20 Best Movies on Starz Right Now

It’s inspiring to see that, even after Jordan Peele made the jump to blockbuster budgets, he hasn’t lost the ability to evoke the sheer visceral panic of seeing something that isn’t supposed to be there. Nope is that increasingly uncommon kind of film whose dense air of mystery isn’t frustrating—and in fact uses to great effect the very human instinct to understand the unknowable, even if we know it’ll hurt us. Its characters might not be the most three-dimensional and the development of its themes seems to depend on a lot of extrapolation and educated guessing, but the way Nope transforms from alien invasion, to monster movie, to western adventure, to cosmic horror still makes the film much greater than the sum of its parts.

Whether or not you’re familiar with director Pedro Almodóvar’s body of work, Parallel Mother stands as a gorgeous melodrama, a striking story about motherhood and our ties to the past. On one level, it’s a simple but engaging drama about a misunderstanding that ensues between two women. But on another, it’s a deep dive into a nation’s cruel history, as well as an observation of people’s commitment to never letting that part of themselves go.

The film references Almodóvar’s past films but it also works as a standalone, a perfect starting point for moviegoers interested in exploring his oeuvre. Of course, Penelope Cruz continues to be a powerhouse, each line delivery an emotional gut punch, while relative newcomer Milena Smit is stirring, a true revelation, as her director calls her.

South African director John Trengove follows-up his debut The Wound with another take on masculinity, this time set in the States. Manodrome stars Jesse Eisenberg and Adrien Brody as a newbie and a veteran in a support group for men who have been emasculated by women and feminism. That’s right, this is a film about incel culture, but one you haven’t seen before. In tandem with Taxi Driver, Fight Club, or Joker, Manodrome represents a new era for the incel movie, as it confronts all the terror and aggression feeding into the community head on. Ralphie (Eisenberg) insists that his girlfriend Sal (Odessa Young) keeps their unplanned baby and deep down the rabbit hole he goes. Mental health struggles that have no outlet, worries, disappointment, alienation: all these facets of Ralphie’s character come to the fore and bring him to the Manodrome clan, where Dad Dan (Brody) promises two miracles—absolution and acceptance—in exchange for celibacy. Trengove’s sophomore feature is a blood-curdling psychological thriller that is not afraid to go to extremes (content warning!) to show that incels are not, in fact, a dorky online minority of youngsters, but a real wound in the body of our patriarchal world.

It may seem like it’s targeted at a specific demographic, but Spoiler Alert is actually a universal tale about love, grief, and moving on. Jim Parsons affectingly plays Michael, a romantic and TV aficionado who has trouble separating fact from fiction. He views life as one big sitcom, but his cheery outlook is increasingly challenged by the tragedies he encounters, not least of which is the surprise diagnosis of his boyfriend Kit (Ben Aldridge). 

Spoiler Alert is very sweet, perhaps too sweet for some viewers, but if you enjoy the unabashed schmaltz of romantic dramas, then this comes highly recommended. Of course, for that extra fluff, Spoiler Alert is mostly set during the holidays, so it’s best to watch while cozying up with a loved one—just make sure you have spare tissues on-hand for those tearjerking moments.

With truffle being so expensive, you would think that the world would eventually figure out how to get this tasty fungi in a more efficient way. Yet, the finicky nature of truffle eludes scientific research, improved cultivation, and strategic supply logistics, only allowing access to a select group of senior men and their very good dogs. The Truffle Hunters depicts the precariousness of this industry, how the entire endeavor can be easily lost to time, climate, and secrecy, but through delving into their lives, through unobstrusively capturing their day-to-day lives in gorgeous, meticulously framed shots that quietly celebrates their charming personalities, The Truffle Hunters becomes a small glimpse into a life that’s lost to urban living, a life that, perhaps, might be worth returning to.

Bull is a gritty and haunting drama featuring a phenomenal performance by Rob Morgan as a bullfighter. In a poor Houston suburb, he plays an aging and lonely black man doing everything he can to survive. He brushes off unrelenting racism, rides even when it’s life-threatening and raises chickens to sell them. His next-door neighbor is a grandmother taking care of her daughter’s kids while the daughter is in jail. One day one of these grandaughters harms the chickens and vandalizes Abe’s house, prompting them to clash.

True to its name, Joy Ride is a raucous delight that has everything you want out of a road trip comedy and more. There’s love, sex, adventure, and even music, but most of all there’s friendship, the interesting complexities of which are explored against the backdrop of race. There’s something meaningful keeping everything together at the core, and first-time director Adele Lim—helped by a strong script and cast—does an excellent job of holding it down. The film is also just plain funny. There are physical gags and of-the-moment jokes, plus a couple of insider quips made for and by the Asian community. But apart from the hilarity and tenderness, the film also delivers in the visual department: it looks gorgeous, not only because the characters are tourists who embark on a jet-setting adventure, but because of the inspired animation and vibrant editing. 

Within the fantasy of fairytales and folklore, there’s a hint of something true and human wrapped inside, passed down from generation to generation, translated for the imagination of children. The Secret of Roan Inish is inspired by selkie folklore– the seals that shed their skin to become human, though they still yearn for the sea– but writer-director John Sayles brilliantly compares this to the Coneelly’s yearning for their home, the home torn away from them due to the war, and the home that’s denied to them due to the impending eviction. It’s a lovely story, one partly told by stories handed down from grandparents, but it’s made much more beautiful by the way the grandchildren actively participate in getting their home back. The Secret of Roan Inish beautifully depicts the way kids can change a family’s fate when they get to learn more of their heritage.

In The Kid Detective, Adam Brody stars as Abe Applebaum, a once-beloved child prodigy turned pathetic P.I. stuck in the glory days of his past. At 32 years old, he’s still solving petty mysteries and coasting on his parents’ money, but things start to change when he is finally dealt with a real, adult case: a murder that confounds even the local police. As Abe uncovers more details about the case, he also unwittingly finds a connection to his traumatic past and begins a long-overdue coming-of-age journey. 

Released during the first year of the pandemic, The Kid Detective understandably flew under the radar when it first came out, garnering sufficient critical praise but not enough fanfare. It will no doubt find a second life among film lovers, though; it’s too smart and riveting to go unnoticed. Most impressive is how director Evan Morgan, in his feature debut, deftly balances multiple genres in a movie that often feels as if Wes Anderson’s The Royal Tenenbaums, Roman Polanski’s Chinatown, and modern stoner humor were somehow rolled into one. The gags consistently amuse, the drawn-out mysteries pay off, and the human element persists throughout. Adam Brody, himself a kid celebrity back in the day, expertly carries this delightful and sobering film. 

When it comes to thinking about past atrocities, most of us would like to imagine that we would do our best to do the right thing, or at least, that if we did participate, we were forced into it. The thing is, that’s what plenty of perpetrators would like everyone to believe of them as well. Labyrinth of Lies delves deep into the way German institutions covered up Nazi crimes in World War II, easily excusing these cases as people who were under duress on paper, but, as writer-director Giulio Ricciarelli slowly uncovers, were just protected by fellow Nazis who still hold power. Following the ambitious lead makes this investigation a thrilling mystery, and it holds an earnestness, if not the polish, that nonetheless makes doing the right thing compelling.