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The 50 Best Movies on YouTube (Free and Paid) Right Now

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The 50 Best Movies on YouTube (Free and Paid) Right Now

YouTube has as deep a selection of new movies as anyone, as long as you’re willing to pay to stream. But the video streaming service also has a great, if hard-to-find, selection of legal free movies. Really! And we’re not talking weirdly uploaded, grainy, sketchy films. Real deal, 100% free (and good) movies are out there alongside viral stars and adorable animal montages.

This treasure trove includes a wide range of classics that are free because they’ve entered the public domain, along with a selection of hidden gems among YouTube’s official selection of free movies (you have to really dig to find them among a lot of straight-to-DVD titles and knock-offs). We’ve divided these movies into two sections: the 25 best free movies on YouTube and the 25 best new movies on YouTube you’ll have to pay for—all updated for April 2021. This month saw a big shift in the movies available to rent, with some of the newer films represented on our Best of 2020 list coming up.

You can also check out our guides to the best movies on Netflix, Amazon Prime, HBO, Hulu, On Demand, at Redbox and in theaters. Or visit all our Paste Movie Guides.

First, here are the 25 Best Free Movies on YouTube:


1. Steamboat Bill, Jr.

steamboat-bill-jr.jpg Year: 1928
Director: Buster Keaton and Charles Reisner
Stars: Buster Keaton, Ernest Torrence, Marion Byron
Genre: Silent, Action, Comedy
Rotten Tomatoes Score: 100%
Rating: NR
Runtime: 77 minutes

Watch on YouTube

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


2. Sunrise

sunrise.jpg Year: 1927
Director: F.W. Murnau
Stars: Janet Gaynor, George O’Brien, Margaret Livingston
Genre: Silent, Romance, Thriller
Rotten Tomatoes Score: 98%
Rating: NR
Runtime: 110 minutes

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


3. Ghost in the Shell

ghost-in-the-shell.jpg Year: 1995
Director: Mamoru Oshii
Stars: Mimi Woods, Richard George, William Frederick
Genre: Anime, Science-Fiction
Rotten Tomatoes Score: 96%
Rating: R
Runtime: 82 minutes

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It’s difficult to overstate how enormous of an influence Ghost in the Shell exerts over not only the cultural and aesthetic evolution of Japanese animation, but over the shape of science-fiction cinema as a whole in the 21st century. Adapted from Masamune Shirow’s original 1989 manga, the film is set in the mid-21st century, a world populated by cyborgs in artificial prosthetic bodies, in the fictional Japanese metropolis of Niihama. Ghost in the Shell follows the story of Major Motoko Kusanagi, the commander of a domestic special ops task-force known as Public Security Section 9, who begins to question the nature of her own humanity surrounded by a world of artificiality. When Motoko and her team are assigned to apprehend the mysterious Puppet Master, an elusive hacker thought to be one of the most dangerous criminals on the planet, they are set chasing after a series of crimes perpetrated by the Puppet Master’s unwitting pawns before the seemingly unrelated events coalesce into a pattern that circles back to one person: the Major herself. When Ghost in the Shell first premiered in Japan, it was greeted as nothing short of a tour de force that would later go on to amass an immense cult following in the states. The film garnered the praise of directors such as James Cameron and the Wachowski sisters (whose late-century cyberpunk classic The Matrix is philosophically indebted to the trail blazed by Oshii’s precedent). Everything about Ghost in the Shell shouts polish and depth, from the ramshackle markets and claustrophobic corridors inspired by the likeness of Kowloon Walled City to the sound design, evident from Kenji Kawai’s sorrowful score, to the sheer concussive punch of every bullet firing across the screen. Oshii took Shirow’s source material and arguably surpassed it, making an already heady science-fiction action drama into a proto-Kurzweilian fable about the dawn of machine intelligence. Ghost in the Shell is more than a cornerstone of cyberpunk fiction, more essential in this day and age than it was over 20 years ago: a story about what it means to craft one’s self in the digital age, a time where the concept of truth feels as mercurial as the net is vast and infinite. —Toussaint Egan


4. Our Hospitality

our-hospitality.jpg Year: 1923
Directors: Buster Keaton, Jack Blystone
Stars: Buster Keaton, Natalie Talmadge, Joe Keaton
Genre: Silent, Family, Comedy
Rotten Tomatoes Score: 96%
Rating: NR
Runtime: 74 minutes

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


5. Big Trouble In Little China

big-trouble-in-little-china-poster.jpg
Year: 1986
Director: John Carpenter
Stars: Kurt Russell, Kim Cattrall, Dennis Dun, James Hong, Victor Wong
Rating: PG-13
Runtime: 99 minutes

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Next to The Thing or Halloween, Big Trouble in Little China feels like little more than a lark, one more toss-off showcase for John Carpenter’s genre-bending curatorial spirit. Part goopy menagerie of grotesque special effects, part super-cool fantasy adventure, Big Trouble follows an all-American truck driver as he falls ass-backwards into a plot involving an ancient Chinese sorcerer seeking to fulfill a prophecy that will restore him to human form. The flick eschews most building-blocks of horror or tension to focus on carefree action bro Jack Burton, the aforementioned trucker played to the hilt by Kurt Russell, who was pretty much at the height of his laid-back dude-ical powers back in the ’80s. In fact, Carpenter may be that decade’s best unheralded action director, and Russell his charming muse, way more fun to watch than a Schwarzenegger or a Stallone or a VanDamme—Adonises barely able to grimace out full sentences, let alone crack a smile—because there wasn’t much more to what he was doing, or what Carpenter was filming, than going mullet-first into whatever madcap caper struck his fancy. All one-liners, shameless machismo, shiny biceps and a gnarly pair of mom jeans, Jack Burton is comparable perhaps only to John McClane in his unflagging ability to take absolutely nothing seriously about the serious situations constantly surrounding him. —Dom Sinacola


6. The General

the-general.jpg Year: 1926
Directors: Buster Keaton and Clyde Bruckham
Stars: Joseph Keaton, Marion Mack, Glen Cavender
Genre: Silent, Comedy, Romance
Rotten Tomatoes Score: 96%
Rating: NR
Runtime: 79 minutes

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


7. Safety Last

safety-last-poster.jpg Year: 1923
Directors: Fred C. Newmeyer, Sam Taylor
Stars: Harold Lloyd, Mildred Davis, Bill Strother
Genre: Silent, Comedy, Adventure
Rotten Tomatoes Score: 97%
Rating: NR
Runtime: 80 minutes

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“I shouldn’t have bothered scoring the last 15 minutes,” Rodney Sauer of the Mont Alto Motion Picture Orchestra told me after accompanying Safety Last at the San Francisco Silent Film Festival. He said he and his ensemble couldn’t even hear themselves over the uproarious laughter in the Castro Theatre during Harold Lloyd’s famous building-scaling sequence. The scene, with its famous clock-hanging finale—is such a perfect mix of suspense and comedy that it doesn’t much matter that the rest of the film seems to exist merely as a lead-up to it. This film just entered the public domain recently. —Jeremy Mathews


8. Nosferatu

nosferatu-murnau-poster.jpg Year: 1929
Director: F. W. Murnau
Stars: Max Schreck, Alexander Granach, Gustav von Wangenheim
Genre: Silent, Horror
Rotten Tomatoes Score: 97%
Rating: NR
Runtime: 63 minutes

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


9. Journey to the West: Conquering the Demons

journey-to-the-west-poster.jpg
Director: Stephen Chow and Derek Kwok
Year: 2013

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No list like this would ever be complete without an entry care of Stephen Chow, and so while the Hong Kong director’s Western breakthrough, the bonkers Shaolin Soccer, is also available to stream, the even bonkers-ier Journey to the West is a better place to start. Monumentally popular in China, breaking all-time box office records (even beating out Transformers 4, so you know this shit means business), Journey is based on a Chinese literary classic of the same name, but saturated with Chow’s now infamous wit, slapstick, and barely-containable glee at the possibility of fantasy filmmaking. Every scene is an elaborate tour de force of stunts and battles and exaggerated athleticism—just like every scene in every film of his to come before—but Journey takes that extra step to imbue its traditional genre tropes with grotesquerie and phantasmagorical imagination, transforming a pretty basic story about one monk’s path to enlightenment into Terry Gilliam’s wet dream, replete with pig monsters and monkey spirits and steampunk and practically everything in between. So much more than a martial arts flick, this feels like a super-gifted filmmaker doing exactly what he was born to do. —Dom Sinacola


