Hop on Fandango near Halloween and you’ll likely find a midnight screening of Rocky Horror Picture Show. Follow Greg Sestero on social media and you’ll likely see posts about the latest Q&A screening of The Room. Add a quote from The Big Lebowski to your Tinder bio and see how many messages you receive. These movies are cult classics; they’ve managed to develop a large following after years of positive word-of-mouth and theatrical rereleases.

Cult followings tend to take some time to develop, but once an audience has been found, you’re bound to hear about it. This leads us to the following list. Below, you’ll find ten recent movies that have what it takes to earn a cult following.

Cult classics are hard to define. Some people claim that a movie must be commercially unsuccessful in order to earn the label, while others simply call anything with a rabid following a cult classic. In order to draw attention to more obscure movies, we’ll be focusing on the former definition. While the latter definition is by no means objectively incorrect, movies like Barbie and Pearl have already been showered with attention.

While there is no concrete criteria, the films below all tend to target a very specific audience. This very specific audience might, in theory, begin talking to like-minded individuals, eventually bringing in countless cinephiles who will spread the word. Keep in mind that this list is anything but exhaustive. That being said, these ten entries seem destined to be discussed alongside movies like Jennifer’s Body and Clerks.

1. Barb & Star Go to Vista Del Mar (2021)

Josh Greenbaum’s offbeat buddy comedy gives Kristen Wiig and Annie Mumolo an opportunity to be unabashedly off-the-rails. The co-stars, who also wrote the movie, inject so much personality into a subgenre of comedies that has grown substantially more stale as time passes.

The basic set-up is simple. Two middle-aged friends who have never left their hometown decide to go on vacation to Vista Del Mar, Florida. Friends going on trips is nothing new in the comedy world. Just this year, we’ve gotten everything from Joy Ride to Vacation Friends 2. However, most of those movies rely heavily on raunchy laughs. That’s not the case here.

Much of the charm is derived from the childlike innocence of the main characters. Barb and Star are not out doing cocaine and going to strip clubs. They’re just trying to navigate a world that’s completely foreign to them. The fish-out-of-water trope isn’t exactly novel either, but the way it’s handled here is surprisingly fresh.

It helps that the film never feels predictable. Not once will you be able to guess what happens next in Barb & Star Go to Vista Del Mar, and that’s because it has no interest in telling a conventional story. These kinds of movies tend to follow a nearly beat-for-beat narrative structure, but in this case, there’s no telling what will happen next.

Barb & Star Go to Vista Del Mar is a comedy that dares to be different. Its pride in its own weirdness is beyond charming, and it’s hard not to fall in love with the two oddball protagonists.

2. Beyond the Infinite Two Minutes (2020)

Junta Yamaguchi’s directorial debut is a heady time loop movie that immediately brings to mind similarly low-budget experiments like One Cut of the Dead. Like the aforementioned movie, Beyond the Infinite Two Minutes uses its shoestring budget to tell a tightly constructed story that effectively brings new life to a popular subgenre.

Running at only 71 minutes, Beyond the Infinite Two Minutes makes sure that every second counts. It immediately transports viewers into its seemingly innocuous setting, only to quickly pull the rug and reveal its unconventional conceit.

Basically, in a small Japanese cafe, the workers discover that there is a computer monitor that shows viewers what will happen two minutes into the future. When the characters learn that they can face screens toward each other, they find out that they can create a Droste effect, which allows them to see further into the future. This leads to various revelations and conflicts, resulting in a movie that never reveals its hand.

Beyond the Infinite Two Minutes is a gleefully quirky sci-fi comedy that tells its story so efficiently that it brings shame to other blockbuster time travel flicks. Its initial simplicity makes way for something far more idiosyncratic, and the final product is an essential science fiction feat.

3. Bullet Train (2022)

Bullet Train, directed by David Leitch and released in 2022, has all the makings of a future cult classic. Fresh off of Deadpool 2 and Hobbs & Shaw, Leitch got the opportunity to distance himself from blockbuster mega-franchises. By doing this, he managed to give viewers something that feels a little messier and less factory-made. Bullet Train is without a doubt a flawed movie, but it’s a flawed movie that is bursting with heart.

This adrenaline-fueled action flick focuses on Ladybug, an enigmatic hitman played by Brad Pitt. Pitt’s quirks, moral ambiguity, and determination allow him to stand out as a character that viewer’s won’t easily forget. Cult classics are so dependent on memorable characters, and without someone like Pitt, Bullet Train easily could have been dead on arrival.

Still, it’s hard to talk about the film without mentioning its premise. Like Snakes on a Plane, Bullet Train transports viewers into its claustrophobic setting and lets loose. The titular train ultimately feels like a character of its own. It forces its characters to duke it out in close-quarters, and the resulting action sequences are stunning.

Maybe it’s not as polished as John Wick or as funny as Nobody, but Bullet Train is still a blazing fast rollercoaster that mostly does what it sets out to do. Leitch has proven time and time again that he has a knack for movies like this, and Bullet Train further proves that argument.

4. Last Night in Soho (2021)

Edgar Wright’s first foray into the horror genre was a financial disappointment that failed to garner the same level of critical acclaim as Wright’s past projects. Given the success of Baby Driver, you’d think Last Night in Soho would have been a runaway hit, but people simply didn’t give it the time of day. Generally speaking, contemporary audiences tend to rank it below Wright’s greatest hits, and while that’s absolutely fair, it still seems odd to ignore it entirely. Last Night in Soho is no Shaun of the Dead, but it’s nevertheless a visually striking throwback to old-school thrillers.

Thomasin McKenzie and Anya Taylor-Joy are hypnotic as the pair of dual protagonists. If there’s one thing propelling this movie forward, it’s Ellie and Sandie. The two characters steal every scene they’re in, and it’s not just because they have the most screen time; they’re just that fascinating.

Meanwhile, Wright’s screenplay is a little rocky, but it still manages to touch on relevant, taboo topics. In spite of some tonal inconsistencies, Last Night in Soho addresses the #MeToo scandal with a reasonable amount of elegance. When it does get a little too ambitious, it still remains engaging, and that’s good enough.

5. Malignant (2021)

James Wan has helped create some of the most commercially successful horror franchises of all time. In particular, his work on The Conjuring universe has been remarkable. That being said, there is one valid complaint that has been leveled against him; his horror features are too conventional. The Conjuring, Insidious, and Saw are all successful horror franchises, but they aren’t exactly genre-defying. Malignant, however, is a different beast.

Wan’s latest horror feature is completely batty compared to something like The Conjuring. It harkens back to the days of giallo cinema, but it takes inspiration instead of copying from a template. This is a product straight from screenwriter Akela Cooper’s brain; it’s filled with gruesome imagery and bizarre narrative beats that seem completely out-of-place in a theatrically released horror movie. Wan’s ability to bring this chaos to life is admirable.

His willingness to go against the grain has, no surprise, left some viewers feeling like they stumbled into the wrong movie. Still, there are bound to be countless horror fans who can appreciate the tonal shift.

The year is a little more than halfway over, and of course, that means we need to count down the best of the best. As is always the case, many of the biggest festival hits and awards season slam dunks have yet to be released. That doesn’t mean there aren’t worthwhile films to see though.

On the contrary, blockbuster season is in full swing, so pure, adrenaline-pumping action flicks are a dime a dozen. On top of that, Sundance favorites and indie darlings have come and gone. Basically, there are plenty of options to choose from in a list like this. Sadly, this list maxes out at ten slots.

There has definitely been a solid variety of worthwhile motion pictures this year, and although some absences may be noteworthy, that doesn’t make these omissions bad or even mediocre. There are countless options, and frankly, most critics will tell you that top ten lists change day-by-day, so nothing is truly definitive.

