The 20 Best Movies on Paramount+ Right Now (June 2022)

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The 20 Best Movies on Paramount+ Right Now (June 2022)

Paramount+, the streaming service that is to ViacomCBS what HBO Max is to WarnerMedia, is finally here. The company (and the studio that streamer takes its name from) is stuffing its library online. CBS All Access, which it is replacing, is dead. Yes, it’s another streamer and yes, it’s another streamer with a at the end of its name. But hear us out: Paramount might be the new kid on the block, but it’s a heck of a deal. Either $9.99 a month for the ad-free tier or $4.99 for ads gets you “2,500 movie titles,” and that’s not even mentioning the slew of TV shows that’re coming along for the ride.

Between the Comedy Central Roasts, stand-up specials and seemingly endless documentaries, it can be hard to sift through. Never fear, though, because we’re here to sort through it all and find the cream of the crop—updating every month. The plethora of dramatic classics, martial arts movies, Star Trek entries and forgotten favorites make Paramount+ worth checking out—especially considering its relatively low price point.

Here are the 20 best movies available to stream on Paramount+ right now:


1. Jackass Forever

jackass-forever-poster.jpg Year: 2022
Director: Jeff Tremaine
Stars: Johnny Knoxville, Steve-O, Chris Pontius, Danger Ehren, Wee Man, Preston Lacy, Zach Holmes, Jasper Dolphin, Rachel Wolfson, Sean McInerney
Rating: R
Runtime: 96 minutes

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On paper, Jackass Forever operates in perfect sync with every other long-gap nostalgia sequel/revival being used to prop up various streaming services or the tenuous theatrical experience. It arrives 11 years and change after a second sequel to a movie based on (and very similar to) a TV series, brings back as much of its core cast as possible for more of the same and, in some cases, even circles back to revisit certain sequences from previous installments. Just like past versions, Jackass Forever opens with a more staged action sequence that seems designed to blow remaining budget money on a larger-scale expression of the project’s grody whimsy. It’s Jackass, again, again. Two factors help Jackass Forever mitigate this on-trend sameness, and then transcend it. One is the durability of Jackass itself, which—in case it has somehow escaped you—consists of ringleader Johnny Knoxville and assorted skater-adjacent goofballs performing a variety of stunts and pranks that blur the line between primitive sketch comedy and sophisticated geek show. The second factor also has to do with that longevity. Let any movie or TV series run long enough, and it will become at least in part about its own age, and while Jackass doesn’t get too cutely sentimental about how long these guys have been in each other’s lives and ours, it is unavoidably aware of that fact. In some sequences, Knoxville’s hair is a distinguished mussed gray; more than once, Steve-O brandishes and/or retrieves his false front tooth (“They’re dropping like flies,” he grins semi-ruefully). In an early sequence, Knoxville jokes about the camera needing to avoid capturing his bald spot. Spike Jonze, a longtime cohort who only occasionally makes on-camera appearances, rushes on with some spray paint to cover it up. These guys are well into their forties, and they’re still surprising each other with taser zaps, engaging in everyone-loses slapstick competitions and using each other to prop up bike ramps. This is, as the saying goes, a feature, not a bug. That affability goes a long way: More casual viewers’ mileage may vary on which stunts are laugh-out-loud funny and which are abjectly horrifying, and the rickety carnival rollercoaster ride works better when the other passengers—whether fellow audience members or the on-camera talent—are screaming and laughing along in equal measure. Knoxville himself feels more like a host than ever, jumping into the fray for select bits, including a hell of a curtain call for his closer. He’s been good in fiction films, but he never feels as comfortable onscreen as when he’s presiding over this particular brand of mayhem. He emcees every Jackass movie like he may never get the chance to do it again—an unspoken threat that looms larger than ever over this one. After all, it may not be physically feasible to keep this series going as a Richard Linklater or 7 Up-style chronicle of slapstick performance art. Then again, Forever is right there in the title.—Jesse Hassenger


2. The Godfather Part II

the-godfather-2.jpg Year: 1974
Director: Francis Ford Coppola
Stars: Al Pacino, Robert Duvall, Diane Keaton, Robert De Niro, Talia Shire, Morgana King, John Cazale, Mariana Hill, Lee Strasberg
Rating: R
Runtime: 200 minutes

