As it paralyzes the world, the COVID-19 pandemic has generated all manner of terrifying questions. Am I going to get sick? Will I lose my job? Are my parents safe? When can my kids go back to school? And most importantly: If I’m going to be stuck at home, which movies should I watch?
The last of these questions may not be the most pertinent or existentially troubling, but it happens to be the one that I’m most qualified to answer. One practical consequence of our collective quarantine is that everyone is firing up their favorite streaming services, seeking to either escape from the world or relate to it by means of entertainment. The darkening of movie theaters may have deprived us of the communal experience—that intangible, alchemical joy derived from absorbing a work of art while surrounded by strangers—but it’s hardly prevented us from watching movies.
Or television, of course. The act of binge-watching TV is almost perversely suited for the stay-at-home era; when the newest season of your favorite European spy thriller or single-camera comedy arrives, you’re all too ready to devour it. But while it would be easy enough for me to recommended a hundred-odd TV shows worth watching, the Manifesto already invests a considerable chunk of its content to that very task. So instead, we’re highlighting some movies that you can see without ever leaving your couch or risking your health.
Specifically, the title of this piece promises to herald “underrated” movies. That term is a dangerous one, prone to willful misinterpretation and pointless online litigation. To be clear, I’m not contending that any of the 26 films which follow is especially unappreciated or insufficiently beloved (well, except maybe for the “I” entry). All I mean is that they’re unlikely to have already appeared on the countless lists of quarantine recommendations that you’ve presumably already come across.
Beyond that, the only other restriction is one of availability. Despite a robust competition among streaming vendors, you’d be amazed at just how many great movies are unavailable online. Perhaps one silver lining of this pandemic is that companies will make more aggressive efforts to expand their catalogs and to provide a more diverse array of offerings. Or maybe Netflix will just keep making new seasons of Tiger King.
But to quote a famous actor in a terrific horror comedy that doesn’t appear on this list (but which did land on my Best of the 2010s compendium): We work with what we have. Speaking of which, I’m only including movies that are available on widely used streaming services, namely Netflix, Amazon Prime, Hulu, HBO, and Disney+. (This excludes both Showtime and Starz, neither of which anybody uses, even though my research reveals that Starz in fact carries tons of good films.) Also, I’m defining “available” as “eligible to watch for free if you subscribe”, as distinct from renting à la carte. (Bear in mind that availability is transitory; that a title is streamable today doesn’t mean it’ll be streamable tomorrow.) And finally, I recognize that this list skews very recent; that’s partly a function of my data pool—most of the older movies that I’ve seen are in fact classics, which makes it difficult to label them underrated—but mostly the result of the paltry number of pre-millennium pictures available to stream. Do better, streaming overlords!
Again: We work with what we have. And what we have here are 26 high-quality movies that you can watch—right now!—one for each letter of the alphabet:
Anna Karenina (2012, Netflix). It would seem impossible to breathe new life into such a revered work, but Joe Wright invests Tolstoy’s epic novel with thrilling cinematic vitality. Led by a spirited and effortlessly watchable Keira Knightley, Wright’s movie is mesmerizing less for its tragic story than for the way it boldly upends conventions about how classics can be adapted for the screen.
Before the Devil Knows You’re Dead (2007, HBO). The final film in the brilliant career of Sidney Lumet, this swerving melodrama careens wildly, but it never relinquishes its steady craftsmanship or quiet empathy. Ethan Hawke and Philip Seymour Hoffman (RIP) spar beautifully as two very different brothers, and keep an eye out for Michael Shannon as a figure of delectable menace.
Chasing Amy (1997, Netflix). Comfortably Kevin Smith’s best work, this love story might be a little dated in terms of its sexual politics. But it remains a bracing study of romance and friendship, fusing Smith’s characteristic banter with a genuine tenderness.