1. Spider-Man: Across the Spider-Verse

If you still haven’t seen Spider-Man: Across the Spider-Verse and it’s still playing near you, sprint to the theater. This is a great movie no matter how you slice it, but as a theatrical experience, it’s second to none. The vibrant animation mixed with the inventive storytelling and charming characters come together to create a superhero movie that is once in a generation.

It’s not like the bar wasn’t high. Spider-Man: Into the Spider-Verse is one of the best superhero movies ever made, but somehow, miraculously, this tops its predecessor. You could argue that the original thrives because it’s a more straightforward origin story, but Across the Spider-Verse ups the stakes without bogging itself down too much. It evolves the formula that worked so well the first time, and it doesn’t lose anything in this evolution.

Miles continues to be devilishly charming, the fan service continues to be unabashedly awesome, and the visuals continue to be damn-near revolutionary. This is a movie that makes you feel bad for other entries in the genre. It has everything viewers should want. Well, except a proper ending.

2. Past Lives

Past Lives is a catastrophic punch to the gut. It’s a beautiful, poignant work of art filled with undeniable candor, and if that limits its appeal, who cares? This type of emotional heavy-hitter only comes once in a blue moon, but when it comes, fans of the genre are bound to devour it. This is by no means a happy, joyful piece of entertainment, but its maturity toward its subject matter is unmatched.

Early on, viewers meet Na Young, a young overachiever who lives in South Korea with her mom and dad. During this stage in her life, she meets Hae Sung, a suave young boy who immediately falls for Na Young’s scholarly personality. Immediately after forming a bond, Na Young’s family decides to immigrate to Toronto, leaving everyone’s future in question. From there, viewers get to see several stages of the protagonist’s life.

Twelve years later, Na Young changes her name to Nora. She strives to do well academically, and frankly, she consistently succeeds. Unfortunately, she constantly reminisces about her days in Korea, and that leads into the primary conflict of the movie. If Nora moves on from her past life, can she still keep the small connections she once had?

This movie asks big, thought-provoking questions, and it does so with honesty. There is never a moment that feels insincere. There’s so much authenticity that pushes these big, emotional moments forward. Sure, it might cause you to shed a few tears, but the journey is worth it.

3. Blackberry

Matt Johnson’s biographical dramedy doesn’t sound particularly interesting. While the dominance of the Blackberry is somewhat fascinating in retrospect, it hardly seems like it would make a solid film. However, the snappy script and top-notch performances manage to turn a seemingly innocuous story into something incredible.

Blackberry is, unsurprisingly, about the rise and fall of the once-popular cell phone. The sweeping biopic covers everything from the Blackberry’s invention to its untimely demise. This is all interesting enough, but it would be nothing without a dedicated cast of talented performers.

Glenn Howerton takes his “untethered rage” to new heights as financial mastermind Jim Balsillie. Though Howerton will perhaps always be known for his work in It’s Always Sunny in Philadelphia, his performance here is nevertheless outstanding. By channeling the chaotic energy he brings to his famous FX comedy, Howerton manages to make Balsillie more than just a manic caricature. He is easily the highlight of the film, and when you consider just how great everything is, that’s unequivocally high praise.

That’s because everything really is great. Howerton may be the highlight, but that doesn’t mean Blackberry is lacking in other areas. On the contrary, it’s so devilishly entertaining that it manages to make long monologues about tech surprisingly engaging. Every individual element results in a movie that’s far better than it has any right to be.

4. Blue Jean

Georgia Oakley’s directorial debut is a moody, understated period drama about a closeted PE teacher who must live a double life in order to protect herself from England’s increasingly discriminatory laws. Set in 1988, Blue Jean feels surprisingly relevant today.

Modern politicians have been spinning narratives about members of the LGBT community, saying they are trying to push an agenda. This unfortunately feels all too familiar when you look at a movie like this; it’s a movie about hiding your identity in a society that doesn’t accept you, and it’s all rather unsettling.

Blue Jean’s relevance is its most important asset, but it’s not the only thing worthwhile. Overall, Blue Jean is an undeniably confident debut from a director who shows plenty of promise. Strong writing and even stronger performances collide in a killer, though occasionally gloomy, work of art.

5. John Wick: Chapter 4

The consistent quality of the John Wick franchise is borderline unbelievable. Sure, not every entry in the series is created equal, but at the very least, every John Wick movie is worth your time and attention. Even when the world-building begins to get too convoluted, this series has a way of making everything work in the end. If you need proof, sit through the latest entry, which may be the best in the series.

John Wick: Chapter 4 is gargantuan in scope. At nearly three hours in length, this is by far the biggest, most intimidating film in the series. It’s easy to assume that the average viewer can only handle so many extended action scenes, but when everything is so well-choreographed, it’s hard to get worn down by the barrage of gunfire.

John Wick: Chapter 4 earns its runtime. It’s not just the explosions that are entertaining; it’s also the surprisingly well-developed supporting characters. To an extent, you could argue that the movie is light on dialogue. At the same time, it makes an active effort to shed light on the other characters’ motivations. This ultimately gives the cast the opportunity to show off their acting chops, which leads to strong performances from Bill Skarsgård, Donnie Yen, and acting newcomer Rina Sawayama.

This is all surrounded by an ambitious narrative that, overstuffed as it may be, feels perfect in the John Wick universe. The storytelling here feels like a natural evolution rather than a messy regression; it moves the narrative forward in unexpected, albeit comforting, ways. Fans of the franchise will have no trouble devouring this latest entry, and newcomers should absolutely give it their time as well.

The thriller genre is hard to define. It’s not quite as black-and-white as a horror movie or a comedy, but at the same time, you know a thriller when you see one. The genre has always been popular because of its ability to keep viewers guessing until the credits roll. While the genre generally brings about rabid fans, there are always going to be movies that go unnoticed. This list seeks to shed some light on those films.

Below, you’ll find ten recent releases that failed to garner the attention they deserved. While there is clearly a blend of various subgenres, each entry on this list can be defined as a thriller in some way. If they fit within the genre and they were released within the past five years, they’re fair game.

1. Operation Hyacinth (2021)

From 1985-1987, Polish communist police carried out a secret operation called Operation Hyacinth. The end-goal was to create a database of homosexuals within the area in an effort to combat the HIV and AIDS epidemic. Given the time period, it should come as no surprise that this operation was anything but innocent. Brutal interrogation tactics were used to keep tabs on the LGBT citizens of Poland, and because of this, members of the gay community were forced further into the closet so that they may remain safer.

This operation serves as the basis of this appropriately named thriller from 2021. Piotr Domalewski’s Operation Hyacinth focuses on the titular operation, but rather than broadly dramatizing the two-year period, it narrows the scope, instead opting to look at both a smaller time period and smaller area. In other words, the film uses the operation as a jumping-off point, but there’s more drama beyond the uncomfortable interrogations and unethical cataloging.

Robert, the protagonist, is tasked with going undercover so that he can investigate what appears to be a string of serial homicides. The targets are consistently gay men, so in Robert’s mind, it is his moral obligation to participate in Operation Hyacinth, if only because it will stop the deaths of innocent victims. Unfortunately, his moral compass doesn’t align with that of his colleagues, who clearly have ulterior motives.

The protagonist’s conflicted morals really drive the film forward. Over the course of less than two hours, Robert battles his own personal demons while trying to juggle several massive responsibilities. This leads to something far more complex and layered than your average historical drama. There’s definitely a history lesson here, but there’s also a dense character study that aims high and almost always provides viewers with talking points.

When you factor in the strong production design and even stronger cast, you’re left with an essential cinematic experience. Operation Hyacinth entertains, inspires, and leaves a lasting impression. It’s not always fun in the conventional sense, but it’s gripping in its own way.

