The 60 Best Netflix Original Movies

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The 60 Best Netflix Original Movies

In the last few years, Netflix has become a major player in original movie distribution, scooping up films at festivals and working directly with filmmakers to make movies for streaming subscribers. While you can decry the company’s effect in keeping some great movies from getting big-screen theatrical runs, it’s harder to fault Netflix for its curatorial ability. Beginning with Beasts of No Nation from True Detective director Cary Fukunaga, Netflix has since partnered with such directorial talent as Ava DuVernay, Noah Baumbach, Bong Joon-ho, Alfonso Cuarón, Jonathan Demme, Christopher Guest, Errol Morris, Werner Herzog, Orson Welles and Joe Swanberg—not to mention their upcoming work with Martin Scorsese. Though plenty of terrible movies have sprung from Netflix’s seemingly bottomless coffers, and though they continue to encourage Adam Sandler, they’ve compensated by growing into a source for insightful, excellent documentaries, including a few of our all-time favorites like The Square and Casting JonBenet.

Still, only four years into this whole Original Movie enterprise, Netflix’s nearly 300 features radically vary in tone and audience. Not that the streaming giant needs our defense; we just want to be clear that the following represents a grab-bag of genres and quality. For every Okja, the universe must balance itself with a Bright. So be it.

Here are the 60 best Netflix original movies:

roxanne-roxanne.jpg 60. Roxanne Roxanne
Year: 2018
Director: Michael Larnell
The importance of a story like Roxanne Roxanne making it to the big (streaming) screen cannot be understated. Roxanne Shanté, born Lolita Shanté Gooden, started rapping when she was just a child. She was a prodigy, going on to become the best battle rapper in Queens, New York. She would go on to suffer through and survive an abusive relationship with a statutory rapist who she fell in love with, just as her talent was beginning to catch the attention of record producers. Clashes with her mother and her absentee father made her life in the Queensbridge housing projects all the more complicated. I love that Roxanne Roxanne exists. I want everyone to see it (and to become familiar with new talent Chanté Adams as Shanté). But I also know that this could have been a much better work of art. There is plenty to enjoy from writer/director Michael Larnell’s presentation of Roxanne Shanté’s story. The ’80s New York vibe is all the way there, and I can’t be mad at some great moments we get to witness: Roxanne Shanté vs. Sparky D; a shy, young boy in Shanté’s projects, named Nasir, who wants to be a rapper; and an unknown Biz Markie beat boxing for Roxanne when her DJ (Marley Marl) bails on her. But as a whole, the film is missing an emotional pulse that was likely sacrificed in an attempt to emphasize the difficulties that Shanté endured as a young girl. Shanté’s personal and artistic experiences are ultimately hijacked by the men in and around her life, whose failures ultimately dominate her story. This should have been a female-centric narrative, weaving personal experiences with the art of rhymes and battle rapping. Instead, Larnell spends much of the time exploring the impact of men in Shanté’s life (men who steal, rape, take and beat), while, unfortunately, eclipsing her incredible accomplishments. The stories yearning to be told—of motherhood, of struggle, and sisterhood, and friendship and first (highly problematic) love for a girl who doesn’t quite know what good love looks like—are all there on the surface of Larnell’s film. We are desperately in need of more movies concerned with women in rap, women from the projects, women in relationships with men like Cross—and women who refuse to be defined by any one of these things—but we also desperately need the writers and directors who take on the stories of such women to push beyond the surface and give us the excellence we deserve. —Shannon M. Houston


irreplaceable-you-poster.jpg 59. Irreplaceable You
Year: 2018
Director: Stephanie Laing
Netflix has gifted us with two Gugu Mbatha-Raw movies in the same month. One of them is a creative disaster and a sign of bad things to come for the streaming giant’s philosophy on original releases. One of them is Irreplaceable You. Upfront, Irreplaceable You is aggressively mushy and cutesy as hell, but Mbatha-Raw is an effortless charmer, and director Stephanie Laing is clearly a wizard because she found a way to scrub Michiel Huisman of his typical stubbly hipster douchiness. He’s still a brooding hottie, but an awkward nerd brooding hottie, and he’s good at playing the part. He and Mbatha-Raw match up well as Sam and Abbie, childhood sweethearts newly engaged and also staring down her terminal cancer diagnosis. In medical terms, she’s a goner. So she does what any type-A person would do in her position and interviews candidates for her replacement after she dies. She loves Sam so much she can’t stand the idea of him being alone. If you’re diabetic this synopsis probably has you reaching for an insulin dose, but for all of its obvious manipulations, watching Irreplaceable You is the equivalent of downing a heart-shaped box of chocolates. You might go into sugar shock and you’ll need to brush your teeth when it’s over, but you won’t regret the indulgence all the same. —Andy Crump


