The 20 Best Movies on Freevee (February 2023)

Movies Lists Amazon
Share Tweet Submit Pin
The 20 Best Movies on Freevee (February 2023)

The inner workings of Amazon’s various stream services are an enigma. Not only is Amazon Prime Video slowly becoming less worth the hassle to navigate, as its library dwindles in relation to its unwieldy user interface, but its recently acquired AVOD service, IMDbTV, is being rebranded. The ad-driven, free-to-watch streamer (which is where many Prime Video titles were landing as they left the paid service) is becoming Freevee, one of the funniest names for a way to watch things since Quibi. At least Freevee’s portmanteau is relatively clear.

As Amazon begins fully marching back to the world of commercial breaks, there’s still plenty to love on its AVOD service, regardless of what it’s called. IDMbTV used to be one of the more reliable and varied sections of our larger Best Free Movies streaming list, and it seems—at least initially—that Freevee will follow suit. Additionally, there’s been rumblings that there’ll be Freevee exclusives coming down the pike too, though other AVOD services’ originals haven’t exactly been stellar (looking at you, Tubi’s Titanic 666). But why not give Freevee a try before it changes its name again?

Here are the 20 best movies on Freevee:


1. Emma.

Year: 2020
Director: Autumn de Wilde
Stars: Anya Taylor-Joy, Johnny Flynn, Bill Nighy, Mia Goth, Josh O’Connor, Callum Turner, Miranda Hart
Rating: PG
Runtime: 132 minutes

Watch free on Freevee

Shot as though each frame were a frothy realist painting, scored as though it were a Chaplin-esque silent film and pulled together by a cast of comedically impeccable performances, Autumn de Wilde’s feature-length debut, Emma., is made up almost entirely of thrillingly executed moments. More comedy of manners than straight romance, both Jane Austen’s novel and de Wilde’s film take as their subject a happily single Emma Woodhouse (Anya Taylor-Joy), the “handsome, clever, and rich” mistress of an English country estate, as she fills her days as by mounting a series of ego-driven (if well-intentioned) matchmaking schemes. Signaled by the film’s opening in the soft dawn hours of the village’s latest Emma-orchestrated wedding day, these schemes have a history of being remarkably successful—successful enough, at least, that on one side, Emma has her co-dependent, doom-and-gloom father (a charming, if anxious, Bill Nighy) cautioning her not to start any schemes that might take her away from him, while on the other, she has the Woodhouses’ handsome family friend, Mr. Knightley (a refreshingly fiery Johnny Flynn), cautioning her against riding so high on her previous matchmaking coups that she starts an audacious scheme even she can’t pull it off. Beyond creating what would be a solid moviegoing experience in any context, the warm, boisterous sense of community this deep attention to detail works to build is, as Paste’s Andy Crump highlights in his thoughtful interview with de Wilde and Taylor-Joy, exactly what any 2020 take on a 205-year-old comedy of manners needed to cultivate. With our current cultural moment so defined by protracted digital isolation—and its cousin, anonymity-enabled cruelty—the best thing de Wilde’s Emma. could do was lean so hard into the sublimity of Austen’s original that, for the entirety of its gloriously phone-free two-hour runtime, its audience might feel, collectively, transported. —Alexis Gunderson


2. Cloudy with a Chance of Meatballs

Year: 2009
Director: Phil Lord, Christopher Miller
Stars: Bill Hader, Anna Faris, James Caan
Rating: PG
Runtime: 92 minutes

Watch free on Freevee

The director-producer team of Phil Lord and Christopher Miller have worked on everything from animated films The Lego Movie and Spider-Man: Into the Spider-Verse to live action comedies 21 Jump Street and The Last Man on Earth. But they got their start adapting and directing the perfectly enjoyable kids film Cloudy with a Chance of Meatballs based on Judi and Ron Barrett’s classic 1978 book. In the film, inventor Flint Lockwood (Bill Hader) on the tiny island of Chewandswallow finally finds success with a machine that turns water to food. All is well until a tornado of spaghetti and meatballs threatens the island and Flint must work against the corrupt mayor (Bruce Campbell) to save everyone from destruction. Lord and Miller’s quirky humor is on display, backed by a funny cast: Anna Faris, Neil Patrick Harris, Andy Samberg, Will Forte, Mr. T and, appropriately, Al Roker. —Josh Jackson


