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Created at July 24, 2020

Amazon prime recommandation

we’ve put together a wide-ranging list of the best movies streaming on Amazon Prime right now.
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Knives Out
Knives Out
4.9
(16)
https://collider.com/best-movies-on-amazon-prime/
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From Brick to Looper to The Last Jedi, Rian Johnson has made a career as a filmmaker who brings his singular touch to familiar genres, reenvisioning them with panache while honoring the hallmarks of their respective cinematic staples. With his Oscar-nominated ensemble powerhouse Knives Out, Johnson brings that touch to the old-fashioned murder mystery, staging a twisy tale of death and inheritance through the lens of one fractured, fabulously over-the-top family. Knives Out is funny and breezy, but it’s also gorgeously composed, with some supremely sly performances from its killer cast. It’s honestly worth your time just to watch Michael Shannon scream about cookies, but fortunately, that’s just one of many, many moments that make Knives Out such a delightful and unusual film. —Haleigh Foutch
Mission: Impossible - Fallout
Mission: Impossible - Fallout
4.9
(13)
Rate
Dollars for donuts, pound for pound, Mission: Impossible is the most consistent action franchise on the market right now, and what’s more, the most consistently raising the bar. As the first returning director in franchise history (and Cruise’s go-to guy,) Christopher McQuarrie has refined the M: I formula to its optimal performance, delivering two propulsive, thrilling and breathless installments with Rogue Nation and Fallout.
A Quiet Place
A Quiet Place
4.9
(10)
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John Krasinski has given us all a lot of laughs over the years, but with his creature feature A Quiet Place, the actor-director brings the thrills. Set in a world overrun by alien creatures who hunt by sound, A Quiet Place follows a family trying to survive in the silence…. oh, and the mother’s pregnant. Silent birth? That’s not a thing. Krasinski does a killer job building tension as the family catapults towards the inevitable arrival of the baby and the creatures close in on their home. I’ve rarely seen audiences so respectfully silent in a theater, clinging to the film’s quiet atmosphere, quietly munching on popcorn when the score kicked in. Its a damn impressive directorial feat from Krasinski, who pretty much writes a love letter to Steven Spielberg with his set-pieces and Amblin-esque big heart, and it’s one of the best tales about the terrors of parenting in recent memory. — Haleigh Foutch
How to train your dragon
How to train your dragon
4.9
(9)
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Easily one of the best new kids and family franchises of the 21st Century, the How to Train Your Dragon films are solid all the way through (and the inferior but still charming collection of Netflix original series inspired by the film franchise are there to help you if your kids get a little too hooked on the adventures of Berk.) But for all the technological advancements in animation and the subsequent dazzling visuals of the sequels, there’s still raw magic in Chris Sanders and Dean DeBlois’ original film, which transported audiences to the Viking island of Berk where Hiccup (Jay Baruchel) and his outrageously adorable dragon Toothless begin their epic adventures. — Haleigh Foutch
The Avengers
The Avengers
4.9
(8)
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It seems positively quaint when compared with the enormity of Avengers: Infinity War and Avengers: Endgame, but The Avengers was an absolutely game-changing piece of filmmaking that proved Marvel Studios’ big shared-universe of superheroes could really work — and what’s more, that it could work the best when paying off long plot-arcs in epic team-up films. And thanks to writer/director Joss Whedon‘s knack for ensemble storytelling (proved in his outstanding series Buffy the Vampire Slayer and Firefly), the film set the stage for the MCU’s even grander ambitions to come.
