100 Best Movies on Pluto TV Right Now

This movie narrated by Nicolas Cage is the incredible story of actor Anton Yelchin (Star Trek, Like Crazy): from being born to a Jewish Russian family in Leningrad to moving to the U.S. and ending with his sudden death at age 27. Anton, or Antosha as his loved ones called him, was a gifted kid: he was making his own movies at seven years old, taking highly sophisticated notes on Fellini movies, and picking up playing guitar in a short time. He took photographs that still show in exhibitions around the world. He led an extraordinary life, portrayed here, one that was cut way too short.

This beautiful drama is set over a summer in New York State. Kathy and her son Cody drive to her estranged sister’s house, who had just passed. Kathy plans to quickly sell the house and go back to her normal life but that doesn’t happen when she learns that her sister was a hoarder. Forced to spend more time cleaning the house, her son sparks a friendship with the next-door neighbor, an old Korean War veteran. 

Now, I know what you’re thinking, Gran Torino, right? The initial set up is the same but in Driveways is much more realistic, and its characters don’t really need to be redeemed (no one is screaming “get off my lawn” with a shotgun). In fact, the actor who plays the old man, the fantastic Brian Dennehy, brings so much kindness and heart to the story. It ended up his last movie before his passing, and what a beautiful farewell his performance is.

This small-scale but incredibly fun 88-minute drama from 2003 is about a group of Latino teenagers who grow up in New York’s Lower East Side.

Victor lives with his eccentric grandmother, which sometimes gets in the way of him pursuing Judy, his dream girl.

The actor who plays Victor is called Victor Rasuk, the one who plays Judy is called Judy Marte. This is a film so personal that both main characters needed to be named after the actors who play them.

It’s 1994, and Seoul is facing massive, rapid changes. The unrest is reflected by a lot of its residents, including Eun-hee, a disaffected teen with a less-than-stellar home and school life. She manages to get by with the help of friends and lovers, that is until they change too, and Eun-hee is forced to grapple with the volatility of it all. 

Sensitively told and genuinely captivating, House of Hummingbird is a stellar debut by writer-director Kim Bo-ra. Her command shines in how young actress Park Ji-hoo dynamically portrays Eun-hee, in how the story meanders but never loses footing, and in how each frame displays a quiet gorgeousness as the primary colors of her youth pop against the faded backdrop of urbanized Seoul. The delicate balance of all these elements is sure to evoke a sincere, profound feeling in every viewer. 

Director Zhang Yimou, who already has remarkable wuxia films like Hero and House of Flying Daggers under his belt, delivers another exceptional epic. Set during China’s Three Kingdoms era (220–280 AD), Shadow revolves around a great king and his people, who are expelled from their homeland but will aspire to reclaim it. The story requires a fair amount of patience at first, as it slowly builds a world consisting of various characters with different motives, before the real action begins. The journey through Shadow is visually pleasing thanks to its stunning cinematography, impressively choreographed combat, and overall brilliant production design. Packed with sequences that will take your breath away, it is an inventive martial arts epic with one amazing scene after another.

While the mixed reception of its near-faithful American remake Vanilla Sky might make some viewers pause, there’s an intuitive brilliance in the Spanish original Open Your Eyes that isn’t easy to translate. Sure, the apparent differences help– it’s shorter and less complicated, and Cesar’s face turns more grotesque than David’s does. But what’s startling about Open Your Eyes is the way writer-director Alejandro Amenábar guides the camera through its various shifts, creating a more subtle and gradual realization that something is wrong, and thus, a more terrifying dream turned nightmare. Amenábar has later deemed the film as his worst, saying it was written when he didn’t know much about life, but, in our opinion, Abre Los Ojos still holds up as a groundbreaking existential sci-fi simulation, one that still puzzles and captivates years after.

Man on Wire is a true technical masterpiece. You can almost feel the director telling the cameraman what angle to choose, or thinking about the questions that will generate the most resounding answers. However, this does not diminish the story this documentary tells one bit. It’s one that is glorious, riveting, and fun. It’s one where you feel like an insider to a world lived on and below wires, with high-stake risks. Hopefully the edge of your seat is comfortable, because this is where the movie will keep you till the very end.

«When comedians get a bit older they do a movie with “emotions” in it. Here’s mine.» Flight of the Conchords’ Jemaine Clement on Twitter. People Places Things is exactly that, a funny yet heartfelt comedy. Will Henry, A New York City graphic novelist walks in on his girlfriend cheating on him at their kids’ birthday party. A year later, Will is struggling to define his new life as a single parent while still getting over his breakup. Smart, honest, and led by Jemaine Clement, this film will strike you in its simplicity but will hold you with its charm.

A Danish cargo ship is hijacked by Somali pirates in the Indian Ocean. The pirates demand millions of dollars in ransom and from there on, a psychological drama between the pirates and the ship owner develops, as they negotiate the price for the ship and its crew. A really great thing about this film is the fact that it doesn’t get tangled up in the weepy feelings of the families back home – but instead focuses on the shrinking hope of the ship’s crew and the psychological consequences of the brutal negotiation, that drives the ship owner to the edge of madness. Inspired by a true story. Brilliantly acted.

Adapted from the Lionel Shriver novel of the same name, We Need to Talk About Kevin is the story of a mother (Tilda Swinton) that never quite bonds with her child, but not by her choice. The son grows up to do a heinous act that begs the question: nature or nurture? This film is an uncompromising view on the development of an unloved child. Silent pain gets voice. Feelings are shown by actions not emotions in an authentic, comprehensible and aesthetic manner. Great work.