Destroyer (2018, Hulu). Nicole Kidman digs deep in Karyn Kusama’s gritty, gripping crime drama. The story may be familiar—worn-out cop works one last case, with surprises in store—but Kidman’s performance brings toughness and texture, while Kusama delivers the genre goods, most notably in a nail-biting robbery-cum-shootout.
The Escape (2018, Hulu). Kidman’s turn in Destroyer just missed my Best Actress ballot in 2018, in part because Gemma Arterton is even better in this delicate, wrenching drama. Light on incident but full of feeling, the movie burrows into its protagonist’s mind, discovering sadness, confusion, and a slight ray of hope.
Fighting with My Family (2019, Amazon and Hulu). Florence Pugh had quite the year in 2019, anchoring the gonzo antics of Midsommar with quiet humanity, then earning an Oscar nomination for her vulnerable-yet-defiant turn in Little Women. But before either of those, the enormously gifted actor did something perhaps even more challenging, turning this sweet, silly sports drama into a rousing entertainment. Pro wrestling may be fake, but the joy engendered by this sharply executed crowd-pleaser is decidedly real.
Ginger Snaps (2000, Amazon). Coming of age is difficult for everyone, but it’s especially hard for the heroine of this provocative horror flick, as she’s beset by twin attacks from hormones and werewolves. A sincere exploration of fraying sororal bonds—come to think of it, “Fighting with My Family” would be a perfect title here, too—it takes bites that are emotional as well as literal.
House of Games (1987, Amazon). David Mamet’s first and arguably best feature, this drama of hard-boiled con men—and the woman who’s seduced by their slick grifts—courses with intrigue and uncertainty. Mamet’s inimitable dialogue pops with staccato rhythm, while Joe Mantegna is riveting as one of the screen’s smartest, most slippery villains.
Intolerable Cruelty (2003, HBO). Wrongfully denied its place in the pantheon of the Coen Brothers’ greatest movies, this magnificent screwball comedy is an absolute delight, trafficking in exhilarating wordplay, riotous slapstick, and gleeful absurdity. George Clooney gives one of his best performances as a lawyer who’s both a genius and an idiot, while the byzantine plotting never distracts from the filigreed detail that the Coens bring to every scene.
Just Another Love Story (2009, Netflix). Loaded with plot twists and inexplicable mysteries, this Danish thriller is a wild ride. It’s also painstaking, building its mounting suspense with cleverly timed reveals and just the right degree of deadpan. (I previously spotlighted it in this now-ancient piece devoted to uncovering foreign jewels.)
The Killing of a Sacred Deer (2017, Netflix). Yorgos Lanthimos may have made better movies—forced to choose, I’d confess a slight preference for both The Lobster and The Favourite (and maybe Dogtooth too)—but he’s never made a more meticulous one. Anchored by a wonderfully alien performance from Colin Farrell, who plays Lanthimos’ mannered style for maximum creepiness, this hypnotic thriller is a marvel of strangeness, terror, and craft. (Full review here.)
The Last Seduction (1994, HBO). Made the same year as the terrific Nicolas Cage vehicle Red Rock West, John Dahl’s ingenious thriller is a master class in finely calibrated suspense. Several great character actors excel in small parts (including Bill Nunn and J.T. Walsh, both now deceased), but the movie belongs to Linda Fiorentino, who creates an entirely new conception of the femme fatale, oozing sexuality and smarts and wholly justified superiority.
A Most Violent Year (2014, Netflix). After stunning audiences with Inside Llewyn Davis—but before turning into a tech god and an intergalactic fighter pilot—Oscar Isaac showcased his range here as an untrustworthy gangster craving to legitimize himself. J.C. Chandor’s set pieces are uncommonly realistic and coherent, but his film draws its power from Isaac’s performance as a man both all-powerful and utterly helpless. (Expanded capsule review included here.)
The Nice Guys (2016, HBO). Shane Black’s playful caper may be overstuffed, but it still hums with his signature motormouthed wit. Russell Crowe is steady as the burly straight man, while Ryan Gosling delivers the best performance of his career as a private detective whose genius is eclipsed only by his cluelessness. (Full review here.)
