100 Best Movies on Spectrum on Demand

The title of this 2018 Palme D’or winner is not to be taken metaphorically: Shoplifters is about a marginalized family of day workers, crooks, and small-time outlaws, who live on the fringes of Japanese society. Osamu (Lily Franky) and Nobuyo (Sakura Andô) both have jobs but spruce up their low-wage income by committing petty crimes. One day in winter, Osamu takes in a bruised girl he finds outside in the cold and introduces her to the family in his ramshackle house. But when the second-youngest member of the family, Shota (Kairi Jyo), finds himself teaching her how to shoplift, he faces a moral dilemma that threatens to unravel the family’s fabric. If you were hitherto unfamiliar with the unique storytelling and social realism of Hirokazu Koreeda, we really recommend checking it out—as well as his other movies, namely, Still Walking, Like Father, Like Son, I Wish, and After the Storm. His 2018 outing features the last ever performance of Kirin Kiki, who plays the elderly matriarch and passed away that same year. Like many of Koreeda’s works, Shoplifters is an understated, beautiful, and mysterious study of the effects of poverty and trauma and a delicate portrait of a family in Japan’s urban underbelly.

From Korean director Park Chan-wook, who also brought you the far quieter The Handmaiden, comes a movie that is positively terrifying. Its premise alone is enough for any sentient human being to shudder. On his daughter’s birthday, the good-for-nothing Oh Dae-su (played by Choic Min-sik) gets drunk and is arrested by the police. A friend eventually bails him out and, while he is making a phone call, Oh Dae-su disappears. Not knowing why, he is held in the same room for 15 years for no apparent reason. Until, one day, he is released. That’s all that can be revealed about this winner of the Grand Jury Prize at Cannes in 2004 without giving away too much. All we can add here is the way we recommend Oldboy to people admitting to not having seen it yet: “Watch Oldboy. You’re welcome. We’re sorry.” A crazy, twisted film that goes to extremes. A cult classic and a statement.

Ex Machina is the directorial debut of Alex Garland, the writer of 28 Days Later (and 28 Weeks Later). It tells the story of Caleb (Domhnall Gleeson from About Time), an IT developer who is invited by a billionaire CEO to participate in a groundbreaking experiment—administering a Turing test to a humanoid robot called Ava (Alicia Vikander). Meeting the robot with feelings of superiority at first, questions of trust and ethics soon collide with the protagonist’s personal views. While this dazzling film does not rely on them, the visual effects and the overall look-feel of Ex Machina are absolutely stunning and were rightly picked for an Academy Award. They make Ex Machina feel just as casually futuristic as the equally stylish Her and, like Joaquin Phoenix, Gleeson aka Caleb must confront the feelings he develops towards a machine, despite his full awareness that ‘she’ is just that. This is possibly as close to Kubrick as anyone got in the 21st century. Ex Machina is clever, thrilling, and packed with engaging ideas.

Before you press play on this movie, we highly recommend you take a few very deep breaths. This 2018 thriller is wound so tight, you will need the extra oxygen to get through it without fainting. In his directorial debut, Swedish-danish filmmaker Gustav Möller uses very little in terms of resources to create this breath-taking atmosphere. While The Guilty feels like it was made on a $100 million budget, all it physically brings to the table is one man in a dark room. It plays with our imagination instead of blinding it with special effects. Similarly, the plot is also short and sweet: a police officer is temporarily sent to do emergency dispatch, when he receives a call that turns an ordinary shift into a hell ride. This is all we are going to give away before you’ve completed your breathing exercises. The movie’s minimalist approach is held together by great acting from Jakob Cedergre, a screenplay to match, and incredible sound design. A real white-knuckle ride.