2. The Killing of Two Lovers (2020)

The Killing of Two Lovers is a profoundly contemplative and audaciously introspective film that combines the best parts of thrillers and prestige genres. By embarking on an exploration of existential turmoil, this feel-bad movie stands out as a remarkable work of artistry.

Clayne Crawford plays David, a man who fails to come to terms with the recent separation from his wife. Crawford’s cold, hushed demeanor paints him as a man desperately trying to fight his internal demons while simultaneously attempting to fix the relationships he tore apart. Crawford’s work is revelatory, and the way he portrayals human frailty is nothing short of incredible.

At the same time, Robert Machoian’s deft direction allows the film to speak for itself even when the cast is dead silent. There’s a sense of pensive beauty that permeates each scene, giving viewers an experience that’s as disquieting as it is meticulously crafted. The characters’ conflicts are on full display, and Machoian makes an active effort to help viewers sympathize with these struggles.

Again, the feel-bad label ultimately means this is not the movie to watch with a group of rowdy friends. This melancholic, poetic indie thriller should be seen in a room free of distractions. It’s a powerful achievement with bold themes and incredible craftsmanship. Basically, it’s essential.

3. Black Box (2021)

Not to be confused with Blumhouse’s 2020 Amazon Prime original, Yann Gozlan’s Black Box is a grounded mystery thriller about a black box analyst who uncovers a grandiose conspiracy after his skills are put to the test. It’s a smart, low-budget conspiracy thriller that has become increasingly rare in the modern age. Black Box trusts its audience to understand what’s going on, and thus, it allows its mystery to unravel slowly and intricately. It’s smaller scale, but every moment leads to something bigger and bolder.

The film understands how to gradually build its stakes. It knows that the viewers willing to pay attention will eventually make it to the big, exciting finale, but it also knows how to make that lead-up worth it without necessarily making it over-the-top. There’s an art to Black Box’s storytelling.

The intentional pacing, mixed with the whip-smart script, allows Black Box to stand out compared to its contemporaries. There’s so much passion poured into this small French thriller, and that amount of passion doesn’t go unnoticed.

4. Emergency (2022)

As always, last year had plenty of Sundance hits that failed to earn the attention of the general public. Emergency is a prime example – a movie that earned critical acclaim upon its release but ultimately failed to make a splash with mainstream audiences. On the bright side, this list exists for a reason.

Emergency deserves your attention. This comedy-thriller takes the “wild night of partying” trend and turns it on its head. See, it doesn’t completely revolve around drinking and making bad decisions. Instead, it focuses on a massive misunderstanding brought about after a group of friends finds an unconscious underage white girl. Though they have nothing to do with the young woman’s condition, they feel obligated to help her. Unfortunately for them, it’s not that easy.

The film works best as a social commentary. What happens when a group of black men try to help a young, presumably wealthy, white girl? Well, it’s not exactly a simple ten-step process. This premise brings about tension, comedy, and some stellar performances, but more importantly, it sheds light on themes that desperately need to be discussed. It takes a tired trope and subverts viewer expectations at every opportunity, and that’s why it works.

5. The Beta Test (2021)

There’s nothing quite like a Jim Cummings movie. The relatively unknown director is known for mixing cringe-comedy with countless other genres to create a bizarre concoction that always ends up being far better than it has any right to be. The Beta Test, for example, arguably has too many ideas in its head. It’s very much a “throw everything at the wall and see what sticks” kind of movie, and in theory, this should result in something disastrous. Somehow though, just like with Thunder Road and The Wolf of Snow Hollow, there’s something undeniably magnetic about this erotic thriller.

From the opening scene, The Beta Test hooks viewers with its enigmatic premise. This premise, which expertly explores timely themes, unravels slowly, allowing viewers to play a little guessing game as each scene transitions to the next.

The actual storytelling is comparable to other thrillers, albeit with some additional twists and turns, but again, this isn’t your average thriller. Cummings incorporates pitch-black humor into his script, giving folks a movie that zigzags between cautionary tale and chuckle-inducing satire. There’s a steady, skillful balance between the tones and subgenres, and although an amateur might fail to deliver, Cummings understands the assignment quite clearly.

Put simply, The Beta Test is an intellectually stimulating thriller that tackles thought-provoking themes in inventive ways. Its ability to ignite conversations shouldn’t go unnoticed, and as a result, it effortlessly earns a spot on this list.

The science fiction genre has always been financially successful. When you look at the box office numbers, you begin to realize that some of the biggest contemporary releases fit within the genre. Even if you ignore the superhero genre, you’re still left with movies as gargantuan as Avatar: The Way of Water, Jurassic World: Dominion, and A Quiet Place Part II. These movies sell tickets, but unfortunately, not every entry in the genre is that successful.

This remains true when you venture back to the past. Again, you have some undeniable classics, but as is the case with every genre, there are films that simply go unnoticed. That’s why this list exists.

Below, you’ll find ten science fiction classics that unfortunately fell by the wayside. These movies offer just as much quality as their blockbuster brethren, but they sadly failed (and perhaps continue to fail) to ignite the world.

Science fiction is a relatively broad genre, so there’s no guarantee that every entry on this list will click with every individual. That being said, there is an eclectic assortment, and as such, there should be something worthwhile for everybody.

1. My Twentieth Century (1989)

In terms of critical acclaim, My Twentieth Century is anything but underrated. The Hungarian sci-fi comedy sits at an impressive 100% on Rotten Tomatoes, and while that’s partially due to a low review count, it’s hard to ignore just how glowing the reviews are. By all accounts, professional critics tend to call it a masterpiece. Of course, this list doesn’t revolve around critical acclaim; it focuses more on the general public’s reaction. To most casual movie-watchers, My Twentieth Century is nothing.

Maybe that’s for the best. Like a lot of films on this list, nobody would claim this is an accessible watch. Its status as an out-and-out arthouse film is debatable, but at the very least, it’s a rollercoaster made up of various tones and narrative decisions. Frankly, it’s hard to believe that, with so many contrasting elements, it still feels like a cohesive final product.

Indeed, it’s a daunting watch, but it rewards patient viewers looking to explore the labyrinthine themes. It touches on the impact of massive technological advancements, it touches on the gender roles of the time, and above all, it touches on human nature. It’s both beautiful and confounding, and if you let it wash over you, it’s a game changer.

2. Dead Man’s Letters (1986)

Konstantin Lopushansky’s directorial debut is a grim, thought-provoking post-apocalyptic nightmare that feels hopeless in the best possible way. Lopushansky, who previously worked with acclaimed director Tarkovsky, gives viewers a technical feat that may well be one of the greatest post-apocalyptic movies you (probably) haven’t seen. It’s not easy to sit through, but it’s as powerful as it is memorable.

The film, which takes place in a bunker shortly after a nuclear war, forces viewers to ask big questions. What is life without humanity? Why do we wake up every morning? It’s startling in its ambition, and even more startling in its willingness to dive into such depressing territories. By today’s standards, it could be considered too slow or too depressing, but fans of Tarkovsky’s work will no doubt appreciate the effort that was put into this film.

3. Gandahar (1987)

French animator René Laloux is best known for Fantastic Planet, a critical darling that continues to be listed as one of the greatest animated films of all time. While Fantastic Planet is arguably the director’s magnum opus, his other two releases are by no means failures. On the contrary, they do a fantastic job of proving that Laloux is an auteur capable of crafting mind-binding visual feasts. Gandahar, for example, is a cerebral slice of adult animation that manages to titillate at every given opportunity.

It doesn’t stray far from Laloux’s previous works; it covers a lot of the same themes and story beats. However, when you consider how idiosyncratic these features are, it’s hard to complain. If you liked Fantastic Planet, it’s hard not to like Gandahar as well. Laloux has a distinct style, and if that style works for you once, it should continue to work for you.