little evil poster (Custom).jpg 58. Little Evil
Year: 2017
Director: Eli Craig
Seven years after he gave us Tucker & Dale vs. Evil, one of the best horror comedies in recent memory, director Eli Craig has finally returned with an exclusive for Netflix, Little Evil. An obvious parody of The Omen and other “evil kid” movies, Little Evil wears its influences and references on its sleeve in ways that, while not particularly clever, are at least loving. Adam Scott is the sad-sack father who somehow became swept up in a whirlwind romance and marriage, all while being unfazed by the fact that his new step-son is the kind of kid who dresses like a pint-sized Angus Young and trails catastrophes behind him wherever he goes. Evangeline Lilly is the boy’s foxy mother, whose motivations are suspect throughout. Does she know that her child is the spawn of Satan, or as his mother is she just willfully blind to the obvious evil growing under her nose? The film can boast a pretty impressive supporting cast, from Donald Faison and Chris D’elia as fellow step-dads, to Clancy Brown as a fire-and-brimstone preacher, but never does it fully commit toward either its jokes or attempts to frighten. The final 30 minutes are the most interesting, leading the plot in an unexpected direction that redefines the audience’s perception of the demon child, but it still makes for a somewhat uneven execution. Tucker & Dale this is not, but it’s still a serviceable return for Craig. —Jim Vorel


mercury-13.jpg 57. Mercury 13
Year: 2018
Directors: David Sington, Heather Walsh
One of the most gutting facts underscored in Hidden Figures was how much creativity and intellectual excellence a society loses when it lets its prejudices set the limits on its ambition. The United States’ loss to the USSR in getting a man into space, Hidden Figures made clear, was a direct result of the implicitly biased perspectives of the white men in charge of the program. Netflix’s Mercury 13, which tells the story of the 13 female pilots who, following the whizbang excellence of the Women Airforce Service Pilots in World War II (full disclosure, my grandmother was among them), were put through the exact same physical and psychological tests as the first set of male astronauts and matched (and sometimes exceeded!) their results but who were nevertheless shut out by lawmakers from becoming astronauts themselves, takes this clarity a step further: Because of the explicitly biased perspectives of the white men in charge (and in the Hero Astronaut spotlight), the USSR beat the US in getting the first woman into space. Many of the women who made up the Mercury 13 are no longer alive, but the ones who are and who participated in this documentary have lost none of the sharpness of purpose that made them such crackerjack pilots, and that would have made them equally crackerjack astronauts. So while it would be nice if Mercury 13 showed a bit more about the transition from an all-male astronaut program to a co-ed one (it skips straight from the 1962 testimonies before Congress to Eileen Collins in the early 1990s) and addressed the social and political forces that kept the astronaut program so white for so long (Mae Jemison makes a single appearance in archival footage, but otherwise there is no reference is made to the forces that made the both the Mercury 13 and John Glenn’s cohort universally white), the very fact that it is making available to millions of people a part of history that is not well known makes it more than worth your time the next night you feel a hankering to stream a documentary. —Alexis Gunderson


the babysitter poster (Custom).jpg 56. The Babysitter
Year: 2017
Director: McG
The Babysitter is a little guileless in its overt desire to be lovingly described as an ‘80s slasher homage, but simultaneously effective enough to earn a good measure of that approval it craves. With twists of Fright Night and Night of the Demons, it’s at its best not when trying to slavishly recreate a past decade, but when letting its hyper-charismatic teenage characters run wild. Stylish, gory and profane to a fault, The Babysitter features a handful of bang-up performances, like Judah Lewis as a late-blooming 12-year-old, Robbie Amell as a nigh-invincible football jock and Samara Weaving as the title character, the girl of Lewis’ dreams—right up until she tries to sacrifice him to the devil. Fast-moving (only 85 minutes!) and frequently hilarious, it’s probably the best unit of popcorn horror entertainment that Netflix has managed to put out so far. The Babysitter’s character chemistry actually justifies a second go-round, which I’d be happy to watch. —Jim Vorel


battered-bastards.jpg 55. The Battered Bastards of Baseball
Year: 2013
Directors: Chapman Way, Maclain Way
There’s always been something romantic about independent minor league baseball teams, but that romance has never been quite in full bloom like the story of the Portland Mavericks, a team with no major league affiliation. Owned by actor Bing Russell (Kurt Russell’s dad), Maverickdom spread from Oregon to the nation, beginning with Joe Garagiola’s NBC special. With characters like blackballed Yankees pitcher Jim Bouton, the first woman general manager in baseball (age 24) and the first Asian-American (at 22), the inventor of Big League Chew, batboy Todd Field (Oscar-nominated screenwriter for In the Bedroom), and a ball dog, the antics of the team were as entertaining as the game itself. And yet the team’s run from 1973-1977 was one of the best in the minor leagues. Bing’s goal was to bring back the joy and fun of the minor league teams of the first half of the 20th century, to embody that baseball cliché: For the love of the game. As Bouton says of his fellow $400-a-month teammates, “Our motivation was simple: revenge. We loved whomping fuzzy-cheeked college-bonus babies owned by the Dodgers and Phillies.” It’s an underdog story made for a documentary, and Chapman and Maclain Way have given the story the doc it deserves. —Josh Jackson