3. The Invisible Man

Year: 2020
Director: Leigh Whannell
Stars: Elisabeth Moss, Oliver Jackson-Cohen, Harriet Dyer, Aldis Hodge, Storm Reid, Michael Dorman
Rating: R
Runtime: 110 minutes

Watch free on Freevee

Aided by elemental forces, her exquisitely wealthy boyfriend’s Silicon Valley house blanketed by the deafening crash of ocean waves, Cecilia (Elisabeth Moss) softly pads her way out of bed, through the high-tech laboratory, escaping over the wall of his compound and into the car of her sister (Harriet Dyer). We wonder: Why would she run like this if she weren’t abused? Why would she have a secret compartment in their closet where she can stow an away bag? Then Cecilia’s boyfriend appears next to the car and punches in its window. His name is Adrian Griffin (Oliver Jackson-Cohen), and according to Cecilia, Adrian made a fortune as a leading figure in “optics” (OPTICS!) meeting the self-described “suburban girl” at a party a few years before. Never one to be subtle with his themes, Leigh Whannell has his villain be a genius in the technology of “seeing,” in how we see, to update James Whale’s 1933 Universal Monster film—and H.G. Wells’ story—to embrace digital technology as our primary mode of modern sight. Surveillance cameras limn every inch of Adrian’s home; later he’ll use a simple email to ruin Cecilia’s relationship with her sister. He has the money and resources to peer into any corner of Cecilia’s life. His gaze is unbroken. Cecilia knows that Adrian will always find her, and The Invisible Man is rife with the abject terror of such vulnerability. Whannell and cinematographer Stefan Duscio have a knack for letting their frames linger with space, drawing our attention to where we, and Cecilia, know an unseen danger lurks. Of course, we’re always betrayed: Corners of rooms and silhouette-less doorways aren’t empty, aren’t negative, but pregnant with assumption—until they aren’t, the invisible man never precisely where we expect him to be. We begin to doubt ourselves; we’re punished by tension, and we feel like we deserve it. It’s all pretty marvelous stuff, as much a well-oiled genre machine as it is yet another showcase for Elisabeth Moss’s herculean prowess. —Dom Sinacola


4. The Wailing

Year: 2016
Director: Na Hong-jin
Stars: Kwak Do-won, Hwang Jung-min, Chun Woo-hee
Rating: NR
Runtime: 156 minutes

Watch free on Freevee

The U.S. title of Na Hong-jin’s new film, The Wailing, suggests tone more than it does sound. There is wailing to be heard here, yes, and plenty of it, but in two words Na coyly predicts his audience’s reaction to the movie’s grim tableaus of a county in spiritual strife. Na trades in doubt and especially despair more than in what we think of as “horror.” He isn’t out to terrify us. He’s out to corrode our souls, much in the same way that his protagonist’s faith is corroded after being subject to both divine and infernal tests over the course of the film. The Wailing unfolds in Gokseong County, an agricultural community nestled among South Korea’s southern provinces. It’s a lovely, bucolic setting that Na and his cinematographer, the incredible Hong Kyung-pyo, take fullest advantage of aesthetically and thematically. The hushed serenity blanketing The Wailing’s opening images creates an atmosphere of peace that Na is all too happy to subvert (similar to how he subverts Bible verses). The film’s first full sequence shatters the calm as Sergeant Jeon Jong-gu (Kwak Do-won, turning in a knockout performance) is called to the scene of a savage multiple murder. When Jong-gu shows up, all is bedlam; people are screaming and crying, emergency workers litter the area like ants at a gory picnic, and the killer sits in a stupor, unaware of neither the mayhem nor the vicious boils coating their skin. This is an incredibly creepy and oft-unsettling film, but Na finds the tug of disbelief far more upsetting than the sight of bodies cut apart and blood splattering the wall. What do you do when your holy authority figures fail you? What do you do when you can’t trust your perception? Na has made these ideas, though hardly new in the horror canon, his film’s full purpose, and his conclusions are devastatingly bleak. When The Wailing arrives at its final, spectacular half hour, you’ll vow never to ask these questions about your own life, ever. You may not leave the theater scared, but you will leave it scarred, which is by far a more substantive response than naked fear. —Andy Crump


