The 20 Best Movies on Starz (January 2022)

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The 20 Best Movies on Starz (January 2022)

Starz continues to fly under the radar among its bigger premium cable and streaming competitors, but the channel (that many add onto Amazon accounts for extra offerings) has amassed a slew of movies available to its subscribers. HBO may have the prestige, but Starz has the much-better-curated lineup of flicks.

From recent hits like Little Women to underrated classics—not to mention a bundle of ‘80s comedies and a classic coterie of Westerns—Starz continues to build a cinematic library to easily rival services like Netflix and Hulu. Needless to say, we’re fans, so here at Paste we want to highlight the many wonderful movies Starz has to offer at the moment.

Here are the 30 best movies on Starz right now:


1. Night of the Living Dead


24. night of the living dead (Custom).jpg Year: 1968
Director: George A. Romero

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


2. The Ox-Bow Incident

the-ox-bow-incident-poster.jpg Year: 1943
Director: William A. Wellman

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In discussing classic films that involve Henry Fonda as he struggles against a rash legal decision, 12 Angry Men is more than likely the film that instantly enters one’s mind. Fourteen years prior, however, Fonda starred in a significantly bleaker version of a similar story. Based on the novel of the same name by Walter Van Tilburg Clark, The Ox-Bow Incident serves as a dark voyage into the dangers of mob mentality and what happens when human emotion supplants the justice system. Fonda plays Gil Carter, an aimless traveler in the 1880s who—along with his companion Art Croft (Harry Morgan)—ends up riding into the wrong town at the wrong time. A local rancher has apparently just been murdered and the hunt is on to find those responsible—by whatever means necessary. Clocking in at a sparse 75 minutes, the film serves as a master class in dramatic escalation, with Gil and Art first joining the posse as a means of self-preservation only to watch as events mount beyond anyone’s control. Though now more than 70 years old, The Ox-Bow Incident’s portrait of a community driven to its worse self by fear and distrust is sadly more relevant than ever. —M.R.


3. Sleepy Hollow

sleepy-hollow-1999-poster.jpg Year: 1999
Director: Tim Burton

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Visually, there’s no denying that Sleepy Hollow is among Tim Burton’s most sumptuous films. A modern retelling of the story of Ichabod Crane makes Johnny Depp’s character an eccentric police inspector rather than a nebbish school teacher, although he does retain plenty of the typical Depp mix of awkwardness, vulnerability and smoldering sensuality. The story almost plays like a Burton film crossed with something by say, Wes Craven if it’s Craven in one of his more populist, money-making moods—a Georgian-era supernatural slasher film with a touch of American giallo as Crane tries to work out not the identity of the killer (the headless horseman) but who is controlling the killer. It all builds to a big finale that feels a little out of place and overwrought, a seeming overture toward making a financially successful film that doesn’t feel entirely necessary. Sleepy Hollow is at its best in its quieter moments, living off the strength of Depp and its creepy art direction, rather than when resorting to fight and chase scenes. But the gothic visuals definitely do carry it quite a ways. —Jim Vorel


4. The Rider

rider-zhao-movie-poster.jpg Year: 2017
Director: Chloé Zhao

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A dream dissipating. The Rider begins with flashes of a horse, in close-up, so intimately observed we immediately abandon all assumptions of symbolism or pretention of deeper meaning. Chloé Zhao’s second film invites social commentary and political dissection—it’s about the obsolescence of a certain way of life; about the death of toxic masculinity as exigency of a frontiersman’s spirit of adventure; about the failure of rural America to embrace an obvious socioeconomic future—but there’s nothing clearer, or more devastating, in The Rider than the bond between cowboy and horse. Said cowboy, and aforementioned dreamer, is Brady Blackburn (Brady Jandreau), a young, lithe South Dakotan rodeo rider still recovering from a head injury, a blurry accident we re-watch with Brady via YouTube video on his phone. With a cast of non-professionals basically playing themselves, Zhao rarely pushes her actors to too riskily delve into melodrama, or anything, for that matter, that might make them uncomfortable. Instead, in Jandreau and his family, Zhao discovers a beautiful, intuitive sense of calm, which she reflects in long, mournful shots of Dakotan vistas, so unhurried and unhindered by the boundaries of the screen that each interstitial segment—often of Brady contemplating the world before him as he stands, his hip cocked, before a magnificent sunset—feels overwhelming. What cinematographer Joshua James Richards can do with a camera bears the weight of countless filmmakers in thrall to the pregnant possibility of this marvelous continent. Every frame of this film speaks of innumerable lives—passions and failures and tragedies and triumphs—unfolding unfathomably. —Dom Sinacola