pretty thing inset (Custom).jpg 54. I Am the Pretty Thing That Lives in the House
Year: 2016
Director: Osgood Perkins
This somewhat labored ghost story premiered at the Toronto International Film Fest before being picked up by Netflix for distribution, but the festival circuit is really its natural home. A staid, extremely patient haunted house yarn with some intriguing performances, it’s likely to be too slow to be appreciated by bingers on the streaming service. A woman (Ruth Wilson) moves into a creaky old home to serve as live-in nurse for an elderly horror author with dementia (Paula Prentiss), but soon finds herself sucked into the ghost story that makes up the author’s most famous book. Which sounds like a fairly conventional horror movie premise, but it’s the delivery that sets this film apart rather than the summation. Every shot lingers. We glide through the house with minimal, whispered dialog and occasional narration, and although it does build a palpable sense of unease, the payoffs are few and far between. I couldn’t help but be reminded of H.P. Mendoza’s similarly experimental 2012 film I Am A Ghost, which is equally laconic but more visually arresting. I Am the Pretty Thing has grand artistic aspirations of some kind behind it, but has trouble giving them vibrancy. This is a horror film for audiences with solid attention spans. —Jim Vorel


UnicornStore214x319.jpg 53. Unicorn Store
Year: 2019
Director: Brie Larson 
There’s a category of stories that college English professors like to call “fluffy bunny stories.” Break it down like this: There are bunnies. They’re fluffy. They’re cute and happy. End of story. That’s Brie Larson’s shaggy Unicorn Store, her first film as a director, precious to a fault, but nonetheless possessed of winning charm and a surplus of spirit. This movie means well. In particular areas, it actually does well, too, harnessing for the second time this year the chemistry Larson, playing failed artist and unmoored millennial Kit, shares with Samuel L. Jackson, playing the eccentric, pink-suited proprietor of the title’s fantasy creature boutique. (It makes great use of the goofy dad energy Bradley Whitford’s accrued in the current stage of his career, too.) Much as Larson’s workmanship shows at the film’s edges—Unicorn Store is very much the product of a newcomer to the director’s chair—it does drive home thoughtful observations about millennial languor. Dreams are what we’re weaned on by our parents. When we carry those dreams into the future, and when those dreams don’t pan out, the effect is stifling, catching us in a holding pattern right at the line between emerging and actual adulthood. There’s enough truth to Kit’s ennui to carry Unicorn Store above its twee characteristics. —Andy Crump


psychokinesis-movie-poster.jpg 52. Psychokinesis
Year: 2018
Director: Yeon Sang-ho
Following up Train to Busan, his adroit add-on to the endlessly alive zombie genre, Yeon Sang-ho offers another interpretation of the zeitgeist with Psychokinesis, building a deft, vaguely political room of South Korea’s own in the cinematic superhero universe. Ryu Seung-ryong plays everyman nobody Shin Seok-heon, a dopey security guard estranged from his family, brought back into daughter Roo-mi’s (Shim Eun-kyung) life after a gang of unionized construction workers accidentally kill her mother while attempting to evict the young fried chicken entrepreneur from their small storefront. Also: Seok-heon has burgeoning superpowers of the titular variety, contracted when he drinks from a public spring polluted with an alien substance recently released into the earth via crashed space rock. Though Yeon (who also wrote the film) typically confuses comic book sensibility with a total lack of deeply written characters struggling under actually interesting motivations and backstories, Yeon isn’t particularly driven by the same forces as the MCU or the DCEU: Psychokinesis has an unfettered heart, an unfussy melodrama, in ways films of those brands don’t, not burdened by the same economic pressure—while also declaring very clearly that the police are bad. It’s all pretty refreshing in the wake of an Infinity War. —Dom Sinacola


incredible jessica james movie poster.jpg 51. The Incredible Jessica James
Year: 2017
Director: Jim Strouse
Jessica Williams plays Jessica James, twenty-something theatre fanatic trying to get one of her plays produced while simultaneously dealing with a breakup. The ex? Damon, played by the equally wonderful Lakeith Stanfield (Atlanta, Short Term 12), who can’t manage to stay out of Jessica’s dreams. When she meets a new fling, played by the comically refreshing Chris O’Dowd, she begins to re-evaluate her love life while clinging to her goals. When do you know you’ve made it? As lighthearted as the film can be, it’s rooted in an exploration of the deeper questions with which any artist, or person for that matter, grapples. Williams is hilarious, which we all know from her time on The Daily Show. She’s also incredibly powerful, showcasing a feminine strength that’s so crucial to a passion for her craft that’s the opposite of the indifference often associated with millennials. —Meredith Alloway


jim-andy.jpg 50. Jim & Andy: The Great Beyond
Year: 2017
Director: Chris Smith
The porous boundaries between storytellers and their stories are the linchpin of Netflix’s Chris Smith-directed, Spike Jonze-produced Jim & Andy: The Great Beyond, a fragmentary, yet compelling look at the extreme lengths to which Jim Carrey went to portray his idol, singular entertainer Andy Kaufman, in the late Milos Forman’s 1999 biopic Man on the Moon. The film’s narrative hook is immediate: Jim & Andy draws from hours of behind-the-scenes footage that Universal had mothballed so viewers wouldn’t think Carrey, then one of Hollywood’s biggest and brightest stars, was “an asshole.” As we see some 18 years later, Carrey embodied Kaufman both on camera and off, his method acting antics begging meaningful questions about what drives performers to give themselves over to fantasy as well as how warped reality can get with such immersion. Jim & Andy is as moving as it is thought-provoking, a reminder that often in art there is no great joy without great pain. —Scott Russell