5. Cube

Year: 1998
Director: Vincenzo Natali
Stars: Maurice Dean Wint, Nicole de Boer, Nicky Guadagni, David Hewlett, Wayne Robson, Andrew Miller
Rating: R
Runtime: 90 minutes

Watch free on Freevee

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


6. Freaky

Year: 2020
Director: Christopher Landon
Stars: Kathryn Newton, Vince Vaughn, Alan Ruck
Rating: R
Runtime: 102 minutes

Watch free on Freevee

On its face, the prospect of resurrecting two franchise IPs which have been endlessly re-made decade after decade teeters on the banal and unimaginative. Yet director Christopher Landon’s Freaky effortlessly weaves together the conventions of Freaky Friday and Friday the 13th, eschewing the confines of “remake,” instead creating a unique genre hybrid that’s slick and endlessly entertaining—all the while maintaining a clever self-awareness which enlivens the film’s jump-scares and punchlines without descending into the horror-comedy pitfall of self-referential metaness. What follows is a binary-bending comic exercise in sexual fluidity and gender expression which juxtaposes Vince Vaughn’s hefty stature with Kathryn Newton’s petite frame in order to prod at the horror genre’s previously held notion of who is perceived as weak, both in attitude and appearance. Vaughn and Newton give stellar performances, channeling the other’s mannerisms while poking fun at their own corporeal limitations and their immediate (dis)comfort within their new vessels. It’s heartening to see that the horror genre—still undeniably male-dominated—persists in its commitment to pushing boundaries. Whether those boundaries demarcate what we are able to stomach in terms of violence or what we are able to unpack within our own internal concepts of gender and sexuality, Freaky joins these tenets in order to craft a horror story rife with unexpected, imaginative kills all while subverting societal expectations of who we should really be afraid of—and why.—Natalia Keogan


7. The King of Staten Island

Release Date: June 12, 2020
Director: Judd Apatow
Starring: Pete Davidson, Bill Burr, Marisa Tomei, Bel Powley, Ricky Velez
Rating: R
Runtime: 136 minutes

Watch free on Freevee

It’s hard to pull off a cohesive tone with dramedies about mental illness. The comedy part demands a quippy protagonist who masks their inner pain with killer comebacks. The drama part comes with the obligatory scenes of emotional purge, the defensive walls tumbling down and our protagonist exposing their fragile state. The tonal shift can be sudden enough to give you whiplash. Pete Davidson co-wrote and stars in The King of Staten Island, a messy but honest exploration of a millennial stoner’s journey to finding purpose in life despite living with grief and depression. Davidson is sometimes uncomfortably open about his own struggles with mental health in his stand-up act; his no-fucks-given vibe, combined with co-writer/director Judd Apatow’s brand of R-rated wholesomeness, culminates in a series of beautifully raw moments. The loose character-study structure, or lack thereof, can be both refreshing and frustrating. The weed-infused banter between Scott and his BFFs (Ricky Velez, Moises Arias and Lou Wilson), culminating in a bittersweet confession about Scott’s shitty tattoo work, crackles with the energy that’s expected from Apatow’s reputation as a stalwart of bromance humor. And Bill Burr was born to play the quintessential “cranky working class middle-aged dad with a heart of gold” archetype; he fit the part even when he was an up-and-coming comic in his 20s. The grayscale, docu-drama depiction of Staten Island by P.T. Anderson’s regular DP Robert Elswit mirrors Scott’s depression, and subtly lightens up as Scott discovers his worth. Scott’s growth was always going to be tied to his toxic relationship with Ray, and it’s in this dynamic The King of Staten Island shines. The movie is indulgent and unfocused, but it’s also gripping and full of life. Kind of like its protagonist. —Oktay Ege Kozak