Instant Family
Instant Family
4.9
(8)
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Without question, Rose Byrne is the unsung MVP of the last ten years in comedy movies. The actress’ early career cemented her image as a dramatic performer (and she still excels in those roles,) but ever since she stole the show in 2010’s Get Him to the Greek, she’s been absolutely crushing it in a string of comedies from Bridesmaids to Spy to the Neighbors films, constantly one-upping her better-known comedic counterparts along the way. With the surprisingly heartfelt comedy Instant Family Byrne got to combo the best of her comedic and dramatic skills alongside Mark Wahlberg in the story of a married couple who decide to foster, not one, but three children, including a no-bullshit teenager, played by Isabela Merced. Instant Family is refreshingly earnest and emotionally honest about the struggles and joys of foster parenting, delivering a moving emotional story without losing sight of the laughs. — Haleigh Foutch
Crawl
Crawl
4.8
(6)
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If you are looking for a creature feature that 1) grabs you by the throat and never lets go, 2) lowkey features some of the best horror performances in recent memory, 3) whips ass, you’re gonna want to check out Crawl. Directed by High Tension and The Hills Have Eyes filmmaker Alexandre Aja, Crawl is a no-nonsense monster movie that traps a woman (Kaya Scodelario) and her estranged father (Barry Pepper) in the crawlspace of their Florida home with a bunch of mean-ass, man-eating alligators and wastes no time stagging one nail-biting sequence after the next. Running a lean 87 minutes, Crawl is refreshingly straightforward, fun as hell, and features some of the best-composed monster movie action in years. — Haleigh Foutch
Bumblebee
Bumblebee
4.8
(6)
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After six installments of all-out Bayhem, the Transformers franchise got a revamped spinoff from LAIKA boss Travis Knight with Bumblebee and it’s charming as all get-out, giving everyone’s favorite sweetheart Autobot his own solo adventure with a retro flourish. Hailee Steinfeld stars a teenage grease monkey in the 80s, who’s desperate for her own car and happens to wind up in the possession of one decommissioned Bumblebee. Naturally, the pair set out on a mission to save the world when some pesky Decepticons come into play, along with a hyperpatriotic agent (the always welcome John Cena) who wants the otherwordly menace gone. Heavily riffing on the Amblin films of the era its set in, Bumblebee is sweet as could be, with a healthy balance of well-constructed action scenes to keep the Transformers spirit alive. — Haleigh Foutch
A Simple Favor
A Simple Favor
4.8
(5)
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Twisted thrillers don’t get more deliciously absurd and provocative than A Simple Favor, Paul Feig‘s stylish mystery about a lonely single mother (Anna Kendrick) who gets caught up in an increasingly wild predicament when she agrees to look after her friend’s son. Turns out the friend in question is a real wild card (Blake Lively in a redefining role) and when she goes missing, everything gets all kinds of fucked-up. Easily one of the most slept on films of 2018, A Simple Favor is a bonafide gripping thriller with some next-level insane reveals and fashion porn that would make Ocean’s 8 tremble. Batshit insane with a trio of killer lead performances, A Simple Favor will keep you guessing, but even better, it will keep you grinning from start to finish. — Haleigh Foutch
The Report
The Report
4.8
(4)
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The Report is an excellent procedural thriller in the vein of All the President’s Men. It marks the directorial debut of Contagion and Side Effects writer Scott Z. Burns and chronicles the Senate’s investigation into the CIA’s use of torture following the 9/11 attacks, with Adam Driver playing the staffer assigned to head up the investigation at the behest of Dianne Feinstein (Annette Bening). This is a contained, sharp, and incisive thriller that doesn’t take detours to dig into the character’s personal life or a love story—it’s extremely matter-of-fact in simply following the path that led to the creation of the titular report, and it’s as engrossing as it is infuriating. Driver is spectacular. – Adam Chitwood
Overlord
Overlord
4.8
(4)
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If you dug the high-intensity immersive war drama of 1917, you’re gonna want to check out Overlord if for no other reason than the tremendous aerial opening sequence, which is an absolutely breathtaking, pulse-pounding intro. But you should definitely stick around after that too, because Julius Avery‘s Bad Robot sci-fi thriller drops US soldiers in a Nazi-occupied French village and goes full Twilight Zone when they discover the undead handiwork of one the SS’s mad scientists. It’s an exceptionally blended genre cocktail, delivering legit war drama thrills amidst a B-movie background of monsters, mayhem, and sci-fi insanity. In a more just world, we’d be eagerly awaiting the sequel to this underseen gem. — Haleigh Foutch
The Vast of Night
The Vast of Night
4.7
(3)
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The indie sci-fi film The Vast of Night is hands down one of the best films of 2020, and a wonderful surprise. Set in 1950s New Mexico, the story basically follows a switchboard operator (Sierra McCormick) and a radio DJ (Jake Horowitz) investigating a strange sound coming through the radio during a big high school basketball game. That premise could go wrong any number of ways, but at every turn Vast of Night pleasantly surprises. It’s Spielbergian in that it clearly draws influence from films like E.T. and Close Encounters of the Third Kind, but also has a voice and style all its own. The wildly compelling screenplay is full of delightfully crackerjack dialogue that evokes screwball comedies of the 40s and 50s, while Andrew Patterson’s direction favors long takes and unique shots that lay the intrigue on thick as the story plays out entirely in real-time. Add in a layer of Twilight Zone-esque terror, and The Vast of Night is a film you won’t soon forget, announcing its writers, director, and cast as new talents to watch. – Adam Chitwood
The Last Black Man in San Francisco
The Last Black Man in San Francisco
4.7
(3)
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Quietly gorgeous, with a palette of rich, sumptuous colors and arguably even more beautiful character work, The Last Black Man in San Francisco is a knockout. Jimmie Fails stars in a story partially based on his own life, as a young man determined to reclaim his childhood home in a gentrified San Francisco neighborhood where it now goes for about $4 million on the market. Fails has described the film as a love story between him and the house, and in many ways, it is that, a rapturous descent into the obsessions of love and the increasingly desperate and determined steps a man will take to win back the object of his affection.