5. Trading Places

trading-places-poster.jpg Year: 1983
Director: John Landis

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A biting take on the The Prince and the Pauper story as filtered through the prism of the Decade of Greed, Trading Places stars Dan Aykroyd and Eddie Murphy as, respectively, high class broker Louis Winthorpe III and homeless street vagrant Billy Ray Valentine. As part of a “nurture vs. nature” experiment by the Duke Brothers, two wealthy, yet unscrupulous business magnates, Louis and Billy end up abruptly, per the title, trading places on the social ladder. The Dukes frame Louis for drug dealing, resulting in him losing both his job and his girlfriend, and then bail Billy out of jail and provide him with Louis’ old job and high-class apartment. Once Billy and Louis discover this deception, they launch a plan for vengeance. Featuring both Murphy and Aykroyd at the top of their game, Trading Places represents a prime example of the kind of smart, yet decidedly un-PC comedies that could only exist at a certain point in the ’80s (Aykroyd’s blackface-heavy disguise in one scene, for example, would never fly in today’s market). A stone-cold ’80s classic if there ever was one. —Mark Rozeman


6. Groundhog Day

Thumbnail image for Groundhog1212.jpg Year: 1993
Director: Harold Ramis

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In the rich vein Edge of Tomorrow and Source Code, Groundhog Day stars Bill Murray as Phil Connors, a rude, unhappy man who, after spending the day covering the news of Punxsutawney, Pennsylvania’s groundhog celebration, wakes up to relive the day once more. There’s little explanation as to why this happens, but Groundhog Day strips back all the mysteriousness and pretention of time travel as a concept to celebrate the hilariously mundane. It also helps that this film is a single-serve capsule of Bill Murray, America’s Greatest-of-All-Time Comic Sweetheart, at his very best.


7. My Hero Academia: Heroes Rising

my-hero-academia-heroes-rising.jpg Year: 2020
Director: Kenji Nagasaki

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Since it first aired back in 2016, My Hero Academia has secured its place as one of the best, if not arguably the best, shounen action anime of its generation. Set in a world populated by humans born with unique abilities known as “quirks,” the series follows Izuku “Deku” Midoriya, a young boy who dreams of one day becoming a hero despite being born without any powers. Taken under the wing of All Might, the world’s number one hero, as his secret apprentice and gifted with the elder’s awesome generation-spanning ability One for All, Midoriya is accepted to the U.A. Hero Academy, and soon embarks on his personal journey to one day succeed All Might as the world’s greatest hero. The second standalone spin-off feature since 2018’s Two Heroes, My Hero Academia: Heroes Rising takes place some weeks following the conclusion of the first arc of the series’ fourth season. With All Might now retired, Midoriya and his classmates are charged with a work study assignment protecting the residents of the small island of Nabu. Things quickly turn sour when the island is attacked by a group of villains led by the mysterious Nine; cut off from the mainland and with no way to contact their mentors for help, it’s up to Midoriya and his friends to uncover Nine’s plot and rescue the island from disaster. Sure, the action is thrilling and the visual effects are stellar, but Heroes Rising feels like an hour-long filler episode capped by an exhilarating 20-minute spectacle that’s as impressive as it is ultimately inconsequential. Maybe that’s enough.—Toussaint Egan