win-it-all.jpg 49. Win It All
Year: 2017
Director: Joe Swanberg 
Joe Swanberg, bless his unfailing tenacity, appears to get behind the camera and hope everything works out for the best. His style is chancy, but it’s hard not to admire his unabashed love of spontaneity. This is especially true when it does work out for the best, as it does in Win it All. Swanberg co-wrote the film with your underachieving dream boyfriend, New Girl’s Jake Johnson, ostensibly a direct result of their actor-director collaborations in Drinking Buddies and Digging for Fire; Johnson, perhaps unsurprisingly, is the star here, too, playing that aforementioned scruffy gambler, Eddie, a career loser who takes any wager-earning gig he can get by day before flinging his earnings down the crapper playing games of chance at incalculably grimy casinos by night. There is, in grand Swanberg tradition, a looseness to Win it All that remains for the duration of the film, hanging off of Johnson’s central performance. Whether because of his contributions on the page or on the screen, Johnson feels like a key component to Win it All’s success as a narrative: The story hangs off of him, off of his work, his emoting, the physical quality to his self-presentation before a lens. It means a lot that Swanberg and Johnson both care on a profoundly human level for Eddie. Who couldn’t? You probably have an Eddie figure in your life, whether you know it or not: The gregarious, amiable rascal, the kind of dude who just can’t slam the brakes when he’s careening toward trouble, and knows it. He’s a lovable schmuck, his own worst enemy. The people in his life care about him, his creators care about him, and so of course we care about him, too, even at his worst, even as he invites troubles and hazards into his life against all fair warnings given him by his support system. Win it All, in other words, is a Joe Swanberg movie, a domestically-focused tale about a slacker in conflict with his demons washed in the texture of 1960s and 1970s cinema. —Andy Crump.


the ritual poster (Custom).jpg 48. The Ritual
Year: 2017
Director: David Bruckner
Where The Ritual excels is technically, in both its imagery and sound design. Cinematographer Andrew Shulkind’s crisp images and deep focus are a welcome respite from the overly dark, muddy look of so many modern horror films with similar settings (such as Bryan Bertino’s The Monster), and the forested location shots, regardless of where they may have been filmed, are uniformly stunning. Numerous shots of tree clusters evoke Celtic knot-like imagery, these dense puzzles of foliage clearly hiding dire secrets, and we are shown just enough through the film’s first two thirds to keep the mystery palpable and engaging. Director David Bruckner, who is best known for directing well-regarded segments of horror anthologies such as V/H/S, The Signal and Southbound, demonstrates a talent here for suggestion and subtlety, aided by some excellent sound design that emphasizes every rustling leaf and creaking tree branch. Unfortunately, the characters are a bit thin for what is meant to be a character-driven film, and the big payoff can’t quite maintain the atmosphere of the film’s first two acts. Still, The Ritual is a great-looking film, and one that features one of the more memorably “WTF!” monster designs in recent memory. It’s worth a look for that alone. —Jim Vorel


tramps.jpg 47. Tramps
Year: 2017
Director: Adam Leon
For a guy who trades in intimate, small-scale narratives, Adam Leon sure does love working with distance. Wide shots pepper his films, his camera an eye in the heavens tracking the movements of his protagonists through busy open spaces. Leon never lets these characters out of his, or our, sights, and he never lets the words they exchange with one another drown in the noisome urban bustle they wade through from scene to scene. Both feats are impressive on their own merit, but more impressive than that is Leon’s knack for making us feel like we’re right there in the frame with his actors, no matter how great the gap separating them from his lens. He can hover over an active street corner teeming with hubbub and still keep us focused on a pair of arguing teens. You don’t pull off that kind of stunt without caring, or without making your viewers care, and so we get down to what makes Leon special as a storyteller: He’s compassionate. Tramps, then, is all about the tug between kindness and unkindness: Leon doesn’t pile ignominies on his characters more than he must because the world he constructs around them does that well enough on its own. Tramps introduces us to Danny (Callum Turner) first, Ellie (Grace Van Patten) second, setting them on a collision course with each other, third. They’re both involved in the same small-time crime scheme: the swapping of a suitcase. Danny is cajoled into the caper by his imprisoned brother, Darren (Michal Vondel), while Ellie is in turn persuaded by Scott (Mike Birbiglia) to play getaway driver for a cash payout she desperately needs. She’s a cool-headed pro. Danny’s a sweet-natured, reluctant lunkhead. Naturally, the whole plan goes busto when Danny grabs the wrong suitcase. So Ellie and Danny spend a couple days together, trying to find Tramps’ plot-driving MacGuffin, and wouldn’t you know it, the kids bond and grow close in the process. Trite and treacly stuff in theory, but Leon is skilled in refining sugary goodness and balancing it out with human ballast. It’s a minor effort loaded with small pleasures, but tallied together, those small pleasures add up to a great movie. —Andy Crump


