25 Best 2024 Movies on Amazon Prime to Watch

The first things that grab your attention in Nickel Boys are its beauty and technicality. Director RaMell Ross, a large-format photographer, ensures every frame relays something deep, intimate, and moving. Then there’s how he takes these shots: we see things unfold through the POV of Elwood and Turner, students at an abusive reform school in Tallahassee, Florida. The year is 1962, and even though the civil rights movement inspires Elwood and his peers to stand up for themselves, the political climate is as skewed and violent as ever. Nickel Boys tells the unfortunately common story of how Black men, in particular, had to endure unimaginable abuse during the Jim Crow era in the South. What is uncommon, though, is the sensitivity and boundless inventiveness with which Ross tells this story. Yes, violence is unavoidable in a story like this, but Ross swaps trauma porn with something more effective and chilling—a mixture of silence, archival photographs, time jumps, and that immersive POV, which forces you to be in Elwood and Turner’s shoes. The world before them may be brutal, but inside, they hold space for beauty, fun, relationships, and wonder, manifested in the film in dreamy visual sequences. What Ross does is art in the highest form, an unforgettable balance between style and substance.

My Old Ass has a very simple premise, one it doesn’t even take the effort of explaining. For whatever reason, 18-year-old Elliot meets her 39-year-old self, and they talk at length about life. Naturally, older Elliot gives her younger self some advice to improve her life. But she also gives her a grave warning: under no circumstances must she be with a man named Chad. The film then follows younger Elliot as she tries to heed her advice and learn a lot about life in the process. Now, on paper, that may sound like sentimental schmaltz, but the two actresses playing Elliot—Stella and Plaza—are what make the film so grounded and enjoyable. Stella is bursting with life and energetic humor, while Plaza delivers her signature stoic wit. That’s not to say she’s lifeless though. By the time the climax rolls in, you’ll be struggling to keep the tears in.

Celebrities are often described as being “vulnerable” in documentaries, but it’s never been more fitting in this case. Here, Celine Dion opens up about her near-paralyzing illness, which affects her vocal cords and muscles and consequently prohibits her from performing on stage. We see clips of the star having spasms and breakdowns as she tries and fails and tries again to get her voice back. More than just a simple biography of what Dion has achieved, which we already know is massive, the film is largely about the doubt that creeps in and threatens to rock your sense of self, and the strength of the human spirit to persevere despite all that. The film is bracingly, unflinchingly raw, but it’s never exploitative, thanks partly to director Irene Taylor’s gentle direction and to Dion’s unwavering resilience.

Frida Kahlo is an iconic Mexican painter, not just because of her outstanding art, but also because of her outlook in life, despite her ill health and tragic accident. Because of this, she has been talked about in multiple books, movies, and exhibitions, but a new documentary has popped up, this time from her own words. Carla Gutierrez’s directorial debut is a revelation, voiced primarily in Frida’s native Spanish and paired with key archival footage, vivid animations of her paintings, and an excellent acoustic score plucked from classical guitar. Being a biographical documentary, fans of the artist would, of course, be familiar with her life events, but Gutierrez’s approach is still worth watching, mostly because it’s Frida’s own words driving the film.

Giannis Antetokounmpo’s rags-to-riches life story is the stuff of movies, and indeed it’s been told many times on print and screen. But this is the first time he and his family are telling it themselves, which is a big deal since Antetokounmpo, as it turns out, is inseparable from his family. Their revealing interviews about how they struggled as undocumented immigrants from Nigeria in Greece add a new, moving depth to a well-known journey, which Director Kristen Lappas wisely divides into chapters named after Greek ideals Antetokounmpo represents. Despite Lappas’ background (she is Greek-American), she makes sure to balance Antetokounmpo’s heroic moments with the Greek government’s at-times unfair treatment of the athlete and other immigrants in the country. She also puts a spotlight on the pressures Antetokounmpo is going through as one of the youngest champs in NBA history. After all, at just 29 years old, he’s already a two-time MVP and playoff winner. This doc proves that the story of how he got there is no less remarkable.

Usually, time travellers journey back to the past. This indie comedy takes the other path instead, with one samurai travelling forward to the 2000s. Luckily, he’s transported to the most fitting place in the modern era– a film set for a period drama set in the same time he came from. This unexpected journey is rather entertaining. On one hand, it’s hilarious to see him stumble, trying to make sense of the new Japan he’s in. His appreciation for today’s modern-day conveniences highlights how freedom ordinary folk now experience. On the other hand, the film juxtaposes his predicament with national history and the jidaigeki genre, grounding the comedy with the sincere belief in Japan’s ability to transform. A Samurai in Time takes a pretty funny premise to an entirely surprising conclusion.

