If you love amazon prime movies more than Netflix, then you will want to know what the best movies are?
On this list we are going to take you through the best amazon prime movies that will keep you engaged.
Keep exploring the list till you find your fancy and enjoy one of the best movies on amazon prime.
The Best Amazon Prime Movies 2021
Escape From New York’ (1981)
This sci-fi-action thriller from the director John Carpenter imagines the distant future,1997, in which the island of Manhattan has become a giant, chaotic, maximum-security prison. (Considering the state of the city in the early ’80s, it wasn’t hard to imagine.) A grizzled Kurt Russell stars as Snake Plissken, a bank robber attempting to rescue the kidnapped president of the United States from the island. Carpenter manically orchestrates Plissken’s mission as a darkly funny free-for-all, loaded with slam-bang set pieces and memorable supporting turns by a rogues’ gallery of character actors. Our critic called it “by far Mr. Carpenter’s most ambitious, most riveting film to date.”
Meek’s Cutoff’ (2011)
Frontier tales have filled our books and movie screens for centuries, but few are as bleak and unforgivingas this one. Three pairs of settlers find themselves lost on the Oregon Trail, led by a guide (Bruce Greenwood) who doesn’t seem to have the foggiest idea what he’s doing. This is a sparse film, both in plotting and approach; director Kelly Reichardt (“Wendy and Lucy,” “Old Joy”) lets her story play out in long, uninterrupted takes that may test the patience of some, but which force the viewer to ease into the rhythms of the period. A.O. Scott called it “bracingly original.”
The Best Amazon Prime Movies To Watch In 2020.
‘Embrace of the Serpent’ (2016)
The director Ciro Guerra tells the “majestic, spellbinding” story of two expeditions down the Amazon, separated by 40 years, fascinated as much by their reflections of each other as by their eventual, and remarkable, intersection. It’s a film with much to say about a vanishing civilization and the people who wish to either understand it or exploit it (or both), yet it’s short on soapboxing and didacticism – Guerra lets the pictures tell the stories, and they’re more than up to the task. The feverishly haunting “Embrace” is alternately anthropological and surrealistic.
Afternoon Delight’ (2013)
Jill Soloway, the creator of “Transparent” and “I Love Dick,” made her feature filmmaking debut with this “meticulously acted” seriocomic drama. Kathryn Hahn is astonishing in the leading role, clearly conveying her dissatisfied housewife’s longings and nerves but keeping her intentions enigmatic, and Juno Temple is electrifying as a young woman who’s learned how to use her sexuality as a weapon without fully considering the carnage left in its wake. Their byplay is vibrant, and it gets messy in fascinating ways; this is a sly, smart sex comedy that plumbs unexpected depths of sadness and despair.
The Best Amazon Prime Movies To Watch In 2020.
The Souvenir’ (2019)
The great British writer/director Joanna Hogg tells a story of youthful exuberance, romantic recklessness, and unchecked addiction in early ’80s London. Her heroine is Julie (Honor Swinton Byrne, flawless), an idealistic film student who finds herself pulled, time and again, into the orbit of Anthony (Tom Burke), whose roguish charm covers a considerable number of concerning flaws. Tilda Swinton (Byrne’s real-life mother) co-stars as Julie’s concerned mum. Hogg’s film is quiet yet revelatory, trusting its audience with these characters’ secrets — and trusting us enough to fill in their blanks. A.O. Scott raves, “This is one of the saddest movies you can imagine, and it’s an absolute joy to watch.”
This unapologetically dark comedy changed the high-school movie forever, from the heartfelt and ultimately sunny chronicles of John Hughes to something with a bit more bite. Winona Ryder is tart and charming as Veronica, a popular teen who has come to hate the clique she runs with. Then she meets J.D. (Christian Slater), a Jack Nicholson clone who suggests bumping off their less tolerable classmates. Nearly 30 years on, the sheer riskiness and take-no-prisoners attitude of this delightfully demented picture still shocks; our critic called it “as snappy and assured as it is mean-spirited.
The Best Amazon Prime Movies To Watch In 2020.
This Polish possession story from the writer and director Marcin Wrona opens on a note of uncertainty and dread and then holds it for 94 harrowing minutes. Wrona transforms the relatable fears of wedding day into something far more sinister, as our groom protagonist discovers horrifying skeletons in his new family’s closet (or, more accurately, its yard); the filmmaker offsets the considerable nightmare imagery and wild-eyed desperation with piercing moments of gallows humor, particularly in contemplating how “sensible people” might react to these events. Our critic praised its “light shivers” and “bluntly old-fashioned screen magic.”