1922.jpg 46. 1922
Year: 2017
Director: Zak Hilditch
A chameleonic performance from Thomas Jane anchors this understated, gothic story set in Depression-era Middle America, told in the style of a confession by the husband who we can tell right from the get-go is haunted by some horrible crime. When his wife insists on selling the land she’s inherited rather than work it, Jane’s unsophisticated field hand harangues their son into becoming an accomplice in her grisly murder. As with every Grand Guignol tale, though, we already know that the worst part isn’t the act of killing, but the endless paranoia of living with it. In the case of the movie’s guilty narrator, that means a vengeful and inevitable haunting filled with all the foreboding and creepy imagery you came to see. Stephen King adaptations have their hits and their misses, but this is a solid, straightforward story that gets by on the power of a dread-steeped plot and some compelling performances by good character actors you’ll most likely always be happy to see get screen time. —Ken Lowe


little-prince.jpg 45. The Little Prince
Year: 2016
Director: Mark Osborne
The film adaptation of Antoine de Saint-Exupéry’s seminal novella The Little Prince is a strange film—and not just because it finishes the entire story set out by the original source material before the first hour is over. But even as it struggles to not undermine its own messages in its second half, Mark Osborne’s adaptation bursts with life, and serves as an overly blunt but effective story about growing up without losing why childhood mattered. Or as the film succinctly puts it: It’s the difference between growing up and becoming a grown-up. Osborne creates a new framing device for Saint-Exupéry’s story of allegorical power—a little girl (Mackenzie Foy) who’s living a painfully practical existence. She lives with her single mother in the house next to the narrator, The Aviator (a madcap Jeff Bridges), her mom (Rachel McAdams) planning out every minute of her day, as represented by a comically detailed wall tableau. A friendship develops, and soon the little girl hungers to hear more of the Aviator’s story and The Little Prince’s adventures that he’s written over many years. Cutting between Bridges’ folksy narration and the internal world of the story he’s telling, the film flashes between computer-generated animation with photorealistic environments and stunning stop-motion. The storybook world is presented as a sprawling diorama fantasia with The Little Prince (Riley Osborne), made up of malted wood and meticulous tissue paper placement, and the world around him layered in fine fabric, construction paper and purposely artificial details like stars hanging from a string off the top of the frame. Admirable for its gentle hand when it comes to difficult subjects like the ephemeral nature of life, and for its bold visual style, The Little Prince is also a film whose final reel seems unwilling to recognize the realities of its own story. —Michael Snydel


tony-robbins.jpg 44. Tony Robbins: I Am Not Your Guru
Year: 2016
Director: Joe Berlinger
There are oh so many interesting documentaries that could have been made about Tony Robbins. You can just imagine Alex Gibney mercilessly burrowing into the brains of Robbins’ associates to find nuggets of implicating evidence, or Michael Moore chasing down former seminar attendees to ask if all their problems have been solved, or Ondi Timoner adding to her collection of masterpieces about tortured geniuses. Instead, Joe Berlinger chooses to take us inside one of those exclusive multi-day seminars, showing us the team that makes it happen, the attendees that provide the grist for the mill and, most fascinating, Robbins himself. It’s enough: Robbins is so easy to stereotype and caricature that it takes a bit of direct contact with him (through the lens of course) to begin taking him on his own terms. Who wouldn’t want to experience a couple of days of walking around behind the scenes at an event, speaking with Robbins and his team while witnessing his work with the people who have come (and paid quite a bit of money) to hear him? This direct approach failed to impress critics who may’ve wanted a more polemical piece, but Berlinger falls directly in the tradition of the Maysles brothers and D.A Pennebaker by asking us, first, to simply see the man and his work for exactly what they are. —Michael Dunaway


polka-king.jpg 43. The Polka King
Year: 2016
Director: Maya Forbes
Now is the winter of our Jack Black content: First Jumanji: Welcome to the Jungle, a wind-down from the year-end awards contender rush, and then Maya Forbes’ The Polka King, a screwball biopic based on the 2009 Jan Lewan documentary The Man Who Would Be Polka King. If Lewan’s name doesn’t call to mind a blaring chorus of accordions and trumpets, a primer: Lewan went to prison in the early 2000s for orchestrating a Ponzi scheme around his Pennsylvania-based polka band and through his various subsidiary business ventures, defrauding elderly patrons of his music to the tune of millions of dollars. And if Black’s involvement in the project strikes you as unexpected, then a primer on Richard Linklater’s 2011 film Bernie is in order, too, another true-crime story structured as a comedy, where Black cuts a charming, whimsical figure. The Polka King is made accessible by its accidental timeliness, being the saga of a relentless, bloviating self-promoter with too many businesses to his name who succeeds in each of them by cheating every system put before him. As far as post-2016 election movies go, though, The Polka King works precisely because it isn’t about politics whatsoever. Instead, Maya Forbes has crafted a zippy comedy about a charismatic charlatan and the disastrous impact his fakery has on the rubes gullible enough to fall for his schtick. As such, The Polka King is a superb American movie that takes direct aim at long-held myths of American life. —Andy Crump


