Movies are an excellent way to pass the time, whether you’re watching them by yourself or with friends and family. There are many great movies out there that deserve recognition, but don’t always get it. The following list will include 10 of the most underrated movies of all time—films that almost everyone has seen, but few people actually know how good they are.
1. About Elly (2009)
About Elly is a dazzling surprise in every possible way, rich with unsuspected profundity.
He (the director) relaxed us throughout the first act, but with each successive act there was increased tension. We should mention that by the end of the third act there is something terrifying that has happened, but it only adds to the stress on a person who already feels so terrible and paranoid. While getting drawn in, a tight-structured story begins to unravel with drastic turns that reveal duplicity among multiple characters and loss of trust. Go in with eyes wide open and a fully functional mind so you can prepare for some unexpected revelations. Although Mahdi Benadi excels at portraying emotions, you should rejoice in his excellence when watching About Elly. It’s a thought-provoking picture of society and something we can all relate to.
One trait of all his films is that Farhadi has never inflated his stories with Hollywood glamor, even when his characters are able to make lies with breath, as a filmmaker he can’t be any more honest.
2. Ace in the Hole (1951)
It wasn’t until Billy Wilder imagined a literal media circus in the 1920s that the phrase ‘media circus’ gained currency in the jargon.
60 years after its publication, Ace in the Hole has not lost any of its sharpness. Its diatribe against all that is worst in human nature has its roots in pure vitriol. There has never been a dirtier noir. The world is fallen and irredeemable; its people are impotent ideologues; and faith and love are childish illusions. Billy Wilder’s two films are at once cynical and uncompromising – an indictment that mirrors our fascination with sensationalism and shallow journalistic practices in a clairvoyant fashion.
Ace in the Hole is like a punch to the gut, a kick in the nuts, and a bucket of bile thrown in your face. Bitter to the end, Ace in the Hole nearly suffocates you with its cynicism. You will enjoy being breathless for this one time!
3. Back to the Future Part II (1989)
It says a lot about the strength of both Robert Zemeckis and Bob Gale that a story that sounds complex on paper is quite simple to understand while you’re watching it. They did a fantastic job at giving little moments early on in the film new meaning when revisited later on, tying it to their overall themes with little consequence to the script. The film seems to know just when and how to engage our interests, and it does so with full-force.
In his trilogy of Back to the Future films, Zemeckis connects two disparate narratives—the film sequel and the movie’s backstory—to provide insight on causation, order, and intention. a duo, they are a hell of a lot of fun.
After seeing Back to the Future Part II, it is clear that this is a well-executed sequel to Part I, as well as a suspenseful set-up for Part III – a cinematic masterpiece that requires close attention.
4. Before Midnight (2013)
This past nine years has led to Ethan Hawke’s American writer Jesse and Julie Delpy’s French environmentalist Celine’s latest chapter in the story Before Midnight, a captivating sequel that fans of the couple in Before Sunrise and Before Sunset will still enjoy.
It’s been nine years since their last film, and as much as things may have changed in the interim, the special rapport between Hawke and Delpy hasn’t gone anywhere. Whether older, wiser, or even a little more wrinkled, the both have effortlessly easy rapport that feels natural to watch from beginning to end. The films Before Sunrise and Before Sunset showcase their developing love that is no longer boyish or romantic, but something deeper, subtler, and far more nagging; Witnessing this older love displayed on screen is a true privilege. In terms of filmmaking, it is a master class in portraying human nature. It is one of the most convincing and charming representations of long-term coupledom that you will ever see- a literary and cinematic achievement to cherish.
5. Changeling (2008)
Changeling, a riveting true crime story set in Los Angeles in 1928, proves Clint Eastwood’s creative acumen as a director. It’s a mesmerizing human drama permeated by a haunting score composed by Eastwood.