8. Prince: Sign ‘o’ the Times

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

Watch free on Freevee

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


9. Never Rarely Sometimes Always

Year: 2020
Director: Eliza Hittman
Starring: Sidney Flanigan, Talia Ryder, Sharon Van Etten, Ryan Eggold
Rating: NR
Runtime: 95 minutes

Watch free on Freevee

I keep thinking about the suitcase: Skylar (Talia Ryder) packs sweaters and a pair of jeans into an oversized travel bag (oversized, at least, for what is supposed to be a day-long trip). The next morning, Skylar and her cousin Autumn (Sidney Flanigan) board a bus from their hometown in rural Pennsylvania to New York City. When they get to Manhattan, the cousins take turns carrying the large bag, guarding it, rolling it on the sidewalk, lugging it up and down steep subway stairs. The pair has carefully planned a trip to New York so that Autumn can get an abortion without her mom (Sharon Van Etten) and stepdad (Ryan Eggold) knowing, since Pennsylvania requires parental consent for the procedure. The bag is the burden they carry; Never Rarely Sometimes Always—in emotive close ups, creating intimacy as if the viewer gets a chance to see the world through Autumn’s often solemn, stoic gaze—chronicles Autumn’s tortuous and convoluted path just to take agency over her body, studying the patience and perseverance that women often need to navigate the world. It’s a film punctuated by waiting, for one appointment or the other, or for the promise of safety. There are, however, brief moments that remind audiences that Autumn and Skylar are just kids—playing arcade games, or enjoying the thrill of an unfamiliar city—and these scenes, provide, at least, glimmers of respite or perhaps windows into what life could be if like if they didn’t have to work so hard for bodily autonomy. —Isabella Bridie DeLeo


10. Office Space

Year: 1999
Director: Mike Judge
Stars: Ron Livingston, Jennifer Aniston, Gary Cole, Stephen Root, David Herman, Ajay Naidu, Diedrich Bader
Rating: R
Runtime: 89 minutes

Watch free on Freevee

Great comedy almost always has a dark heart. (The flipside is also true of great horror: It almost always teeters on the edge of farce). But this makes sense: Laughter is our response to absurd and unexpected contradictions; comedy needs its darkness to fully flourish. Mike Judge, the writer/director of Office Space, knows this well. His humor concerns the lowest, saddest schmucks on the corporate ladder (thus 99% of us can relate) who mostly feel dead inside, turning to Kung Fu films and cheap beer to escape. It’s a subject as old as capitalism itself: Most of us are unhappy, not doing what we want, feeling our dreams escaping us more and more with each passing day. For protagonist Peter Gibbons (Ron Livingston), his goal is a subversive joy: Independently, from no wellspring of societal angst (unlike, say, The Graduate’s Benjamin Braddock), he wants to do nothing. And besides being a hilarious antidote to scores of predictable, cookie-cutter hyperactive hero-protagonists, his needs feel absolutely real, and is what the corporate rat race deserves in an anti-hero. The do-gooder replaced by the do-nothing. It also helps that Judge has a cast perfectly on board with his tone. Together, they turn caricature into depth, a cartoon into vivid life. —Harold Brodie


11. The Endless

Year: 2017
Director: Justin Benson, Aaron Moorhead
Stars: Justin Benson, Aaron Moorhead
Rating: NR
Runtime: 111 minutes

