100 Best Movies to Watch with Friends

Even if the overall message screams “Girl power!”, The Tinder Swindler must be taken with a pinch of salt. Yes, it’s perversely entertaining to witness the victims of an emotional and financial scam retell their traumatic experience. Yes, whoever decides to watch a true crime probably knows the genre’s highs and lows by heart. And yes, there’s an unsettling feeling that sticks to you after the film’s finished. All these contradictions make up a powerful, perhaps misunderstood film. There’s so much more to be said about how both women and men are victims of the patriarchal order in a different way and this is why such a scam can work without a hitch, but maybe that’s better left off screen. I want to flag that the documentary decisively brackets Tinder’s role in facilitating these crimes in the first place. It is at once a platform that allows specific targeting and false identities. One begins to wonder whether this decision allowed Netflix to use the company’s name and interface in the first place…

As the third instalment in Paul Schrader’s “man in a room” trilogy after First Reformed (2017) and The Card Counter (2021), Master Gardner rounds up the issues at stake in a most profound way. For anyone who’s seen a film either scripted by Schrader (such as Taxi Driver) or directed by him, there will be no surprises here: lost men, despairing men, men who are desperate to believe in something. But the salvation of love lurks around the corner and the new film makes no exception. An unconventional couple, Joel Edgerton and Quintessa Swindell (as Maya) make up the beating heart of this suspenseful drama with an emotional push and pull delivered in small doses. What could have been a kitschy, insensitive work blossoms into a treatise on how gentle the harshness of life can be. 

When citizenship and rights can only be achieved through federal service, you have no choice but to militarize. Johnny Rico is young, impressionable, but noble; in other words, he is an archetypal hero even if he initially enlists just to be close to his girlfriend Carmen (Denise Richards). From then on, Starship Troopers unfolds as a high-strung high school drama, but in the middle of a space colonization. During one such mission, a highly evolved insectoid race, Arachnids, proves to be the most dangerous enemy to human supremacy and the fight is on. What’s interesting about Starship Troopers is that it shows how a well-oiled propaganda machine works and for that reason, it was accused of indoctrination and army endorsement. Even more, it was dubbed fascist, instead of the fascist satire it claimed to be. But today, it’s indisputably a cult film and a great introduction to the Paul Verhoeven’s work in Hollywood.

Though it isn’t the groundbreaking slasher movie that it initially seemed to be marketed as, X simply knows how to do its job very well: the gore is plentiful and the build-up to the inevitable kills is just loaded with anticipation. But where the film becomes much more interesting is in the palpable sadness that seems to follow all of its characters. Innocent or murderous, each of these people is just trying to cling to an idea of personal freedom and beauty that never seems to last. It’s a horror movie that takes its portrayals of sex and sexuality very seriously, exploring the limits of sexual liberation in a country that actively tries to punish it.

Many comedians use humor as a way to ease into more serious subject matter, though there always exists a risk that a comedy special can skew too far down the silly or the self-reflective route. Mike Birbiglia has come about as close to the perfect balance as possible, in this recording of his one-man Broadway show at the Vivian Beaumont Theater. Key to this is the fact that Birbiglia tells one very cohesive story throughout these 77 minutes, frequently branching off to other humorous anecdotes but always returning with a pensive self-consciousness to the real possibility of him dying sooner than he’d want.

This filmed version of Birbiglia’s show doesn’t give a full idea of its multimedia qualities (Birbiglia occasionally has words and images projected onto the curved screen behind him, which he also physically interacts with), but the comedian’s sincere style of storytelling more than makes up for the lack of audiovisual tricks we’re permitted to see. And don’t get it confused: this is a very funny stand-up special, whose jokes always come from the most unexpected places—it also just happens to contain some truly moving moments that come out of nowhere, but make total sense alongside all the laughter.

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.

While named as a “how-to”, How to Have Sex is less of an instruction manual, and more of a collection of summer break moments presented as is. At the start, when Tara, Em, and Skye run to the freezing ocean water, the film seemed like it would have all the nostalgic coming-of-age moments that they would remember forever. But as the film progresses, and the girls meet other teenagers at the resort, there’s an eerie, foreboding feel that starts to build up, with every beer bottle, with every whisper, and with every insinuation Tara receives. And rather than preach about consent, writer-director Molly Manning Walker makes them fumble around without the concept of it, the same way teens tend to do, making it much more potent than a cautionary tale.

As the title suggests, Saturday Night takes place in all of one night, during the very first airing of the titular NBC show. Everyone’s naturally nervous, not least of all Lorne Michaels (Gabriel LaBelle), who runs the entire circus. The suits are keeping eye, the cast clashes egos, no one knows where the lighting director is or if costume change can happen just in time. The guests are unhappy, there are too many sketches, and to top it all off, Lorne’s wife Rosie doesn’t know if she wants to use his last name in the credits. The stakes are high. But are they, really? Saturday Night often feels arrogant and self-important in how it assumes we’d care how things went down that fateful night. Still, it tempers that with a humorous self-awareness, some fine performances, an infectious buzzing energy, and well-timed reminders that SNL is, in fact, that show. It changed the trajectory of comedy in TV, and so that arrogance is earned (though still admittedly annoying at times). And lest you think it’s all laughs and nerves, Saturday Night also harbors some surprising sweet stuff in the center. The film doubles as a love letter to New York City, specifically the NYC of the late 20th century. Though that expression can be overloaded too, it’s endearing and enjoyable nonetheless.

Who would’ve thought a wordless, black-and-white, slapstick comedy would still be hugely entertaining in this day and age? Hundreds of Beavers is created in the same spirit as the Charlie Chaplin and Buster Keaton comedies of yore, but it’s a tribute that manages to feel fresh, exciting, and unpredictable. The premise is simple: a man tries to survive the wilderness in the dead of winter by coming up with new ways to catch game. But the execution is wildly creative and nostalgic. You’ll feel like a kid again watching Saturday cartoons, in the best possible way.

The three leads residing in the Edinburgh flat of Shallow Grave are terrible people. They’re obnoxious snobs that like to lord over potential roommates simply because they can. So you can imagine that it’s rather hilarious to see them get torn apart– not just because of themselves generally, but precisely because their snobbish roommate selection process chose the absolute wrong person to room with. Director Danny Boyle captures that meltdown with excellent shots and an electronic soundtrack, with compelling performances that balances the dark humor with the thrill, pairing the seemingly silly contempt they have for others with the real mistrust that lays between them even before money enters their lives. There are certain moments that do feel familiar, but on the whole, Shallow Grave digs deeper than expected.