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With the success of The Godfather, Francis Ford Coppola’s second chapter—released just two years later—set a new precedent for sequels by proving just as triumphant. Anchored by prevailing performances from Al Pacino and Robert De Niro, the follow-up carries on the mafia saga and explores the parallels between father and son. It’s another tour de force with epic proportions.—David Roark


3. Beavis and Butt-Head Do America

beavis_butt-head_do_america_poster_netflix.jpg Year: 1996
Director: Mike Judge
Stars: Mike Judge, Bruce Willis, Demi Moore, Robert Stack, Cloris Leachman
Rating: PG-13
Runtime: 80 minutes

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Mike Judge was at the top of his powers in the mid to late ‘90s, when he was juggling Beavis and Butt-Head with King of the Hill and also developing Office Space. Although it lacks the music video commentary that was often the funniest part of the MTV series, Beavis and Butt-Head Do America is the rare feature-length adaptation of a TV show that’s actually better than the source material. A higher budget resulted in the best animation ever associated with Beavis and Butt-Head, while the extra length of a movie let Judge and his co-writer Joe Stillman take the cultural satire the show was known for in deeper and wider ranging directions. It also features Robert Stack’s best animated performance since that time he got to cuss in the Transformers movie.—Garrett Martin


4. The Conversation

TheConversation.jpg Year: 1974
Director: Francis Ford Coppola
Stars: Gene Hackman, John Cazale, Harrison Ford, Allen Garfield, Frederic Forrest, Cindy Williams
Rating: PG
Runtime: 113 minutes

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The really incredible fact about this film is that Coppola made it as a side project between Godfather movies. Starring Gene Hackman, The Conversation is the story of a surveillance technician coming face to face with the implications of his job, and the paranoia of being watched at every moment. It was nominated for Best Picture in 1974, an award that went to The Godfather, Part II. It’s one of the rare times in film history when a director has lost to himself. —Shane Ryan


5. Invasion of the Body Snatchers

invasion-of-the-body-snatchers-1956-poster.jpg Year: 1956
Director: Don Siegel
Stars: Kevin McCarthy, Dana Wynter
Runtime: 80 minutes

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Don Siegel’s film is the first of several adaptations of Jack Finney’s 1954 novel The Body Snatchers, and although it lacks some of the more stomach-churningly weird sights of Philip Kaufman’s 1978 remake (like that man-faced dog!), it makes up for it with solid performances and its uniquely bright, complacent portrayal of human society being destroyed from within. As so many others have observed since the film’s first release, it’s the ultimate Red Scare-era parable for the coming conflict of East vs. West, emotionless collectivist vs. passionate individualist cultures, tapping into the simmering fear that the nation’s very identity was being secretly undermined by outsiders. The fact that the assimilations and “pod people” creations happen while we sleep only deepens the metaphor, implying the need for constant, ceaseless vigilance. Of course, these themes have kept Invasion of the Body Snatchers painfully relevant at any time in American history when xenophobia is running rampant, today being no exception. Embroiled as we are in another culture war revolving around oft-racist accusations of “un-American” behavior, there’s never been a better time to revisit the film than right now.—Jim Vorel


6. Interstellar

Thumbnail image for interstellar2.jpg Year: 2014
Director: Christopher Nolan

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Whether he’s making superhero movies or blockbuster puzzle boxes, Christopher Nolan doesn’t usually bandy with emotion. But Interstellar is a nearly three-hour ode to the interconnecting power of love. It’s also his personal attempt at doing in 2014 what Stanley Kubrick did in 1968 with 2001: A Space Odyssey, less of an ode or homage than a challenge to Kubrick’s highly polarizing contribution to cinematic canon. Interstellar wants to uplift us with its visceral strengths, weaving a myth about the great American spirit of invention gone dormant. It’s an ambitious paean to ambition itself. The film begins in a not-too-distant future, where drought, blight and dust storms have battered the world down into a regressively agrarian society. Textbooks cite the Apollo missions as hoaxes, and children are groomed to be farmers rather than engineers. This is a world where hope is dead, where spaceships sit on shelves collecting dust, and which former NASA pilot Cooper (Matthew McConaughey) bristles against. He’s long resigned to his fate but still despondent over mankind’s failure to think beyond its galactic borders. But then Cooper falls in with a troop of underground NASA scientists, led by Professor Brand (Michael Caine), who plan on sending a small team through a wormhole to explore three potentially habitable planets and ostensibly secure the human race’s continued survival. But the film succeeds more as a visual tour of the cosmos than as an actual story. The rah-rah optimism of the film’s pro-NASA stance is stirring, and on some level that tribute to human endeavor keeps the entire yarn afloat. But no amount of scientific positivism can offset the weight of poetic repetition and platitudes about love. —Andy Crump