No one watches a romantic comedy expecting anything novel, although it’s nice to be surprised once in a while. In the past years, we’ve seen movies like Rye Lane and Palm Springs subvert expectations and give the genre a pleasant, refreshing twist. Upgraded isn’t like those movies. It’s pretty standard and formulaic, but I would be lying if I said it wasn’t enjoyable—Amazon Prime’s latest romcom is breezy good fun from start to end. The predictable parts of the film are buoyed by vibrant performances. As leading lady Ana, Camila Mendes expertly toes the line between approachable and aspirational, while Marisa Tomei delivers campy goodness as Ana’s boss Claire Dupree, who is like a less serious, more humorous Miranda Priestly. In fact, the entire film is like a pleasant blend of The Devil Wears Prada and every single Cinderella story in Hollywood, from Pretty Woman to What a Girl Wants. If you’re looking for something new, you can skip this film, but if you like recalling your favorites and are satisfied by performances before anything else, then Upgraded comes highly recommended.

Set in the British colonial era, Captain Miller is more unapologetically violent than its counterparts, but it’s not mindlessly so. Sure, the film has plenty of spectacle with numerous battles between townsfolk versus British colonialists, some scenes having gruesome, gory deaths. But in between these battles is Dhanush as the central character, contemplating the oppression from his fellow countrymen, the dignity denied to him from both the colony and more privileged locals, and the choices he chooses to make in spite of this. It’s not a straightforward bad versus good anti-colonial film like RRR, and it may not be as emotionally compelling, but Captain Miller is certainly a unique take on British colonialism with all of director Arun Matheswaran’s signature style.

Jennifer Lopez believes that her latest album and its movie accompaniment, This Is Me…Now, are her magnum opus, so she gives the joint project her all. She funds, writes, produces, directs, and choreographs everything with the help of her team, which amusingly includes her lover and muse Ben Affleck. Whether or not it actually is her greatest work of all time doesn’t matter; it doesn’t even matter that people get it. What matters is that she creates it with the undivided fervor of an artist possessed with the knowledge that this is their last chance to make a mark. And it’s that energy that makes this documentary, which is a behind-the-scenes look at This Is Me…Now, so captivating. Lopez is in her element directing the movie-musical of her life. At 54 years old, she’s completely candid (sometimes, amusingly, to Affleck’s dismay) and abandons all need to conform to industry norms. She follows her heart first and her mind second, which explains why her project is as big-hearted and relatable as it is bonkers and all over the place. It’s a bit like The Disaster Artist in that way: watching Lopez’s creative chaos is far more interesting than the creation itself.

The Apprentice is as much about Roy Cohn as it is about the titular mentee, a very green Donald Trump. It’s Cohn who teaches Trump the dirty tricks and the power moves, and it’s he who instills in him his everlasting entitlement. It’s also Cohn who arguably steals the show. As expected, Strong disappears into his character and is at once terrifying and pathetic, but always arresting. Stan is less effective as Trump, but his more subtle turn as the real estate mogul still works, especially when set against Cohn’s more hardened and vulnerable persona. The film is powered by these two; without them, it moves like any old tale about greed, power, and betrayal. It doesn’t shy away from Trump’s known grotesqueries, but it also could’ve benefited from leaning into them more, a la Wolf of Wall Street. As it stands, The Apprentice is familiar fare elevated by the engaging performances of two of Hollywood’s best-working character actors.

For a romantic comedy with a fairy tale premise (a star falls in love with a regular person, and a much older one at that), The Idea of You is surprisingly relevant. It interweaves its romance with discussions of ageism and sexism, making it more self-aware than other movies in the same genre. But with that relevance comes a certain dryness; The Idea of You, for all its steamy scenes, lacks the sensuality and charm of a legitimate romcom. Solene is overly cautious, which doesn’t give much way to mystery and mistakes. She makes for a wise role model sure, but not necessarily a rootable heroine. If you like your romcoms to be more on the smart and predictable side, then you’ll enjoy The Idea of You. But if you prefer more hearty laughs and big gestures, then you’re better off looking for another title to stream.

What does a highly successful 20-year-old musician have to say about life and the industry? As we learn from Laroi, a lot apparently. Throughout this film, which documents his rapid rise from hopeful Aussie to international star, Laroi shares observations that are at turns earnest, endearing, and self-aware. Unfortunately, these likable traits aren’t enough to make Kids Are Growing Up staple viewing beyond Laroi’s fanbase. If you’re not part of the club, you might find it hard to grasp the necessity of this production at all. Though pleasantly intimate and amusingly animated, there is nothing innovative nor insightful about it. The Australian leg of his origin story seems to have been largely skipped, as are some parts of his musical process. And though it’s the most interesting part about him, the documentary doesn’t focus too much on him being a prodigy. Laroi is talented to be sure, but this documentary seems like a premature attempt at capturing him in his presumed prime. As a result, the filmmakers betray a lack of confidence in Laroi’s future, even though it’s clear it’ll burn brighter than ever.