On Chesil Beach (2018, Amazon). I recently included this film on my “Best Movies of the 2000s” list, but I couldn’t resist double-dipping. Led by a devastating Saoirse Ronan, it’s a tragic romance that’s at once sweeping, economical, painful, and pure.
Professor Martson and the Wonder Women (2017, Hulu). A kinky triangular romance brimming with passion and creativity, this chronicle of the inventor of Wonder Woman is no stolid biopic. A fantastic Rebecca Hall highlights the stellar cast, which invests the potentially tawdry material with genuine warmth, along with an intellectual curiosity that proves contagious.
Quantum of Solace (2008, HBO). Sandwiched between two of Daniel Craig’s superior outings as 007 (Casino Royale and Skyfall), Marc Forster’s chaotic James Bond entry can seem paltry by comparison. But it remains a robust spy picture, and it evinces a welcome focus on character, allowing Craig to continue twisting the secret agent’s legacy inside out.
Revenge (2018, Amazon). An ostensible exploitation picture that suddenly flips the entire genre on its head, Coralie Fargeat’s electrifying debut feature seethes with aggrievement and rage. It’s also a corker of an action movie, with slick camerawork, a pulsing score, and an arresting center in Matilda Lutz, who grounds the film’s extremity with a plausible combination of desperation and resilience.
Secret Sunshine (2010, Amazon). Long before he made the critical smash Burning, Lee Chang-dong delivered this spellbinding drama, which is equal parts explosive shock and haunting quiet. Parasite’s Song Kang-ho is delightful as a cheery guide, but it’s Jeon Do-yeon who makes the movie, with a riveting performance that’s all the more powerful for its restraint.
Teen Spirit (2019, Hulu). The story of a small-town singer seeking her big break on a reality competition, Max Minghella’s drama can seem by-the-numbers from a plotting perspective, but his vigorous execution lifts it comfortably above the pack. Certain scenes of Elle Fanning covering various artists (Tegan and Sara, Robyn, Sigrid) acquire an infectious energy, overpowering you with sensation and talent and joy.
Unbreakable (2000, HBO). Faced with daunting expectations in the wake of The Sixth Sense, M. Night Shyamalan came through with his best movie, a lacquered thriller that expertly balances excitement with gravity. Bruce Willis and Samuel L. Jackson complement one another perfectly, while Shyamalan’s visual artistry has never dovetailed better with his pop-culture obsessions.
The Villainess (2017, Hulu). Opening with an extended POV sequence that feels yanked from the coolest videogame ever made, this bombastic action movie is a rush of pure adrenaline. It’s everything that the Raid pictures wanted to be.
The War Zone (1999, Amazon). Gulp. Tim Roth’s wrenching family drama, starring Tilda Swinton and Ray Winstone, is not for the faint of heart. It’s also utterly unforgettable.
X-Men (2000, HBO). X2 remains the best X-Men movie—though you could make a case for Logan or Days of Future Past—but Bryan Singer’s inaugural installment deserves credit (and maybe some blame) for demonstrating that comic books were fertile ground for kinetic screen adaptations. The sprawling cast is all quite talented, while Singer makes sensible use of his characters’ powers, rather than overwhelming us with special effects.
Young Adult (2011, Netflix and Amazon). It’s been 17 years since Charlize Theron won her Oscar, but she rarely plays characters as productively prickly as the heroines she essays for Jason Reitman. Less purely enjoyable than Juno or Up in the Air, Reitman’s work here is nevertheless fascinating, as he and Theron examine a figure who is the envy of everyone in her orbit, and also thoroughly lost.
Zootopia (2016, Disney+). Shiny and vivacious, Disney’s animated adventure is also a surprisingly powerful allegory whose resonance grows with each passing year. Your children will be so easily entertained, they won’t even realize that they’ve learned something. (Full review here.)
Jeremy Beck is the editor-in-chief of MovieManifesto. He watches more movies and television than he probably should.