7. Election

Thumbnail image for Election285x400.jpg Year: 1999
Director: Alexander Payne
Stars: Matthew Broderick, Reese Witherspoon, Chris Klein
Rating: R
Runtime: 102 minutes

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Tom Perrotta writes novels that strip the veneer from polite and “civilized” mid-American suburban life to expose it as the Starbucks-ian jungle that it is: The most reptilian impulses of human nature can strike at any time to dismantle the weak ones in the pack, or to at least flirt with pure narcissistic and hedonistic behavior. In fact, two great films based on his work outline this thematic connection—in Todd Field’s Little Children, the sexual indiscretions of small town characters are narrated like an old school National Geographic documentary, and in Alexander Payne’s Election, the soundtrack blares with a screeching, angry tribal chant whenever a character feels slighted, preparing for an attack to socially destroy an enemy. Perrotta and Payne’s narrative covers a rift between a high school teacher, Jim McAllister (Matthew Broderick), who isn’t self-aware enough to realize how much of a selfish prick he really is, and a student, Tracy Flick (Reese Witherspoon), the embodiment of blind and ruthless ambition, during the election to appoint the new student body president. Underneath this simple story rides a precise and nimble exploration about the lengths anyone might go to on the road to success to protect their fragile ego while stabbing many backs. Witherspoon’s now-iconic take on Tracy Flick is the embodiment of that person we’ve all encountered who will do and say literally anything to get ahead in life. However, Broderick’s seemingly caring and guiding teacher also succumbs to his own basest desires. Which one perishes, and which one comes out on top depends not on any preconceived cosmic hierarchy of good morals (or ethics—what’s the difference?), but on who can be the shrewdest and cleverest animal in the pack. —Oktay Ege Kozak


8. The SpongeBob Movie: Sponge on the Run

the-spongebob-movie-sponge-on-the-run-poster.jpg Year: 2021
Director: Tim Hill
Stars: Tom Kenny, Awkwafina, Matt Berry, Snoop Dogg, Bill Fagerbakke, Clancy Brown, Tiffany Haddish, Carolyn Lawrence, Mr. Lawrence, Keanu Reeves, Danny Trejo, Reggie Watts
Runtime: 91 minutes

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There are many reasons why SpongeBob SquarePants has endured more than two decades of steadfast love and pop culture relevance. Part of it is the enduring positivity and ridiculousness of SpongeBob (Tom Kenny), Patrick (Bill Fagerbakke) and the entire populace of their world. The characters are self-referential, consistent to their defining traits and the writers have always created a duality of experience: Silliness for kids and a sly ascendance of wit that appeals directly to the older viewers. The mode in which the funny is served needs to have all of that present to work. Director/writer Tim Hill (who also wrote 2004’s original The SpongeBob SquarePants Movie) understands that in this first, all-3D presentation. Hill and his team of artists—including Mikros Image, which is responsible for the CGI animation—play it smart by introducing a subtle transition for the view in the opening of Sponge on the Run. Gorgeous, photorealistic CGI of the underwater world transitions to the familiar color palette and stylized look of Hillenburg’s corner of the ocean, just with more presence and tactile flourishes. From Gary’s snail slime coming across as tangible goop to scratches in Sandy Cheeks’ breathing dome, the movie doesn’t aim to overwhelm audiences with overt tech bells and whistles. Instead, it presents the characters and world as an opportunity to experience the familiar in a new light, like appreciating the miniscule scale of a 3D-generated Plankton in comparison to his explosive rage—which makes him all the more hilarious. As another evolution in the ongoing SpongeBob universe, The SpongeBob Movie: Sponge on the Run is a graceful and well-executed dip of the yellow toe into 3D waters. There’s overall respect for the characters and tone, and artistic merit to how they integrate the medium into the show’s standards for presenting the surreal and strange. Does it push the sponge forward? Probably not, and that’s ok. There’s something timeless about Bikini Bottom remaining as it is, with spin-offs and new series serving as the appropriate playgrounds for new outlets of storytelling. Sponge on the Run lovingly splits the difference, but doesn’t take anything away from what many know and love.—Tara Bennett