Watch free on Freevee

Brotherhood’s a trip. Just ask Aaron Moorhead and Justin Benson, the horror filmmaking duo responsible for 2012’s Resolution, the “Bonestorm” segment in 2014’s VHS: Viral, and, in the same year, the tender creature romance Spring. Their latest, The Endless, is all about brotherhood couched in unfathomable terror of Lovecraftian proportions. The movie hinges on the petulant squabbles of boys, circular arguments that go nowhere because they’re caught in a perpetual loop of denial and projection. If the exchanges between its leads can be summed up in two words, those words are “no, you.” Boys will be boys, meaning boys will be obstinate and stubborn to the bitter end. Though, in The Endless, the end is uncertain, but maybe the title makes that a smidge obvious. Brothers Aaron and Justin Smith (played, respectively, by Moorhead and Benson, who gel so well as brothers that you’d swear they’re secretly related) were once members of a UFO death cult before escaping and readjusting to life’s vicissitudes: They clean houses for a living, subsist primarily on ramen, and rely so much on their car that Aaron’s repeated failure to replace the battery weighs on both of them like the heavens on Atlas’ shoulders. Then, out of the blue, they receive a tape in the mail from their former cultists, and at Aaron’s behest they revisit Camp Arcadia, the commune they once called home. Not all is well here: Bizarre bonelike poles litter Arcadia’s outskirts, flocks of birds teleport from one spot to another in the time it takes to blink, Aaron and Justin keep having weird déjà vu moments, and worse: There’s something in the lake, a massive, inky, inexplicable presence just below the surface. (Its image is only seen on camera once, but once is enough to make an impression.) Woven through the film’s eldritch dread are Moorhead and Benson. Their characters are locked in a cosmic struggle with a nameless adversary, but the narrative’s gaze is focused inward: On the Smiths, on brothers, on how far a relationship must stretch before it can be repaired. Intimacy is a staple element of Moorhead and Benson’s filmography. Here, the intimacy is fraternal, which perhaps speaks to how Moorhead and Benson feel about each other. They may not be brothers themselves, but you can’t spend your career making movies with the same person over and over again without developing an abiding, unspoken bond with them. —Andy Crump


12. Idiocracy (2006)

Year: 2006
Director: Mike Judge

Watch free on Freevee

Idiocracy’s dystopian setting is based on the idea of runaway “dysgenics,” the opposite of selective breeding: the inverse of natural selection, once the intelligent segment of the population gets “outbred” by the stupid. It’s an interesting idea to drop on Everyman Joe Bauers (Luke Wilson), who arrives as a time traveler from 500 years earlier only to have himself proclaimed as the smartest man in creation. The average person in this setting, though, is facing a rather featureless, bland and frankly obnoxious day-to-day life, with a crippled economy, food shortages and poor mental and physical health. The upside? They’re mostly too stupid to notice or care theirs is an existence of boring, mushy pablum. —Jim Vorel


13. The Texas Chain Saw Massacre

Year: 1974
Director: Tobe Hooper
Stars: Marilyn Burns, Paul A. Partain, Edwin Neal, Jim Siedow, Gunnar Hansen
Rating: R
Runtime: 83 minutes

Watch free on Freevee

One of the most brutal mainstream horror films ever released, The Texas Chain Saw Massacre, based on notorious Wisconsin serial killer Ed Gein, resembles art-house verité built on the grainy physicality of its flat Texas setting. Plus, it introduced the superlatively sinister Leatherface, the iconic chainsaw-wielding giant of a man who wears a mask made of human skin, whose freakish sadism is upstaged only by the introduction of his cannibalistic family with whom he resides in a dilapidated house in the middle of the Texas wilderness, together chowing on the meat Leatherface and his brothers harvest, while Grandpa drinks blood and fashions furniture from victims’ bones. Still, The Texas Chain Saw Massacre might not be the goriest horror film ever made, but as an imaginal excavation of the subterranean anxieties of a post-Vietnam rural American populace, it’s pretty much unparalleled. Twisted, dark and beautiful all at once, it careens through a wide variety of tones and techniques without ever losing its singular intensity. (And there are few scenes in this era of horror with more disturbing sound design than the bit where Leatherface ambushes a guy with a single dull hammer strike to the head before slamming the metal door shut behind him.) —Rachel Haas and Brent Ables