Oliver Stone graduated from a respected screenwriter to a top-flight filmmaker with this harrowing Vietnam War drama, which won Oscars for best Picture and director. Stone based the film on his own experiences in Vietnam, with Charlie Sheen as his avatar, a clean-cut kid from a privileged background whose eyes are opened to the horrors of combat and conflict. Willem Dafoe and Tom Berenger singe the screen as his sergeants, one free-spirited and open, the other hard-edged and cruel. Our critic called it a “vivid, terse, exceptionally moving” film.
The Best Amazon Prime Movies To Watch In 2020.
Sunset Boulevard’ (1950)
Billy Wilder’s poison-penned love letter to Hollywood is often remembered more as a series of moments (particularly its closing line) than for its overwhelming whole: a sometimes tragic, sometimes comic, always riveting story about a faded silent movie queen (an unforgettable Gloria Swanson) and the opportunistic young man who tries to take advantage of her (a prickly William Holden). Our critic wrote that it “quickly casts a spell over an audience and holds it enthralled to a shattering climax.”
Ernest Borgnine won an academy award for his indelible performance as the title character, a melancholy Bronx butcher who looks in vain for love at a singles’ dance hall. He finally finds it — or something like it — in Clara (Betsy Blair), a similarly lonely schoolteacher, if only he can look past the sniping of his friends and overbearing mother. The film also won Oscars for best picture, director (Delbert Mann) and screenwriter (Paddy Chayefsky). Our critic called it “a warm and winning film.”
His Girl Friday’ (1940)
Directed by Howard Hawks, this 1940 film wasn’t the first cinematic adaptation of the popular play “The Front Page,” but it cooked up a twist the 1931 version hadn’t: What if Hildy Johnson, the superstar reporter whom the ruthless editor Walter Burns will keep on his staff at any cost, wasn’t his drinking buddy but his ex-wife? It’s a movie that talks fast and moves faster, and the passage of nearly 80 years hasn’t slowed it down a bit. Our critic called it “a bold-faced reprint of what was once — and still remains — the maddest newspaper comedy of our times.
The Best Amazon Prime Movies To Watch In 2020.
The Good, the Bad and the Ugly’ (1968)
The first two collaborations between Clint Eastwood and director Sergio Leone, “A Fistful of Dollars” and “A Few Dollars More,” did nothing less than reinvent a genre, diverting popular attention from the increasingly stodgy traditional Western to the so-called “spaghetti western,” which ramped up the bloodshed, self-awareness and stylistic exuberance. Those films were modest, low-budget affairs, but Leone and Eastwood broke the mold with this trilogy-ending masterpiece in 1966, which runs nearly three hours and elevates its antiheroes to near-mythic status. Our critic called it “luridly intoxicating.
The Graduate’ (1968)
This wryly funny drama from Mike Nichols, adapted from the novel by Charles Webb, has become such an entrenched piece of popular culture (50-plus years later, you still don’t have to explain what “Mrs. Robinson” means), it is easy to lose track of what a great entertainment it is. But it is: Using Dustin Hoffman as his marvelously dry-witted vessel, Nichols dramatizes youthful ennui with a skill rarely seen in American cinema. Our critic called it “funny, outrageous, and touching.”
Logan Lucky’ (2017)
As director of the “Ocean’s” trilogy, Steven Soderbergh honored the classic heist movie aesthetic: sleek, classy and star-studded. And then he set out to subvert all of those conventions with this working-class heist comedy, in which a minor character describes its central job as “Ocean’s 7-11.” The key players are familiar (the safecracker, the computer whiz, the sexy girl, the brains of the operation), but they’re done with salty fun and earthy humor. You’ll never say “cauliflower” the same way again. Our critic dubbed it “gravity-defying” and “ridiculously entertaining.”
The Big Sick’ (2017)
Emily V. Gordon and Kumail Nanjiani based their first screenplay on their own, unconventional love story — a courtship that was paused, then oddly amplified by an unexpected illness and a medically induced coma. This isn’t typical rom-com fodder, but it’s written and played with such honesty and heart that it somehow lands. Nanjiani and Zoe Kazan (standing in for Gordon) generate easy, lived-in chemistry and a rooting interest in the relationship, while a second-act appearance by Holly Hunter and Ray Romano as her parents creates a prickly tension that gives way to hard-won affection. Our critic deemed it “a joyous, generous-hearted romantic comedy.”