virunga.jpg 42. Virunga
Year: 2014
Director: Orlando von Einsiedel
At Camden International Film Fest, I figured going into Virunga, Orlando von Einsiedel’s excellent documentary about the fight to save a huge national park in Congo, that I was going to get majestically beautiful nature porn, and an impassioned call to action to save a site that is truly a world treasure. Plus cool shots of apes doing cool stuff. And I did indeed get all that. But I got so much more. Virunga is also part history lesson, part investigative thriller, part war movie and part character study. It’s exceptionally engaging, exceptionally moving, exceptionally convincing. And those nature shots? Spectacular, too. —Michael Dunaway


6-balloons-movie-poster.jpg 41. 6 Balloons
Year: 2018
Director: Marja-Lewis Ryan
Addiction being an ugly and tragic thing, it’s a mercy that Marja-Lewis Ryan’s bleak portrait of the shockwave effects of chemical dependence is only about an hour and ten minutes long. Length doesn’t have more than a fleeting relationship to quality, mind you, but a little goes a long way, and 6 Balloons, like heroin addict Seth (Dave Franco), needs just a little to drive an audience into a state of excruciating suspense. Seth is brother to Katie (Abbi Jacobson), who is forced to drop everything while putting together a surprise party for her boyfriend (Dawan Owens) when she learns that Seth has relapsed and started injecting again after being clean for a minute. The film orbits Franco and Jacobson almost exclusively, their constant third wheel being Charlotte and Madeline Carel, twin sisters cast in the single role of Ella, Seth’s daughter. Seth and Katie bicker, when Seth is lucid enough to make an argument, though mostly he breaks her heart (along with ours). Occasionally, he makes her laugh, but the laughter is a bittersweet reminder of 6 Balloons’ cycle of enabling. —Andy Crump


mascots movie poster.jpg 40. Mascots
Year: 2016
Director: Christopher Guest 
“Diminishing returns” might apply to Christopher Guest mockumentaries more than anything else on earth, but when you start from the unparalleled heights of Waiting for Guffman and Best in Show, there’s a long way to plummet. To wit: Mascots, his latest film, is full of great performances and good jokes. Much of his stock company returns for the Netflix exclusive (Parker Posey, Jane Lynch, Fred Willard and Ed Begley Jr. are still standouts), and although the absence of Eugene Levy and Catherine O’Hara is palpable, the ensemble is stocked with capable improvisers. The satire isn’t as sharp as his earlier films, but there’s an endearing, enduring goofiness to Mascots’ heart. —Garrett Martin


deidra-laney-rob-train-poster.jpg 39. Deidra & Laney Rob a Train
Year: 2017
Director: Sydney Freeland
Deidra & Laney Rob a Train is a heart-melter. The film, like its two title characters, like its handful of supporting characters and like its director, has spunk, personality, a spark of vitality keeping its narrative humming from start to finish, but it takes its material as seriously as it needs to at the precise times when it needs to, as well. There’s a certain level of amorality here, as you might expect from a film about locomotive larceny, but submerged beneath the murky ethics of theft are currents of empathy: Freeland has constructed a judgment-free zone for telling the tale of sisters Deidra (Ashley Murray) and Laney Tanner (Rachel Crow), inspired toward criminal enterprise all in the name of family. It’s a caper, alright, but a caper that refuses to make light of the premise-shaping predicaments that shape its premise, a feat Freeland pulls off with casual brio. You get the feeling that there are lots of Deidras and Laneys out there who are constantly denied the chance to escape their circumstances, whether in backwater America or elsewhere, by the very institutions that are supposed to help them achieve. Deidra & Laney Rob a Train manages to address these ideas, without focusing on them. They remain in the background for the whole of the film, self-reinforced by the flow of Freeland’s plotting. This is appropriate for the sort of picture that Deidra & Laney Rob a Train wants to be: a romp, but a romp of substance and heart. —Andy Crump


chasing-coral.jpg 38. Chasing Coral
Year: 2017
Director: Jeff Orlowski
Folks, I don’t care what you happen to believe. Sure, global climate change events happened in the past, before the Industrial Revolution. We refer to them as the “Great Extinctions.” You might not believe we’re experiencing one now. Coral begs to differ with you. You might say, “OK, it’s happening, but it’s not being generated or accelerated by humans.” Coral begs to differ with you. Coral would like you to know it is time to be terrified. So would the folks who made Chasing Coral. The film tracks a crew of dedicated coral-nerds who are trying to capture a “coral bleaching” event (mass death from overheated water) so they can start making the public pay attention to what’s going on beneath the ocean’s surface. There’s some beautiful underwater photography, both still and moving, of corals—healthy coral reefs look like they were drawn by a Finding Nemo animator at Pixar, and they are stunning. On the whole, the documentary is not a blazing artistic groundbreaker. And it isn’t meant to be. It’s meant to get you tuned in to the fact that while everyone’s talking about the impact of global warming as if it were something still in the future, ocean temperatures are now regularly experiencing what used to be extremely exceptional random events—namely, “fever” temps that cause coral to die. And corals are the foundation species of insanely diverse symbiotic ecosystems, ranking only with rainforests for sheer species diversity. Chasing Coral is not intended to be an artwork, though elements of it are artful enough. It is explicitly a public service announcement, and a call to action. We tend not to spend much time thinking about things like corals, because they live in a place we don’t usually see (unless we’re lucky enough to live near a reef). What goes on under the surface of the ocean might not seem that connected to what’s going on here on land, but that’s an illusion. Corals would like you to know that you and they are connected far more directly than you imagine, and that without them, you face a radically destabilized environment. —Amy Glynn