4. Phase IV (1974)

American graphic designer Saul Bass worked for some of the greatest directors to ever live. His unique, visually arresting title sequences continue to entrance viewers decades later. That being said, his work as a director has unfortunately left little to no impact. His only feature length film, Phase IV, was a critical and commercial disaster following its release. Although it has since developed a small cult following, it’s mostly regarded as a failed experiment.

That assessment is unfair. Phase IV takes what you know about creature features and completely shatters your expectations. In the film, a mysterious event causes ants to rapidly evolve, resulting in a superior hive mind that allows them to complete tasks with unparalleled efficiency. Following this revelation, the plot slows down rather than speeds up.

Even fifty years later, the decision to pump the brakes feels unusual. Similar films revel in chaos, but Phase IV offers a more heady, solemn experience. The unconventional pacing can cause certain moments to drag, but buried beneath the jargon-heavy monologues is a stunning showcase of special effects that also happens to feature compelling characters.

Given Bass’s history with graphic design, it should be no surprise that the visuals are mesmerizing. Even today, Phase IV continues to look incredible. While certain visual effects are worth the price of admission alone, it certainly helps that there is a story worth telling. Sure, it’s not told in a conventional manner, but there is clearly an audience that will absolutely adore Phase IV.

5. Blue Sunshine (1977)

In Jeff Lieberman’s campy sci-fi horror release, Jerry Zipkin, played by Zalman King, witnesses a psychotic breakdown during a party. This rampage results in the death of several party guests, and Zipkin is the only character left alive. In an effort to prove his innocence, he tries to connect the dots, eventually discovering that these murders may be linked to an unusual brand of LSD. From there, the protagonist does everything he can to expose this conspiracy

As a satire of the war on drugs, Blue Sunshine isn’t entirely successful. While most failed satirical films hit viewers over the head, this one might actually be too subtle for its own good. Without much analysis, Lieberman’s script can be interpreted as a straightforward piece of anti-drug propaganda. It’s not quite Reefer Madness levels of crazy, but there’s certainly a case to be made. That being said, Lieberman has labeled it a “satirical statement” in at least one interview.

Even if its message isn’t always clear, Blue Sunshine is massively successful as a piece of entertainment. Lieberman knows how to keep people engaged, and his knack for crafting eccentric characters is unparalleled. It’s hard not to be entertained by bald murderers tripping on acid, but when you factor in the likable ensemble, you’re left with a low-budget cult classic that should fill you with pure joy. It’s not exactly an intellectual exercise, but it is an excellent way to spend ninety minutes.

For the past two decades, Pablo Larraín has been crafting unconventional historical dramas. Although these films have always received strong reviews, the Chilean director didn’t achieve international success until the release of 2016’s Jackie. Since then, cinephiles have sought to hunt down his non-English works in an attempt to get the bigger picture.

If you are one of those people, this list is for you. Below, you’ll find all of Larraín’s films ranked. Although there is some difference in quality, it’s impressive to see just how consistent this director is. Larraín has released nine quality films in the span of sixteen years. In other words, every single entry on this list deserves to be watched. However, if you’re strapped for time, you’ll need to make the top half your priority. Still, it’s hard to go wrong with a director of this caliber.

9. Fuga (2006)

Larraín’s fascination with trauma has been evident since his directorial debut. Fuga, a drama about a musician with an ugly past, tackles many of the same themes as the director’s later works. While there are some notable flaws, Fuga is a strong debut that’s worth seeking out if you appreciate the director’s other efforts.

This is a confident, thought-provoking debut that clearly previews what is to come. Benjamín Vicuña’s performance is particularly memorable. The actor does a good job of making the most out of the more melodramatic moments. Meanwhile, the script twists and turns in unexpected directions, resulting in a movie that is bound to keep viewers on their toes.

Of course, there are the usual missteps that come with directorial debuts. Namely, there’s a distinct lack of subtlety, especially compared to some of Larraín’s strongest outings. Larraín is known for his understated approach to filmmaking, but Fuga often comes on a little strongly. It’s not too in-your-face, but it does feel like a step back when you compare it to his more recent releases.

Overall, Fuga sets a solid foundation even if it struggles to provide viewers with provocative talking points. You can see the beginnings of a talented filmmaker here, and as such, it’s worth hunting down. Just don’t expect it to reach the heights of Larraín’s greatest accomplishments.

8. Tony Manero (2008)

Tony Manero is the first entry in Larraín’s unofficial dictatorship trilogy. Though the three films don’t follow one another sequentially, they all revolve around the 1973 Chilean coup. In all three films, the setting moves the story forward without being the primary focal point.

In the case of Tony Manero, the character is driven by the events of the coup, but his internal conflicts take precedence over the big picture. In other words, this is less a historical epic and more a character study that happens to take place during a significant historic event. Given Larraín’s penchant for psychological character studies, this turns out to be the right move.

Throughout the runtime, the focus remains squarely on Raul, the Saturday Night Fever obsessed protagonist. As the layers unpeel and his darker side becomes clearer, the audience is left to wonder how he wound up this way. The director has never been fond of spelling things out for viewers, and that remains true in his sophomore effort. Still, there’s more than enough here to draw conclusions and spark discussions.

Given the low placement on the list, it should once again be noted that Larraín’s films are all of a similar quality. Tony Manero, like Spencer and Neruda, examines a fascinating person by employing a fly-on-the-wall technique. Its only downfall is its tonal inconsistencies. The pitch black comedy occasionally clashes with the psychological horror, but at the end of the day, this is still the work of a singular filmmaker.

7. Neruda (2016)

When viewing all of Larraín’s historical dramas, you might come to the conclusion that Neruda is the most traditional of the bunch. It follows a linear story that focuses on a cat-and-mouse chase between esteemed poet Pablo Neruda and a young policeman named Óscar Peluchonneau. Neruda, a noted communist, becomes public enemy number one after the election of Gabriel González Videla. This ultimately leads to a witch hunt that expands far beyond the country of Chile.

The story is relatively straightforward, and honestly, Larraín doesn’t seem too keen on experimenting with the structure. As such, it comes off as a very different movie compared to Jackie and Spencer. It’s still psychological, and it still stands out next to Hollywood biopics, but this is about as safe as the eccentric director can get.

Luckily, the story is interesting; it doesn’t need horror-esque imagery or an experimental framing device to entertain. Pablo Neruda lived a fascinating life, so sticking to the basics doesn’t really feel like a big loss. Nobody will mistake this for a standard, run-of-the-mill biopic, but viewers should be aware that it’s less daring than something like Spencer.

6. Post Mortem (2010)

Chile’s 1973 military coup was undoubtedly a haunting time for the citizens of Chile. Civilian unrest was at an all-time high, and differing political opinions led to horrific violence. This is made perfectly clear in Pablo Larraín’s Post Mortem, a film that focuses on a psychologically scarred assistant to a pathologist.

Mario, the protagonist, is withered from months of staring at dead bodies. That being said, his cold, empty stare makes him hard to read. He is, to put it bluntly, completely detached from reality. The political unrest has torn him down, and his shining light comes in the form of a show dancer named Nancy. After beginning an affair with the young woman, viewers may start to see some sort of light, but overall, he’s still an empty shell of a man.

Like many of Larraín’s films, Post Mortem is primarily a character study. However, viewers are encouraged to see how the historical events affect the protagonist’s actions. Without delving too much into spoilers, Mario is not a likable character, but is that because of the coup or is it because of something more rooted in his psyche?

Post Mortem begs to be analyzed; it’s not a movie that you should watch passively. There are too many moving pieces. If you were to ignore one of those moving pieces, the foundation could, theoretically, crumble. This ultimately means that your mileage will vary depending on how much work you’re willing to put into watching an unrelentingly gloomy motion picture. Those willing to sit back and scrutinize will find something worth watching, but this is bound to polarize viewers given the downcast tone and slow pacing.