10. The Navigator

the-navigator.jpg Year: 1924
Directors: Buster Keaton, Donald Crisp
Stars: Buster Keaton, Kathryn McGuire, Fred Vroom
Genre: Silent, Comedy
Rotten Tomatoes Score: 100%
Rating: NR
Runtime: 63 minutes

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


11. The Scarecrow

the-scarecrow.jpg Year: 1920
Director: Buster Keaton, Eddie Cline
Stars: Buster Keaton, Joe Roberts, Joe Keaton
Genre: Silent, Comedy
Rotten Tomatoes Score: 91%
Rating: NR
Runtime: 21 minutes

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


12. Bernie

bernie.jpg Year: 2011
Director: Richard Linklater
Stars: Jack Black, Matthew McConaughey, Shirley MacLaine
Genre: Comedy
Rotten Tomatoes Score: 88%
Rating: NR
Runtime: 104 minutes

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


13. Blackmail

blackmail.jpg Year: 1929
Director: Alfred Hitchcock
Stars: Anny Ondra, John Longden, Donald Calthrop
Genre: Thriller
Rotten Tomatoes Score: 86%
Rating: NR
Runtime: 86 minutes

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


14. Hunt for the Wilderpeople


hunt-for-wilderpeople.jpg Year: 2016
Director: Taika Waititi
Stars: Sam Neill, Julian Dennison, Rima Te Wiata, Rachel House, Oscar Kightley, Tioreore Ngatai-Melbourne, Rhys Darby
Rotten Tomatoes Score: 96%
Rating: NR
Runtime: 101 minutes

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


15. The Kid

the-kid.jpg Year: 1921
Director: Charlie Chaplin
Stars: Charlie Chaplin, Jackie Coogan, Edna Purviance
Genre: Silent, Comedy
Rotten Tomatoes Score: 100%
Rating: NR
Runtime: 60 minutes

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


16. Night of the Living Dead

night-of-living-dead.jpg Year: 1968
Director: George A. Romero
Stars: Judith O’Dea, Russell Streiner, Duane Jones
Genre: Horror
Rotten Tomatoes Score: 97%
Rating: R
Runtime: 90 minutes

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


17. Troll Hunter

troll-hunter.jpg
Year: 2010
Director: André Øvredal

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There’s no denying that at its beginning, Troll Hunter seems like another Blair Witch Project knock-off. The first 20 minutes show us a young camera crew investigating some unexplained bear deaths and a suspicious man who may be poaching them. But rather than drawing out the mystery, it takes a sharp turn and tells us matter-of-factly that of course it was trolls killing the bears, and not only that, here’s one of them ready to bonk you on the head. The titular Troll Hunter extraordinaire is played by the affable comedian Otto Jespersen, who brings the entire monster premise to an entirely different level through his nonchalant attitude. In every sense, Troll Hunter lives up to its ridiculous name and premise. —Sean Gandert


18. The Last Man on Earth

last-man.jpg Year: 1964
Directors: Ubaldo Ragona, Sidney Salkow
Stars: Vincent Price, Tony Cerevi, Franca Bettoja
Genre: Horror
Rotten Tomatoes Score: 79%
Rating: NR
Runtime: 86 minutes

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


19. Cube

cube-poster.jpg
Year: 1998
Director: Vincenzo Natali
Stars: Maurice Dean Wint, Nicole de Boer, Nicky Guadagni, David Hewlett, Wayne Robson, Andrew Miller
Genre: Horror, Sci-Fi
Rotten Tomatoes Score: 63%
Rating: R
Runtime: 90 minutes

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Cube is a quintessential cult horror film, with all that the descriptor implies: The film has a great premise, a fun (yet imperfect) execution, a scrappy underdog factor, and an unexpected franchise that follows in its wake. The strange geometry of the multi-room jail holding the film’s characters are filled with dangerous traps. Is it truly a cube? Or is that just what whoever’s captured them wants them to think? As the characters give in to paranoia and claustrophobia, one of the more creative and bare-bones indie horror movies to implement (and actually pull off) sci-fi elements finds its rhythm. Tense and scary, with the same kind of intentionally small scope as movies like Saw, Cube is one of those perfect video store movies that you rent based on the cover alone and come away satisfied. —Jacob Oller


20. Sita Sings the Blues

sita-sings-the-blues.jpg Year: 2010
Director: Nina Paley
Stars: Deepti Gupta, Pooja Kumar, Annette Hanshaw
Genre: Family, Animation, Music, Romance
Rotten Tomatoes Score: 100%
Rating: NR
Runtime: 82 minutes

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Sita Sings the Blues is a study in cinematic obsession and a triumph of individual achievement for its creator, artist and animator Nina Paley. This is a feature animated film entirely undertaken by one determined woman, featuring four distinctly different styles of animation and storytelling, to wrap together the narrative of her own life with the millennia-old Hindu myth cycle The Ramayana after she noted the similarities between her own story and that of the myth’s heroine, Sita. A meditation on relationships and duty, it’s also set to the 1920s jazz vocals of Annette Henshaw, whose songs essentially become the soundtrack to animated music videos. It’s a beautiful, incredibly imaginative film that is equal parts funny, sobering and jaw-dropping as a technical achievement. It’s one of the most impressive animated features ever made by a single person. —Jim Vorel


21. The Lady Vanishes

lady-vanishes.jpg Year: 1938
Director: Alfred Hitchcock
Stars: Margaret Lockwood, Michael Redgrave, Paul Lukas
Genre: Thriller
Rotten Tomatoes Score: 98%
Rating: PG
Runtime: 99 minutes

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


22. But I’m a Cheerleader

22-but-im-a-cheerleader-best-youtube.jpg Year: 1999
Director: Jamie Babbit
Stars: Natasha Lyonne, Clea DuVall, RuPaul
Genre: Comedy
Rotten Tomatoes Score: 40%
Rating: R
Runtime: 85 minutes

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In our current climate, it feels strange to have a gay conversion therapy camp serve as the backdrop for a love affair between two young women. Especially now that we know the devastating psychological effects that those practices can have on the people sent to be “changed.” But the core message of this late ’90s gem is clear: our LGBT+ brothers and sisters were born this way and they deserve love just as much as we do. Luckily for our heroine Megan (Natasha Lyonne), she finds that love with Graham (Clea DuVall), another kid sent by her parents to be converted to heterosexuality. Their connection and chemistry is immediate, given life by the understated and thoughtful performances by the two leads. —Robert Ham


23. Priceless

priceless-210.jpg Year: 2008
Director: Pierre Salvadori
Stars: Audrey Tautou, Gad Elmaleh, Marie-Christine Adam
Genre: Comedy, Romance
Rotten Tomatoes Score: 81%
Rating: PG-13
Runtime: 104 minutes

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In Priceless (often compared to Breakfast at Tiffany’s), Audrey Tautou plays Irène—the most beautiful, dangerous and unapologetic gold digger in the French Riviera. Her best-laid plans begin to go awry as she develops feelings for a man of average means. Rather than date him, she trains him to become an “opportunist” instead. In true rom-com fashion, a series of ridiculous scenes unfold with an important lesson in how-to-get-what-you-want-from-the-opposite-sex: “Not finishing your sentences—as if it pains you too much to go on,” she firmly advises, “is extremely effective.” Irène has little depth, and the same could be said about the film, but it’s pretty obvious that that’s the point. Tautou is such an authentic, Gucci-wearing, femme fatale that it’s difficult to simply loathe her. She is, as usual, sincere in her delivery—even when she is delivering a sincerely superficial character. She also plays an amazingly convincing drunk, which some of the best actresses of our day (ahem, Kate Winslet, ahem) have been unable to accomplish. —Shannon M. Houston


24. Super Size Me

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Year: 2004
Director: Morgan Spurlock
Stars: Morgan Spurlock
Genre: Documentary
Rotten Tomatoes Score: 92%
Rating: PG-13
Runtime: 98 minutes

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Super Size Me is a lively and accessible account of director Morgan Spurlock’s attempt to spend 30 days eating nothing but McDonald’s food—for breakfast, lunch and dinner—while doctors monitor the changes in his vital statistics. It’s an increasingly important topic. As a society, we’ve built a machine that saves us dollars at the cash register but requires us to pay them back in health bills down the road. The movie accomplishes some of its more modest goals: it makes fast food look disgusting, makes the serving sizes seem outrageous and, perhaps most importantly, makes the food programs at many schools seem alarmingly poor at both providing nutritious meals and developing healthy eating habits. Since the film’s premiere at Sundance, he has modified its closing titles to take credit for McDonald’s decision to eliminate the “super sized” option from its menu. —Robert Davis


25. My Scientology Movie

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Year: 2016
Director: John Dower and Louis Theroux
Genre: Documentary
Rotten Tomatoes Score: 89%
Rating: PG
Runtime: 99 minutes

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John Dower and Louis Theroux’s hilarious documentary—almost mockumentary—is almost less a film than it is a direct provocation of the church. Since Theroux was categorically denied any access in order to make a straight documentary, the filmmakers chose to instead film actors “auditioning” for scenes of alleged church scandals and capture the ensuing chaos of Scientology officials’ reactions, including filming the church’s agents filming the filmmakers in some kind of demented visual evidence-gathering standoff. Look no further than My Scientology Movie for a take on the subject that’s more absurdist fun than it is seriously alarming.—Scott Wold


And here are the 25 Best New Paid Movies on YouTube:

Prices range from 99 cents to $8.99.