9. Bumblebee

bumblebee-210.jpg Year: 2018
Director: Travis Knight

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Paramount actually made a Transformers movie that’s a lovely, exciting and wholly engaging gem of a sci-fi adventure for teenagers. I guess it’s time for me to finally go into my dream business of exporting the newly formed ice from hell using my army of flying pigs. Bumblebee is an ’80s set spin-off/prequel to Michael Bay’s migraine-inducing, often infuriating, and always head-slappingly stupid five Transformers flicks. It wisely scales down Bay’s love of random mayhem in favor of a fairly respectful and inventive throwback to those Spielbergian family sci-fi/adventure movies about the friendship between a nerdy, lonely teenager (Hailee Steinfeld) and a friendly and protective alien/robot/magical being. Their bond teaches the teenager to come out of her shell and face her fears. Of course since we also need an action-heavy third act, the big bad military that’s unfairly threatened by the creature goes after it, forcing the teenager and the creature to defend each other against all odds, learning lessons about the importance of love in the process. Sure, Bumblebee doesn’t really bring much that’s especially new or daring to that formula, but at least all the ingredients really work. It’s hard enough to have a fully CG character as your co-star, and it’s even tougher when an actor is tasked with creating a deep emotional connection with something she can’t even see during production. Steinfeld is up to the challenge, making us believe in Bumblebee’s existence almost as much as the animators who worked on bringing him to life. Just like death and taxes, it’s a certainty of life that we will get a new Transformers in theaters once every few years. If they’re more like Bumblebee going forward, the thought of that doesn’t depress me nowhere near as it used to. —Oktay Ege Kozak


10. Rosemary’s Baby

rosemarys-baby-movie-poster.jpg Year: 1968
Director: Roman Polanski
Stars: Mia Farrow, John Cassavetes, Ruth Gordon, Sidney Blackmer
Rating: R
Runtime: 136 minutes

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The banality of evil isn’t a concept new to the horror genre, but in Roman Polanski’s troubled hands, that banality is an unadulterated expression of institutionalized horror, one so ingrained in our society it becomes practically organic. With Rosemary’s Baby, the body of young Rosemary (Mia Farrow) is the institution through which Satan’s malice gestates, a body over which everyone but Rosemary herself seems to have any control. At the mercy of her overbearing neighbors (played by a pitch-perfect Ruth Gordon and Sidney Blackmer), her Ur-Dudebro husband, Guy (John Cassavetes), and the doctor (Ralph Bellamy) recommended by her high society cadre of new friends, Rosemary is treated as if she’s the last person who knows what’s best for her and her fetus—a position she accepts as a matter of fact. She’s only a woman, a homemaker at that, so such is her lot. The worse she feels and the more fraught her pregnancy becomes—as well as the recurring flashes of a ghastly dream she can’t quite shake in which a ManBearPig mounts her, its glowing yellow eyes the talismans of her trauma—the clearer Rosemary begins to suspect she’s an unwilling pawn in something cosmically insidious. She is, is the absurd truth: She is the mother of Satan’s offspring, the victim of a coven’s will to worship their Dark Lord much more fruitfully. More than the director’s audacious Hollywood debut, not to mention the omen of what New Hollywood would be willing to do to tear down tradition, Rosemary’s Baby is a landmark horror film because of how ordinary, how easy, it is for everyone else in Rosemary’s life to crush a woman’s spirit and take her life. The baby has “his father’s eyes” it’s said; what of the mother’s does he have?—Dom Sinacola


