100 Best Movies on Spectrum on Demand

There’s a vein of reality running through He Got Game that gives this Spike Lee joint a sense of pulsating immediacy. For one, the young basketball prodigy at its center is played by real-life pro Ray Allen, who shot the movie during the sport’s off-season period in 1997. The film also draws on a host of other ballers and ancillary figures — including coaches and commentators — to fully convince us of the hype around Jesus Shuttlesworth (Allen), a Coney Island high-schooler who’s been crowned America’s top college draft pick.

Lee takes this premise to much more interesting places than sports movies usually go. The plot is a melodrama of sorts, in which Jesus’ incarcerated father Jake (a top-tier Denzel Washington) must convince his son to declare for the governor’s alma mater in exchange for a reduced sentence. The pair are estranged — Jake is in prison for the death of Jesus’ mother — making this as much a tense examination of family and forgiveness as it is a sports movie. And what a sports movie it is: Lee makes his love of basketball not just abundantly clear but also infectious, opening the film on soaring, balletic images of the sport that suggest it’s no mere game, but something unifying, artistic, and ultimately salvatory.

After the successful run of the first instalment, The Conjuring 2 brings back lead couple Ed and Lorraine Warren for yet another real life-based case of demonic possession. This time, it’s the Enfield poltergeist, a case which gained popularity in the London Borough of Enfield between 1977 and 1979, and while the Warrens in the film show reluctance to take on a new job amongst growing skepticism, we’re so glad they did so in the end. The franchise’s second chapter is perfectly built: a good amount of character establishment, a fair bit of rekindling allegiance with the Warrens, and a lot of ingenious scaries. What makes The Conjuring 2 a pitch-perfect horror of its kind is precisely this multivalence, combining empathetic characters and well-crafted, yet extremely disturbing visuals. When the supposedly simple case becomes a fight between good and proper evil, the film shifts gear to an obscenely dark, vengeful mode. You can’t tell from its beginning, but the second Conjuring is even more proficient, deeply troubling, and most of all, bold in the way it renders the possession horror genre a canonical must.

For public toilet cleaner Hirayama, “enjoy the little things in life” is more than just an adage: it’s a philosophy. Every day, he follows a strict routine of watering his plants, going to work, taking a break at a nearby shrine, and having dinner at his favorite stalls. It seems unexceptional, and yet Hirayama manages to find small, meaningful joys in between (and at) those very moments. A tree branch dancing in the breeze and shadows making funny shapes are enough to make him chuckle, while it seems like a good book and a trusty cassette are all he needs to be at peace. Hirayama’s mundane miracles are life-affirming, but make no mistake: this isn’t one of those cheesy films that push you to be happy no matter what. Director Wim Wenders (Paris, Texas, Wings of Desire) infuses the film with a certain gloom so that the overall tone is one of deep, poignant melancholy. Through vague clues about Hirayama’s past, we learn that his attempts at capturing joy might also be bids to escape a traumatic life. All this builds to a powerful ending that speaks to the complexity of human emotion. We can be happy and sad, peaceful and troubled, lonely and content all at the same time, and it’s okay. At the end of the day, we’ll still have our favorite book passage, our favorite singer, a great artwork, or a beautiful park to return to, and sometimes that’s all the reminder you need that life can be worth living.

Through positively adorable characters and zero dialogue whatsoever, Shaun the Sheep Movie reminds viewers young and old of the sheer artistry that goes into a truly great children’s cartoon. Animated by British stop motion godfathers Aardman Animations, the film delivers one excellent visual joke after another, while still telling a coherent story that arrives at surprisingly tender places touching on the importance of community and home. In an animation industry that’s constantly trying to innovate, a movie like Shaun the Sheep stands as a reminder that there are certain fundamentals in storytelling that deserve to be preserved and passed down to every new generation. It’s the loveliest thing around.

Kill Bill meets Bend It Like Beckham in this wild ride about a martial arts-obsessed British-Pakistani teenager who views her older sister’s impending marriage as a catastrophe to be averted at all costs. Aspiring stuntwoman Ria (Priya Kansara) can’t stomach the idea of free-spirited Lena (Ritu Arya) giving up on her creative dreams to marry a nauseatingly perfect man — not least because art school dropout Lena is her hero for refusing to conform to their community’s traditional ideas about respectability and success.

