100 Best Movies on Roku Channel Right Now

Given that hookups are inherently quick and casual and impersonal, they are rarely portrayed in a romantic light. But Weekend flips the script on one-night stands by giving its two lovers enough time and space to explore how far their feelings can take them. While both Russell (Tom Cullen) and Glenn (Chris New) are gay, they have more differences than similarities with each other. Russell is reserved, awkward, and not entirely open, while Glenn is the exact opposite.

This makes for intriguing conversations, which then makes for a smart, thought-proving watch. It’s talky but meaningful, and slow but assured. But most of all it’s romantic, and it’s sure to pull at your heartstrings the whole time.

Similar in spirit and in subject matter to the Oscar-winning documentary 20 Feet from Stardom, The Wrecking Crew pulls back the curtain on the recording of many of the greatest American songs of the 1960s and ’70s: that a single group of unassuming session musicians were responsible for bringing out the sound in these tracks. The film is a treasure trove for musicians and music fans, making you hear certain instrumental nuances in a different light and deepening your perception of music between what was written and what was recorded. Then inevitably and tragically, the realization sets in that few—if any—of these musicians have received the recognition they truly deserve, as essential but unfairly small parts of a music industry ecosystem that often cares more about image and entertainment than musicianship.

When he’s accepted into the prestigious Islamic university Al-Azhar, fisherman’s son Adam (Tawfeek Barhom) gets an eye-opening education — but not the kind he expected. A place associated with notions of purity is imagined as a hotbed of hypocrisy and corruption here, as naive young Adam finds himself unwittingly embroiled in a state plot to seize control of Al-Azhar (because, as one government official puts it, “We can’t accept having two pharaohs in the land”). Cairo Conspiracy’s intricate plot confronts monsters in government and strips away religious leaders’ veneer of divinity as a reminder that they’re merely fallible men. What’s more, the film grapples with the knotty mess of politics raging inside the institution’s walls in such a way that even its palatial courtyard feels claustrophobic. Rife with paranoia and subterfuge, Cairo Conspiracy feels utterly unique thanks to this skillful transposing of the shadowy machinations of courtly intrigue dramas and ’70s paranoid thrillers into a very contemporary Egyptian setting.

Shrooms director Paddy Breathnach has als dipped his toes in romcoms and thrillers, but this queer Bogota-set drama has a lot of tenderness in its heart. Micro-budget and full of life as the name suggests, Viva is an inspiring story that centers around Jesus (Héctor Medina) and his own individuation. A hairdresser with the talent of a drag performer, he assumes the role of Viva in the weekend cabaret. As warm and open as his father is detached and somber, Jesus is a likeable protagonist with the vulnerability and dedication to follow his dream, that no wonder the film made the Oscar shortlist in 2016.

The death of a loved one is always a tragedy, but it’s always different when things have been left unresolved, and so that love lingers, not moving on, perpetually haunting the lover left alive. Undertow takes this ghost story with a gentle, magic realism that doesn’t just bring the tears, but also frees Miguel to experience the hold of Santiago’s hand in public, to experience the moments other lovers share without prejudice. And as Santiago lingers, Miguel is left to reckon with the love that he never was allowed to have, as it’s outside the straight, monogamous dynamic expected of everyone in the small town. Contracorriente beautifully transforms the ghost story with its thoughtful juxtaposition of the latino queer experience.

Divorce is hard, even with a fairly civil separation and moving to another place entirely free from the divorced parent. The main emotional stakes are usually carried by the parent, but even then, children have some stake in this relationship, seeing that this permanently affects their relationship with both parents and any siblings they may have. I Wish tackles a separated family through the kids’ eyes– taking a rumored wish-making pair of bullet trains to get their family together, but in the optimistic reality kids tend to have, rather than a fantastical fairytale adventure. Through Hirokazu Kore-eda’s frames, and the precocious real life brothers portraying the main duo, I Wish effectively balances its hopeful tone all throughout, capturing the kids’ hopes and dreams in an endearing, but not overly sentimental, way.

When someone does everything they can to stop you, even to the point of irrationality, that’s hater behavior. This is exactly what drives Dutch-Belgian drama Character. The murder mystery, that is, whether or not Katadreuffe actually killed Dreverhaven, is surprisingly not the most interesting part about this movie– it’s actually what the hell Dreverhaven has against Katadreuffe, because, as the film unfolds, the petty, irrational actions the older bailiff done against the newbie lawyer starts to add up, piece by piece, to the point that this actually starts to matter in Katadreuffe’s life, to the point that it wouldn’t be a surprise if Katadreuffe actually killed him. Gloomy, moody zoom-ins into their faces emphasize the leads’ intense performances, which they infuse with an understanding of the stakes that aren’t obvious to even their own characters. Karakter adapts the bestselling Dickens-like novel with style and subtlety.

Making a video for a concept album isn’t particularly new, but you’d be hard pressed to find a feature as whimsical as Harry Nilsson’s The Point. Framed as a fable a father tells his son, The Point takes Nilsson’s psychedelic soundtrack to score a pun-filled fairytale with a seemingly on-the-nose moral, but the combination proves to be charming, as Oblio’s journey unfolds in children’s storybook scrawling and watercolor fills, and expands past the obvious message about acceptance into interesting, if a bit rambling, forays about meaning, power, and community. The Point! is quite obvious, but the film reaches it through surprisingly simple genius.

If you enjoy wondering aloud to yourself how filmmakers were able to make a movie at all, 1988’s almost wordless tale of two bears trying to survive the Canadian mountains was somehow shot with real, expressive bear “actors,” despite the film being a work of fiction. A cross between a stunningly photographed nature documentary and a brutal folktale, The Bear gets right to the uncompromising conditions out in the wild, where human beings are portrayed as just as savage—and just as merciful—as the beasts they hunt. Clever editing and Jean-Jacques Annaud’s directorial vision hide all the seams in the movie’s magic tricks, allowing us to fall in love quickly with these majestic bears and the all-too-human emotions they seem to be expressing.

Midnight Runners is a hilarious and action-packed buddy comedy that delivers both laughs and thrills in equal measure. The film follows two police cadets who find themselves embroiled in a dangerous conspiracy after witnessing a kidnapping. The chemistry between the two leads is electric, and their banter and antics provide some of the film’s funniest moments. However, it also has its share of intense and suspenseful scenes, as the cadets race against time to save the victim and uncover the truth. Midnight Runners is a highly entertaining and enjoyable film that will keep you on the edge of your seat.