The 100 Must-Watch Movies You Haven’t Yet Seen

Goon is funny, violent, and sweet as hell. You’ll be surprised by how nasty it is but at the same time you won’t care. What you will want to do, on the other hand, is rip through the screen, and hug the main character. It is also a great example of a feel-good movie that isn’t solely focused on being a feel-good movie. It’s also great love story, with all its absurdities and highly emotional load. The story shines a light on the players who join hockey teams not for the game but for the fights that may erupt. They are called goons. Doug Glatt (Seann William Scott) is a new goon and this movie is his journey towards success both on the ice and off.

This movie is gentle and utterly chaotic, intimate and massive, beautiful and ugly… it tries to be so many things and somehow pulls it off. It tells two stories parallel in time, based on the real-life diaries of two European scientists who traveled through the Amazon in the early and mid-twentieth century. Their stories are some of the only of accounts of Amazonian tribes in written history. The main character and guide in the movie is a shaman who met them both. At times delicate to the point of almost being able to feel the water, at times utterly apocalyptic and grand… to watch this movie is to take a journey through belief systems, through film… and to be brought along by cinematography that is at times unbelievably and absurdly beautiful. Meditative, violent, jarring, peaceful, luminous, ambitious, artful, heavy handed, graceful… it’s really an incredible film.

This film really satisfied my craving for an original thriller, despite the fact that I spent most of it thinking about how Logan Marshall-Green looks like a budget Tom Hardy.

He plays a guy whose wife is killed during a violent mugging that also leaves him paralyzed in the aftermath. When a billionaire approaches him with an Artificial Intelligence solution that would “upgrade” his body, he has a chance to take vengeance.

This is Robocop meets Ex Machina meets Blade Runner. It’s original, low-budget without feeling low-budget, and honestly just so thrilling. It gives the genre of sci-fi a much needed upgrade.

This is the latest Oscar-nominated movie by Spain’s highest-regarded director, Pedro Almodóvar. It’s his most personal work to date, being a slightly fictionalized account of his youth and then the last couple of years. He is mostly portrayed by Antonio Banderas, who was also nominated for an Oscar for this role; while another star performance comes from Penélope Cruz who plays his mother in the flashback scenes. Pain and Glory is about life in the arts: how a tormented artistic personality is formed, the days of focusing on work over relationships, and dealing with the consequences later in life. It begs the question: in Almodóvar’s life, was the glory that got him to making as great of a movie as this one worth the pain?

A beautifully shot movie about a high-schooler who’s pushed by his father to always work and exercise the hardest. He aces his exams and always wins at wrestling, but nothing is ever good enough for the father and there is no margin for error. When things with both his body and his relationship start going wrong, his existence comes crashing down. This movie has two parts, and it takes a lot of narrative risks, but the beautiful camera work and believable characters land every single risk. It’s an incredible achievement and a movie that should have gotten much more attention than it did.

My Life as a Zucchini (or Courgette in Europe) is unlike any kids’ movie you’ll see in America. It isn’t afraid to be honest about children’s feelings, no matter how dark or sad, nor is it afraid to be frank about things like intimacy and abuse. It understands that kids need these kinds of narratives too, and sometimes they need to hear them without being pandered to. 

There is an openness to it that makes it comforting to adults as well. Lines like “Sometimes, we cry because we’re happy,” are so deceptively simple and tender that they’ll catch you off guard. Couple this seemingly endless reserve of empathy with adorable, almost melancholic stop-motion animation and you get a film that will have you floored for days, regardless of your age.

This story of a filmmaker who stayed in Aleppo, Syria during the war, got married then had a child called Sama, is a mix of difficult and inspiring.

There are stories of unsurmountable loss, as the filmmaker’s husband is one of the 30 remaining doctors in Aleppo (a city of almost 5 million), and she films many of the victims that come to his hospital. But while this is happening, there are also uplifting stories of resilience and rare but profound moments of laughter and joy.

We’re growing too sensitized to violence in Syria, and this movie, possibly the most intimate account of the war, can stir back a much-needed awareness of the injustices that take place.

When things get really bad in the documentary, it’s hard not to wonder where the humanity is in all of this. You quickly realize that it’s right there, behind the camera, in Sama and her mother’s will to live.

This masterpiece from Norwegian director Joachim Trier is a clear-eyed movie that takes place in one day in the life of a 34-year-old. Anders, a recovering drug addict, gets to leave his rehab facility for the first time to take a job interview. He visits friends, tries to meet his ex, and goes to the interview. With every interaction, you get to know him more and understand that what he’s going through is shared with everyone he meets. At 34, Anders feels it is too late to turn his life around, and so do his friends. He just happens to be a drug addict.

In The Sun, a family of four is dealt with tragedy after tragedy, beginning with the younger sun A-ho’s sudden incarceration. The mother is sympathetic but the father all but shuns him as he chooses to throw all his affection to A-hao, the older brother, and his med school pursuits instead. Themes of crime, punishment, family, and redemption are then explored in gorgeous frames and mesmerizing colors with director Chung Mong-hong doubling as the film’s cinematographer. 

Despite itself, The Sun never falls into cliche melodrama territory. Its heavy themes are undercut by naturalistic acting and poetic shots, resulting in a deeply emotional but balanced film. Rich in meaning and beauty, The Sun will surely stay with you long after your first watch.

It’s heartbreaking to realize that Happening, a film set in 1960s France tracking a young woman’s journey to dangerously and desperately terminating her pregnancy, is still very much relevant and relatable to this day. Around the world, abortion is still inaccessible, if not completely illegal, and women still struggle to lay full claim to their bodies. A lot of girls grow up with pregnancy statistics meant to instill fear, but Happening brings all that to brilliant life in intimate and unrestrained detail. The fears and wants of our protagonist Anne (played precisely by Anamaria Vartolomei) are palpable throughout. Nothing is held back in this film, and if you find yourself sick in parts, then it has achieved its goal of realistically conveying what it’s like to stay alive in a society that fails to recognize your needs.