8. Call Me by Your Name

call-me-by-your-name-movie-poster.jpg Year: 2017
Director: Luca Guadagnini

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In Kyle Turner’s Paste review of Call Me By Your Name, he muses that in the film’s opening credits “there’s enough of a hint to suggest that, as Michael Stuhlbarg’s professorial patriarch Mr. Perlman mentions, the statues are ‘daring you to desire.’ The film, while occasionally inching towards it, never takes that dare.” Much has been made about whether the film flinches at the physical love it champions, or embraces with grace and decorum the same love, finding eroticism in other (maybe juicier, stickier) images. Regardless, the allure of Call Me By Your Name, the story of a 17-year-old rich white kid (Timothee Chalamet) and his Italian summer tryst with a hunky grad student (Armie Hammer), is in all of that anticipation and lazy anxiety, of never being quite sure what’s right for you because you’re not yet quite sure what “you” means. Perhaps Guadagnino never “takes that dare” because the film is less about the consummation of the two characters’ desires, and more about the dissolution of that consummation, the need to let it go for all its fantasy and excitement and confusion, and then to live with the quiet, needling regret that more could have been done, that somehow the desire, the sumptuousness of the flesh, should have been better grasped. It’s in Michael Stuhlbarg’s final, bittersweet monologue, as well as in Chalamet’s credits-long fireplace cry: Call Me By Your Name is an exquisitely shot movie, alive with the privilege and luxury of what it means to spend one’s formative sexual years in the Italian countryside, but more importantly, it’s a movie that aches far harder for the lives and relationships that could have been. —Dom Sinacola


9. There’s Something About Mary

something-about-mary.jpg Year: 1998
Director: Bobby Farrelly, Peter Farrelly

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...and it’s not just hair gel. Cameron Diaz’s titular character is the object of affection for a wide range of guys, not all of whom are NFL quarterback Brett Favre. Not without reason: She combines a certain Audrey Hepburn winsomeness with a certain Ava Gardner crassness, plus a sensibility that is as ’90 as anything this side of Jennifer Aniston’s haircut in Friends Season 1. Throw in a splash of Ben Stiller cringe-theater, Chris Elliott creepypants-comedy and cameos by both Jonathan Richman and a certain football star, and you have a Farrelly Brothers classic—raunchy, ridiculous, and somehow guffaw-inducing even when you know better. It’s sort of like if Otto Preminger’s masterpiece Laura were set in 1990s Florida and made into a comedy by drunk frat boys. What’s not to love? —Amy Glynn


10. Whiplash

whiplash.jpg Year: 2014
Director: Damien Chazelle

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It’s easy to celebrate musical genius after the fact, overlooking the endless early years of struggle, self-doubt and maniacal dedication that went into making artistry that seems effortless. Happily, that’s not the case with Whiplash, which thoughtfully considers talent’s emotional and physical toll, and for most of its running time this character drama remains ambivalent about the sacrifices needed for greatness. If a young hopeful ends up to be Charlie Parker, then the pain was worth it. But what happens if he doesn’t? The film stars Miles Teller as Andrew, a first-year drum student at an elite New York music conservatory. With few friends and a father (Paul Reiser) he loves but also fears of becoming—his dad longed to be an author but wound up a high-school teacher—Andrew has staked his entire future on becoming a drummer. His goal is to catch the eye of Fletcher (J.K. Simmons), the intimidating, ruthless conductor of the school’s competitive jazz band. Fletcher immediately notices Andrew’s dedication, but his invitation to the young man to sit in with the group turns out to be a double-edged sword. The instructor’s admiration only means that he’s going to push Andrew incredibly hard, reducing him to tears and spraying demeaning, emasculating taunts until Andrew performs to his satisfaction. Teller shows his ability to play an outsider who’s not a stereotypical rebel or misfit but someone with great sensitivity and surprising anger. Quietly, Teller starts to reveal the depth of Andrew’s desperation, not just to become a world-class drummer but also to escape his father’s career failure and to prove to Fletcher that he’s got what it takes to succeed. Simmons is a fine complement in a far showier role, a force of nature with an uncompromising steeliness.—Tim Grierson