The Farewell
The Farewell
4.7
(3)
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Lulu Wang‘s Golden Globe and Spirit award-winning gem The Farewell may not have received the Academy attention it so deserved, but that doesn’t make it any less an essential, cathartic watch. Based on her real-life experiences, Wang crafts a nuanced and deeply emotional journey through the highs and lows of loving someone with your whole heart. And the seemingly impossible task of saying goodbye with grace when the time comes.
Fast Color
Fast Color
4.7
(3)
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If you like your superpowered stories on the serious side, you should definitely give Fast Color a shot. Julia Hart’s movie takes place in a near-future dystopia where water is scarce and it hasn’t rained in eight years. Into this picture, we see three generations of women who have the power to deconstruct and reconstruct matter, which becomes a potent symbol for trying to repair the broken bonds between them.
Late Night
Late Night
4.7
(3)
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If you’re a fan of behind-the-scenes Hollywood stories and romcoms, you’ll probably like Late Night. The film follows a young woman (Mindy Kaling) who joins the all-male writing staff of a formerly famous but now in decline late night host, played by Emma Thompson. The idealistic young writer meets the cynicism of the host and her staff head-on, as they try to turn the show around while other obstacles arise. It’s sweet and fun and funny, but also surprisingly emotional as it reaches the end. Thompson delivers a terrific performance as a complex and powerful woman, and Kaling is charming as the naïve comedy newbie who idolizes her boss. – Adam Chitwood
Midsommar
Midsommar
4.7
(3)
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There are few up-and-coming filmmakers out there who have delivered the technical mastery and emotional savagery that Ari Aster one-two punched with his first two films. First with Hereditary (see below) and now with Midsommar, his sun-drenched folk horror ode to classics like The Wickerman that sends the audience to gorgeous a summer solstice hellscape of grief, anxiety and codependence. Florence Pugh gives a knockout performance as a young woman dealing with an insurmountable tragedy when she journeys abroad with her checked-out boyfriend (Jack Reynor) and his friends, and winds up smack in the middle of a terrifying pagan ritual. Gorgeously shot, scored, staged, etc., etc., Midsommar isn’t just a deviously elegant spin on a classic horror subgenre, it also packs a wicked sense of humor and pitch-black comedy. — Haleigh Foutch
Serenity
Serenity
4.7
(3)
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Serenity is without a doubt one of the wildest movies of 2019. The trailers provide a glimpse of the plot, which is that weary fisherman Baker Dill (Matthew McConaughey) has been roped into a scheme by his ex-wife Karen (Anne Hathaway) to murder her abusive husband Frank (Jason Clarke) in exchange for $10 million. But Serenity is so much weirder than this, and to say why would spoil the fun. You may see Serenity and absolutely hate it, but if you’re willing to go along for the crazy ride, you might end up having a blast. At the very least, writer-director Steven Knight has created one of the most unpredictable movies in years. – Matt Goldberg
Queen of South
Queen of South
4.7
(3)
http://www.netflix.com/
Rate
This is an amazing series on Netflix. Drug lords and Cartel of Mexico / US border. The leading lady is so damn clam and calculating... Runs the operations so damn good... Cannot watch it with kids and elderly folks around as has major profanity and some intimate scens... But really enjoy this show.