1. Parasite

parasite-movie-poster.jpg Year: 2019
Director: Bong Joon-ho
Stars: Song Kang Ho, Lee Sun Kyun, Yeo-Jeong Jo, Choi Woo-sik, Park So Dam, Lee Jung Eun
Genre: Drama
Rotten Tomatoes Score: 99%
Rating: R
Runtime: 132 minutes

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“That’s so metaphorical,” exclaims the son of the Kim family, Ki-woo (Choi Woo-shik), holding with childlike reverie a large rock sculpture, a wooden base solidifying its aesthetic and cultural value. The pointedly nice object stands apart from the basic keepsakes in the Kims’ fairly dingy and cramped home, inhabited by unemployed driver father, Ki-taek (Song Kang-ho), unemployed mother, Chung-sook (Jang Hye-jin), and not-in-art-school daughter, Ki-jeong (Park So-dam). Brought to them by Ki-woo’s wealthy friend, the rock is supposed to foretell great financial wealth to whatever family keeps it in their home. Irritated at their own situation, at the lack of space, at the lack of immediate value the rock has, Chung-sook mutters, “Could’ve brought us food.” In Bong Joon-ho’s Parasite, those that live with a stark awareness of inequality operate with a sense of cognitive dissonance. It’s this paradox of thought that allows Ki-woo to be both naively worshipful towards what a rock sculpture could bring them, but also understand, at other times, that wandering around isn’t how one ascends into power. At the behest of said wealthy friend, he becomes the English tutor for the daughter, Da-hye (Jung Ji-so), of the grotesquely affluent Park family: astute patriarch (Lee Sun-kyun), dim matriarch (Cho Yeo-jeong), manic artsy son, Da-song (Jung Hyun-joon), and severely loyal housekeeper, Moon-gwang (Lee Jung-eun). But as the Kim and Park families grow increasingly closer, both the differences and similarities between them blur beyond discernment. Bong’s interest in income inequality and class has spanned the majority of his career, examining the ways it impacts the justice system (Memories of Murder, Mother), the environment (Okja) and the institutions responsible for both the exacerbation of wealth inequality and failing to protect those most marginalized by that inequality (Snowpiercer, The Host). For Parasite, Bong takes a slightly different angle—he’s no less interested in inequality’s consequences, but here he sees how class as performance manifests, particularly when people are plucked from one echelon of society and put in another. As we watch both families act in different, but intersecting, pieces of social/anthropological theatre, Bong cuts through their mutual hunger, and what ultimately and tragically separates them, with a jaundiced eye and an acidic sense of humor. Laughing during Parasite feels like choking on rust. (Cho, especially, finds the perfect amount of absurdity as the somewhat doltish mother, truly a testament to rich ladies being easily knocked over by a feather.) But Bong is not interested in metaphor, and not the kind written on rocks. Even through its absurdist, bleakly satirical lens, Bong understands that social inequity is not just theatre, but lived experience. Sometimes the rock is just a shit-stained rock. —Kyle Turner


2. Freaky

freaky-poster.jpg Year: 2020
Director: Christopher Landon
Stars: Kathryn Newton, Vince Vaughn, Alan Ruck
Genre: Horror/Comedy
Rotten Tomatoes Score: 83%
Rating: R
Runtime: 102 minutes

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On its face, the prospect of resurrecting two franchise IPs which have been endlessly re-made decade after decade teeters on the banal and unimaginative. Yet director Christopher Landon’s Freaky effortlessly weaves together the conventions of Freaky Friday and Friday the 13th, eschewing the confines of “remake,” instead creating a unique genre hybrid that’s slick and endlessly entertaining—all the while maintaining a clever self-awareness which enlivens the film’s jump-scares and punchlines without descending into the horror-comedy pitfall of self-referential metaness.

What follows is a binary-bending comic exercise in sexual fluidity and gender expression which juxtaposes Vince Vaughn’s hefty stature with Kathryn Newton’s petite frame in order to prod at the horror genre’s previously held notion of who is perceived as weak, both in attitude and appearance. Vaughn and Newton give stellar performances, channeling the other’s mannerisms while poking fun at their own corporeal limitations and their immediate (dis)comfort within their new vessels. It’s heartening to see that the horror genre—still undeniably male-dominated—persists in its commitment to pushing boundaries. Whether those boundaries demarcate what we are able to stomach in terms of violence or what we are able to unpack within our own internal concepts of gender and sexuality, Freaky joins these tenets in order to craft a horror story rife with unexpected, imaginative kills all while subverting societal expectations of who we should really be afraid of—and why.—Natalia Keogan


3. The Lighthouse

lighthouse-movie-poster.jpg Year: 2019
Director: Robert Eggers
Stars: Robert Pattinson, Willem Dafoe, Valeriia Karaman
Genre: Drama, Horror
Rotten Tomatoes Score: 90%
Rating: R
Runtime: 110 minutes

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Sometimes a film is so bizarre, so elegantly shot and masterfully performed, that despite its helter-skelter pace and muddled messaging I can’t help but fall in love with it. So it was with the latest film by Robert Eggers. An exceptional, frightening duet between Robert Pattinson and Willem Dafoe, The Lighthouse sees two sailors push one another to the brink of absolute madness, threatening to take the audience with them. Fresh off the sea, Thomas Wake (Dafoe) and Ephraim Winslow (Pattinson) arrive at the isolated locale and immediately get to work cleaning, maintaining and fixing up their new home. Everything comes in twos: two cups, two plates, two bowls, two beds. The pair work on the same schedule every day, only deviating when Thomas decides something different needs Ephraim’s attention. Like newlyweds sharing meals across from one another each morning and every evening, the men begin to develop a relationship. It takes a long time for either of the men to speak. They’re both accustomed to working long days in relative silence. They may not possess the inner peace of a Zen monk, but their thought processes are singular and focused. Only the lighthouse and getting back to the mainland matters. Eggers uses the sound of the wind and the ocean to create a soundscape of harsh conditions and natural quarantine. The first words spoken invoke a well-worn prayer, not for a happy life, or a fast workday, but to stave off death. A visceral ride, The Lighthouse explores man’s relationship to the sea, specifically through the lens of backbreaking labor. Thomas and Ephraim’s relationship is like a Rorschach test. At times they are manager and worker, partners, enemies, father and son, competitors, master and pet, and victim and abuser. In many ways Eggers’ latest reminds of Last Tango in Paris, which explored a similar unhealthy relationship dynamic. Just as captivating, The Lighthouse shines. —Joelle Monique


4. News of the World

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Year: 2020
Director: Paul Greengrass
Starring: Tom Hanks, Helena Zengel, Bill Camp, Elizabeth Marvel
Genre: Drama
Rotten Tomatoes Score: 88%
Rating: PG-13
Runtime: 118 minutes