11. The Grandmaster

grandmaster.jpg
Year: 2013
Director: Wong Kar Wai
Stars: Tony Leung, Ziyi Zhang, Chen Chang, Cung Le, Hye-Kyo Song
Genre: Martial Arts, Drama
Rating: PG-13

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Wong Kar Wai will indefatigably make anything elegant, and so it’s a given that The Grandmaster is a gorgeously paced historical epic told in patient piecemeal. A loose chronicle of the nascent legend of Yip Man, the film skirts the line between noir-ish tragedy and chiaroscuro thriller, rarely leaving room to discern the difference. From an opening set-piece that will leave you wondering why any other director since would ever bother capturing rain droplets in slo-motion, to one masterfully orchestrated balsa-wood-tower of martial arts prowess after another, there is little left to say about Wong’s directing other than hyperbole: This is heartfelt and beautiful action filmmaking, but never so far removed from the savagery of the action at hand that it romanticizes the pummeling of so many hapless foes. There are penalties to these punches and consequences to these kicks—there should be little doubt that The Grandmaster is not just a masterpiece of its genre but one of Wong’s best. —Dom Sinacola


12. Starship Troopers

starship-troopers.jpg Year: 1997
Director: Paul Verhoeven

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Glistening agitprop after-school special and gross-ass bacchanalia, Paul Verhoeven’s Starship Troopers delights in the ultraviolence it doles out in heavy spurts—but then chastises itself for having so much fun with something so wrong. Telling the story of a cadre of extremely attractive upper-middle-class white teens (played by shiny adults Casper Van Dien, Denise Richards, Nina Meyers, Jake Busey and Neil Patrick Harris) who get their cherries popped and then ground into hamburger inside the abattoir of interstellar war, Verhoeven cruises through the many tones of bellicose filmmaking: hawkish propaganda, gritty action setpieces and thrilling adventure sequences, all of it accompanied by plenty of gut-churning CGI, giant space bugs and human heads alike exploding without shame or recourse or respect for basic physics and human empathy. As much a bloodletting of Verhoeven’s childhood trauma, forged in the fascist mill of World War II Europe, as a critique of Hollywood’s cavalier attitude toward violence and uniformly heroic depictions of the military, the sci-fi spectacle can’t help but arrive at the same place no matter which angle one takes: geeked out on some hardcore cinematic mayhem. —Dom Sinacola


13. Millions

millions.jpg Year: 2004
Director: Danny Boyle

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Maybe more than any other modern-day director, Danny Boyle has turned his attention to nearly every genre, from black comedy to horror to sci-fi to biopic to psychological thriller. Tucked in among that filmography is the delightful family dramedy Millions, his only non-R-rated film. The story follows Damien, a quiet, kind and naïve Catholic school boy who finds a bag of money while hiding out in his makeshift cardboard fort. While his brother uses the money for his own gain, Damien looks for ways to help the poor. The money—British pounds slated to be destroyed after the U.K.’s conversion to Euros—was stolen from a train going through town, and the robbers want it back. In the place of Hallmark platitudes and sentimentality, you have real characters and gripping storytelling. It’s a story about family, generosity and doing the right thing—a rarity for films that are this well made. —Josh Jackson


14. Monster Hunter

monster-hunter-poster.jpg Year: 2020
Director: Paul W.S. Anderson
Starring: Milla Jovovich, Ron Perlman, Tony Jaa
Rating: PG-13
Runtime: 103 minutes