Polite Society makes room to sensitively explore Ria’s disappointment and the loneliness of rebellion, but writer-director Nida Manzoor doesn’t stop there, throwing in a sharp allegory disguised as a zany twist. Rather than upending our expectations for upending’s sake, the surprise metaphor refigures the movie as perceptive cultural commentary on the age-old devaluation of women as mere vessels for the next generation. What’s more, Manzoor takes the analogy full circle to thoughtfully imagine how this kind of dehumanizing misogyny might have affected previous generations, suggesting that the real villains lie offscreen. Movies as inventive and intelligent as this don’t come around often, but one that’s this funny, visually bold, unabashedly feminist, and full of stars-in-the-making is rarer still.

In the sexy, slick, and sharp-witted Out of Sight, a never-better George Clooney plays Jack Foley, a career bank robber who pulls off heists based on pure charm alone. His charisma is so powerful it even turns the cat-and-mouse game he plays with federal marshal Karen Sisco (Jennifer Lopez) into a seductive dance. Karen is no easy mark, though: she’s a tough agent who’s used to being underestimated by the men she works with. The sizzling connection that sparks between her and Jack is gripping precisely because it threatens to break the basic logic both live their lives by: he a slippery criminal, she a no-nonsense professional. Clooney and Lopez’s naturally electric chemistry is supercharged by the fact that the film never slips into sentimentality, always keeping their will-they-won’t-they amour at a tantalizing distance until the decisive moment. A crime caper with many strings to its bow — among them sizzling romance and brilliant dialogue brought to life by a dazzling supporting ensemble — this is a masterfully entertaining ride from director Steven Soderbergh.

From a 1926 play to the iconic 1975 stage musical to Rob Marshall’s 2002 extravaganza, Chicag0 has had a strong hold on popular culture. In a way, it’s existed almost as long as cinema itself and its transformation across mediums and modes of expression has been well documented. The film carries all the marks of its theatrical predecessors, the expansive sets, the luscious costumes, the sleek characters whose banter and songs alike testify to their great chemistry — there’s a lot to admire in such a self-referential spectacle. A black-comedy-fuelled musical about corruption and deceit set during the Jazz Age, Chicago fulfils all its promises. With a stellar ensemble cast featuring Renée Zellweger, Catherine Zeta-Jones, Richard Gere, and John C. Reily, in tandem with dazzling camerawork and most exquisite chiaroscuro lighting, this one brings the stage to the movies. I mean it in the best possible way!

Beautiful in its painterly compositions and gut-wrenching in its storytelling, The Wild Robot has been dubbed one of the best animated features in a while, and rightly so. The film, which is a bit like if Tarzan were a robot, or if Stitch had to assimilate in the wild instead of the city, is a classic tale of an outsider learning to love and be accepted by her community. It’s about many other things, too, like the violence of nature, the supreme power of kindness, and the complexities of parenthood (it’s deeply humanistic for a film that features almost no humans at all). But for all the themes it tackles and the colorful multitude of characters it covers, it feels incredibly light and easy to watch. Perhaps that’s due to its hand-drawn aesthetics, which recall Studio Ghibli films more than anything, and to the voices who bring the characters to life, most notably that of Lupita Nyong’o, who gives the robot Roz so much warmth and depth despite her electronic limitations. All these and more make Wild Robot a must-watch, if not an instant classic.

Adventureland is a retro-tinged movie about teens in Pittsburgh working at a run down amusement park during the summer of 1987. It is marketed as similar to Superbad, when in fact the only thing they have in common is the Director. Adventureland is funny, but it is more sweet, tender, and intimate. Touching on themes of unrequited love, returning home, and small-town love, the film stars Jesse Eisenberg, Kristen Stewart, and the always-delightful-duo of Bill Hader and Kristen Wiig. In addition, the film’s soundtrack is a joyous blast from the past, running the gamut of all your favorite 1980’s synth-happy love songs. It is a movie that anyone can really relate to, no matter when they were born, and an amazing watch.

A popular chef loses his job and respect after a bad review. He ends up with a food truck and tries to show the world he still has his creative side, while at the same time trying to fix his broken family. Chef is a heartwarming feel-good movie, after you finish it you will want to cook, love your family, travel, and spread the love. One of my favorite movies, I see myself happily watching it again numerous times.