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Paul Greengrass and screenwriting partner Luke Davies may have adapted Paulette Jiles’ 2016 Western novel News of the World at least in partial consideration of how far the United States hasn’t come as a nation—around the time of the book’s publication, such cursed phrases as “fake news” and “alternative facts” were inducted into popular language by fascists and crooks attempting to pull a fast one on the American people. Neither of these terms, nor their equally grotesque cousins, make their way into Greengrass’ film, but the spirit that conjured them into being four years ago is alive and well in his recreation of the American frontier. His hero is Captain Jefferson Kyle Kidd (Hanks), a Confederate Civil War veteran who, having stood on the losing side of history, moseys across the Lone Star State and reads out-of-town papers to the locals at each stop on his journeys. The movie doesn’t exactly ask the viewer to overlook which side of the war Kidd stood on: In fact, the truth of his old allegiances becomes more unavoidable the less directly they’re spoken of. This is Texas. An erstwhile soldier in Texas could only have fought on one side of the aisle. News of the World damns Kidd without having to say a word. But as soon as the film judges him, it presents him with a chance at redemption in the form of a girl, Johanna (Helena Zengel). Zengel is a fresh spark in an otherwise old-fashioned production, but old-fashioned here is a compliment. News of the World has no interest in subverting or updating classic Western formulas: It is content with its function as a handsomely-made studio picture, built ostensibly around Hanks but with plenty of room for its young star to make her mark. What modernizes the movie has more to do with context than content. Anyone trapped in indentured servitude to social media—Twitter, Facebook, Instagram, or worse, other people’s Twitter, Facebook and Instagram accounts—should appreciate this calming two-hour reprieve from the unavoidable din publishers and platforms make in our lives today. There’s such a thing as too much news, whether for better or worse, and News of the World only tries to give us the best. —Andy Crump


5. Uncut Gems

uncut-gems-movie-poster.jpg Year: 2019
Directors: Josh Safdie, Benny Safdie
Stars: Adam Sandler, Julia Fox, Eric Bogosian
Genre: Thriller
Rotten Tomatoes Score: 92%
Rating: R
Runtime: 135 minutes

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The proprietor of an exclusive shop in New York’s diamond district, Howard Ratner (Adam Sandler) does well for himself and his family, though he can’t help but gamble compulsively, owing his brother-in-law Aron (Eric Bogosian, malevolently slimy) a substantial amount. Still, Howard has other risks to balance—his payroll’s comprised of Demany (Lakeith Stanfield), a finder of both clients and product, and Julia (Julia Fox, an unexpected beacon amidst the storm in her first feature role), a clerk with whom Howard’s carrying on an affair, “keeping” her comfortable in his New York apartment. Except his wife’s (Idina Menzel, pristinely jaded) obviously sick of his shit, and meanwhile he’s got a special delivery coming from Africa: a black opal, the stone we got to know intimately in the film’s first scene, which Howard estimates is worth millions. Then Demany happens to bring Kevin Garnett (as himself, keyed so completely into the Safdie brothers’ tone) into the shop on the same day the opal arrives, inspiring a once-in-a-lifetime bet for Howard—the kind that’ll square him with Aron and then some—as well as a host of new crap to get straight. It’s all undoubtedly stressful—really relentlessly, achingly stressful—but the Safdies, on their sixth film, seem to thrive in anxiety, capturing the inertia of Howard’s life, and of the innumerable lives colliding with his, in all of its full-bodied beauty. Just before a game, Howard reveals to Garnett his grand plan for a big payday, explaining that Garnett gets it, right? That guys like them are keyed into something greater, working on a higher wavelength than most—that this is how they win. He may be onto something, or he may be pulling everything out of his ass—regardless, we’ve always known Sandler’s had it in him. This may be exactly what we had in mind. —Dom Sinacola


6. Spider-Man: Into the Spider-Verse

spider-man-spider-verse-movie-poster.jpg Year: 2018
Directors:
Stars: Shameik Moore, Jake Johnson, Hailee Steinfeld, Mahershala Ali, Brian Tyree Henry, Lily Tomlin
Genre: Animation, Superhero
Rotten Tomatoes Score: 97%
Rating: PG
Runtime: 100 minutes

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There are, rarely, films like Spider-Man: Into the Spider-Verse, where ingredients, execution and imagination all come together in a manner that’s engaging, surprising and, most of all, fun. Directors Bob Persichetti and Peter Ramsey, writer-director Rodney Rothman, and writer Phil Lord have made a film that lives up to all the adjectives one associates with Marvel’s iconic wallcrawler. Amazing. Spectacular. Superior. (Even “Friendly” and “Neighborhood” fit.) Along the way, Into the Spider-Verse shoulders the immense Spider-Man mythos like it’s a half-empty backpack on its way to providing Miles Morales with one of the most textured, loving origin stories in the superhero genre. Plenty of action films with much less complicated plots and fewer characters to juggle have failed, but this one spins order from the potential chaos using some comic-inspired narrative devices that seamlessly embed the needed exposition into the story. It also provides simultaneous master classes in genre filmmaking. Have you been wondering how best to intersperse humor into a storyline crowded with action and heavy emotional arcs? Start here. Do you need to bring together a diverse collection of characters, nimbly move them (together and separately) from setting to setting and band them together in a way that the audience doesn’t question? Take notes. Do you have an outlandish, fantastical concept that you need to communicate to the viewers (and characters) without bogging down the rest of the story? This is one way to do it. Would you like to make an instant contemporary animated classic? Look (and listen). —Michael Burgin / Full Review


7. Midsommar

midsommar-movie-poster.jpg Year: 2019
Director: Ari Aster
Stars: Florence Pugh, Liv Mjönes, Jack Reynor
Genre: Horror
Rotten Tomatoes Score: 93%
Rating: R
Runtime: 140 minutes

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Christian (Jack Reynor) cannot give Dani (Florence Pugh) the emotional ballast she needs to survive. This was probably the case even before the family tragedy that occurs in Midsommar’s literal cold open, in which flurries of snow limn the dissolution of Dani’s family. We’re dropped into her trauma, introduced to her only through her trauma and her need for support she can’t get. This is all we know about her: She is traumatized, and her boyfriend is barely decent enough to hold her, to stay with her because of a begrudging obligation to her fragile psyche. His long, deep sighs when they talk on the phone mirror the moaning, retching gasps Pugh so often returns to in panic and pain. Her performance is visceral. Midsommar is visceral. There is viscera, just, everywhere. As in his debut, Hereditary, writer-director Ari Aster casts Midsommar as a conflagration of grief—as in Hereditary, people burst into flames in Midsommar’s climactic moments—and no ounce of nuance will keep his characters from gasping, choking and hollering all the way to their bleakly inevitable ends. Moreso than in Hereditary, what one assumes will happen to our American 20-somethings does happen, prescribed both by decades of horror movie precedent and by the exigencies of Aster’s ideas about how human beings process tragedy. Aster births his worlds in pain and loss; chances are it’ll only get worse. One gets the sense watching Midsommar that Aster’s got everything assembled rigorously, that he’s the kind of guy who can’t let anything go—from the meticulously thought-out belief system and ritual behind his fictional rural community, to the composition of each and every shot. Aster and his DP Pawel Pogorzelski find the soft menace inherent to their often beautiful setting, unafraid of just how ghastly and unnatural such brightly colored flora can appear—especially when melting or dilating, breathing to match Dani’s huffs and the creaking, wailing goth-folk of The Haxan Cloak. Among Midsommar’s most unsettling pleasures are its subtle digital effects, warping its reality ever so slightly (the pulsing of wood grain, the fish-eye lensing of a grinning person’s eye sockets) so that once noticed, you’ll want it to stop. Like a particularly bad trip, the film bristles with the subcutaneous need to escape, with the dread that one is trapped. In this community in the middle of nowhere, in this strange culture, in this life, in your body and its existential pain: Aster imprisons us so that when the release comes, it’s as if one’s insides are emptying cataclysmically. In the moment, it’s an assault. It’s astounding. —Dom Sinacola


8. Tenet

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Year: 2020
Director: Christopher Nolan
Starring: John David Washington, Robert Pattinson, Elizabeth Debicki, Kenneth Branagh
Genre: Action, Sci-Fi
Rating: PG-13
Runtime: 150 minutes