Gods and Monsters
Gods and Monsters
4.5
(2)
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Few filmmakers leave behind a legacy half as majestic as James Whale, the brilliant filmmaker who helped write the language of horror cinema with classics like Frankenstein and Bride of Frankenstein, The Old Dark House, and The Invisible Man. But Bill Condon‘s semi-fictionalized 1998 drama Gods and Monsters isn’t about the majesty or the great works, it’s about the lonely human behind the legend and his heartbreaking final days long after the Hollywood glamour wore off. The great Ian McKellen gives one of his best performances in the role of the iconic filmmaker, who we find tormented by traumatic memories, mostly living alone and falling to ill health when he strikes up a friendship with his gardener (Brendan Fraser), who agrees to let Whale sketch him. Tensions grow, things get very homoerotic (in just about the saddest way possible), Whale continues to decline in health and happiness, and ultimately, Condon delivers the film of his career. Beautiful and devastating, Gods and Monsters respects the courage behind Whale’s choice to be an out homosexual in the 1930s while acknowledging what it cost him, just like it honors the legendary artist who helped create cinema’s great monsters while acknowledging the tragedy of his life. — Haleigh Foutch
Rocketman
Rocketman
4.5
(2)
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Watch Taron Egerton give the exuberant performance of his career to date in Rocketman, the delightful music biopic that would have received the same awards treatment as Bohemian Rhapsody if we lived in a just world. Inspired by the real-life story of Elton John‘s early career, Rocketman stages a fantasy musical that incorporates the iconic British rock star’s greatest hits while chronicling the highs and lows of his journey from a dull life in the suburbs to becoming a legend of glamourous stardom. It’s cheesy in the best way, with endless charisma, no small thanks to Egerton’s knockout performance of a mercurial and intoxicating character like Elton John, but also thanks to Fletcher’s playful, emotionally-attuned directing. It’s easy to see why Fox called him in to clean up the Bohemian Rhapsody mess and if the Queen biopic left you hungry for something with a little more heart (and teeth), Rocketman is just the ticket. — Haleigh Foutch
The Lighthouse
The Lighthouse
4.5
(2)
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The Witch filmmaker Robert Eggers earned a whole heap of critical acclaim, instantly held the attention of cinephiles, and helped cement the A24 horror brand with his debut movie. So how could he top it with his second? With an absolutely bonkers, brutal and bizarrely hilarious mythological tale of two men driven to madness on a tiny little island with only each other and their farts to keep them company. A two-hander with sublime performances from Robert Pattinson and Willem Dafoe as its engine, The Lighthouse affirms Eggers as a singular voice and force of innovative formalist filmmaking that builds new nightmares from the technical tools of classical cinema. What a treat. Genuinely unique, surreal, and ballsy as hell from all involved, The Lighthouse is the pirate-talking, bean-snacking, gods and monsters isolationist nightmare of a movie nerd’s dreams. And once you’ve been thoroughly confounded, be sure to read Vinnie Mancuso’s excellent analysis of the wild ending. — Haleigh Foutch
Dirty Dancing
Dirty Dancing
4.5
(2)
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Dirty Dancing is one of the most iconic romance movies of all time, but beyond the countless pop culture references and the undying quotable appeal of “Nobody puts Baby in a corner,” it also genuinely holds up as one hell of a feel-good love story. Jennifer Grey stars as Baby, she who will not be put in a corner, a young woman spending the summer with her family at a resort, where she falls in love with the sexy, sashaying dance instructor (played by a sexy, sashaying Patrick Swayze). Their chemistry is crackling as ever and the dance scenes are still a joy, but Dirty Dancing is also a much more thoughtful, forward-thinking character drama than most folks remember. Don’t get me wrong, it’s still a total swoon-fest, but there’s some lovely, ahead-of-its-time drama packed in among the hip-swaying romance and that iconic big move. — Haleigh Foutch
Fighting with My Family
Fighting with My Family
4.5
(2)
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Florence Pugh had a hell of a year in 2019, culminating in an Oscar nomination for her scene-stealing work in Little Women. But before the awards tour, and before the horrors of Midsommar, Pugh kicked the year off strong with the absolutely delightful wrestling comedy Fighting with My Family. Written and directed by Extras and Life’s Too Short co-creator Stephen Merchant, the film is inspired by the life of real-world wrestling star Paige and chronicles how she was raised in a family of wrestling fanatics and went from smalltown gigs with the fam to dominating the ring on an international stage.