Proving that children’s entertainment can be legitimate art like any other kind of cinema, the sequel to 2014’s Paddington displays a stronger love for community and storytelling than many other adult-oriented productions. It may be cutesy and innocent, but Paddington 2 also uses its stunning visual effects and intricate production design to prop up a sophisticated story about discrimination, staying true to one’s self, and (most surprisingly) the prison-industrial complex. It’s a proper throwback to another era of family movies that offers something far more substantial to young children and genuinely moving moments for the parents and children at heart.

In Aftersun, Sophie recalls a holiday she took as an eleven-year-old in the ‘90s with her father. Video recordings help jog her memory, but she’s looking for more than just a blast from the past. Rather, she seems to be seeking answers to fill in the gaps between who she knew as her father and who he really was: an immensely nice but deeply troubled man.

At first, Aftersun looks like a simple but beautiful story about father and daughter bonding over the course of a summer trip. But within minutes, it’s clear that there are layers to Aftersun, emotionally and editorially, that aren’t always explained but nonetheless enrich the movie with profound meaning. Stirring, complex, and surprisingly inventive, it’s not surprising that Aftersun is one of the most beloved films of the past year. 

Miles Teller plays Andrew Nieman, an ambitious young jazz drummer striving for greatness, who is edged towards breaking point by the sadism of his teacher and conductor, Terence Fletcher, played expertly by J.K. Simmons. Fletcher insults him, pressures him, and makes him cry in front of all his peers. Directed by Damien Chazelle, who was one of the youngest people to receive a Golden Globe and an Academy Award for the powerful La La Land, the aptly titled Whiplash poses some intense questions about artistry and ambition. Will Andrew survive? Will it lift him to a higher artistic level? Can his tormentor be appeased through accomplishment? It’s almost impossible to single out the best part of this film, considering the flawless performances, masterful script, and meticulously crafted soundtrack. Cherishing the existential artist without giving easy answers, Whiplash is an inspiring watch.

Sit back, relax, and wait for the feels. With amazing performances from an ensemble cast, including Julianne Moore, Mark Ruffalo, and Annette Bening, as well as excellent directing; The Kids Are Alright is a highly realistic yet entertaining take on families, growing up as children, and growing as parents. Moore and Bening play a gay LA couple, whose two kids meet their biological father, a goofy, laid-back sperm donor, portrayed perfectly by Ruffalo. Nominated for four Oscars and awarded with two Golden Globes, The Kids Are Alright is an arresting, authentic, and astute indie comedy-drama, and a pleasure to watch. Director Lisa Cholodenko and her talented cast have really created something special here!

If you thought Dallas Buyers Club, Interstellar, or True Detective was already the pinnacle of what Mathew McConaughey could do, wait until you see this film! Created by writer-director Jeff Nichols and set in the American South, Mud is a beautiful tale of love, loss, and personal growth. Two children, Ellis (Tye Sheridan) and Neckbone (Jacob Lofland), come across the elusive Mud (who is played by McConaughey), a man on the run wanted for murder. Initially scared of his mysterious character, the kids end up wanting to help and protect him from his those pursuing him. Ultimately a story of love, the film deals with a very human crisis seen through the eyes of children, drawing from American adventure tales and the humidity of the South. Mud is exciting, uneasy, sad, and quite beautiful. All at once.

Persepolis is the true story of Marjane Satrapi, the writer and illustrator whose graphic novels of the same name the film is adapted from. It details in vivid animation the trials of growing up in war-torn Iran, but also, crucially, the joys of being raised by a loving family and the significance of forming one’s own ideals and identity. In between revolving dictatorships and tightening restrictions, Marjane comes into her own and discovers what it means to live a meaningful life.

It’s a testament to Satrapi’s many talents that Persepolis never feels too flat or cynical given its 2D style and bleak backdrop. The drawings impressively morph with Marjane’s every thought, as if the ink itself were alive, and her wit persistently comes through in sharp observations and dialogues. Equally impressive is the film’s commitment to portraying war and conflict in a nuanced manner. In an autobiographical tale that is about Marjane’s coming of age as much as it is about her country’s survival, it’s never been more true that the personal is political.