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A classic Christopher Nolan puzzle box, at first glance Tenet is a lot like Inception. The central conceit that powers it is both cerebral and requires copious on-screen exposition. There’s nothing inherently wrong with this. Nolan’s films always have at least one person trying to get their head around what exactly is going on, and it makes sense the audience would be as confused as the Protagonist (John David Washington), especially early on. Also, as with Inception, Tenet is basically a series of heists—smaller puzzle boxes within the larger one—which means while the viewer may not understand exactly what’s going on big picture, they will find the immediate action briskly paced and compellingly presented. Still, despite a compelling performance from Kenneth Branagh as antagonist Andrei Sator, the cerebral underpinnings and and even as the exact mechanics of this particular puzzle may demand more from the filmmaker than the audience, no amount of painstakingly crafted “time-inverted” action sequences nor Ludwig Göransson’s sweeping score can fill that hole occupied by a sympathetic main character, which Tenet lacks. None of this rests on Washington. Past Nolan protagonists like McConaughey (Interstellar), Pearce (Memento) and DiCaprio (Inception) not only had actual names, they had relatable motives and discernible emotional arcs. And though personal growth and emotional depth are hardly necessary ingredients in a spy thriller—just look at Bond, classic Bond—with so much else about Nolan’s script a mental exercise made real, some emotional stakes would be helpful to bring it alive. That might keep Tenet from the #1 slot on this year’s Best Sci-Fi list, but it shouldn’t keep lovers of the genre from seeing the only big budget science fiction to debut in theaters in 2020. —Michael Burgin


9. Bill & Ted Face the Music

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Year: 2020
Director: Dean Parisot
Stars: Keanu Reeves, Alex Winter, Kristen Schaal, Samara Weaving, Brigette Lundy-Paine, William Sadler
Genre: Sci-Fi, Comedy
Rotten Tomatoes Score: 82%
Rating: PG-13
Runtime: 91 minutes

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Our enjoyment of Bill & Ted Face the Music may only be the direct result of living with a kind of background-grade dread for what feels like the whole of our adult lives. Those of us who will seek out and watch this third movie in the Most Excellent Adventures of Bill S. Preston, Esq. (Alex Winter) and Ted (Theodore) Logan (Keanu Reeves) are bound by nostalgia as much as a desire to suss out whatever scraps of joy can be found buried in our grim, harrowing reality. Sometimes, death and pain is unavoidable. Sometimes it just feels nice to lounge for 90 minutes in a universe where when you die you and all your loved ones just go to Hell and all the demons there are basically polite service industry workers so everything is pretty much OK. Cold comfort and mild praise, maybe, but the strength of Dean Parisot’s go at the Bill & Ted saga is its laid-back, low-stakes nature, wherein even the murder robot (Anthony Carrigan, the film’s luminous guiding light) sent to lazer Bill and Ted to death quickly becomes their friend while Kid Cudi is the duo’s primary source on quantum physics. Because why? It doesn’t matter. Nothing matters. There may be some symbolic heft to Bill and Ted reconciling with Death (William Sadler) in Hell; there may be infinite universes beyond our own, entangled infinitely. Cudi’s game for whatever.

A sequel of rare sincerity, Bill & Ted Face the Music avoids feeling like a craven reviving of a hollowed-out IP or a cynical reboot, mostly because its ambition is the stuff of affection—for what the filmmakers are doing, made with sympathy for their audience and a genuine desire to explore these characters in a new context. Maybe that’s the despair talking. Or maybe it’s just the relief of for once confronting the past and finding that it’s aged considerably well. —Dom Sinacola


10. The Farewell

the-farewell-movie-poster.jpg Year: 2019
Director: Lulu Wang
Stars: Awkwafina, Tzi Ma, Diana Lin
Genre: Drama, Comedy
Rotten Tomatoes Score: 98%
Rating: PG
Runtime: 98 minutes

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Family, falsehood and farce: all the comforts expected of a funeral—when the funeral isn’t a funeral but a wedding. Yes, two people do end up getting p= married, but no one cares about matrimony as much as saying goodbye to the family matriarch, stricken by a diagnosis with an inevitably fatal outcome. Here’s the trick: No one told her about it. She thinks all of the hoopla is just about the bride and groom to be. The Farewell, Lulu Wang’s sophomore film, is many things. It’s a meteoric leap forward from the tried-and-true rom-com formula of her debut, Posthumous. It’s a story made up of her own personal roller coaster of loss. It’s a neat and, 26 years after the fact, unexpected companion piece to Ang Lee’s underappreciated masterpiece The Wedding Banquet. Mostly, it’s a tightrope walk along the fine line between humor and grief. Chinese-American Billil (Awkwafina) travels to China to see her grandmother (Zhao Shuzen) one last time, as grandma’s just received a death sentence in the form of terminal lung cancer, but the clan keeps mum because that’s just what they’d do for anybody. A wedding is staged. Cousins and uncles and aunts are convened. Masks, the metaphorical kind, are donned. Wang knows how to find the perfect tonal sweet spot from scene to scene in a sterling example of having one’s cake while also eating with gusto. With exceptions, moments meant to be uncomfortable and prickly on the surface are hilarious beneath, and moments meant to make us laugh tend to remind the viewer of the situation’s gravity. It’s perfect alchemy, yielding one of 2019’s most intimate, most painful and most satisfyingly boisterous comedies. —Andy Crump


11. She Dies Tomorrow

she-dies-tomorrow-movie-poster.jpg Year: 2020
Director: Amy Seimetz
Stars: Kate Lyn Sheil, Jane Adams, Kentucker Audley
Genre: Drama
Rotten Tomatoes Score: 85%
Rating: R
Runtime: 84 minutes

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Amy (Kate Lyn Sheil), for inexplicable reasons, is infernally convinced that tomorrow’s the day she’s going to meet her maker. Making a bad situation worse, her confidence is catching: Through an eerie, fatalist game of telephone, her friends and family, and even total strangers with whom they interact, come to believe they’re going to die tomorrow, too. It’s almost like they’ve been gaslit, except they’re the ones soaking themselves with lighter fluid, sparking off a chain reaction of macabre determinism in which each person afflicted by the curse of languages sees the end coming for them in 24 hours or less.

She Dies Tomorrow is both the perfect film for this moment and also the worst viewing choice possible considering the circumstances: Everyone’s at home, contending with varied combinations of dread, grief, rage of either the defiant or impotent persuasion, boredom and, in the absolute best case scenario, a numbing calm. Amy Seimetz, writing and directing her sophomore follow-up to her superb 2012 feature debut Sun Don’t Shine, captures the same pandemic fears as movies like Sea Fever and The Beach House, but enhances them with existential currents. Seimetz straddles the line dividing terror from malaise delicately, her balancing act being She Dies Tomorrow’s greatest strength. Instead of shoehorning all of her ideas and textures into one genre, she keeps the film fluid.—Andy Crump


12. Knives Out

knives-out-movie-poster.jpg Year: 2019
Director: Rian Johnson
Stars: Ana de Armas, Daniel Craig, Chris Evans, Jamie Lee Curtis, Michael Shannon, Don Johnson
Genre: Drama, Mystery
Rotten Tomatoes Score: 97%
Rating: PG-13
Runtime: 130 minutes

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Knives Out is the type of movie that’s not so much a dying breed as one that just occurs uncommonly “in the wild.” Hollywood seems to release a new take on the classic (i.e., Agatha Christie-imprinted) murder mystery “who dunnit”—where an eccentrically mannered detective attempts to figure out who amongst a roomful of suspects has committed murder most foul—every five-to-10 years. For most viewers, the pleasures of such movies go beyond trying to figure out the killer before the detective does—there’s also typically a star-studded cast chewing up the scenery. Beyond dependable Christie fare like Death on the Nile (1978) and Murder on the Orient Express (2017), there’s Clue (1985), Gosford Park (2001) and now Rian Johnson’s Knives Out. Johnson’s latest starts out in classic who-dunnit fashion—acclaimed mystery writer Harlan Thrombey (Christopher Plummer) is found dead by apparent suicide the night after gathering his family together and delivering a series of unpopular messages. Enter the local police (led by Lakeith Stansfield’s Det. Lt. Elliott) and eccentrically mannered (there we go!) private detective Benoit Blanc (Daniel Craig). Suspects are interrogated. Secrets are revealed. Then, right as the viewer is gearing up to lay some Sherlock Holmes/Hercule Poirot/Encyclopedia Brown-level discernment on all this, Johnson reveals what happened to the elder Thrombey. This flips the entire experience for the viewer, as they go from trying to figure out what happened to wondering if the truth will be discovered. Much as he did with Dashiell Hammett-style noir in his debut, Brick, Johnson shows both a reverence for and a willingness to tinker with the tropes and formula underpinning his story. It’s all delightful to watch. If, ultimately, Knives Out accomplishes what it sets out to do—which might sound like faint or even damning praise with another film or in another genre—here it’s meant as the sincerest of plaudits. —Michael Burgin