The first My Spy film was a fun caper that let kids imagine what life could be like if they trained and fought alongside the country’s top agents. This second film, set in Italy and following a now-tween Sophie, tries to be more grown up than the last but instead falls flat in every aspect. The script is bland, the plot is cliched, and even the performances aren’t as exciting this time around. To be sure, there are still laughs to be had, especially when Bobbi (Kristen Schaal) is onscreen, but for the most part, the stacked cast’s talents are wasted. Bautista and Ken Jeong, who plays the boss, are perennial worrywarts, while Anna Faris (in a secret role) is stuck playing a caricature. What a waste of comedic potential! If you’re planning to see this with your kids, it’s harmless good fun, but don’t expect to pick up anything new or worthwhile watching this.

There are plenty of things that The Thicket does well. For starters, the performances are great, with Game of Thrones’ Peter Dinklage taking his charisma to a wintry Western, and Juliette Lewis matching this intensity as his raspy, iron-willed rival. The style is certainly great too, with excellent costumes, dynamic violins, and lingering, meticulously framed shots. But there’s just something off about the way everything comes together. This tale of misfits certainly takes familiar Western tropes, and brings them together in fairly interesting ways as it gets going, but it starts off with a disappointing start, without a compelling dynamic between Jack and his sister Lula, and without a compelling dynamic between everyone on the ride. The Thicket isn’t terrible, but it’s a tad uneven at times.

For the longest time, when a woman loses their husband, they lose everything, as the name, assets, and estate used to be held by and passed on by men exclusively. It was outstanding when Barbe-Nicole Clicquot Ponsardin was able to keep the estate due to the brilliance of her innovative champagne making techniques, and more so when the champagne house she built lasts past two centuries, so it was a bit of a letdown to see the Widow Clicquot falter in telling this incredible story. The costumes, sets, and score worked well to craft the emotional turbulence Clicquot goes through, and Madame herself is excellently portrayed by Haley Bennett, but her invention and the actual history is mostly brushed aside by the awkward, stilted romances Clicquot supposedly shares with her husband when alive, and her wine merchant when he died. Widow Clicquot deserves better.

With the success of Killers of the Flower Moon, there’s a renewed interest in authentic and respectful depictions of Native American stories. Low budget supernatural horror might not be the best approach, considering its history of stereotyping, but The Windigo is a fairly sincere stab at reframing the genre. The wicked looking, titular creature pulls together plenty of the issues Native Americans currently face, such as forgotten culture, violence, and institutional negligence, but the film also surprisingly delves into past collective trauma some of these communities have experienced. The Windigo plays out the way you would expect a creature feature to be, but the film could have been so much more with better execution.

There have been plenty of excellent films that tackle plenty of themes all at once, but Saindhav feels like a bunch of unrelated ideas strung together as an excuse for cool action set pieces. We’re first presented with the idea that violent video games are being used to recruit children for terrorist groups, but in response to this is a pretty violent protagonist that does over-the-top killings complete with explosions. His justification is that he’s doing it for money for his sick daughter, whose treatment is exorbitantly expensive. Both of these ideas should be discussed, and the cast tries to make the best of it, but Saindhav just combines these ideas to justify the glorified violence they’re supposedly critiquing.

Being based on the 1989 Patrick Swayze movie, we weren’t expecting much from the new Road House on Amazon Prime. Like the original, it has fun fight sequences, shot in a way that brings us to the bar itself, and it’s amusing to see actual MMA fighter Conor McGregor acting as an antagonist. However, this adaptation rewrites the main character to be a former UFC fighter, turning the story into something more akin to an outsider cowboy Western rather than a bouncer action drama. It’s not outright terrible, but it just feels uneven, and the cast performances can’t make up for the thinly written characters. It also just doesn’t feel like Road House.

Five Blind Dates is a squeaky clean, hopelessly boring film pretending to be a raunchy romcom. Despite Lia (Shuang Hu) going on five (or four, really) dates, she doesn’t find real chemistry with any one of them. There’s no heat, no passion, no inane fun to be had, or reckless experimentation. It’s clear that what she’s after isn’t really love but a partner who accepts her traditional whims, which I guess counts as a happy ending if this were airing on Hallmark or any other wholesome TV channel. But it isn’t, and instead of embracing its true form—that is, family drama—it instead postures as a modern and exciting romcom, even though it contains zero spice.