As Changeling gains momentum and tone shifts, it retains a melancholy air that sustains it through every transformation. At the height of his creative powers, Eastwood tightens the screws of suspense without ever losing sight of his film’s emotional core. Angelina Jolie is inspired to play Christine Collins as if she is a gathering storm, moving from terror to fierce determination in a matter of seconds. On screen, it is almost as if she is suffering from trauma.
Ultimately, a touching and devastating story, beautifully told by a filmmaker still at the top of his game. A failure that is more compelling than most successes!
6. Charade (1963)
In retrospect, one might refer to Charade as Hitchcock’s greatest film since Hitchcock never finished making one himself. Still, Charade does director Stanley Donen a disservice. In hindsight, it seems his career may have peaked here, because this is also when his penchant for easy glamor starts to show. Thus, in hindsight, Charade may be well thought of as an amazing mystery, embellished with elegant scenes that appear not as cut and dried. Set against Charade’s hectic backdrop of shifting identities, sexual chemistry between its leading stars – the always elegant 32-year-old Audrey Hepburn and the always charismatic 60-year-old Cary Grant – makes this movie an enduring favorite.
After decades of consistent success, Charade reminds us that when all the elements come together, Hollywood can make an error-free entertainment. It’s satisfying for Hollywood to know that it is still the real deal, rather than a film pretender with cheap, sloppy story lines. In a way, it’s a shame.
7. Cinderella Man (2005)
Howard directs Cinderella Man with a sense of restraint, highlighting the resilience of characters and giving the actors enough time to breathe. It works admirably to convey a primal, heart-pounding sense of pleasure. His presentation is dynamic and tense, free of histrionics. A consistent, sharp tone runs throughout the film, and there are no overly sappy scenes, as is often the case with films of this ilk.
Russell Crowe steals the show with his towering performance. He adopts a period ‘Noo-Yawk’ accent, a tough guy attitude, and undergoes a physical transformation to appear remarkably like Braddock. In any case, he prevents the character from getting lost in the superficial accouterments and carries the film forward with a kind of quiet dignity that only he can convey.
It’s all about redemption in Cinderella Man, a story full of solid body punches!
8. Eastern Promises (2007)
As a visceral and cerebral masterpiece that addresses both the compassionate and monstrous aspects of the human condition, Eastern Promises paints a relentlessly bleak portrait of the London landscape as experienced by Eastern European immigrants. Whether it is the shocking opening sequence that features a throat-slitting or the harrowing fight to the death in a sauna, David Cronenberg lives up to his ‘master of body horror’ label. He once again highlights the secrets that lie within us as only he can. His message gets under our skin and stays there. Viggo Mortensen’s portrayal of laconic chauffeur Nikolai stands out as a particularly well-done performance and leaves us unsure of the true nature that lurks behind his shades.
The story of Eastern Promises is a captivating tale, with incredible performances, an engaging narrative, and the most exquisite direction – complete with slit throats, lopped fingers, and a naked fight scene that sticks in your mind!
9. End of Watch (2012)
10. Erin Brockovich (2000)
Throughout Erin Brockovich, Steven Soderbergh explores Erin’s degree of likeability with numerous references. The film makes clear early on that Erin is not the romantic, plucky type. Rather, she is a hard woman with heavy makeup who cares little for her hair and, although cunning, uses it to get what she wants. As a result, Erin often gets what she needs, if not what she wants. Even though what this character does is downright deplorable, he becomes sympathetic because of Julia Roberts’ strong and nuanced performance. As the eponymous character, she is undoubtedly the film’s heart and soul. She has strong chemistry with Albert Finney, and it’s nice to see such honest, close female-male dialogue where there is absolutely no hint of sexual tension.
Soderbergh infuses the proceedings with a distinctive, upbeat style of directing that wouldn’t have been half as intriguing had a less cutting-edge director helmed it. It would have been a simple choice for him to allow Erin Brockovich to fall into melodramatic formlessness, but he refused that least interesting path, instead giving us a film that is savvy, wise, funny, and sometimes even moving.