13. Driveways

driveways-movie-poster.jpg Year: 2020
Director: Andrew Ahn
Starring: Hong Chau, Brian Dennehy, Lucas Jaye, Christine Ebersole, Jeter Rivera, Sophia DiStefano, Robyn Payne, Jerry Adler
Genre: Drama
Rotten Tomatoes Score: 100%
Rating: NR
Runtime: 83 minutes

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Loneliness looks different for the lonely depending on their circumstances, and Andrew Ahn’s sophomore feature, Driveways, captures that spectrum through character. For single mom Kathy (Hong Chau), loneliness means sitting amongst the clutter of her dead sister’s house, dwarfed by junk crammed into every corner and piled to the ceiling. For widower Del (Brian Dennehy), loneliness is literal: He lives alone in the house he shared with his wife for decades before her death, their only daughter having relocated to Seattle years prior. For Kathy’s son Cody (Lucas Jaye), loneliness is a weird blessing: Social anxiety makes him hurl; he’s happier reading or playing videogames. Still, Cody wants to play with other kids, or at least he wants to want to, and Kathy, being a concerned mom, knows that even pleasant self-imposed isolation has adverse effects on children. Fortunately for both of them, Del is eager for company, though, as a man of a certain disposition, he’s not exactly the type to appear eager. Regardless, while Kathy cleans out her sister’s place, Del and Cody slowly bond, though their chummy and charming friendship has an expiration date: Kathy and Cody are out of towners staying in the unnamed New York hamlet where Del dwells only for as long as it takes to get the house settled and up for sale. As their time is short, so too is Driveways, a brisk, breezy 80 minutes where conflict is minimal and compassion prevails. Driveways is a simple picture about simple acts of human kindness; Ahn shot Driveways several years ago, and he premiered the film a hundred years ago at the Berlin International Film Festival in 2019, so neither he nor writers Hannah Bos nor Paul Thureen mean to make any comment on what gets airplay on the daily news, but American antipathy is a real thing and Driveways is the accidental salve the rest of us need for our current era of callous stupidity. —Andy Crump


14. The Beach Bum

beach-bum-movie-poster.jpg Year: 2019
Director: Harmony Korine
Stars: Matthew McConaughey, Snoop Dogg, Isla Fisher, Martin Lawrence, Zac Efron, Jonah Hill
Genre: Comedy
Rotten Tomatoes Score: 56%
Rating: R
Runtime: 95 minutes

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Witness Matthew McConaughey, transcending. Revel in it, because this has got to be as high as he goes. As Moondog, the opposite, arch nemesis perhaps, to the Matthew McConaughey of the Lincoln commercials—on TV the interstitial, nonchalant pool shark and connoisseur of fine leather everything, a man to whom one whispers courteously, in reverence between network shows—Matthew McConaughey realizes the full flat circle of his essence. The actor bears multitudes, and they all converge upon the befuddled Moondog, consummate inhuman and titular hobo of the southern sands of these United States. One could claim that Moondog’s hedonism represents a moral imperative to consume all that’s truly beautiful about life, and Moondog says as much even if he’s plagiarizing D.H. Lawrence (which he admits to his best friend Lingerie, who’s carried on a long-time affair with Moondog’s wife, and who’s played by Snoop Dog in a career best performance). Speaking of Lawrence, Martin also gives a career-best performance as Captain Wack, dolphin lover; the film slides effortlessly into absurdity. One could claim, too, that Moondog’s little but a self-destructive addict somehow given a free pass to circumvent basic human responsibility altogether. One could claim that director Harmony Korine doesn’t believe in basic human responsibility anyway. He doesn’t claim much in the way of explicating Moondog’s whole way of being, doesn’t reserve any judgment for the man’s mantra and blissful lurch towards oblivion. Or annihilation. The uniform for which is casual, including JNCO jeans, brandished by Flicker (Zac Efron), with whom Moondog escapes the court-mandated rehab that seemingly does nothing to pierce the armor of intoxication Moondog’s spent his life reinforcing. Whether he’s protecting himself from any serious human connection or from the crass hellscape of capitalistic society—whether he’s deeply grieving a tragedy that occurs halfway through The Beach Bum, Harmony Korine’s masterpiece of feeling good in the face of feeling the worst, or avoiding all feeling completely—he’s still a bad dad. Or he’s an artist. Or a saint. Or he’s from a different dimension, as his wife (Isla Fisher) explains to their daughter, as she most likely always has, against a breathtaking vista followed not long after by a heartbreaking sunset, both photographed by Benoît Debie, in Miami of all places, all magnificent and hollow, the film a hagiography for the end of history. —Dom Sinacola


15. Avengement

avengement-movie-poster.jpg Year: 2019
Director: Jesse V. Johnson
Stars: Scott Adkins, Craig Fairbrass, Nick Moran
Genre: Action, Thriller
Rotten Tomatoes Score: 82%
Rating: NR
Runtime: 87 minutes

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The second of three films directed by Jesse V. Johnson released in 2019, Avengement is as crystalline, as empirically precise, as micro-budget VOD martial arts action can aspire. With that kind of prolificacy, a journeyman director’s bound to do something right—which would be a valid assessment, were everything Johnson’s done not so undeniably solid. Thanks goes, of course, to Johnson’s muse, Vicious Beefcake Scott Adkins, a flawlessly sculpted humanoid so squarely planted in Johnson’s sweet spot—melodramatic, archly brutal action cinema with enough wit and heart to leave a bruise—a Johnson film without him as the protagonist doesn’t quite feel fully realized. Look only to Triple Threat, Avengement’s 2019 predecessor, to yearn for what could have been, mollified by a scene in which Adkins body slams a sedan going at least 40 mph. Triple Threat boasts three writers and a cavalcade of international action cinema stars, from Iko Uwais and Tony Jaa, to Tiger Chen and Michael Jai White (still in decent shape, but so outclassed by Adkins and his peers’ athleticism he seems pretty much immobile), while in Avengement Johnson works from his own script, winnowing the plot to a series of increasingly higher stakes brawls as wronged nobody Cain (Adkins) makes his bloody way through the criminal organization (led by his brother, no less) that left him to rot in prison. As is the case with Savage Dog and The Debt Collector (both on Netflix), Avengement thrives on the preternatural chemistry between director and star, the camera remarkably calm as it captures every amazing inch of Adkins in motion, beating the living shit out of each chump he encounters, Adkins just as aware of how best to stand and pose and flex to showcase his body. Charming character actors cheer from the sidelines; the plot functions so fundamentally we hardly realize we care about these characters until we’ve reached a satisfying end at their sides. Perhaps Scott Adkins is a better dramatist than we’ve come to expect from our kinetic stars anymore. Perhaps we’ve set our expectations too low. —Dom Sinacola


16. On-Gaku: Our Sound

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Director: Kenji Iwaisawa
Stars: Shintarô Sakamoto, Ren Komai, Tomoya Maeno, Tateto Serizawa, Kami Hiraiwa, Naoto Takenaka
Genre: Comedy, Musical, Animation
Rating: NR
Runtime: 71 minutes

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Being a teenager in a suburban town can be excruciatingly boring. With no variety in routine, everything feels useless. But then, sometimes, something appears that banishes that monotony and breathes excitement into an otherwise dull existence. That discovery can be revelatory; life can suddenly have purpose. In the case of the trio of delinquents in Kenji Iwaisawa’s incredible debut feature, the animated On-Gaku: Our Sound, they discover the catharsis and power of music. On-Gaku: Our Sound is writer/director Iwaisawa’s love letter both to the power of music and to the manga of the same name by Hiroyuki Ohashi. As the film progresses through its musical numbers, Iwaisawa experiments with form (like expressive rotoscoping) as certain songs evoke different emotions from his characters, whether it is a kindly folk song or a primitive-feeling rocker that reverberates in a listener’s chest. In contrast to the visual style, the phenomenal deadpan comedic delivery is reminiscent of American animated comedies of the ‘90s like Beavis and Butthead or King of the Hill. Kenji in particular embodies that tone, through both line delivery by Japanese rock legend Shintarô Sakamoto and a design that includes an unrelenting stare, thin mustache that zigzags across his upper lip and shiny, bald head. Despite being a high school student, Sakamoto’s grizzled voice gives Kenji the vibe of a tired old man who has seen everything, when really he’s just a bored teenager who smokes too many cigarettes and watches too much TV. Iwaisawa’s own passion fills the chilled-out slacker comedy with a lot of heart and a gorgeous variety of animation styles.—Mary Beth McAndrews


