ever captured on film ("You talkin' to me?"). It's not exactly a heartwarmer -- Jodie Foster plays a 12-year-old prostitute -- but Martin Scorsese's 1976 Taxi Driver is a movie in the cinematic canon that you'd be legitimately missing out on if you didn't watch it.
To All the Boys I've Loved Before (2018)
Of all the entries in the rom com revival, this one, directed by Susan Johnson, is heavier on the rom than the com. But even though it won't make your sides hurt, it will make your heart flutter. The plot is ripe with high school movie hijinks that arise when the love letters of Lara Jean Covey (the wonderful Lana Condor) accidentally get mailed to her crushes, namely the contractual faux relationship she starts with heartthrob Peter Kavinsky (Noah Centineo). Like its heroine, it's big-hearted but skeptical in all the right places.
Velvet Buzzsaw (2018)
Nightcrawler filmmaker Dan Gilroy teams up with Jake Gyllenhaal again to create another piece of cinematic art, this time a satirical horror film about the exclusive, over-the-top LA art scene. The movie centers around a greedy group of art buyers who come into the possession of stolen paintings that, unbeknownst to them, turn out to be haunted, making their luxurious lives of wheeling and dealing overpriced paintings a living hell. Also featuring the likes of John Malkovich, Toni Collette, Billy Magnussen, and others, Velvet Buzzsaw looks like Netflix’s next great original.
Wet Hot American Summer (2001)
With the arrival of the Netflix miniseries First Day of Camp and 10 Years Later, it's easy to forget that Wet Hot American Summer wasn't always a beloved comedy classic. The movie initially flopped, making less than $1 million in theaters, and earned some brutally dismissive reviews. You know who saved this movie? Stoned nerds, mostly. How else can you explain the iconic status of a movie that features a scene where the dude from Law & Order: SVU talks to a can of vegetables voiced by H. Jon Benjamin? There's no other explanation.
The Witch (2015)
The Witch delivers everything we don't see in horror today. The backdrop, a farm in 17th-century New England, is pure misty, macabre mood. The circumstance, a Puritanical family making it on the fringe of society because they're too religious, bubbles with terror. And the question, whether devil-worshipping is hocus pocus or true black magic, keeps each character on their toes, and begging God for answers. The Witch tests its audience with its (nearly impenetrable) old English dialogue and the (anxiety-inducing) trials of early American life, but the payoff will keep your mind racing, and your face hiding under the covers, for days.
Win It All (2017)
In less than 90 minutes, director Joe Swanberg and his co-writer and star Jake Johnson provide an endearing portrait of a schlub in crisis. Like he did with 2013's Drinking Buddies and last year's Netflix series Easy, Swanberg zeroes in on the small details thirtysomething existential dread and scores big. In telling the story of a gambling addict named Eddie (Johnson) who is entrusted with a bag of money, which he quickly blows in spectacular fashion, the filmmaker has found an ideal mix between old-fashioned Hollywood storytelling and his low-key naturalism. Will Eddie get his shit together? Win It All is less interested in answering that question than it is in spending time with these lovable losers.
Y Tu Mamá También (2001)
Before taking us to space with Gravity, director Alfonso Cuarón steamed up screens with this provocative, comedic drama about two teenage boys (Diego Luna and Gael García Bernal) road-trippin' it with an older woman. Like a sunbaked Jules and Jim, the movie makes nimble use of its central love triangle, setting up conflicts between the characters as they move through the complicated political and social realities of Mexican life. It's a confident, relaxed film that's got an equal amount of brains and sex appeal. Watch this one with a friend -- or two.
20th Century Women (2016)
If there's such thing as an epistolary movie, 20th Century Women is it. Touring 1970s Santa Barbara through a living flipbook, Mike Mills's semi-autobiographical film transcends documentation with a cast of wayward souls and Jamie (Lucas Jade Zumann), an impressionable young teenager. Annette Bening plays his mother, and the matriarch of a ragtag family, who gather together for safety, dance to music when the moment strikes, and teach Jamie the important lesson of What Women Want, which ranges from feminist theory to love-making techniques. The kid soaks it up like a sponge. Through Mills's caring direction, and characters we feel extending infinitely through past and present, so do we.