The Kid’ (1921)
Charles Chaplin’s first feature-length comedy — “six reels of joy,” according to the original advertisements — was informed by his suspicion that audiences would grow restless if subjected to an hour-plus of gags and slapstick. So he went all-in on pathos, creating a story in which his iconic Little Tramp character discovers an abandoned baby, raises the child as his own and must then summon all his ingenuity to keep their makeshift family intact. Even this first time out, Chaplin juggles the seemingly incongruent tones with ease. Our critic praised Chaplin’s “inimitable pantomime.”
Long Strange Trip’ (2017)
The three-decade journey of the psychedelic rock band the Grateful Dead is brought to vivid life in this six-part, four-hour documentary from director Amir Bar-Lev (“The Tillman Story”). And while the archival materials and rarities will please Deadheads, the film has even more to offer to casual admirers and even newcomers, who will come away with a better understanding of what made this band (and the misfits they attracted) so special. Our critic called it “ambitiously assembled and elegantly directed.”
Desperately Seeking Susan’ (1985)
The director Susan Seidelman was just trying to make a small New York comedy when she cast a somewhat popular club performer in the title role of this 1985 film; by the time it came out, that actress, Madonna, had become one of the biggest stars on the planet. Yet her persona doesn’t eclipse Seidelman’s screwball-tinged presentation; “Susan” is energetic and engaging, while simultaneously capturing a distinct moment in the city’s subculture. Our critic called it “a terrifically genial New York City farce.”
The Texas Chain Saw Massacre’ (1974)
Made on the cheap one scorching Austin summer, this terrifying thrill ride became one of the most iconic horror movies of its generation. But it’s no mere blood-and-guts fest — contrary to its title, there’s hardly any graphic gore at all. It connected with audiences (and remains lodged in the psyche of those who’ve experienced it) because of its relentless intensity: Director Tobe Hooper (“Poltergeist”) puts his audience in a vice for 83 merciless minutes and keeps turning the crank. The film’s low budget and cast of unknown actors only contributes to its ferocity; it has the grainy, out-of-nowhere doom of a snuff film.
The Central Park Five’ (2012)
In 1989, the country was shocked by the sexual assault and near-death of a young white jogger in Central Park. Five black and Latino youths were quickly charged, tried, sentenced and imprisoned — until a serial rapist confessed over a decade later, his claim borne out by DNA evidence. This informative and infuriating documentary by Ken Burns, Sarah Burns and David McMahon meticulously details the charged atmosphere in which the five teenagers were accused and convicted, as well as the tremendous personal toll taken by this miscarriage of justice. Our critic called it “emotionally stirring.”
Warren Beatty won an Oscar for this, his first solo directorial effort — an ambitious, sweeping historical epic, yet one that is grounded by earthy humor and carefully constructed relationships. He also co-wrote it and stars as John Reed, the radical American journalist; Diane Keaton is Louise Bryant, his on-again, off-again lover, with Jack Nicholson, Maureen Stapleton and Paul Sorvino turning up as fellow rabble-rousers. Our critic called it “an extraordinary film, a big romantic adventure movie, the best since David Lean’s ‘Lawrence of Arabia.’”
The Farewell (2019)
You know Awkwafina for her breakout role in Crazy Rich Asians, but you will truly love her after seeing her performance as Billi in The Farewell — which is written and directed by Lulu Wang. The story was first broadcast in short-form for radio as part of a This American Life episode and later expanded into a screenplay based on Wang’s life and family. When Billi’s Nai Nai (her paternal grandmother) is diagnosed with cancer, her family decides it is best for her health if she doesn’t find out, but engineers a large family gathering so everyone can see her one last time. Get ready to cry — both at the touching story and from laughing at the drinking game scene toward the end.
Book Club (2018)
“The perfect movie doesn’t exist.” —People who have never seen Book Club. This has become one of my ultimate comfort movies, and I turn it on whenever I need Diane Keaton and her neck scarves to remind me that things are going to be OK. We follow a book club of lifelong friends as they read 50 Shades of Grey and it changes their view on life, love, and — you guessed it — sex. But don’t reduce your expectations to a ~raunchy grandma~ movie. I love Book Club for its relatively innocent rom-com charm and classic lines like “She’s tap dancing…and she’s pulling it off!”