17. Booksmart

booksmart-movie-poster.jpg Year: 2019
Director: Olivia Wilde
Stars: Kaitlyn Dever, Beanie Feldstein, Jessica Williams, Jason Sudeikis, Lisa Kudrow, Will Forte
Genre: Comedy
Rotten Tomatoes Score: 97%
Rating: R
Runtime: 105 minutes

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Booksmart, the directorial debut of Olivia Wilde, is another journey down the halls of a wealthy high school days before graduation, but it’s different enough to be endearing. Written by an all-female writing team—Susanna Fogel, Emily Halpern, Sarah Haskins and Katie Silberman—it centers on life-long besties Amy (Kaitlyn Dever) and Molly (Beanie Feldstein) as they attempt to party one time before the end of high school. Wilde and company draw from a whimsical, rainbow palate to explore friendship at diverging roads. Feldstein and Dever shine as an odd couple. Molly wants to be the youngest person ever elected to the Supreme Court, while Amy seeks to discover what possibilities life may open up for her. Easily feeding off of one another’s energy, as Amy and Molly travel around town, jumping gatherings, trying to reach the ultimate cool kids’ party, they cross paths with a diverse array of students also attempting to hide their painfully obvious insecurities. As the night progresses, those masks begin to slip, and the person each of these students is striving to become begins to emerge. The pendulum of teen girl movies swings typically from Clueless—girl-powered, cutesy, high-fashion first-love-centered—to Thirteen, the wild, angry, depressed and running from all genuine emotion kind of movie. Most of these films lay in the space of heteronormative, white, upper or middle class, and able-bodied representation. Even in films centered on otherness, like Bend It Like Beckham, the white best friend is given equal space in the advertising of the film, and the original queer angle was written out in favor of a love triangle. Visit nearly any segment of the internet visited by Millennial, Gen X, and Gen Z women, and the cry for better representation is loud and clear. There’s a fresh-faced newness of raw talent in Booksmart that begs to be a touchstone for the next generation of filmmakers. Like Wes Anderson’s Rushmore or Sofia Coppola’s Virgin Suicides, Booksmart is an experience cinema enthusiasts will revisit again and again. —Joelle Monique


18. Sator

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Year: 2021
Director: Jordan Graham
Starring: Michael Daniel, Rachel Johnson, Aurora Lowe, Gabriel Nicholson, June Peterson
Genre: Horror
Rotten Tomatoes Score: 88%
Rating: NR
Runtime: 86 minutes

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There’s something in the forest. But at the same time, there’s nothing much at all. A man, a cabin and maybe—maybe—something more. Sator, a mumblecore horror somewhere between a modern-day The Witch, The Blair Witch Project and Lovecraft, is a striking second feature from Jordan Graham. It’s the kind of horror that trades jump scares for negative space, one that opens with imagery your typical A24 beast saves for its finale. Sator’s dedication to its own nuanced premise, location and tense pace make it the rare horror that’s so aesthetically well-realized you feel like you could crawl inside and live there—if it wasn’t so goddamn scary. Sator is a name, an evocation, an entity. He’s first described, by Nani (the late June Peterson, excellent), as a guardian. Nani’s known Sator (whatever he may be) for a long time. The film represents shifts in time, and the physical transportation to places soaked in memories, with an aspect ratio change and a black-and-white palette. Nani’s lovely longhand script is practiced well from a lifetime of automatic writing, with the words—including some of the opening company credits, which is a great little joke—pouring from her pen and claiming a headwater not of this world. That same paranormal river flows to her grandson Adam (Gabriel Nicholson), that aforementioned man in the woods, whose relationship with the voices in his head is a bit less comfortable. It’s a stark, bold, even compassionate film—which offers imperfectly planted details of a battered and bruised family at its core—with plenty to comprehend (or at least theorize about) for those brave enough to venture back into the forest for a rewatch. As scary as it is, Sator is an experience with enough layers and craftsmanship that its alluring call will rattle in your head long after you’ve turned it off.—Jacob Oller


19. Sorry We Missed You

sorry-missed.jpg Year: 2020
Director: Ken Loach
Starring: Kris Hitchen, Debbie Honeywood, Rhys Stone, Katie Proctor, Ross Brewster, Charlie Richmond, Sheila Dunkerley
Genre: Drama
Rotten Tomatoes Score: 88%
Rating: NR
Runtime: 102 minutes

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Ken Loach’s movies typically force viewers to acknowledge the toll a job can take on both body and spirit. Without fuss or forced moralizing, Sorry We Missed You performs this service for the folks who thanklessly zip about town dropping off parcels ordered yesterday by people who actually needed them a week before. The movie demystifies the browser sorcery of one-click purchases by humanizing, for better and for worse, the mechanics behind this modern-day ministration: Loach starts with Ricky (Kris Hitchen), head of the Turner family, who is first met interviewing Maloney (Ross Brewster), his boss-to-be, for a post as an owner-driver for a third-party delivery outfit nestled in North England. Maloney seems reasonable enough. He hears Ricky’s story, at least, his history as a blue-collar man whose years of hard labor have left him craving for freedom from micromanaging bosses. Ricky wants to be his own boss now, and Maloney’s spiel about choice and self-agency appeals to his wants. It’s all an illusion, of course, and the economy of Laverty’s writing succinctly lays out the tension between Ricky’s ambitions and the crushing realities of the position he’s sought out. The gift of personal determination Maloney offers him is a Trojan horse containing seeds of poverty. The way this job works, every package Ricky hands off is another row sown in his inevitable destitution. It’s sick. It’s barbaric. It’s just one problem among several the Turners deal with as a direct consequence of Ricky’s enterprise. He has to sell off, for instance, the family car, which his wife, Abbie (Debbie Honeywood), uses for her own career as a home care nurse, which means she has to use public transportation, which is another stress added to an already stressful job made more stressful by her boss, who like Maloney doesn’t really give a damn about Abbie as a person—only as a hireling. Sorry We Missed You operates on a micro-level with contrastingly astronomical stakes. It’s a movie about one small family—including, apart from Kris and Debbie, their mulish teen son, Seb (Rhys Stone), and younger, sweethearted daughter, Liza Jane (Katie Proctor)—doomed to the streets if either Dad or Mom missteps. They have no safety net. They have no contingency plan. Worst of all, Kris and Debbie both have jobs designed to wring the most out of them with the least compensation or compassion in exchange. The perils of parenthood are enough without having to answer the question of how the lights stay on every day. —Andy Crump


20. Vivarium

vivarium-poster.jpg Year: 2020
Director: Lorcan Finnegan
Stars: Jesse Eisenberg, Imogen Poots
Rating: R
Runtime: 97 minutes

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A quirky real estate story, where first-time homeowners Tom (Jesse Eisenberg) and Gemma (Imogen Poots) get a lot more than they bargained for, Vivarium is a low-key sci-fi nightmare of the mundane in the vein of early David Cronenberg. Director Lorcan Finnegan’s film also functions as a relationship allegory, where Tom and Gemma find themselves stuck in a trendy neighborhood of cookie-cutter homes where starting a family isn’t just an expectation but something foisted upon them. It isn’t as grisly as something like Shivers, but more affecting in its surreal design and hopelessness. Eisenberg and Poots own the screen as a disintegrating couple coping in distinct ways to their newfound terrarium where they are observed, manipulated, and—perhaps most disturbingly of all—objectively provided for by unseen and undefinable forces. Its 2020 release feels especially fitting as repetition and hopelessness become permanent residents of the couple’s home. Genre elements seep into the film, accelerating in hiccups and starts that are as arresting as the film’s intentionally artificial design. Startling sound dubbing, odd colorizing, and a few genuine “Oh shit” moments make Vivarium a tight, nasty fable that would fit in with the best Twilight Zone episodes. —Jacob Oller


21. The Whistlers

whistlers-movie-poster.jpg Year: 2020
Director: Corneliu Porumboiu
Stars: Vlad Ivanov, Catrinel Marlon, Sabin Tambrea, Rodica Lazar, Agusti Villaronga
Genre: Drama, Thriller, Comedy
Rotten Tomatoes Score: 83%
Rating: R
Runtime: 97 minutes