mindhorn poster.jpg 37. Mindhorn
Year: 2016
Director: Sean Foley
Julian Barratt gives a charismatic lead performance, using those chiseled cheekbones and glorious mustache in concert with uncommonly sad eyes to make his washed-up actor Richard Thorncroft both recognizable and worthy of empathy, despite his arrogance and stupidity. The rest of the cast is also strong, though largely overshadowed by Barratt’s magnetism. If Steve Coogan, who also produced, wants to continue spending large chunks of his time in very small, brutally funny roles in comedy movies (see: The Other Guys, In the Loop and technically Hot Fuzz), that’s fine by me. Kenneth Branagh, shockingly, cameos as himself in one early scene where he auditions Richard for a Hamlet adaption—it’s nice to see he has a sense of humor about still being the go-to Shakespeare guy. It’s clear, in any case, that Mindhorn is a labor of love for the cast and crew. —Deborah Krieger


wheelman.jpg 36. Wheelman
Year: 2017
Director: Jeremy Rush
2017’s Netflix exclusive Wheelman is a brilliant case-study in cinematic minimalism. The barely 80-minutes long action/thriller hybrid stars Frank Grillo, one of the most underrated genre actors, as Wheelman—your everyday getaway driver with a heart of gold. Story counts for little here as the plot is nothing more than a mere vessel to usher Grillo’s Wheelman from stunt to stunt. Someone is double-crossed, someone is blamed and Wheelman’s family gets mixed up in some shady business. In turn, he sets off in his car to get to the bottom of it and save the ones he loves. From then on out, the film is in near constant motion as the camera almost never leaves the confines of Wheelman’s BMW. It is almost a one-man show for Grillo—think Locke but with a higher body count—and director/screenwriter Jeremy Rush’s decision to have the camera rarely leave the car really puts the viewer in the headspace of Grillo’s character, and the employment of medium and extreme close-ups always keeps the viewer in the metaphorical and physical action. Thus, every scene is filled with an underlying tension built from Grillo’s quiet, but strained performance paired with the genuine claustrophobic nature of remaining in the car’s interior. The car chase and action scenes are breathlessly intense due to the camerawork and practicality of the stunts themselves. The viewer sees, quite literally, what driver input goes into making a car drift and every impact on the car feels chunky and tangible as the camera bobs and shakes with every clash. Yet, Rush’s camera remains beautifully steady until it can’t be steady anymore. There is one moment that sold me on the film: Grillo’s Wheelman is idling in his BMW, revving the engine every now and then to keep it warm, and in a matter of seconds a gunfight erupts, blood sprays, bodies crash and fall and Grillo’s Wheelman puts his gun away as he catches his breath. The camera never leaves the car and the action is over in seconds. It is blunt, abrupt with no lead-up as the film employs a naturalistic soundscape and I quite literally jumped when the first random shot cracked the BMW’s windshield. Wheelman nearly falls apart in the end once plot reasons for Grillo out of his car and into a seemingly different, more generic film, but, overall, it is worth the ride. —Cole Henry


amanda-knox.jpg 35. Amanda Knox
Year: 2016
Directors: Rod Blackhurst, Brian McGinn
With the Amanda Knox saga (seemingly) done for good, Netflix recently released a definitive documentary covering it from beginning to end—the murder of Meredith Kercher and subsequent arrest, trials and appeals of Knox and Raffaele Sollecito; the ensuing media frenzy; the quiet, fast-track trial of Rudy Guede, the only party upon whose guilt everyone seems to agree. The film relies mainly on talking head interviews with Knox, Sollecito and two highly entertaining “villains”: boorish prosecutor Giuliano Mignini and smarmy Daily Mail journalist Nick Pisa, the latter wearing a Hugh-Grant-caddishness and a shit-eating grin. While Knox herself is probably the least interesting interview in the film—more fascinating by half are pre-arrest home recordings depicting her as a naïve, giggly teen—Blackhurst and McGinn are clear about where their sympathies lie, and contrasted with the ghastly Mignini and Pisa, it’s hard not to side with these two kids. But still the film feels thoughtful and relatively well-balanced: The media is its true target, and the filmmakers nail the insidious ways that its sensationalism and greed can derail justice and irrevocably ruin lives. —Maura McAndrew