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From Mortal Kombat to the Resident Evil franchise, writer/director Paul W. S. Anderson has consistently proven himself to be the king of videogame adaptations. He is able to take beloved properties and mold them into entertaining narratives that encapsulate their ethos and are accessible to both franchise fans and novices alike. This is no different with Anderson’s latest film, Monster Hunter, adapted from the popular Capcom franchise. He continues to create larger-than-life narratives that are just plain old fun. Monster Hunter begins with Lieutenant Natalie Artemis (the always badass Milla Jovovich) leading a team of soldiers in the desert, searching for a missing squad that seemingly disappeared without a trace. The group is suddenly transported into another world via an intense lightning storm. This is a relentless place, full of massive monsters who are out for blood. No matter their firepower, nothing seems to stop Diablos, a giant triceratops-like creature, or the Nerscylla, a nasty group of poisonous spiders the size of elephants. The tools of violence of the US military are rendered useless in the face of these titans. Monsters aside, the film ventures into a buddy action-comedy as much of the story focuses on Artemis and the Hunter’s (Thai martial artist Tony Jaa) developing relationship—and how they depend on one another for survival. They laugh, they joke, they make sacrifices for one another. Jovovich and Jaa make a remarkable team: The chemistry between the two actors is an endearing light in the middle of a gritty and violent film where humans are impaled and eaten. Anderson does not just rely on the monsters, but creates strong human relationships to encourage a deeper engagement than expected with a videogame adaptation.—Mary Beth McAndrews


15. The Father

the-father-poster.jpg Year: 2021
Director: Florian Zeller
Stars: Anthony Hopkins, Olivia Colman, Rufus Sewell, Mark Gatiss, Imogen Poots
Genre: Drama
Rating: PG-13
Runtime: 97 minutes

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The best line reading Anthony Hopkins gives during his monumental performance in Florian Zeller’s The Father comes in the film’s final scene, which is both a blessing and a king bummer. All anyone should want to do is live in that reading, sit awestruck at how Hopkins puts a name to the one thing that can assuage his character’s anguish and stare grief-stricken in the knowledge that the one thing he needs is the one thing he can’t have. The entire movie is an exercise in heartache, but it’s this final piece of dialogue that punctuates the drama preceding it and finally releases the suffering roiling under its surface. Hopkins’ character, also named Anthony, spends most of The Father fighting for his independence like a wolf cornered by hunters, stubbornly refusing to accept his clear mental deterioration and the need for professional help. His daughter Anne (Olivia Colman) has, as the picture opens, tried and failed several times over to find him a caregiver he’ll take to—and given her announced intention to relocate to Paris, her search has gained in urgency. Anthony isn’t pleased at her news. In fact, as they sit in his well-appointed London flat together, he gives her the business, expressing his opinion of her life plans with his canines bared. He’s not happy. But deep down, in the parts of him that remain self-aware, he’s mostly just afraid. Zeller has adapted The Father from his own award-winning play Le Père, and though he’s left the material of the script untouched, he’s transitioned to his new medium with subtle enhancements: Cinematographer Ben Smithard uses his lens as a screw gun, putting up figurative walls around Zeller’s cast in addition to the literal walls of the set. Visual claustrophobia compliments spatial claustrophobia, trapping the viewer in the flat and, far more importantly, in Anthony’s crumbling psyche. A simple open-concept apartment becomes labyrinthine through his point of view, and that’s before supporting characters begin to wander about its halls and loiter in its doors, in and out of his perception, assuming they were even there to begin with. Similar to how the characters are there to serve Anthony, the supporting cast is there to serve Hopkins. The stage belongs to him. What he does with it is something special, an unmissable performance from an actor with a filmography loaded with them.—Andy Crump