Honey Boy (2019)
This one goes out to all my LaBeouf heads out there. Based on his own childhood relationship with his father, Shia writes and stars in this coming-of-age story about Otis Lort, a child star living in a trailer park with his dad — a former rodeo clown who struggles with addiction. This is a true showcase for Noah Jupe and Lucas Hedges, who play Otis at ages 12 and 22 respectively, and an exciting first screenplay credit from Shia. Oh, and FKA Twigs is in it, in case you weren’t 100% sold that this movie is sad.
Late Night (2019)
Remember when late-night shows had audiences? Well, this movie will remind you. Emma Thompson and Mindy Kaling are the duo we didn’t know we needed playing a long-time talk show host Katherine Newbury and fresh, new comedy writer Molly Patel. As the only woman of color in an overwhelmingly white, male writer’s room, Molly fights for her topical, feminist jokes to make it on-air, giving Katherine the revamp she needs to stay relevant in the ever-changing television landscape. But when Katherine’s personal secrets become public, their relationship — and careers — are threatened.
If you’re a millennial who hasn’t seen Moonstruck, I NEED you to stop what you’re doing and turn it on immediately. Nothing could prepare me to see Cher and Nicolas Cage — two icons who could not be further apart categorically in my brain — together romantically. Cher plays Loretta Castorini, an Italian American widow who finds herself in a pickle when she falls hard for her fiancé’s hot-headed younger brother Ronny. Quite often, nowadays daily, I quote this movie saying, “Yes, John Anthony Cammareri, I will marry you, I will be your wife,” in a line read from Cher that is perfect. I have no notes.
Roman Holiday (1953)
It’s never too late to see a classic for the first time, and this Audrey Hepburn and Gregory Peck–fronted story of royalty and romance is one of the best. A couple dos and don’ts for this film: DO let it inspire your next eyebrow look. DON’T let it trick you into buying a Vespa. DO think about cutting your hair short as a symbol of finally being free from the overbearing monarchy to which you belong. DON’T be fooled and think that when someone thrusts their arm into the Mouth of Truth that their hand has been bitten off. Hepburn won an Academy Award for Best Actress for this performance — three cheers!
Simple Favor (2018)
With Blake Lively at her most smoldering and Anna Kendrick at her most plucky, it was impossible for A Simple Favor to fail. Based on the novel by Darcey Bell, the story focuses on the complicated-to-say-the-least friendship of Stephanie Smothers and Emily Nelson, two deeply opposite women whose lives permanently intertwine when Emily disappears and leaves her son in Stephanie’s care. Expect enormous twists, incredible costumes, and Henry Golding in a great supporting role.
A Quiet Place (2018)
Even in a fictional post-apocalyptic world run by creatures who hunt by sound, John Krasinski and Emily Blunt are still a power couple. They both star as the heads of the Abbott family, some of the only survivors after a near wipe of humanity from the super-hearing, armored extraterrestrials who have taken over the planet. The catch? They must live with their children in complete silence to keep from being hunted. Communicating mainly through American Sign Language, the family continues to fight for survival in this new, eerily quiet world. Millicent Simmonds, an actress who is deaf, gives a stunning performance as Regan Abbot, and Krasinski enjoys a solid directorial debut.
Bridget Jones’s Diary (2001)
The love triangle trope will never go out of style, and neither will watching Bridget Jones’s Diary while sprawled out on the couch with a pint of Häagen-Dazs. In this reinvention of Pride and Prejudice, Bridget vies for the affections of her bad boy boss Daniel and the initially standoffish but later sweet Mark. I don’t need to tell you that Renée Zellweger, Colin Firth, and Hugh Grant are iconic in this movie. You already know that. Because they’re that iconic.
The Man Who Fell To Earth (1976)
Critics Consensus: Filled with stunning imagery, The Man Who Fell to Earth is a calm, meditative film that profoundly explores our culture’s values and desires. Synopsis: Space alien (Bowie) crash lands on Earth, seeking help for his drought-stricken planet. By securing patents to advanced technology, he…Starring: David Bowie, Rip Torn, Candy Clark, Buck Henry
The Avengers (2012)
There’s no better time to go back to where it all began — just a few simple folks saving the world. No big deal. The Avengers obviously bring heat the old fashioned superhero way, but if you’re not normally into comic book movies, I encourage you to give it a watch if only for the star power — Robert Downey Jr., Chris Evans, Mark Ruffalo, Chris Hemsworth, Scarlett Johansson, and Jeremy Renner vs. Tom Hiddleston as Loki? OK, NOW I’m in. This’ll be the first in a long line of heartily entertaining (*and* extremely time consuming)
I would say that Clue walked so Knives Out could run, but honestly they are both fully sprinting. Tim Curry leads this ensemble comedy based on the titular board game — yes, the “Professor Plum in the study with the candlestick” board game — and his over-the-top performance catapults viewers through the seemingly infinite twists and turns of a pure murder mystery, with enough energy left over for not one, but a few endings.