between_two_ferns_movie_poster.png 34. Between Two Ferns: The Movie
Year: 2019
Director: Scott Aukerman 
Netflix originals are routinely criticized for their general low stakes vibe, like they’re the modern equivalent of old primetime made-for-TV movies from the ‘70s and ‘80s. You can’t really say that about Between Two Ferns: The Movie, because “low stakes” has been the entire point of Zach Galifianakis’s web series all along. This Funny or Die production sends Galifianakis and his public access crew (including Lauren Lapkus) on a cross-country jaunt to save their show and help Zach realize his dreams of being a legitimate late-night talk show host. Along the way they interview people like David Letterman, John Legend, Chance the Rapper, Benedict Cumberbatch, Brie Larson, and more. (And for some reason Phoebe Bridgers and that guy from The National show up for a musical number.) Scott Aukerman’s screenplay is as absurd and hilarious as you’d expect, and a game cast keeps it running smoothly throughout. Between Two Ferns: The Movie is basically the Citizen Kane of entirely unnecessary feature-length adaptations of one-joke web shows.—Garrett Martin


into-the-inferno.jpg 33. Into the Inferno
Year: 2016
Director: Werner Herzog 
Drawing lines from current events or public moods to the documentaries of Werner Herzog wouldn’t make for a constructive use of time. The only lines Herzog draws are carefully through his own work, the people he’s met and spectacles he’s witnessed and subjects he’s buried deep within him on-call should the spirit move him. In the case of Into the Inferno, Herzog enlists the help of volcanologist Clive Oppenheimer—met while in Antarctica for Encounters at the End of the World—to visit and then gaze into the violent hearts of active volcanoes, a subject he once broached 30 years before in La Soufrière. Shot with the same intensity for long takes he once brought to bear on the Amazon River of Aguirre, the camera in awe of the lava flows, Into the Inferno, like most Herzog documentaries, can’t help but follow symbolic hunches down unexpected tangents. This is how Herzog ends up in North Korea, waxing rhapsodically via voice over about autonomy and artificiality, the mythic spectre of a volcano god hovering in the film’s periphery. As was the case with Lo and Behold, Reveries of the Connected World, and Cave of Forgotten Dreams before it, and Grizzly Man before that, Into the Inferno works as moving, majestic, mind-boggling primer on a director who always has one more movie left in him. —Dom Sinacola


first-they-killed-my-father-movie-poster.jpg 32. First They Killed My Father
Year: 2017
Director: Angelina Jolie 
We may tease or scorn actors for stepping out of the frame to hunker down behind the camera, because for whatever reason we’re only cool with artists when they stay in their lane. Think of Angelina Jolie’s First They Killed My Father as a democratic response, or, if you like, a defiant flip of the bird. It’s fitting that Jolie should be the actor to produce a film this accomplished. Recall the volume of shit shoveled on her for the release of 2014’s Unbroken, her Louis Zamperini biopic, and 2015’s By the Sea, the romantic drama she made with Brad Pitt: These were works met with deserved and undeserved response, both middling at best, but neither could be mistaken for being too vain. Whatever promise was found in her earlier movies is fully realized in First They Killed My Father, a brutal movie with a human heart. Jolie doesn’t gloss over the horrors of the Khmer Rouge. She knows honesty is the best way to face history and honor the dead, but she doesn’t find any nobility in the suffering of Loung Ung’s family as they flee from state-sanctioned genocide. First They Killed My Father’s emphasis falls on Loung, on the violence paraded before her young eyes, Jolie mining tragedy not for a misguided sense of importance but for an experiential scope and for, most of all, empathy. —Andy Crump


43-Netflix-Docs_2015-miss-simone.jpg 31. What Happened, Miss Simone?
Year: 2015
Director: Liz Garbus
Liz Garbus’s What Happened, Miss Simone? probably errs too far towards a thesis that Nina Simone’s mental health was the cause of her genius, rather than a factor that complicated it. But what saves the film, and what makes it engaging, is that I’m not sure Garbus wholly believes that thesis, because many moments in the film betray it. So even though there are times where Garbus elides aspects of Simone’s life and career to represent her decline as inevitable and linear (and even though she problematically chooses to use interviews with Simone’s abusive ex-husband to narrate Simone’s life), the parts of the film where Simone is allowed to speak for herself—from her diary, from interviews, while performing onstage—are utterly compelling. They portray an artist in the late-1960s at the height of her powers and skill, in complete control of her piano and her voice, and brashly embracing radical politics and Black Power in a way that most contemporary popular musicians were far too scared to do. Sure they also portray an artist who was clearly struggling with fame, responsibility, politics, anger, and self-worth—but, especially in performance, the sheer scope of Simone’s technical skill and artistic sensibilities often escape the imposed rise-and-fall narrative. Even footage from late in Simone’s career provides evidence of her insane musical skill: her reinterpretation of early hit “My Baby Just Cares for Me” over a piano arrangement that sounds like one of Bach’s Inventions is astounding in about 30 different ways at once. Though I can only recommend this film with the caveat that it feels overly storyboarded to exploit a tired old idea of the tortured artist in order to answer its titular question—as in, “Q. What happened?; A. The very qualities that made her great also haunted her”—the concert footage alone makes this documentary worth digging into. —Mark Abraham

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