Movies You Need to See Again
The 29 Well-nigh Rewatchable Movies Ever Made
These films turn down to get old.
"Pain is temporary, film is forever." That quote has been used ad nauseam to bulldoze domicile the fact that cinema is engrained in permanent ink, and that withal difficult or backbreaking the process of making a particular moving-picture show, the cease result is (hopefully) worth it. The truth is not every movie is worth continuing the test of time, and some age more gracefully than others. But film is forever, and that's one of the great things about the artform. Movies are always at that place, unchanged (unless George Lucas is involved), to revisit at any time you similar. Granted that'south become more difficult in the post-Blockbuster era, but anybody has their stable of movies they return to time and time once more.
So the Collider staff put their heads together to generate a list of the almost rewatchable movies of all time. These are films that, for a variety of reasons, agree up on repeat viewing later repeat viewing. Maybe they perfectly evoke a universal theme, or maybe they're just immensely enjoyable. Some were fifty-fifty made to purposely reward echo viewings with in-jokes and nods that are reflected in reveals later in the movie. But all of these, nosotros adjure, are worth revisiting many times over.
And so without farther ado, we present to you the most rewatchable movies e'er made.
Goodfellas
When filmmaker Martin Scorsese made Goodfellas , he was coming off the controversial reaction to his 1988 film The Concluding Temptation of Christ and before that, the tepid reception to The Colour of Coin . And then you could say he had something to show. Scorsese dug dorsum into his Italian roots to craft one of the best gangster films of all time, with a gimmicky spin. The result is a rollicking, epic, comic, and ultimately tragic tale of life in the mob from street-kid to rat. Scorsese proves his mastery of movie theatre with a motion-picture show that is impeccably paced, filling out the ensemble with unforgettable performances from Robert De Niro, Ray Liotta, Lorraine Bracco, and of course Joe Pesci. The moving-picture show has non ane simply multiple pieces of cinema iconography in it, from the legendary Copacabana tracking shot to the corybantic, visceral "coked out cooking day" sequence. It is, obviously, tremendously watchable, and that Scorsese was able to combine such entertainment value with such rich storytelling is a testament to his talent. – Adam Chitwood
Ferris Bueller's Day Off
If nosotros were ranking this listing in terms of rewatchability, Ferris Bueller'south 24-hour interval Off would be towards the meridian. By 1986, John Hughes had perfected the "teen movie" format in a variety of means, from the female-centric young love of Sixteen Candles to the outsider POV of The Breakfast Lodge . Just with Ferris Bueller, Hughes tackled quite peradventure his most trite subject yet—skipping school—and churned out a classic. Every bit with all of his films, at that place's a hefty amount of heart to exist found in Ferris Bueller, and while the title character is a fun-loving dude, information technology's Cameron and Sloane who carry the hefty thematic weight. Cameron's struggling with depression and a troubled relationship with his begetter, while Sloane worries about her future. It's to Hughes' credit that he was able to tackle weighty subjects and in the same breath phase a massive dance sequence in the middle of Chicago, and it's that residuum of pure joy and burdensome reality that make Ferris Bueller and so memorable. The movie is the anti-party movie party movie, having its block and eating information technology also, and it is delicious. – Adam Chitwood
Anchorman: The Fable of Ron Burgundy
A movie you can quote from end-to-cease is a pretty good sign that y'all're willing to watch the film endlessly. While Will Ferrell and Adam McKay accept shown their strength every bit a team time and fourth dimension again, it'due south their offset feature outing, Anchorman: The Fable of Ron Burgundy , which shines the brightest. Information technology'due south a film that's unafraid to be totally weird, and dissimilar Anchorman two , which is fine just doesn't hold up on echo viewings, it knew that a little Brick went a long mode. Anchorman wasn't a huge hit when it was released in 2004, merely information technology constitute its audience on dwelling video, which isn't surprising. Information technology's a pic you want to own then yous tin sentry information technology over again and once more. – Matt Goldberg
Memento
Any self-professed fan of Christopher Nolan who hasn't seen Memento at least iii times should have their Nolan carte du jour revoked. Though it wasn't his first directorial effort, it was his showtime characteristic-length collaboration with younger brother Jonathan Nolan, and a breakthrough film that would open the door for his now-iconic Batman trilogy. Memento set up the tone of what a "Nolan moving picture" would be: tense, smart, expertly plotted, charismatically acted, and meticulously edited. Memento could arguably be chosen Nolan's nigh clever flick to date, though it'll find strong competition from fans of Inception and the scientifically researched script behind Interstellar . But much similar how Leonard's quest to find his wife'due south killer feels as if information technology'south office of an countless, renewing cycle, so does Memento experience worthy of watching over and over. – Dave Trumbore
Shaun of the Dead