The Skeleton Twins (2014)
Comedy heroes Kristin Wiig and Bill Hader joining forces for an indie dark comedy is obviously a recipe for greatness — or at least it’s obvious after you see The Skeleton Twins. Playing twins who have been estranged for 10 years but are brought together after each unsuccessfully attempted suicide, Hader and Wiig manage nuanced performances that bring lightness to what could have been a pure downer in less capable hands. You’ll also have them lip syncing to “Nothing’s Gonna Stop Us Now” playing in your head forever, so that’s something to look forward to.
It Felt Like Love’ (2014)
Eliza Hittman (“Never Rarely Sometimes Always,” “Beach Rats”) made her feature debut with this tricky, nuanced coming of age story, set in the Brooklyn neighborhood of Gravesend. A “mood poem to summer loving and sexual awakening,” it concerns 14-year-old Lila (Gina Piersanti), increasingly aware of her sexual impulses but unsure what to do with them; perhaps destructively, she focuses on Sammy (Ronen Rubinstein), a casually misogynistic neighborhood bad boy. Hittman’s narrative is slight, but her insight is not – this deceptively casual film captures the power and potency of hormonal pangs with a rare directness and immediacy.
This energetic and entertaining animated western comedy swipes its water-control plot from “Chinatown” and its style from Sergio Leone; even Johnny Depp’s earlier desert-wandering tale “Fear and Loathing in Las Vegas” gets a shout-out. In other words, it’s a family film for movie buffs, steeped in genre conventions and filled with sly little winks and inside jokes, but it resists the urge to coast on its own cleverness. Our critic raved, “this rambling, anarchic tale is gratifyingly fresh and eccentric.”
You Were Never Really Here’ (2018)
The broad plot outlines — a traumatized vet, working as a killer-for-hire, gets in over his head in the criminal underworld — make this adaptation of Jonathan Ames’s novella sound like a million throwaway B-movies. But the director and screenwriter is Lynne Ramsay, and she’s not interested in making a conventional thriller; hers is more like a commentary on them, less interested in visceral action beats than their preparation and aftermath. She abstracts the violence, skipping the visual clichés and focusing on the details another filmmaker wouldn’t even see. Joaquin Phoenix is mesmerizing in the leading role (“there is something powerful in his agony,” A.O Scott noted), internalizing his rage and pain until control is no longer an option.
Manchester by the Sea’ (2016)
Kenneth Lonergan makes films about people in turmoil, roiled by bottomless sadness, dysfunction and guilt. Casey Affleck won an Oscar for his nuanced portrayal of Lee Chandler, a Boston plumber who, for all practical purposes, is broken; Lucas Hedges is prickly and funny as the nephew who needs him to put himself together again. Keenly observed, emotionally fraught and surprisingly funny, it’s a tear-jerker in the best sense, never stooping to cheap manipulation. Our critic called it “a finely shaded portrait.”
Hot Rod (2007)
For better or worse (just kidding, definitely for better), no movie has made me laugh as hard as Hot Rod. It stars Andy Samberg as wannabe stuntman Rod Kimball, who needs to pull off his biggest stunt yet in order to raise money for an operation for his stepfather, despite his constant disrespect for Rod and his chosen profession. Samberg’s fellow Lonely Islanders join the party with Akiva Schaffer directing and Jorma Taccone co-starring, and Bill Hader, Isla Fisher, and Sissy Spacek (!!!!) round out an unbeatable ensemble. My official review? “Cool beans.”
Inside Llewyn Davis’ (2013)
Joel and Ethan Coen’s story of a struggling folk singer in Greenwich Village in 1961 cheerfully intertwines fact and fiction; they faithfully reproduce that period, and incorporate many of its key figures into a week in the life of the title character (played by Oscar Isaac). But this is not just a museum piece, or a “music movie.” It’s about the feeling of knowing that success is overdue, and yet may never arrive. A.O. Scott called it an “intoxicating ramble.”
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