To be fair, the film has its funny moments, and I do think the first date’s premise, while played for laughs, has the potential to spark an interesting discussion about our generation’s willingness to sacrifice intimacy for financial security. But the film doesn’t really go there, nor anywhere, and remains as stale and safe as can be.

There’s something genuine at the core of Jackpot that unfortunately gets lost in the movie’s violence, spectacle, and “humor,” which is that life has become so unlivable in America that resorting to a Purge-like scenario now seems more likely than receiving actual care and rights from the state. You can see it whenever Katie (Akwafina), a struggling actor, is given room to express her frustration and desperation. These moments, small as they are, feel real and relatable, and they recall Akwafina’s superior performance in the 2018 drama The Farewell, which I believe she should do more of, instead of films like this. And by films like this, I mean Jackpot, which feels like a streaming filler meant to be consumed and forgotten the moment it ends (assuming you don’t pause and look for something else midway). If you want mindless action, then this film could be for you. John Cena is reliably cool, and Machine Gun Kelly makes a surprisingly hilarious cameo. But if you’re looking for something meaningful, you’ll have to buy a ticket elsewhere.

Murder mysteries don’t have to be full of twists to be worthwhile, but if you’re going the predictable route, you might as well make it an exciting one. Killer Heat, despite its name, feels cold and dragging. Gordon-Levitt’s Bali shoots for mysterious and debonair, like the detectives of noir past, but instead, he feels more like a parody of those characters. He never seems to ground Bali into something real, no matter how many flashbacks we get of his tragic family life. Madden similarly feels more like a trope than anything, and it’s beyond frustrating to watch him waste the opportunity to play identical twins. Where other actors seemed to have a blast at this (see: Jeremy Irons in Dead Ringers or even Lindsay Lohan in Parent Trap), Madden is just plain indistinguishable. Woodley is the film’s sole believable character, but her affecting performance isn’t enough to save the film.

When a plot is centered around women learning about self-respect, it’s usually a cliche, but it can be a fun and harmless story that we can enjoy, if it has enough heart. Still Fabulous has this general plotline, with a raunchy twist in the form of a porn star guardian angel, but the way the film plays out just misses the mark. There are fun moments, but Maddalena doesn’t do the work to find the things about herself that she actually likes about herself, possibly because the film isn’t as interested in her as it is with Valentina Nappi. Instead, even when the message is to love and appreciate one’s body, they have a body double for the stunning Diana del Bufalo, and even when it’s pointed out to her how she depends on external validation, the film ends with a relationship to validate Maddalena. Pensati Sexy sabotages itself the same way Maddalena does.

There’s a unique boarding school charm in Melodate, as the philosophical Melody is able to turn the dorm around through the sheer force of her personality. It’s the type of charisma plenty of school girls would want, the kind that creates Queen Bees that can change the entire status quo, for better (by changing clearly dated rules) or for worse (by bringing her whole dorm to a bar). Therefore, her clear antagonist is dorm administrator Mrs. Rasti, who happens to be Melody’s boyfriend’s mom. To its credit, the film doesn’t demonize either Melody or Mrs. Rasti, and there’s an interesting exploration on how much freedom should these children have, and how much control parents and authorities should have over their kids, but the way these topics are handled are illogical, inorganic, and convoluted, especially when they add in Nadia’s storyline.

Ricky Stanicky has all the ingredients of a zany romp: an insane premise, a cast of well-oiled comedians, and most notably, a veteran of the game, Peter Farrelly (Dumb and Dumber, There’s Something About Mary), at the helm of it all. And yet Ricky Stanicky falls unbelievably flat. For starters, there is zero chemistry between the trio who we’re supposed to believe are lifelong friends. And despite his Rolodex of disguises, John Cena is a one-trick pony here who can’t carry this film on his own. The joke is that he’s big and scary but can act pretty soft, but it gets tiring eventually. If I were you, I’d save myself some time and watch this SNL skit where Emma Stone plays a serious actress hoping to make her big break in a porn video instead. It captures the essence of what Ricky Stanicky wants to be, but the difference is, it’s actually funny.

Like posters and stills of Space Cadet suggest, the film is cute and, occasionally, fun. Emma Roberts is bubbly and funny enough to carry the feature-length movie on her back, and the visuals, which are shock of Lisa Frank glittery pink, elevate an otherwise bland landscape. But the film doesn’t reach far enough into the sky to be the truly weird and out-there film it could be. Instead, it relies on implausible plot lines and go-girl messages to become yet another flatly inspiring film about how anyone can be anything if they just believed in themselves. Space Cadet proves that Legally Blone meets Apollo 11 has potential, but it’s not the film meant to land the idea home.