11. Paranormal Activity

paranormal activity poster (Custom).jpg Year: 2007
Director: Oren Peli

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Here’s a statement: Paranormal Activity is the most wrongly derided horror film of the last decade, especially by horror buffs. That’s what happens in the wake of massive overnight success, and immediately derivative, inferior sequels: The original gets dragged down by its progeny. The original Paranormal Activity is a masterful piece of budget filmmaking. For $15,000, Oren Peli made what is probably the most effective “for the price” horror movie ever released, surpassing The Blair Witch in terms of both tension and narrative while pulling off incredibly unnerving minimalist effects. Yes, there are some stupid, “I’m in a horror movie” choices by the characters, and yes, Micah Sloat’s “get out here so I can punch you, demon!” attitude is irritating, but it’s calculated to be that way. Sloat is a reflection of the toxic “man of the house” attitude, a guy who would rather be terrorized than accept outside help. Meanwhile, Katie Featherston’s realistic performance as a young woman slowly unraveling is a thing of beauty. But beyond performances, or effects, Paranormal Activity is a brilliant case study in slowly building tension, and in raising an audience’s blood pressure. I know: I saw this film in theaters when it was still in limited release, and I can honestly say I’ve never been in a movie theater audience that was more terrified. How could I tell? Because they were so loud in the moments of calm before each scare (the most dead giveaway of all: when a young man turns to his friends to assure them how not-nervous he is). This was just such an event—there were actually ushers standing at the entrance ramps throughout the entire film, just watching the audience watch the movie. I’ve yet to ever see that happen again. Deride all you want, but the arrival of Paranormal Activity scared the hell out of us. —Jim Vorel


12. Once Upon a Time in the West

once-west.jpg Year: 1968
Director: Sergio Leone
Stars: Henry Fonda, Claudia Cardinale, Jason Robards, Charles Bronson, Frank Wolff
Genre: Western, Drama
Rating: PG-13
Runtime: 165 minutes

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Let’s get this out of the way: Once Upon a Time in the West is as great as they come, and one of the most influential Westerns of its day. But after the film’s opening 20 minutes or so dribble by, it’s hard not to wonder how the remaining 150 will match them. Sergio Leone’s film is so deliberately paced and so unhurried in getting where it needs to that as soon as the moment passes when we first meet Charles Bronson’s harmonica-playing gunman, we feel as though we’ve already sat through an entire feature. That doesn’t sound like much of a compliment, but Leone’s talent for stretching seconds into minutes and minutes into hours is made all the more amazing by how little we feel the passage of time. Once Upon a Time in the West is truly cinematic, a wormhole that slowly transports us into its world of killers and tycoons, bandits and landowners, revenge and rightness. There’s a reason that Leone’s masterpiece is considered one of the greatest movies ever made and not just one of the great Westerns: Once Upon a Time in the West is an enduring monument of its era, its genre and filmmaking itself. —Andy Crump


13. The Little Hours

the little hours movie poster.jpg Year: 2017
Director: Jeff Baena
Stars: Alison Brie, Dave Franco, Kate Micucci, Aubrey Plaza, John C. Reilly, Molly Shannon
Rating: R
Runtime: 90 minutes

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Raunchy comedies rarely cop to such well-regarded sources: The Little Hours claims its basis lies within Giovanni Boccaccio’s 14th-century novella collection The Decameron, which makes its structure, bawdiness and characterizations all feel appropriately pithy. A series of incidents involving three horny nuns—Alessandra, Genevra, and Fernanda (Alison Brie, Kate Micucci and Aubrey Plaza, respectively)—and sexy farmhand-on-the-run Massetto (played by Dave Franco in full romance novel cover mode), The Little Hours finds writer/director Jeff Baena (who minored in Medieval and Renaissance Studies at NYU) delighting in updating The Decameron’s light and witty stories, helped by the fact that Boccaccio’s language was opposed to the flowery erudition of most of the period’s texts. That translates to a very vulgar (and funny) movie both indebted to and different than a wide spectrum of vulgar nun and nunsploitation movies that have spanned porn, hauntings and thrillers promising both nude nuns and big guns.—Jacob Oller


14. Mission: Impossible

mission-impossible.jpg Year: 1996
Director: Brian De Palma
Stars: Tom Cruise, Jon Voight, Henry Czerny, Emmanuelle Béart, Jean Reno, Ving Rhames, Kristin Scott Thomas, Vanessa Redgrave, Emilio Estevez
Runtime: 110 minutes