The words “underrated” and “overrated” have always caused controversy because, frankly, they’re both hard to define in a way that feels concrete. Yes, we all vaguely know the dictionary definition of these terms, but there’s so much contention regarding what makes something overrated or underrated.

Is a film underrated if it garnered glowing reviews but failed to ignite the box office? What about if you flip it? The live action Lion King grossed well over a billion dollars worldwide, so is it okay to label it underrated based on its poor reviews? Let’s be honest – trying to figure out a one-and-done definition will always be exhausting, so we’re going to keep things simple.

The films listed below are simply underappreciated. They can be considered underappreciated because of a lack of mainstream success or because of lukewarm reviews. In some cases, a film on this list might be a critical and commercial failure. It doesn’t matter because, in the end, this list just seeks to shed light on movies that deserve extra attention. Positivity is the primary goal here, and even if not every entry fits everybody’s definition of “underrated,” there’s still plenty to celebrate.

1. Beyond the Infinite Two Minutes

It’s hard to talk about Beyond the Infinite Two Minutes without bringing up One Cut of the Dead. They’re both ultra-low-budget one-shot Japanese movies that uniquely utilize creative camera tricks to move their inventive stories forward. They also defy genre conventions by eschewing Hollywood clichés, instead opting for more creative storytelling techniques.

That being said, they are very different movies when you move past those very obvious comparisons. Yes, Beyond the Infinite Two Minutes uses some of the same tricks, but it’s still an incredibly inventive sci-fi gem that has more heart and soul than most Hollywood blockbusters. Without the lavish special effects, A-list stars, and massive setpieces, Beyond the Infinite Two Minutes must rely on other things. That’s where the creative premise comes into play.

The film looks into the lives of a group of people who discover an unusual device. This device allows them to see two minutes into the future, but only from the perspective of a lone television in a cafe. When the group learns that they can create a Droste effect, they pile on screen after screen, pushing them further and further into the future.

The premise itself is creative enough, but on top of that, the movie just oozes with charm. The characters are lovable, the twists are clever, and the jokes land more often than they don’t. This isn’t as high-stakes as something like Tenant, but that doesn’t matter. It finds other ways to grab your attention.

2. Babylon

It’s easy to see why Chazelle’s three-hour epic has garnered mixed reviews. It’s an exercise in maximalism that often struggles to justify its ridiculous runtime. Put simply, certain viewers can’t quite stomach a film that’s so brazenly in-your-face for so long. Yes, Babylon is bound to polarize, but let’s make one thing perfectly clear – in spite of its messy nature, Babylon is never boring.

The cocaine-fueled black comedy focuses on several distinct characters who try to make a name for themselves in the early days of Hollywood. There’s Jack Conrad, the stoic moviestar who bounces from one bad choice to the next. Then you have Nellie LaRoy, a desperate, brash young woman who proudly jumps through hoops to become the next Hollywood it girl. Finally, there’s Manny, the naive who sort of stumbles into the movie industry after several unusual encounters. These characters make Babylon worth watching.

See, the actual narrative isn’t anything new. In particular, we’ve seen variations of Jack Conrad’s story hundreds of times. What sets Babylon apart is the way each character is handled. While they’re not exactly good people, the central trio is undeniably entertaining. In particular, Nellie LaRoy, played by the marvelous Margot Robbie, commands the screen at every given opportunity. She finds a way to keep you hooked even when more frustrating aspects begin to pile up.

It almost feels unfair to tell viewers that they should ignore the obvious faults, but let’s be real, Babylon is an absolute treat once you stop overanalyzing it. To add to that, it’s not like it’s a complete “check-your-brain-at-the-door movie.” This isn’t Crank or Hobbs & Shaw. It’s still a reasonably intelligent look at the ups and downs of Hollywood. The execution is clumsy, but even so, it’s a joy to sit through.

3. Cha Cha Real Smooth

This Sundance hit may have impressed critics upon release, but its inability to leave a lasting impression hasn’t gone unnoticed. Although Cha Cha Real Smooth undoubtedly has loyal fans, the initial hype seemed to come and go rather quickly. This could be because it lacks the groundbreaking moments of some other noteworthy releases, but even so, this is a movie that deserves attention.

The premise is simple enough. A 22-year-old party host named Andrew quickly becomes enamored with an older woman named Domino. As Domino’s layers begin to unravel, it becomes clear that Andrew has a lot of growing up to do. The relationship between the two protagonists propels the narrative forward, but that’s because the dialogue is so witty and engaging.

In spite of its relative simplicity, Cooper Raiff delivers one hell of a script. Films like this often suffer because of a lack of authenticity. That’s not the case with this movie; the characters behave like real, authentic human beings, and more importantly, they behave like admirable (albeit flawed) human beings.

This is all strengthened by strong performances. Dakota Johnson is, no surprise, fantastic. The actual surprise is Raiff, who directs himself. Raiff delivers a confident performance throughout the entirety of the runtime. When these two are the ones bringing such a strong script to life, it’s easy to see why the final product is so good.

4. The Outfit

The Outfit brings to mind gangster thrillers from a different era. It lacks the flashy pizazz of its contemporary brethren, and it instead seeks to deliver intricate thrills without the fluff. Since people are used to more grandiose crime movies, it’s easy to see why The Outfit slipped through the cracks so quickly, but that doesn’t excuse the lack of attention.

Strong performances and a layered screenplay ensure Graham Moore’s lean little movie packs a punch. Rylance is excellent, and thankfully, he has a strong script to work with as well. It might not provide as much impact as the classics it seeks to replicate, but it still provides plenty of entertainment, especially if you know what you’re signing up for.

5. Thirteen Lives

Ron Howard’s dramatization of the Tham Luang cave rescue isn’t quite as interesting as the main story, but that’s often expected of movies like this. The historic event, which was previously covered in the documentary The Rescue, has so many fascinating elements that it’s hard to cover everything in one feature length narrative film. That being said, Thirteen Lives is still an endlessly thrilling feat with an A-list cast.

Surprising nobody, Howard has quite the knack for directing. With him behind the camera, audiences are left with a visually stunning drama that makes terrific use of strong actors. If it occasionally feels too safe, that’s because it is. Nevertheless, it’s powerful and it’s in the right hands.

Few people would consider 2022 a bad year for movies. It might not stand tall as one of the greatest in recent memory, but it certainly delivered in a lot of areas. That being said, there will always be disappointments when you’re a movie fan. It’s easy to get excited about the latest blockbusters or the next big Oscar contender, and as a result, not everything is always going to fall into place.

This article will discuss the ten most disappointing movies of the year. Instead of focusing solely on big blockbusters, we’re going to look at a wide array of movies. Anything that had solid potential is fair game.

As always, if a movie didn’t show much promise to begin with, it will be excluded from this list. Morbius, for example, never seemed destined for greatness, so its low quality was hardly surprising. While there is definitely going to be variance when it comes to just how disappointing each film on this list is, the entries have nevertheless earned their spots.

1. Blonde

Over sixty years after her death, Marilyn Monroe continues to be one of the most fascinating celebrities. Her ups and downs have been documented by countless people, leading to a staggering number of works about her. Some of these works, like My Week with Marilyn, provide a sensitive, introspective look into the pop culture icon’s life. Andrew Dominik’s Blonde does no such thing.

Blonde is a misguided, exploitative insult to Monroe’s legacy. Even if we accept the fact that it’s a heavily fictionalized account of her life, it still comes off as an insulting mess of a movie. There isn’t a nice way to say it; Blonde is irredeemable.