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Director Corneliu Porumboiu is no stranger to procedures or regulations, nor insensitive to the ways in which the strictures we impose on ourselves and others end up wrapping us up from within. His previous film, the documentary Infinite Football, allows his friend Laurentiu Ginghina time and cinematic space to explain the many modifications and new rules to enact in order to, he believes, completely revitalize the sport of football—all while exorcising the trauma of post-Communist Romania. The crime drama, then, is a genre particularly suited to Porumboiu’s concerns, and his latest, The Whistlers, appears as much a pulp exercise as a stylish deconstruction of social order in all its forms, from the institutions of justice to the basic tenets of language. In it, laconic, mild-mannered cop Cristi (Vlad Ivanov) navigates an elaborate schema of criminal enterprise and double-crossing police to walk away with a life-changing amount of stolen drug money. The key to much of the film’s convolution can be found on La Gomera, in the Canary Islands, where Cristi learns a native whistling language called El Silbo in order to clandestinely communicate with archetypal folks like Gilda (Catrinel Marlon), the girlfriend of Zsolt (Sabin Tambrea) who owns a mattress warehouse through which he’ll abscond with money stolen from mob boss Paco (Augusti Villaronga), all while avoiding Police Chief Magda (Rodica Lazar), Cristi’s boss and another remnant of Communist Romania left to her own self-serving motivations. Though Porumboiu recalibrates a typical neo-noir plot by playing with chronologies and perspectives, adding a dose of pitch-black humor to leaven the film’s ostensible bleakness—and cinematographer Tudor Mircea’s shots of the Spanish coast are something to behold—rather than amounting to placeholders lost in a twisty plot twisted for the sake of it, Porumboiu’s many players survive the chaos. They are defined by it. We understand who these people are through the ways in which they struggle to escape the system. And by the time we’ve untangled the film’s plot, we’re offered a final moment of catharsis, a sense—after 90 minutes of state-sanctioned violence and depravity—of what freedom feels like. —Dom Sinacola


22. Gretel & Hansel

gretel-hansel-movie-poster.jpg Year: 2020
Director: Oz Perkins
Stars: Sophia Lillis, Samuel Leakey, Alice Krige
Genre: Horror
Rotten Tomatoes Score: 64%
Rating: PG-13

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Director Oz Perkins’ first two features, The Blackcoat’s Daughter and I Am the Pretty Thing That Lives in the House, are meticulously constructed examples of slow burn horror, favoring ever-building, chilling atmosphere over quick scares. He begins Gretel & Hansel with a traditional fairy tale structure, only for it to degenerate into an otherworldly, hopeless tone, Perkins liberally playing with space and time. Accordingly, production and costume designs borrow from multiple time periods—slightly resembling medieval Europe—while characters speak in Shakespearean prose, their body language still distinctly modern. Instead of the usual sea of white faces for such a tale, different races that seem to have equal social standing populate this world. Perkins purposefully juxtaposes Galo Olivares’s classically picturesque cinematography, imbued with the illusion of natural light, against Robin Coudert’s synth-heavy score that resembles Wendy Carlos’s work for Stanley Kubrick. The film thrives within a dream-logic vibe, especially in Olivares’ cinematography, with its heavy emphasis on symmetrical framing, stark contrast and lush use of yellows and blues, evoking subliminal terror. Gretel & Hansel continues the director’s streak as a unique voice in modern horror filmmaking. —Oktay Ege Kozak


23. The Assistant

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Year: 2020
Director: Kitty Green
Stars: Julia Garner, Matthew Macfayden, Makenzie Leigh, Kristine Froseth
Genre: Drama, Thriller
Rating: R
Runtime: 87 minutes

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The nameless, faceless boss hiding behind closed doors in Kitty Green’s exceptional The Assistant can be easily read as a Harvey Weinstein stand-in. The truth is that Harvey Weinstein isn’t or, now that he’s in prison, wasn’t the only man in the film industry with a habit of abusing his position and privilege by preying on women in his office, either through coercion or through brute force, he is, or was, the most notorious of them. So yes, The Assistant can be thought of as “the Harvey Weinstein movie,” but it really should be thought of as the best contemporary movie to act out patriarchal rape culture dynamics on screen. Regardless, take Weinstein out of your interpretation of The Assistant and the film will still throttle you slowly, packing suffocating pressure into each of its 87 minutes. Green’s primary tool here is stillness: Static shots dominate the production, stifled frame after stifled frame, with the camera, manned by Michael Latham, often left hovering above Green’s star, Julia Garner, as if he means to leave space for her unanswered silent prayers to hang over her head. She plays the title’s long-suffering assistant, silent witness to her boss’s bullying and wanton lasciviousness, helpless to stop it. She spends the film unraveling over the course of a day, confronting her complicity in his sexual predation with no tangible hope of ending the cycle. Because there is no hope in The Assistant, no chance the film’s central evil will meet his punishment, or that the system built to facilitate his evil will collapse. What Green has done here is brutal and unsparing, but it’s also flawlessly made and necessary. —Andy Crump


24. Collective

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Year: 2020
Director: Alexander Nanau
Stars: N/A
Genre: Documentary
Rotten Tomatoes Score: 99%
Rating: NR
Runtime: 109 minutes

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Alexander Nanau’s documentary unfolds like a procedural so efficiently, his access so surprisingly unfettered, one can’t help but begin to doubt the horrors exposed. Like three seasons of The Wire adulterated into two hours, Collective begins with the aftermath of a nightclub fire in Bucharest in 2015, which killed 27 people and wounded nearly 180, as parents of victims—both those who perished that night and (many of) those who died in hospitals soon after—begin to gather and question how the Romanian government, top to bottom, seems to be at the heart of such tragic dysfunction. Nanau shows us startling clear video from that night, unflinching and terrible, and then continues to not look away as a group of journalists begin to uncover the corruption that led to so much suffering. Meanwhile, Nanau follows survivors and activists, and then the newly appointed Health Minister (after the other guy resigned for gross incompetence), young and idealistic, as the system crushes every moral step he tries to make, buffeted on all sides by conservative propaganda and the bourgeois class, who have long profited from so much death and misery. The cruelty and perversion of Romania’s governing class should come as no surprise, nor should the results of the election that closes out the film, but Nanau doesn’t frame his drama around the explication of wrongdoings and the punishment of such wrongdoers. He eschews interviews and talking heads for incisive observation, sometimes so intimate it feels like empathy; he returns over and over to the vulnerable people who must endure—their courage, their fear, and the marginal hope they provide the rest of us by simply doing their jobs. It is a testament not to the power of journalism, but to its necessity, one of the last bastions civilization has against normalizing this nightmare here at the End of History. —Dom Sinacola


25. Scare Me

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Year: 2020
Director: Josh Ruben
Stars: Josh Ruben, Aya Cash, Rebecca Drysdale, Chris Redd
Genre: Comedy, Horror
Rotten Tomatoes Score: 83%
Rating: NR
Runtime: 104 minutes

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For many, scary movies are fun. Watching scary movies is fun. Boil that down further: Telling scary stories is fun, no matter the setting, as long as you’re in proper company. Shudder’s Scare Me toasts that dynamic via a contest of wills between two horror authors trying to out-terrify each other before the second-best possible stage for telling scary stories: a crackling fireplace. (The very best is a campfire, but beggars can’t be choosers.) The authors are Fred (Josh Ruben) and Fanny (Aya Cash). Fanny is the best-selling writer behind the popular critical smash Venus, a zombie novel that, based on what little the audience hears about it, sounds like elevated horror nonsense (which is exactly the kind of thing that scored points on screens and shelves in the mid-2010s horror boom). Josh is a loser. He hasn’t written a damn thing or a thing worth a damn, and he’s secluded himself in a cabin at a Catskills resort to do Serious Work, which he doesn’t, because again, he’s a loser. Fanny’s staying in a nearby cabin, and when the power goes out across the area, she walks in on Fred and challenges him to scare her with his best shot.

The pace of Scare Me slows a tad more than ideal as Ruben takes the plot to its inevitable conclusion, but it’s still a joyful, satisfyingly eerie experience. There are reasons we enjoy the adrenaline blast horror movies give us. Scare Me, which should be essential viewing each Halloween season, understands those reasons well and celebrates them with enough laughs and gasps to leave viewers choking.—Andy Crump

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