The Best Free Movies on Peacock (January 2022)

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The Best Free Movies on Peacock (January 2022)

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

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

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

Here are the best free movies on Peacock right now:


1. Snowpiercer

snowpiercer-movie-poster.jpg Year: 2013
Director: Bong Joon-ho
Stars: Chris Evans, Song Kang-ho, Tilda Swinton
Rating: R
Runtime: 126 minutes

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There is a sequence midway through Snowpiercer that perfectly articulates what makes Korean writer/director Bong Joon-ho among the most dynamic filmmakers currently working. Two armies engage in a no-holds-barred, slow motion-heavy action set piece. Metal clashes against metal, and characters slash through their opponents as if their bodies were made of butter. It’s gory, imaginative, horrifying, beautiful, visceral and utterly glorious. Adapted from a French graphic novel by Jacques Lob, Benjamin Legrand and Jean-Marc Rochette, Snowpiercer is a sci-fi thriller set in a futuristic world: Nearly two decades prior, in an ill-advised attempt to halt global warming, the government inundated the atmosphere with an experimental chemical that left our planet a barren, ice-covered wasteland. Now, the last of humanity resides on “Snowpiercer,” a vast train powered via a perpetual-motion engine and governed by a ruthless caste system. Needless to say, this scenario hasn’t exactly brought out the best of humanity. Bong’s bleak and brutal film may very well be playing a song that we’ve all heard before, but he does it with such gusto and dexterous skill you can’t help but be caught up in the flurry. —Mark Rozeman


2. Munich

munich-poster.jpg Year: 2005
Director: Steven Spielberg

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By far the most politically daring work in Steven Spielberg’s filmography, Munich must not have been an easy story to tell for the devout member of the Jewish faith and a defender of Israel’s right to exist. It tells of the crack team of Israeli assassins who took blind revenge for the Palestinian act of terrorism during the 1972 Munich Olympics, how they gradually lost their humanity and plunged both sides into an uncomfortable moral grey area. It’s one of the rare Spielberg films that ends on a clearly bleak tone, without a glimmer of the silver lining the die-hard optimist usually inserts into the finales of even his toughest stories, a believer in humanity’s eventual appeal to their better nature, but Spielberg also recognizes that optimism must come with an understanding that cycles of violence only, eventually lead to destruction. Of course the simple application of a brave moral standing doesn’t automatically make for a great movie, but it’s also hard to deny how pulse-poundingly effective Munich is as an old-school political thriller. For proof, look to the tense sequence wherein the team tries to abort a bombing mission at the last second.—Oktay Ege Kozak


3. Midnight Run

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

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


4. James White

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

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


5. Bernie

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

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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


6. Winter’s Bone

winters-bone-poster.jpg Year: 2010
Director: Debra Granik

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Watching Winter’s Bone is like entering into an entirely different world, director Debra Granik vividly capturing the sights and sounds of the Ozark mountains in a way that’s stylized yet feels completely natural to the setting. But that’s all just beautiful wrapping around Jennifer Lawrence’s stunning performance as a 17-year-old raising her two younger siblings, supporting her mother and trying to find the whereabouts of her deadbeat father before their house is taken away. Granik takes this search plotline in dreadful new directions, and while Lawrence may end up battered by her community and nearly starved by an indifferent society, she never loses her dignity. Winter’s Bone is simultaneously depressing and uplifting, showing us the worst of humanity without ever giving in to it. —Sean Gandert


7. Body Bags

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

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


8. The Karate Kid

the-karate-kid-poster.jpg Year: 1984
Director: John G. Avildsen
Stars: Ralph Macchio, Pat Morita, Elisabeth Shue, William Zabka
Rating: PG