For one, it paints Monroe as a battered, emotionally unstable ditz, but that’s not enough. It delights in showing her going through hell for nearly three hours. This version of Monroe is beaten, raped, emotionally manipulated, and basically everything else under the sun. The utter lack of subtlety means that audiences have to watch it all unfold in the most melodramatic way possible. It’s not a sensitive portrait of one of the world’s most influential figures; it’s a shameless, borderline misogynist, slice of torture porn.

Even if this was about a fictional character, it still wouldn’t be worth watching. It’s not fun to watch someone get abused on-and-off for multiple hours. It’s even less fun when the screenplay fails to say anything substantial.

A lot of films on this list are okay to sit through during a rainy afternoon. They’re not great movies, but they’re technically fine. Blonde, on the other hand, should be avoided at all costs. It’s an insipid, amateurish piece of filmmaking that should be buried alongside the worst Netflix original films.

2. Empire of Light

Early Oscar predictions labeled Empire of Light a potential Best Picture contender prior to its release, and it’s easy to see why. Mendes’s last film, 1917, picked up ten Oscar nominations, including Best Picture. On top of that, Olivia Colman has consistently found a way to be the secret ingredient to Oscar success. When you factor in big names like Roger Deakins and Trent Reznor, it’s no wonder why so many people assumed Empire of Light would be such a knock-out.

Unfortunately, Mendes is not as good of a writer as he is a director. Empire of Light looks and sounds great, but it’s a muddled assortment of ideas that rarely develop into anything meaningful. There’s simply too much going on in this half-hearted period drama, and because Mendes fails to adequately address anything fully, viewers never have the opportunity to dig deeper.

It’s a romance movie. It’s a meditation on race relations. It’s a movie about movies. It’s a lot of things, and that’s its ultimate downfall. Maybe Empire of Light would have worked as a miniseries, but as a sub-two-hour movie, it’s frustratingly unfocused. Academy Award voters seem to agree, as it only managed to garner one measly nomination.

3. Thor: Love & Thunder

The Marvel Cinematic Universe is at its best when it brings on directors with clear, creative visions. That explains why Thor: The Dark World and Thor: Ragnarok received such wildly different reviews. Thor: The Dark World was a generic fantasy flick with a forgettable villain, while Thor: Ragnarok was an idiosyncratic action-comedy with likable characters and distinct visuals. Taika Watiti managed to bring his signature style to the MCU, and he gave viewers one of the best films in the massive franchise.

Thor: Love & Thunder is an anomaly. Watiti may remain in the director’s chair, but the film still lacks the magic of better Marvel movies. Although it has Watiti’s quick-witted humor and quirky characters, the storytelling is sorely lacking.

The MCU has always had a villain problem, and unfortunately, Love & Thunder continues that. As great as Bale can be, his appearance as Gorr the God Butcher feels like a total waste. The audience gets so little time to care about the character that the epic climax ultimately feels like a waste. When you consider the fact that nearly everything else is just as underdeveloped, you begin to wonder if Marvel is losing its touch.

4. Amsterdam

Controversy aside, David O. Russell has proven to be an incredibly competent director throughout the years. His ability to get game-changing performances out of talented actors shouldn’t go unnoticed. It has, after all, resulted in a plethora of Oscar nominated roles.

At the same time, the director has always had issues when it comes to telling streamlined stories. American Hustle may have featured a stellar cast, but it also featured an overstuffed narrative filled with far too many tangled webs. It proved to be a worthwhile crime movie, but its lack of focus didn’t go unnoticed.

Amsterdam, David O. Russell’s first feature length film in seven years, features everything that makes the director’s work divisive. As always, you’ll find an A-list cast, but alongside that A-list cast is miserably zigzaggy writing featuring unlikable, borderline cartoonish characters. The cast tries to make an impact, but with such a sloppy screenplay, they’re fighting an uphill battle.

It’s hard to figure out who Amsterdam is supposed to appeal to. Even O. Russell’s defenders will have a hard time finding anything worthwhile. It’s not offensively terrible, but it’s overloaded with wasted potential.

5. Jurassic World: Dominion

Jurassic World: Fallen Kingdom may have earned tepid, if not outright negative, reviews, but that didn’t stop the enthusiasm for the latest entry in the series. As always fans of the franchise wanted to dub Fallen Kingdom a fluke, but unfortunately, Dominion is about as worthwhile as the previous film. Sure, it may reunite Colin Trevorrow and an all-star cast, but it’s still an overstuffed, unoriginal summer blockbuster.

Beyond the fact that certain plot points just don’t make sense, the most recent entry in the Jurassic World series suffers because it’s so uninspired and vapid. The characters behave like robots, the storytelling mindlessly checks off checkmarks, and the massive setpieces fail to stand out. The magic is gone, and hopefully a hiatus will allow this franchise to recover.

As 2023 begins to kick into gear, it’s essential to look back at what made the previous year so great. Before readers move onto another year of new and exciting releases, Taste of Cinema will once again discuss the highlights from the previous year. This list specifically focuses on the best science fiction films from 2022.

Below, you’ll find the ten best sci-fi movies from last year. As always, there’s a solid mix of introspective arthouse releases and all-out blockbusters. The amount of variety should, in theory, help readers find something worth watching.

10. Crimes of the Future

It’s wild to think that David Cronenberg, a director so closely associated with body horror, took a twenty-three year break from the subgenre. Sure, it’s not like he was out directing flops, but let’s be honest, Eastern Promises is a massive departure from things like Videodrome and The Fly. Though countless directors have tried to replicate Cronenberg’s visceral style, few have been able to get it right. That’s why Crimes of the Future was such a big deal prior to its release.

Cronenberg’s return to body horror is, unsurprisingly, the best kind of grotesque nightmare fuel. The scattershot storytelling might rub some viewers the wrong way, but it shouldn’t really come as a surprise. This is quintessential Cronenberg. It’s a movie that generally prioritizes haunting imagery and methodical suspense, often at the expense of a cohesive narrative. Theoretically, this should be a major problem, but given Cronenberg’s talents, it’s easy to ignore the narrative missteps because, deep down, it’s much easier to just enjoy the ride.

9. Something in the Dirt

Throughout the years, directing duo Moorhead and Benson have developed a small but loyal following. Films like The Endless and Spring earned strong reviews thanks to their heady themes and naturalistic dialogue. Given the consistently convoluted storytelling in their filmography, their work has been polarizing, but generally speaking, reactions continue to be positive.

Something in the Dirt, the latest full length feature from the two, is just as ambitious as you’d expect. It’s filled with numerous ideas, and at times, this can interfere with pure enjoyability. In other words, the film isn’t always exciting to sit through. That being said, it has a central message that’s easy to appreciate and a pair of leads who elevate the overstuffed narrative.

8. Brian and Charles

This methodically-paced sci-fi comedy doesn’t exactly open with a bang. On the contrary, Jim Archer’s directorial debut sneaks up on you. Early on, viewers meet Brian, a lonely inventor living in a small Welsh town. The obsessive tinkerer, who spends most of his time home alone, eventually finds a way to bring his long-awaited robot companion to life. From there, we meet Charles, and for the next thirty minutes, we learn about the quirky robot’s various intricacies.

The opening act is pleasant, but it rarely makes an effort to actively keep viewers emotionally invested. However, as the runtime progresses, viewers quickly learn that this slow buildup serves a very important purpose. As we watch the relationship between Brian and Charles grow, we become increasingly invested in their friendship, and as result, we become increasingly dependent on their wellbeing.

Okay sure, maybe a lot of movies do that. Brian and Charles isn’t exactly groundbreaking in its methodology, but the use of pathos proves to be an essential ingredient regardless. This is largely because it provides viewers with two immensely likable characters. It’s easy to root for the pair of protagonists because they’re so well-written and so full of life. Even if Brian and Charles doesn’t break new ground, it certainly finds a way to get viewers attached to its unlikely duo.