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Yup—stop for a minute and contemplate that the first M:I film was directed by Brian De Palma. A guy known more for art house thrillers and anti-heroes helms the first in a possible franchise starring an A-list actor (before Hollywood was only interested in franchises), not to mention the first film Cruise ever produced, a risk in and of itself. And yet, it all worked: Mission: Impossible is a plot-heavy, intelligent, patient action film, establishing a cypher of an action star who would go on to perfectly serve every single director to come. By now, it’s expected that with every new film in the franchise, Tom Cruise will step up his stuntman game, and every new director will be given the chance to interpret Ethan Hunt as he (or she, we can only hope) sees fit. In Mission: Impossible – Rogue Nation, Cruise asserts himself as perhaps the world’s most prominent asexual action hero, but 20 years ago no one had any idea what kind of conceptual framework he was putting into place. Mission: Impossible was a new breed of blockbuster action film, and the franchise’s longevity is clear evidence that, no matter what’s happened since, Tom Cruise is a guy whose risks seem to always pay off.—Dom Sinacola


15. The Foot Fist Way

foot_fisT_way_poster.jpg Year: 2006
Director: Jody Hill
Stars: Danny McBride, Mary Jane Bostic, Ben Best, Spencer Moreno, Carlos Lopez, Jody Hill, Collette Wolfe
Rating: R
Runtime: 87 minutes

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Before The Righteous Gemstones, before Kenny Powers, even before his role in Hot Rod, Danny McBride made his mark with The Foot Fist Way. Together with his long-time collaborator Jody Hill and co-writer Ben Best, McBride introduced us to Fred Simmons, a Taekwondo instructor in a small Southern town with a huge ego and an anger problem. Consider Fred the proto-Kenny Powers, with McBride diving into the same reservoir of toxic masculinity and extreme arrogance undercut by insecurity and a barely understood depression. Rough around the edges, and visibly low budget, The Foot Fist Way isn’t as refined or powerful as McBride and Hill’s later HBO shows, but it’s still a hilarious character study with a keen eye for place and an understanding of the modern South rarely seen in movies or TV.—Garrett Martin


16. To Catch a Thief

to-catch-a-thief-movie-poster.jpg Year: 1955
Director: Alfred Hitchcock
Stars: Cary Grant, Grace Kelly, John Williams
Rating: PG
Runtime: 106 minutes

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But really—he didn’t do it. Cary Grant plays John Robie, a retired jewel thief who’s enjoying his golden years tending vines on the French Riviera. Just when the Grenache is hitting the perfect Brix level, a series of copycat heists put Robie back in the thiefly limelight. Seeking to clear things up, he compiles a list of locals who are known to have heistable jewels, and being a smart and wily guy, he starts tailing a very, very pretty one (Francie, played by Grace Kelly). Budding romance can be an accidental side-effect of these things, but when Francie’s ice does go missing, she suspects John and it sours their relationship, as one might expect. John goes on the proverbial lam to get to the bottom of it. Talk about jewels! Nothing ever sparkled quite like Cary Grant and Grace Kelly onscreen together, especially with the legendary Edith Head on costume design—and their peerless charisma is in amazing hands here. The film itself is a bauble, unapologetically so: light and frothy and absolutely not Rear Window (none of which is an indictment). Sometimes it’s enough for something to simply be charming and beautiful. This film proves it. —Amy Glynn


17. Annihilation

annihilation-poster.jpg Year: 2018
Director: Alex Garland

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Alex Garland’s meditative adaptation of Jeff VanderMeer’s novel Annihilation is perhaps not the first film you’d immediately associate with “Lovecraftian” horror, but it actually fits the descriptor quite well. The “Shimmer” itself seems deeply indebted to Lovecraft’s 1927 story “The Colour Out of Space,” itself adapted as another entry on this list. As in Lovecraft’s story, Annihilation sees a mysterious force of extraterrestrial origin fall to Earth, where it leeches into the countryside and begins to transform and warp reality around it, with one of the leading indicators being the otherworldly colors and visual distortion that spreads from the epicenter of what is essentially an alien infection. Annihilation takes a studious, philosophical perspective on the ramifications of entering such a zone, as biology grapples with the inherent spark of identity and humanity within all of us—it’s perhaps a bit more cerebral than many of Lovecraft’s works, but the influence is unmistakable. In particular, the film’s ultimate depiction of the extraterrestrials strikes a very appropriate tone for Lovecraft, in the sense that the alien intelligence is portrayed as truly alien, rather than as human in some other guise. The consciousness encountered by the characters here is genuinely unknowable, totally outside of our capacity to grasp, which reinforces the Lovecraftian tenet of humanity’s extremely meager understanding of our reality, and relative insignificance in the cosmic scheme of things.—Jim Vorel