16. Little Women

little-women-movie-poster.jpg Year: 2019
Director: Greta Gerwig

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Problems with plot lines and coinciding facts have been points of contention among scholars, critics and fans of the cherished book for the better part of 150 years. Little Women has been adapted for TV, film, radio and the stage dozens of times, the most notable version (until now, arguably) being Gillian Armstrong’s 1994 film starring Winona Ryder as an especially hot-headed Jo. But even that down-to-earth rendition—one that introduced Little Women to a whole new generation of bookish girls who were raised on American Girl, I might add—doesn’t approach these inconsistencies and questionable romances with as much rhythm and vibrance as Greta Gerwig’s spunky, magical Little Women. Like Gerwig’s directorial debut, Lady Bird, (which also starred Saoirse Ronan as its lead), it has an uninhibited appreciation for life. Jo (a wisecracking, wonderful Ronan), like any good Jo, is fiercely independent, except when it comes to her sisters: She dotes on sweet Beth (Eliza Scanlen, who puts a wise spin on the doomed girl), reveres the poised Meg (an accurately cast Emma Watson) and brawls with feisty Amy (played by Florence Pugh, who breathes new life into the oft-detested character). Marmee (the earnest Laura Dern) is the whole family’s moral compass, constantly encouraging her children to do the most good. I can’t say I’ve seen every single Little Women adaptation ever made, but Gerwig, who also wrote the script, weaves the women’s storylines together in a more clever and effective manner than that of any of those I have seen. She doesn’t just flip Little Women’s narrative arc on its head—she cracks it open and scrambles it. It’s such an engrossing experience that looking back at the film’s events in the rearview feels more like remembering a mood rather than recalling a sequence of scenes. Each actress brought such color to her role that all the moments have since swarmed together in my mind, leaving me with a content glow. Gerwig has a way of making her audiences feel something different at every beat. Maybe Little Women isn’t the radical feminist pamphlet we all want it to be; maybe it was never progressive and never will be. But its triumphs are the little ones: a gust of sandy wind covering Jo and Beth as they cling to each other on the beach, Marmee taking the scarf off her neck to give to a weary father who has lost his sons to the war, the poor John Brooke (James Norton) giving up a new suit so his wife Beth can have a fancy dress. These moments of compassion relay new meaning in Gerwig’s film, even if we’ve seen them 100 times before. —Ellen Johnson


17. Big Trouble in Little China

big-trouble-little-china.jpg Year: 1986
Director: John Carpenter

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


18. Steel Magnolias

steel-magnolias-poster.jpg Year: 1989
Director: Herbert Ross

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Based on a stage play by Robert Harling, this story chronicles the bonds among a group of women in Louisiana. Occasioned by the death of the playwright’s sister from diabetes complications, it touches on the quotidian (but life-altering) dramas of friendship and love, marriage and parenthood, illness and lives cut short. Steel Magnolias stars Sally Field, Dolly Parton, Shirley MacLaine, Olympia Dukakis, Daryl Hannah and Julia Roberts and is generally acknowledged to have initiated Roberts into stardom, though Sally Field’s performance is probably the standout. Not an overwhelmingly clever film, it is certainly a compassionate one, and it presents a humble and kind-spirited testimony to the sustaining power of female friendship. —Amy Glynn


19. Shaun of the Dead

shaun-of-the-dead.jpg Year: 2004
Director: Edgar Wright

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Together, 28 Days Later and Shaun of the Dead established precedents for the “modern” zombie film that have more or less continued to this day. The former made “zombies” scary again, and the latter showed that the cultural zeitgeist of zombiedom (which was picking up around this point) could be mined for huge laughs as well. Most importantly, the two types of films could exist side by side. Shaun of the Dead makes a wry, totally valid criticism of modern, digital, white-collar life through its wonderful build-up and tracking shots, which show slacker Shaun wandering his neighborhood failing to even realize that a zombie apocalypse has happened. Once he and his oaf of a friend finally realize what’s happening and take up arms to protect their friends and loved ones, the film becomes a fast-paced, funny and surprisingly emotional action-comedy. Few horror comedies have actually combined the elements of humor and serious horror the way this one does in certain scenes—just go back and watch the part where David is dragged through the window of The Winchester by zombies and literally torn to pieces. It’s a film that works on so many levels, and manages to be uproariously funny while still being quite faithful to the fidelity of Romero-style zombies. Much in the same way as Zombieland (a definite spiritual successor), it shows that whether the zombies are “scary” is ultimately a matter of how everyone reacts to them. Shaun of the Dead was so momentous that it’s next to impossible to make a zombie comedy at this point without being accused of ripping it off—take Fido, a film that seems based entirely on the “domesticated zombie” gag at the end of this film. —Jim Vorel


20. 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

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