7. Avatar: The Way of Water

It has been over ten years since the release of Avatar, and since then, blockbusters have changed dramatically. The Marvel Cinematic Universe has continued to influence big-budget action movies, resulting in things like the DC Extended Universe and the Monsterverse. While there have been plenty of gems since the release of Avatar, it’s nice that, 13 years later, Cameron is still capable of making films that are certifiably his own.

Avatar: The Way of the Water is exactly what you expect. It’s a sweeping technical achievement with an engaging, albeit fairly simple, story. Like all of Cameron’s filmography, it celebrates excess. The daunting runtime, lavish visual effects, and enormous cast of characters won’t surprise anyone familiar with the director’s work. Luckily, that feeling of familiarity generally stands out as a positive.

Basically, this is a worthy follow-up to the highest grossing film of all time because it feels like such a natural next-step. Rather than attempting to replicate the formulas established by today’s blockbusters, Avatar: The Way of the Water is just a bigger, better version of its predecessor. The visuals are more impressive, the characters have more depth, and the story is more ambitious. This is exactly what it needs to be.

That might not be enough for the people who criticized the original, but that doesn’t matter. Cameron’s goal wasn’t to convert the naysayers because, frankly, he didn’t need to. He knew that sprucing up the previously established formula would work out in his favor, and he was right.

6. Prey

After so many failed attempts at revitalizing the iconic franchise, Prey finally pushes the Predator franchise forward. It turns out that, rather than piling on excessive amounts of convoluted lore, the series simply needed to deliver slick action scenes featuring a likable protagonist going up against the iconic extraterrestrial species. See, Prey isn’t particularly complex; it’s just a well-made movie that does everything it sets out to do.

Trachteberg’s prequel takes the franchise all the way back to 1719. Viewers are introduced to Naru, a wannabe hunter who idolizes her brother’s prowess. As warning signs begin to foreshadow the appearance of the Predator franchise’s titular monster, Naru’s hunting skills become an essential life-or-death skill. Thus begins an hour of pulse pounding excitement.

Prey’s well-choreographed battles are great on their own, but they’re accompanied by a terrific leading performance. Amber Midthunder doesn’t portray a throwaway space marine; she’s a charismatic protagonist through and through. Her charm goes hand-in-hand with practically everything else, resulting in an entry that very well could be the best in the series.

2022 was, without question, the best year for horror movies in some time. With an even mix of theatrical hits and hidden gems, there was more than enough variety for fans of the genre. This list aims to highlight that.

Below, you’ll find the fifteen best horror movies of 2022. Considering the quality of this year’s releases, there are going to be some omissions. Films like Scream, Deadstream, and The Black Phone didn’t quite make the cut, but they nevertheless garnered praise from casual moviegoers and critics alike.

The films that did make the cut are excellent additions to the genre. Some of them are future classics, while others are just really entertaining. Regardless, they are all very deserving of people’s attention.

15. Smile

On March 25, 2020, Laura Hasn’t Slept screened at the SXSW Film Festival. The horror short, which focuses on a young girl who meets with her therapist in an effort to alleviate her recurring nightmares, earned solid reviews. Within eleven short minutes, director Parker Finn manages to build an almost uncomfortable amount of tension, leading to a booming climax that should affect even the bravest horror movie fans.

This leads us to Smile, the feature length adaptation of Finn’s acclaimed short. Given the bare-bones storytelling of the original short, Smile shouldn’t be good. The marketing painted it as a by-the-numbers horror flick revolving around a potentially eye-roll-inducing gimmick. The skeptics had valid points; how could a story like this hold somebody’s attention for nearly two hours, especially when genre highlights like It Follows exist? Well, Smile doesn’t reach the dizzying heights of It Follows, but it’s nevertheless completely competent.

Like the original short, Smile’s biggest asset is its scare factor. Finn clearly understands what makes people squirm. Horrific imagery combines with surprising thematic depth, giving us a film that pushes past its clichés. It’s still very much a Hollywood horror flick, but it offers just enough to stand apart.

14. Terrifier 2

Damien Leone created a slasher icon with Art the Clown, but up until this year, he never gave the character a story worth telling. All Hallows’ Eve was an inconsistent anthology flick, and Terrifier was a narrative mess that focused a little too heavily on the misery of its female characters. Prior to the release of Terrifier 2, it was clear that Leone had some great ideas for this character, but he had no idea how to craft an interesting narrative surrounding him.

Luckily, Terrifier 2 has an interesting narrative. It might not have a completely logical narrative, but it’s certainly capable of holding the average viewer’s attention. Thanks to the absurd runtime, there’s plenty of room for things like character development and narrative surprises. Sure, there’s also room for gaping plot holes, but given the unabashed entertainment value, most people will leave satisfied.

Put simply, the film works because it’s so bold. While the first entry in the series settled on bland slasher clichés, Terrifier 2 seems more willing to take creative risks. Of course, there are still numerous grindhouse-inspired kill scenes, but there’s also unexpected universe building. The film adds a surprising amount of lore to a franchise that, frankly, doesn’t necessarily need it. It all adds up to a daring, if messy, slasher epic.

13. Bodies Bodies Bodies

Slasher comedies always feel like a gamble. Tucker & Dale vs. Evil, for example, immediately struck gold following its release. On the other hand, you have movies that feel like personified shrugs. Films like The Babysitter and Blood Fest tried and failed to do something interesting with the subgenre. The inconsistency partially has to do with the poor critical reception of the slasher subgenre in general. At the same time, the melding of different genres often leads to a tonal mishmash that leaves viewers cold.

Bodies Bodies Bodies juggles countless subgenres and somehow, miraculously, sticks the landing. It’s not just a slasher comedy; it’s also a whodunnit and social satire. It is crammed with so many different ideas, and against all odds, it generally juggles everything successfully.

Much of the film’s success comes from the script and the cast. Sarah DeLappe’s snarky screenplay guides the way for an outstanding ensemble made up of several up-and-comers. Maria Bakalova plays a surprisingly grounded scream queen, while Rachel Sennott nails the comedic timing of each and every line. Of course, Bodies Bodies Bodies won’t send shivers down your spine, but it will keep you immersed until the credits roll.

12. You Won’t Be Alone

If methodical, symbolic horror is your thing, You Won’t Be Alone should tick all the right boxes. Though not scary in the conventional sense, this folk horror flick from Macedonia provides plenty of uneasy tension. At the same time, the priority is clearly social commentary. You Won’t Be Alone certainly provides viewers with a sense of dread, but it does so in an effort to analyze human behavior.

This is a meditation on humanity, and it’s a very good one. The naive protagonist, who grew up in isolation, slowly discovers what it means to be a human being. She discovers, or at least attempts to discover, why we act the way we do.

It is, like so many other folk horror films, a slow burn. It’s light on climactic moments and even lighter on dialogue. In other words, it’s made for a very specific audience. Patient viewers will be rewarded, especially if they understand what the film is trying to do.

11. Fresh

Mimi Cave’s directorial debut immediately impressed critics following its Sundance premiere. Fresh, an unusual black comedy horror movie, provides unsettling nightmare fuel with a welcome dose of satire. Thanks to a razor sharp script that enhances the already creative premise, horror fans can’t get enough of this surprise hit.

Fresh revolves around a young woman named Noa who meets a charming man at a supermarket. Frustrated with the growing inconsistencies brought about by online dating, she shoots her shot and the two quickly hit it off. When the suave stranger offers her a weekend of romance, she reluctantly agrees in spite of her best friend’s advice. From there, things take a turn.