14. Grave Encounters

Year: 2011
Directors: Colin Minihan and Stuart Ortiz, “The Vicious Brothers”
Stars: Sean Rogerson, Ashleigh Gryzko, Mackenzie Gray, Juan Riedinger, Merwin Mondesir, Matthew K. McBride
Runtime: 95 minutes

Watch free on Freevee

It’s hard to understand why Grave Encounters doesn’t have a better reputation among horror geeks, who largely seem to be aware of it but deride the found-footage movie as either derivative or cheesy. In our own estimation, it’s one of the best found footage offerings of the last decade, and certainly one of the most legitimately frightening, as well as humorous when it wants to be. It’s structured as a pitch-perfect parody of inane TV ghost-hunting shows, in the style of Travel Channel’s Ghost Adventures, and imagines the satisfying results of what might happen when one of these crews full of charlatans is subjected to a genuinely evil location. But Grave Encounters goes beyond what is expected of it—you hear that premise and expect some frantic, handicam running around and screaming in the dark, but it delivers far more. The FX work, on a small budget, is some of the best you’re ever going to see in a found-footage film, and the nature of the haunting is significantly more mind-bending and ambitious than it first appears. We’ll continue to defend this film, although you should steer clear of the less inspired sequel. —Jim Vorel


15. The Invitation

Year: 2015
Director: Karyn Kusama
Stars: Logan Marshall-Green, Tammy Blanchard, Michiel Huisman, Emayatzy Corinealdi
Rating: R
Runtime: 99 minutes

Watch free on Freevee

The less you know about Karyn Kusama’s The Invitation, the better. This is true of slow-burn cinema of any stripe, but Kusama slow-burns to perfection. The key, it seems, to successful slow-burning in narrative fiction is the narrative rather than the actual slow-burn. In the case of The Invitation, that involves a tale of deep and intimate heartache, the kind that none of us hopes to ever have to endure in our own lives. The film taps into a nightmare vein of real-life dread, of loss so profound and pervasive that it fundamentally changes who you are as a human being. That’s where we begin: with an examination of grief. Where we end is obviously best left unsaid, but The Invitation is remarkable neither for its ending nor for the direction we take to arrive at its ending. Instead, it is remarkable for its foundation, for all of the substantive storytelling infrastructure that Kusama builds the film upon in the first place. —A.C.


16. Wheels on Meals

Year: 1984
Director: Sammo Hung
Stars: Jackie Chan, Sammo Hung, Yuen Biao
Rating: NR
Runtime: 98 minutes

Watch on Amazon Prime

Wheels on Meals is a silly, silly movie—but damn is its action amazing. Hong Kong trios don’t get better than Jackie Chan, Yuen Biao and Sammo Hung, although Hung’s role in this one is minimal. Rather, everything comes down to some incredible fight scenes featuring Chan and Benny “The Jet” Urquidez, a real-life American kickboxing champion who makes the perfect dance partner for Chan in several high-octane brawls. Their final confrontation isn’t just a great scene, it might be the best one-on-one fight of Chan’s career, with Benny proving he’s Jackie’s match. In fact, it’s The Jet who pulls off one of the coolest fight scene feats I’ve ever seen, the supposedly unintentional (and unfaked) “candle kick,” in which a missed spin kick generates such force that it blows out all of the lit candles on a candelabra several feet away. The film’s backbone is a story about a kidnapped Spanish heiress, but its kicks are far more fascinating. —Jim Vorel