18. The Curious Case of Benjamin Button

the-curious-case-of-benjamin-button-poster.jpg Year: 2008
Director: David Fincher
Stars: Brad Pitt, Cate Blanchett, Mahershala Ali, Taraji P. Henson, Julia Ormond, Jason Flemyng, Elias Koteas, Tilda Swinton
Rating: PG-13
Runtime: 166 minutes

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Though far from David Fincher’s best work, his typically painstaking attention to detail and shrewd decision to transplant the original F. Scott Fitzgerald short story from Baltimore to New Orleans help make the case for the movie. Fincher was motivated to move the production thanks to Louisiana’s generous tax incentives for filmmakers—the state isn’t called “Hollywood South” just for its versatile locations. But by setting Brad Pitt’s aging-in-reverse timeline from November 1918 through the sirens blaring of the storm’s August 2005 landfall, he and screenwriter Eric Roth (in full Forrest Gump mode again) mine a fantastical metaphor of a city that’s as old as it is ageless. “The circumstances of my birth were… unusual,” Pitt’s Benjamin Button begins—the same fate could be said of New Orleans, and everything of both since. (Pitt has become something of an ambassador for the still-recovering town through his philanthropic foundation’s efforts to help rebuild the Lower Ninth Ward.) The sprawling odyssey—Pitt called it a “love letter”—elegizes a city then barely three years removed from near destruction, its often sepia-cast vignettes showcasing the Garden District, Mid-City, the French Quarter and beyond.—Amanda Schurr


19. Scream

scream-2022-poster.jpg Release Date: January 14, 2022
Director: Matt Bettinelli-Olpin, Tyler Gillett
Stars: Neve Campbell, Courteney Cox, David Arquette, Melissa Barerra, Jack Quaid
Rating: R
Runtime: 120 minutes

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Among many things that ended up winning me over about Radio Silence directing group members Matt Bettinelli-Olpin and Tyler Gillett’s Scream, the main one was that—like its predecessors—it understood how we were going to feel about it before we even got to see it. It knew that I would be torn about its existence. And that, folks, just scratches the surface on why the new Scream, in all its meta-for-a-modern-time goodness, is the best installment since the Wes Craven original. The fifth installment—which takes place 25 years after the original—doesn’t hold back when it comes to analyzing the inner workings of a classic reboot down to the bones. Scream has always been a franchise for film lovers—and it’s never been afraid to be meta as hell, as meta as it needed to be to get its point across. Big questions are raised and left in the air to hang: Are we really just the monsters we create? Are we the monsters that created us, and do we have to be? What is so toxic about loving something with everything you have and wanting it to stay good? Like you’d expect from the franchise, it doesn’t necessarily offer answers to those questions, but the fact that it poses them at all feels right. It is a welcomed dimension to the films that highlights the larger themes that have come into play as the Woodsboro legacy has aged. Sure, the gags about elevated horror and getting back to the roots of slashers, the film trivia, the dedication to the craft of movies—it’s all part of the show. But it’s the fifth movie, and really, why make it if not to send a love letter to the fans?—Lex Briscuso


20. Downhill Racer

Year: 1969
Director: Michael Ritchie
Stars: Robert Redford, Gene Hackman, Camilla Sparv
Rating: PG
Runtime: 102 minutes

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With Downhill Racer Michael Ritchie did for sports films what Two-Lane Blacktop did for road films. He created an existentialist sports film that is as tense as it is harrowing, and brought the genre into the realm of the bleak. Unlike many other films of its ilk, Downhill Racer subverts many of the tropes we’re so used to seeing in most commercial entertainment. The romance is empty, there are no heroes to root for, and the protagonist we do have certainly has the drive for greatness, but at no point does he inspire us. Instead, Robert Redford’s David Chappellet has much subdued anger, jealousy and fear. When he succeeds it feels hollow, for both the audience and the character. At times the film is quite nihilistic, despite the poetic and transcendental beauty of the setting and cinematography. Redford gives one of his most understated performances here; his range of emotions is much more subtle, yet in his subtlety we notice all the rage, fear and ambition that make up Redford’s brilliant turn. The supporting cast is equally nuanced. It’s the little things that create this film’s powerful atmosphere, and as a result the action sequences are all the more gripping. —Nelson Maddaloni