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Ralph Macchio’s crane-legged Karate Kid would become an icon of the ’80s, as would Pat Morita as Mr. Miyagi, the sensei who trains the bullied Daniel LaRusso in martial arts. Although many of the scenes can feel a little worn and trope-laden, that’s mostly due to how much the film has been copied in the years since its release. It was the sort of feature that defined karate to an entire generation of young kids and must have inspired countless dojo openings and yellow belt ceremonies. It also features one of the great villains of ’80s cinema in the merciless Cobra Kai coach, Sensei John Kreese: “Sweep the leg, Johnny.” —Josh Jackson


9. Nosferatu the Vampyre

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

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Werner Herzog recreates the cornerstone of vampire cinema (and German expressionist filmmaking, for that matter) through an ever-mounting nightmare of unsettling, disjointed vignettes. Which isn’t anything new for the German director, but his methods and sensibility do lend themselves naturally to the language of phantasmagoria, as he tells a well-known story via one subconscious-upending image after another. As in any Herzog film, the story is never intended to hold together flawlessly—only barely logically—but to imprint indelibly upon the insides of the viewers’ eyelids the stark silhouette of evil borne absurdly from the primeval fear in all of us. That Klaus Kinski also plays Count Dracula means that madness bristles at the edge of every manicured line of chiaroscuro: Nosferatu revels in the beauty of horror. In fact, Roger Ebert said, “Here is a film that does honor to the seriousness of vampires. No, I don’t believe in them. But if they were real, here is how they must look.” —Dom Sinacola


10. The Descent

the-descent-poster.jpg Year: 2005
Director: Neil Marshall

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True camaraderie or complex relationships between female characters isn’t so much “rare” in horror cinema as it is functionally nonexistent, which is one of the things that still makes The Descent, nominally about a bunch of women fighting monsters in a cave, stand out so sharply all these years later. But ah, how The Descent transcends its one-sentence synopsis. The film’s first half is deliberately crafted to fill in the personalities of its group of women, while slowly and almost imperceptibly ratcheting up the sense of dread and foreboding. As the characters descend deeper into the cave, passageways get tighter and the audience can feel the claustrophobia and dankness creeping into their bones—and that’s before we even see any of the resident troglodytes. Neil Marshall’s screenplay makes masterful use of dubious morality, infusing its protagonists, particularly the duo of Sarah (Shauna Macdonald) and Juno (Natalie Mendoza), with numerous shades of gray. Not content to simply paint one of the two as flawed and the other as resourceful and ultimately vindicated, he uses a series of misunderstandings to illustrate human failing on a much more profound and universal level. Ultimately, The Descent is as moving a character study as it is terrifying subterranean creature feature, with one hell of an ending to boot. —Jim Vorel


11. Short Term 12

short-term-12.jpg Year: 2013
Director: Destin Daniel Cretton
Stars: Brie Larson, John Gallagher Jr., Kaitlyn Dever, Rami Malek, Alex Calloway, Lakeith Stanfield
Rating: R
Runtime: 97 minutes

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As it progresses, Short Term 12 remains rigorously structured in terms of plot; yet it never feels calculated. In fact, the film serves as a fine example of how invisible screenwriting can be. By allowing his characters’ irrational emotions to influence events and instigate key turning points, Cretton capably masks the film’s finely calibrated story mechanics. And while everything seemingly comes to a head during a key crisis, it’s only fitting that the story ends with a denouement that bookends its opening. Cretton’s clear-eyed film is far too honest to try and convince us that there’s been any sort of profound change for Grace or anyone else. Instead, it’s content to serve as a potent reminder that tentative first steps can be every bit as narratively compelling as great leaps of faith. —Curtis Woloschuk


