100 Best Movies on Fubo Right Now

While better known for Pride & Prejudice, Emma, and Sense & Sensibility, Jane Austen wrote Mansfield Park, a novel that garnered differing critical interpretations, but still intrigued readers even today. The 1999 film adaptation does capture some of the original novel’s ideas, such as Fanny’s modesty, the Cinderella-like submissiveness as means for survival, and the quiet strength to remain as herself, but it also expands on certain elements that were mostly only alluded to in the original, such as the elements pulled from Jane Austen’s actual life and her own sympathies for anti-slavery. While the film isn’t fully faithful to the original novel and should be considered its own, Mansfield Park does retain some of the essentials that makes it distinctly Austen.

As far as heroic biopics go, One Life is fairly standard, if not a bit forgettable. The film’s monotonous pace and less-than-compelling drama don’t quite match the extraordinary real-life feats of the British stockbroker who helped transport hundreds of Jewish children from Nazi-occupied Prague into Britain. The beats are familiar, the dialogue even more so. But there is one saving grace here, and that’s Anthony Hopkins, who plays the stockbroker in question, Nicky Winton, with such believable grace. Hopkins effortlessly relays the heavy guilt of his character, and when he finally breaks down by the film’s climax, you can’t help but cry with him. Everything else about the film, including the flashbacks to young Nicky, played by Johnny Flynn, could be stronger, but as it stands, One Life serves as an effective enough reminder to stand up for what’s right and be proud of that act, no matter how seemingly small or singular.

Blood Tea and Red String is cryptic as hell. There’s no dialogue, the film was in production for around 13 years, and the stop-motion animated rats and bat-crow creatures fight over a stuffed human-like doll and her bird-bodied child, spilling some tea and sewing her together with help from frog priests and a spider woman that keeps spinning her web. Whether the film is an allegory for class struggle and the inherent destructiveness of art, or is a straightforward Alice-in-Wonderland-esque fairytale with goth and medieval motifs is up to the viewer, but either way, the symbolism of Blood Tea and Red String is interesting enough to watch and try to make your own conclusions.

A group of male friends become obsessed with a group of mysterious sisters who are sheltered by their strict, religious parents after one of them commits suicide. Sofia Coppola does a great job taking the novel and turning it into a full featured movie. The movie is admittedly a bit slow, but it paints such a great picture into the characters lives and everyone around them, that your attention will quickly be turned to that. The casting is spot on and even though it may seem like a very dark subject matter, the film is very enjoyable to watch no matter your taste in movies.

Shot as a single day, it tells the story of college professor George (Colin Firth) who, unable to cope with the death of his partner months prior, resolves to commit suicide. The movie is not all dark, however, there are moving, deeply human encounters as George moves through his last day. Fashion designer Tom Ford’s directorial debut and set in 1960s Los Angeles, it speaks powerfully of the colour-stripping effects of grief and loneliness. Fantastic performance also by Julianne Moore as Charley, an equally lonely and desperate character, but with a markedly different story. A Single Man is a gorgeous film in every sense of the word.

Robert Downey Jr. and James Woods star in this movie about a Lawyer who, along with his staff, attempt to get an Asian man out of jail after their office is visited by the convicted man’s mother. In my opinion, this is one of the best performances by James Woods in his entire career. This film went unnoticed by many, however it stands among some of the best films I have seen over the years.

You know Anthony Hopkins as the evil Hannibal Lecter, but in this film he gives a warm and heartfelt performance portraying real life New Zealand motorcycle legend Burt Munro who set a land speed record in 1967 on a hand-built 1920 Indian. It’s a story of never giving up on your dream even in the face of ridicule and opposition. Hopkins’ performance turns what could have been just another schmaltzy formulaic story line into true gold. You’ll be cheering for Burt/Anthony by the end!

The 1868 semi-autobiographical novels of Louisa May Alcott have been adapted into film, television and theatre so many times: 6 movies, 4 TV shows, even a broadway musical. It’s a compelling story to watch as it unfolds, and it’s easy to see why many hold this one as the best adaptation of the novels. For one, the cast is top-notch and perfect for the roles: Christian Bale as Laurie, Susan Sarandon as Mrs. March, and Winona Ryder, Trini Alvarado, Claire Danes and a very young Kirsten Dunst as the four sisters.
Little Women is the story of these four girls living in post-civil war America. We watch them grow together, find love, have their little fights, and try to find their place in the world. Everything from the costumes and settings to the dialogue do an excellent job of conveying the heartwarming story and the emotional impact behind it.

The Gift is Joel Edgerton’s directoral debut, a twisted and smart thriller that sneaks up on you where you least expect it. He also stars in it as Gordo, a friend from the past that enters a new couple’s life (played by Jason Bateman and Rebecca Hall) and brings a secret that has been hidden for decades. A very “movie” movie, it has enough in it that’s original and enough that’s not to make for a very enjoyable 100 minutes.

In TV and cinema, meeting your partner’s parents is a tried-and-tested formula that’s bound to generate relatable laughs. Meet the Parents, The Proposal, and Happiest Season are some modern classics that come to mind. Yet, French Girl fumbles this opportunity by peddling cliche after cliche with zero charm. Braff’s character is supposed to possess at least an inkling of likeability for us to root for him, but he can’t even manage that. His rival Ruby (Vanessa Hudgens) is so much more inviting that the film has to create a whole new evil arc for her in the third act to convince us to turn on her. This is all too bad because, beneath the rubble that is the film’s characters and plot lines, there is something true and endearing in the form of Sophie’s family. I wish we had more of those scenes because their interactions feel real and intimate. Unrestricted by formula and pressures to be funny, they soar.