17. Lincoln

Year: 2012
Director: Steven Spielberg
Stars: Daniel Day-Lewis, Sally Field, David Strathairn, Joseph Gordon-Levitt, James Spader, Hal Holbrook, Tommy Lee Jones
Rating: PG-13
Runtime: 149 minutes

Watch free on Freevee

Steven Spielberg boasts one of the most accomplished bodies of work in American cinema and, to this day, steadily builds upon that dominant track record. From the breathtaking 3D action sequences of The Adventures of Tintin to the comic-yet-poignant reconciliation scene in War Horse, one doesn’t have to look back decades to find Spielberg’s particular genius at work. Still, for filmgoers either too young to have been bowled over by Spielberg’s transcendent initial decade or two—or for those who perhaps just take his signature style for granted—Lincoln shows just how good he is. Thanks to a strong cast and a smart story that’s historically, morally and politically rich, Lincoln is yet another of Spielberg’s many accomplishments. —David Roark


18. Battle Royale

Year: 2000
Director: Kinji Fukasaku
Stars: Tatsuya Fujiwara, Aki Maeda, Tarô Yamamoto
Rating: R
Runtime: 114 minutes

Watch free on Freevee

It’s OK to compare Battle Royale to The Hunger Games movies—or, rather, to find how the lasting accomplishments of the latter franchise were essentially done better and with so much more efficiency by the former—because you probably will anyway. Battle Royale, like the immensely successful four-film crash course in crafting an action star who is really only a symbol of an action star, chronicles a government-sanctioned battle to the death between a group of teens on a weird, weapon-strewn island. (There are even regular island-wide announcements of the day’s dead as the sun sets on the remaining children.) Yet, Battle Royale is so lean in its exposition, so uninterested in dragging out its symbolism or metaphor, that one can’t help but marvel at how cleanly Fukasaku (who had a full career behind him when he made this, only three years before he died) can lend depth to these children, building stakes around them to the point that their deaths matter and their doomed plights sting. What the director can do with such a tenuous premise (which The Hunger Games takes multiple films to do, and without a single ounce of levity) is astounding—plus, he wrangled Beat Takeshi Kitano to play the President Snow-type character, which Kitano does to near-perfection. That Battle Royale II sets out to up the stakes of the first film, especially given the first film’s crazy success in Japan, is to be expected, but stick to the first: Battle Royale will make you care about kids murdering each other more than you (probably) would anyway. —Dom Sinacola


19. Sleepaway Camp

Year: 1983
Director: Robert Hiltzik
Stars: Felissa Rose, Mike Kellin, Katherin Kamhi, Paul DeAngelo, Jonathan Tiersten
Rating: R
Runtime: 84 minutes

Watch free on Freevee

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


20. Train to Busan

Year: 2016
Director: Yeon Sang-ho
Stars: Gong Yoo, Ma Dong-seok, Jung Yu-mi, Kim Su-an, Kim Eui-sung, Choi Woo-shik, Ahn So-hee
Rating: N/A
Runtime: 118 minutes

Watch on Amazon Prime

Love them or hate them, zombies are still a constant of the horror genre in 2016, dependable enough to set your conductor’s watch by. And although I’ve probably seen enough indie zombie films at this point to eschew them from my viewing habits for the rest of my life, there is still usually at least one great zombie movie every other year. In 2016, that was Train to Busan, a film that has since been added to our list of the 50 Best Zombie Movies of All Time. There’s no need for speculation: Train to Busan would undoubtedly have made the list. This South Korean story of a career-minded father attempting to protect his young daughter on a train full of rampaging zombies is equal parts suspenseful popcorn entertainment and genuinely affecting family drama. It concludes with several action elements that I’ve never seen before, or even considered for a zombie film, and any time you can add something truly novel to the genre of the walking dead, then you’re definitely doing something right. With a few memorable, empathetic supporting characters and some top-notch makeup FX, you’ve got one of the best zombie movies of the past decade. —Jim Vorel