12. Highlander

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

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


13. Nightbreed


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

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


14. Black Christmas

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

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Fun fact—nine years before he directed holiday classic A Christmas Story, Bob Clark created the first true, unassailable “slasher movie” in Black Christmas. Yes, the same person who gave TBS its annual Christmas Eve marathon fodder was also responsible for the first major cinematic application of the phrase “The calls are coming from inside the house!” Black Christmas, which was insipidly remade in 2006, predates John Carpenter’s Halloween by four years and features many of the same elements, especially visually. Like Halloween, it lingers heavily on POV shots from the killer’s eyes as he prowls through a dimly lit sorority house and spies on his future victims. As the mentally deranged killer calls the house and engages in obscene phone calls with the female residents, one can’t help but also be reminded of the scene in Carpenter’s film where Laurie (Jamie Lee Curtis) calls her friend Lynda, only to hear her strangled with the telephone cord. Black Christmas is also instrumental, and practically archetypal, in solidifying the slasher legend of the so-called “final girl.” Jessica Bradford (Olivia Hussey) is actually among the better-realized of these final girls in the history of the genre, a remarkably strong and resourceful young woman who can take care of herself in both her relationships and deadly scenarios. It’s questionable how many subsequent slashers have been able to create protagonists who are such a believable combination of capable and realistic. —Jim Vorel


15. Prom Night

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

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


16. Sleepaway Camp

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

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Of all the camp-based Friday the 13th rip-offs, Sleepaway Camp is probably the best one that isn’t The Burning. Our main character is Angela, a troubled girl who absolutely everyone picks on for no good reason. Seriously—it’s one of those ’80s era movies with a main character who is an “outsider” constantly harassed by dozens of people, but without any impetus or explanation—it’s just Angela’s lot in life. Everyone who meets her immediately hates her guts and subjects her to cruel taunting. But soon, the people at the camp who were mean to Angela start getting knocked off. The movie seems calculated to come off as a straight horror film, but the death scenes are often so outlandish that it veers pleasurably into horror comedy, as well. Highlights include the lecherous camp cook, who gets a giant vat of boiling water dumped on his face, or the kid who gets a beehive dropped into the outhouse with him. If you love classic slashers, it’s a must-see, especially for the ending. I won’t spoil anything, but Sleepaway Camp can proudly lay claim to one of the most shocking, WTF endings in slasher movie history. —Jim Vorel


17. Prince: Sign ‘o’ the Times

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

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Prince’s 1987 concert documentary is one hour and 24 minutes of a generation’s greatest musical performer at the peak of his career (sorry, Boss). With his touring band that included Sheila E. on drums, Miko Weaver on guitar, Levi Seacer Jr. on bass, Eric Leeds on sax, Boni Boyer and Dr. Fink on keyboards, and Cat Glover dancing, the film pulls mostly from his 1987 double-album Sign O’ the Times, with hits like the title track, a piano interlude of “Little Red Corvette” and “U Got the Look.” It was filmed at two European shows, but much of the music was re-recorded later at Paisley Park. Still, it has an urgency that only Prince can deliver, in multiple outfits, of course. Released theatrically in the States, the film received more love after it left theaters. Now it’s one of the best ways to see what the big deal is about a Prince concert. —Josh Jackson


18. MacGruber

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

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


19. The Big Lebowski

the-big-lebowski-poster.jpg Year: 1998
Director: Joel Coen
Stars: Jeff Bridges, John Goodman, Julianne Moore, Steve Buscemi, David Huddleston, John Turturro, Philip Seymour Hoffman
Rating: R
Runtime: 117 minutes

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Jeff “The Dude” Lebowski has plenty of time on his hands—enough to while away the days chasing down a stolen rug, at least—but he can hardly get himself dressed in the morning, chugs White Russians like it’s his job (incidentally, he doesn’t have a real one) and hangs around with a bunch of emotionally unstable bowling enthusiasts. Any mission you set him off on seems bound to fail. And yet that’s the great joy, and the great triumph, of the Coen Brothers’ The Big Lebowski and its consummate slacker-hero. The Dude is a knight in rumpled PJ pants, a bathrobe his chainmail, a Ford Torino his white horse. Strikes and gutters, ups and downs, he takes life in ambling, unshaven stride—and more than dashing good looks and unparalleled strengths, isn’t that something we should all aspire to? —Josh Jackson


20. An American Werewolf in London

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

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