That turn is better left unspoiled. Although it’s relatively easy to predict the various twists buried within the film, it’s still a movie that works better when viewers know as little as possible. While the various surprises might fail to catch viewers off-guard, they do a tremendous job of pushing the script forward. The underlying satirical elements are made significantly more interesting as a result of the mysterious horror elements.

On top of that, Daisy Edgar-Jones and Sebastian Stan give nuanced performances that feel right at home in this slick slice of elevated horror. When all of the elements come together, Fresh manages to provide viewers with a daring, often mesmerizing, little flick. It might not provide the big scares of some other entries, but it’s nevertheless brainy and enjoyable.

10. X

Ti West’s first horror movie in nearly a decade was well worth the wait. Functioning as a throwback to old school slasher movies, this is essentially Texas Chainsaw Massacre for a new generation. It’s violent, it’s abrasive, and it’s gritty. This allows it to work as a love letter to horror classics, but it also stands tall as a strong contemporary outing.

In X, a group of actors and filmmakers rent out a Texas property in the late ‘70s in order to shoot a porno. When they begin to notice the unusual behavior of the hosts, things take a sudden turn. From there, the eccentric group must fight for their lives if they plan on making it out unscathed.

The actual set-up is fairly standard stuff, but the execution makes a world of difference. Yes, this is a movie that pays homage to numerous other works, but it’s also clearly a product of Ti West’s imagination. All of his little idiosyncrasies are present, and they all make this film so much more fascinating.

X is made even more fascinating when it’s paired with its prequel. As a singular entity, it’s easy to like, but as one part of a series, it’s even better. West has done so much to build this world, and he shows no signs of slowing down. With the upcoming release of Maxxxine, fans have a lot to look forward to.

9. Watcher

Maika Monroe earns her scream queen title in Watcher, a chilling psychological thriller with just enough horror to meet this list’s requirements. The film, which focuses on a young woman’s paranoia revolving around a middle-aged man who watches her daily, tackles familiar tropes but remains worthwhile thanks to a strong lead performance and an unsettling atmosphere.

Monroe gives a career-best performance as Julia, the anxiety-ridden protagonist whose constant discomfort largely goes unnoticed by the ignorant supporting characters. The “properly paranoid” protagonist is admittedly a well-worn trope, but Monroe’s commitment to the performance justifies the occasionally cliché story beats.

Additionally, director Chloe Okuno constantly develops a sense of dread throughout the film. Though the various plot points are easy to predict, Okuno’s ability to make viewers uneasy helps alleviate this minor problem. The haunting atmosphere goes hand-in-hand with terrific acting, resulting in a memorable thriller with plenty of bite.

The past few years have brought us some science fiction juggernauts. Nope, Dune, and A Quiet Place all earned rave reviews, and on top of that, they managed to score big at the box office. People will flock to the theaters to see the next big sci-fi blockbuster, but that doesn’t mean every science fiction film captures a sizable audience.

Every year, there are countless releases that go mostly unnoticed. This could be due to poor marketing, miniscule budgets, or a general lack of exposure. One thing should be made abundantly clear; this doesn’t necessarily mean that there is an abundance of low budget rubbish. While there are definitely some significant misfires, there are also countless underrated gems that simply get overlooked.

Below, you’ll find ten of those films. Specifically, this list focuses on well-received science fiction movies released within the past few years. In an effort to spread the love evenly, the list will be in alphabetical order. In other words, every entry has earned the same seal of approval; it’s up to readers to decide what might click with them.

1. Beyond the Infinite Two Minutes (2020)

Junta Yamaguch’s first feature focuses on a computer monitor that predicts the future, or at least it appears to. Basically, Beyond the Infinite Two Minutes asks important questions about fate. Do we control our future or does our future control us? There are plenty of philosophical questions to answer, and there’s also plenty of fun to be had.

Beyond the Infinite Two Minutes crams an insane amount of creativity in less than 90 minutes. This one-shot microbudget time travel flick plays with time travel in ways that would make Christopher Nolan proud. When you factor in the eclectic sense of humor and deeper themes, you’re left with one of the best science fiction movies of the 2020s. Saying any more would ruin a number of pleasant surprises; just go watch it.

2. Brian and Charles (2022)

In a rural Welsh town, Brian Gittins is a bit of an outlier. He spends most of his days in solitude, fidgeting with the quirky contraptions he assembles. The citizens tend to question his day-to-day choices, and this ultimately pushes him into a dull, lonely lifestyle. This all changes when Charles Petrescu enters his life.

To be clear, Charles Petrescu isn’t just a random townsperson; he’s another one of Brian’s quirky contraptions. More specifically, he’s a robot capable of bringing some much needed joy to Brian’s dull routine. In theory, Charles Petrescu’s undeniable charm should also add a little joy to the average viewer’s day.

Brian and Charles, like Paddington and Marcel the Shell with Shoes On, frequently aims to charm. Given the titular robot’s eccentricities, you could argue that it gets by on cuteness alone, but then you’d be ignoring the creative script and underlying messages. While there are countless cute moments, there’s more to this film than most viewers may anticipate.

Brian and Charles has a lot to say about things like friendship, humanity, and mental health. Charles Petrescu may do funny things, but those funny things almost always serve a purpose. There are lessons to be learned, and thankfully, they come with great dialogue delivered by lovable characters.

3. Gagarine (2020)

So many films fail because they can’t successfully balance conflicting tones. Gagarine is, at its core, a poignant movie. At the same time, there’s a playful tone brought upon by the story’s magical realism. In theory, this balancing act could be disastrous, but there’s an undeniable attention to detail that allows this unpredictable gem to feel perfectly put together.

It’s not always fun in the traditional sense, but it’s thought-provoking and engaging in its own way. Thanks to some challenging themes and well-developed characters, Gagarine is worth the sub-ninety minute commitment. It is a brilliant debut from a pair of directors who should stay on everyone’s radar for many years.

4. Maika: The Girl from Another Galaxy (2022)

Featuring kooky sound effects, over-the-top fart jokes, and shoddy visual effects, Maika: The Girl from Another Galaxy is absolutely the product of a bygone era. It plays out like a late ‘90s Disney Channel Original Movie in that it’s unapologetically goofy, and that’s because it knows its audience. This is not a movie for viewers opposed to aggressively saccharine campiness. However, folks looking for something on the sweeter side

In the film, a lonely 8-year-old boy discovers an alien girl named Maika. While Maika doesn’t immediately recognize the social cues of earthlings, she quickly learns and connects with the protagonist. From there, the two go on an adventure to find Maika’s lost alien companion.

Western viewers will no doubt catch onto the ET parallels, but Maika: The Girl from Another Galaxy is hardly a reskin. Its eccentric tone and low-budget charm goes a long way, and on top of that, the pair of heartwarming protagonists should win over some of the more cynical viewers. Certain aspects are bound to polarize, but a majority of viewers should leave with a big smile.

5. Significant Other  (2022)

Ruth and Harry have been together for 6 years, and although there have been some rocky moments, the two appear to be content with one another. At least, that’s the vibe they give off when Significant Other begins. Unfortunately, things start to get a little shaky after a mysterious red object falls from the sky. That’s where things get interesting.

When it comes to Significant Other, it’s more about the journey than the destination. Although the film attempts to have some clever mystery, it’s projected from what feels like miles away. You’ll certainly guess the ending long before it happens, but that doesn’t mean you can’t enjoy the ride.

For the most part, Significant Other proves to be turn-your-brain off fun. The script doesn’t ask much from the audience, but it nevertheless provides significant entertainment. Maika Monroe and Jake Lacy are more than capable of keeping up with the wilder story beats. In fact, they steal the show. Even if the script occasionally crumbles under the weight of its own ambitions, the two talented actors carry every single scene in which they appear. If Significant Other isn’t an intellectual exercise, it’s still a ridiculously good time.