50 Best Must-watch Movies on HBO Max

At first, you wonder, couldn’t this behind-the-scenes look at the making of The Boy and The Heron just be a DVD special? But a few minutes in, it becomes clear how rich the material is. It’s not just about Miyazaki and the making of a movie, it’s about him grappling with grief and transforming it into art. A surprising chunk of this documentary is about death. Miyazaki’s friends and colleagues are passing away, it seems, every month, and the only way Miyazaki can mourn and honor them is through his (their) art. The Boy and The Heron itself is a fulfillment of a promise Miyazaki made to his closest friend, Isao Takahata, or Pak-san, as Miyazaki lovingly calls him. It’s Pak-san whom he mourns the most in the movie, but almost everyone who’s passed makes an appearance both in the documentary and the film. The lines between the two are often blurred by Miyazaki, in his failing memory, and by documentary director Kaku Arakawa. Arakawa’s editing is chaotic, if not experimental. He cuts between reality and fiction—documentary footage and Ghibli clips—faster than you can make sense of it all. “I opened my brain way too far for this project,” Miyazaki claims, and you can feel the exhilaration and fear in every second of this brilliant film.

The Birdcage could’ve gone wrong in so many ways. It could’ve mocked the minorities it centered in the film, or insensitively made light of heavy issues. But with Mike Nichols (The Graduate) and Elaine May (The Heartbreak Kid) at the helm, and with improv legend Robin Williams and theater staple Nathan Lane front and center, The Birdcage becomes a joyously messy romp, as well as a welcome reminder of how far we’ve gone in queer representation. The film is arranged like a play, as per May’s insistence, and so it brings the consistently breathless energy of the stage to the screen. And while it’s not as politically correct by 2020’s standard, it’s still surprisingly subversive in how it combats homophobic conservative ideals and stays proud of its colorful cast.

This documentary… man, where do I even begin? It captures the lives of the Friedmans and how their world turned upside down when their father, Arnold, and brother, Jesse, were both convicted of sexually abusing children. The filmmaker interviews victims, family members, and experts to strike you with the two sides of the story. The Oscar nominated film shows real footage from the family which makes it even more of an authentic experience. I won’t tell you much more about it- but let me just say, this documentary will leave you speechless.

A dramatic recreation of the last 10 years in the life of famed pianist Liberace (Michael Douglas), told primarily from the perspective of his young lover Scott Thorson (Matt Damon). Directed by Steven Soderbergh, the film follows from naive young Thorson’s early introduction to Liberace through his 6-year romance and live-in relationship with the celebrated luminary. Coming from a broken home and multiple foster families, Thorson finds newfound comfort in the fawning adoration and financial protection that Liberace provides to him, as they quickly become lovers and confidants. Much of the story re-enacts their often stormy, behind-the-scenes affairs in candid fashion—including the lengths to which Thorson alters himself physically to conform to Liberace’s standards. Both Douglas and Damon are excellent in their roles, with Douglas in particular providing a striking recreation of Liberace in both appearance and mannerism. He truly embodies the role, and provides the viewer with a genuine glimpse into the personal life of “Mr. Showmanship”—replete with all of his passions, concerns and insecurities. It’s an intimate depiction of a real-life May-December relationship, told with striking honesty, and ending with a remarkably touching tribute to Liberace in all of his campy yet sincere glory.

After years of relatively tame, tearjerking LGBTQ+ dramas, finally comes a sexy, erotic thriller made for and by sapphic women that pushes past convention. Love Lies Bleeding is an unexpected sophomore film from British director Rose Glass, not just because it’s set in New Mexico, but because of the 80s B-movie vibe literally on steroids that seems drastically different from her debut film Saint Maud. But both have the altered, surreal moments that blur the line between real and imagined, this time with a desperate edge of star-crossed lovers and the rage fuelled by familial trauma, jealousy, and overdosing on steroids. Kristen Stewart and new leading lady Katy O’Brian are delightful to watch with their immediate chemistry.

Produced by M. Night Shyamalan, Caddo Lake isn’t the most shocking thriller out there. It starts slow, suffers from low-budget CGI, and tends to be schmaltzy at times. But it is, overall, a strong and suspenseful film. Once it kicks into gear and finds its rhythm, it turns into something wholly arresting. The plot twists and turns, while the solid performances of Eliza Scanlen and Dylan O’Brien guide you through them. Its folksy setting adds to the mystical feeling the film is gunning for, too. Don’t expect all your questions to be answered by the end of the film, but be prepared to be taken aback by the eerie mystery of it all.

A fun science fiction movie from the UK,  Frequently Asked Questions About Time Travel stars Chris O’Dowd and Anna Faris. The plot centers around two geeks and their cynical friend who go out for a couple of pints and end up having a night they won’t soon forget. To go any deeper would court spoilers, but suffice to say there is time travel, witty banter, hilarious scenes and just an all-around good time.

Many films have been made about that uniquely taut mother-daughter bond, but maybe none is as delicate as Janet Planet. The film, written and directed by playwright and first-time filmmaker Annie Baker, explores that relationship in a way that may jar viewers, initially. The pauses are heavy and long as Baker lingers on mood, expressions, and the tiniest of details, like a flicker of light or a sudden movement. There are more scenes without dialogue than with it. The plot is also nonexistent as it simply follows Lacy and Janet for the whole summer, and a little during the fall. But that’s not the point. The point is that we can feel that palpable love-hate tension between mother and daughter, and relate to it too. You only need to know where to look.

Eddington and Einstein is a TV movie co-produced by HBO and the BBC, and you can tell. It has a humble setup, costume design, and style of editing, but it’s elevated by a smart script and strong performances. You can’t go wrong with Tennant and Serkis, although it is unfortunate that they rarely share a screen here. The movie parallels their discoveries, shedding light into the drama of their personal lives as well—Einstein with his love for a woman other than his wife, Eddington with his forbidden love for his friend William. These parts tend to get soapy, but scenes where they almost seemed possessed with scientific knowledge more than make up for it. Another drawback is the terrible misuse of Rebecca Hall, relegated here as Woman Who Pushes Male Lead To Follow His Heart, but again, all is forgiven when you see Eddington and Einstein in action. You can almost hear the whir of their clockwork brains when they think of something new to ground Einstein’s theory of relativity.

From its title and premise, the hope for this kind of documentary would be for it to show some respect for the people who died from the Floridian opioid epidemic. At the very least, the film should dissuade people from the crimes documented here, by emphasizing the consequences of these actions. American Pain does not do this. It’s interesting to view how quickly the business gets out of hand for these unethical entrepreneurs – director Darren Foster reveals each development with enough style and flourish to be entertaining – but the film is clearly more fascinated with how the twins got away with drug dealing for so long. It’s a fun watch… if you forget people died from the events of this film.