The filmmaking team of Edgar Wright, Simon Pegg, and Nick Frost beginning fabricated waves with their TV serial Spaced , merely it was the trio'southward 2004 feature film Shaun of the Dead that fabricated them household names. Indeed, their twist on the zombie movie with a so-called "zomromcom" is a spectacular feat of cinema—a film that is equal parts hilarious, creepy, and moving. Only what makes Shaun of the Dead (and all of Wright's films for that matter) then rewatchable is that information technology is impeccably crafted. Every unmarried photographic camera movement is motivated, every line of dialogue perfectly timed, all adding up to a viewing experience that is a feast for the senses. There'south a reason people return to this moving-picture show fourth dimension and time once again (peculiarly at Halloween), and Wright and Pegg's script rewards echo viewings with various bits of foreshadowing—including a spoken language at the pub at the very starting time of the picture that lays out the unabridged plot of the rest of the moving-picture show. When then much care is put into crafting such a rich and rewarding viewing feel, information technology'due south no reason Shaun of the Expressionless has endured as a new-archetype. – Adam Chitwood
First reactions to news of The West Fly creator Aaron Sorkin writing a movie about Facebook were bursts of laughter. And then when David Fincher signed on to direct, that laughter turned to incredulity. What? Why? How? As it turns out, the duo were on to something; The Social Network resulted in possibly the defining film about the early 21st century. Sorkin took the invention of Facebook and infused the story with drama of Greek Epic proportions, crafting a tragedy of sorts about power and relationships. Information technology's a movie about outsiders, about feeling undervalued, and about the allure of glory and perceived vindication. Information technology's likewise i of the most entertaining films of the 21st century then far. The odd pairing of Sorkin and Fincher proves to be a match made in heaven, as each elevates the other's best qualities while dampening one some other's worst tendencies. The creative button and pull between Sorkin'south romanticism and Fincher's pragmatism is almost chemical, and the pure entertainment gene that the 2 are able to infuse this graphic symbol-rich story with makes it an endlessly watchable film. – Adam Chitwood
Spirited Away
Similar many of Miyazaki films, Spirited Away is a melty, mind-bending riff on a archetype fairy tale, but his gorgeous and deliciously eerie have on Alice in Wonderland marks his most compellingly rewatchable. A gorgeous allegory on the dazzler and peril of growing up, y'all'd be difficult pressed to notice another Miyazaki and then fallacious in its world-building. A film elegantly designed to work every bit well for children as it does for their developed counterparts, thank you to its trend to puncture the precious with precipitous elements of pitch darkness, Spirited Away is circuitous, bewitching and merely plain gorgeous, but most of all, infinitely revisitable. —Aubrey Page
The Shawshank Redemption
There's a solid chance you lot've seen this movie in its entirety, maybe only non in 1 sitting. Frank Darabont's archetype adaptation of one of Stephen King's about un-King-like short stories has been in regular rotation on cablevision TV channels for the terminal xx years or so. It'due south a solid criminal offense-drama total of fantastic character performances, but the real draw here is the cardinal theme of perseverance in the face up of injustice and downright evil. Tim Robbins takes the weight of Andy Dufresne's conviction on his shoulders and makes usa feel every hour, day, and twelvemonth leading upwards to his hard-won escape, but never gives u.s. reason to lose hope along the mode. Information technology'south a redemptive tale, as the championship promises, and that simply never gets one-time. – Dave Trumbore
Grosse Pointe Blank
Everybody has that one picture show you can watch a thousand times and never get tired of. For me, that'sGeorge Armitage's Grosse Pointe Blank . There is no time I won't lookoutGrosse Pointe Blank, and if information technology shows up on Television set, well, that's what I'g doing for the adjacent hour and 47 minutes. Information technology'due south a quirky film, specifically crafted equally a vehicle forJohn Cusack'southward oddball charm (he co-wrote the screenplay withTom Jankiewicz,D.V. DeVincentis, and long-time collaboratorSteve Pink). A romantic comedy/action hybrid with a soundtrack worthy of the squad behind High Fidelity ,Grosse Pointe Blank stars Cusack equally a hit man in the midst of a life crunch when a job brings him back to his hometown on the eve of his high school reunion. In that location, he'southward reunited with his first and only love, Debbie (Minnie Commuter), who helps him come up to grips with owning upwards to your misdeeds and respecting the value of life. Cusack and Driver have exceptional on-screen chemistry -- a peculiar mix betwixt that butterflies-in-the-stomach anticipation and lived-in camaraderie -- and their connection carries the picture show, fifty-fifty in the midst of i excellent action set-piece afterwards the next. Ultimately,Grosse Pointe Blank is a story about second chances and making amends. It's about dropping your baggage and starting fresh. —Haleigh Foutch
Band of Outsiders
While many of Godard's French New Wave works are so anti-establishment equally to be frankly assaulting to watch (see: Masculin Feminin, 2 or three Things I Know About Her), Ring of Outsiders is Godard at his most sentimental. With an aureola of Breathless , his energetic debut, but with emotion rarely seen in his oeuvre, Ring of Outsiders is distinct in its rare affection and exuberance. Often heart-wrenching only e'er liltingly light, the film is rife with the kind of meta-movie love the manager does so well, but the presence of relatively circuitous characters and a comprehensible plot brand this the easy become-to for a cheerful French New Wave fix. The fact that the lovely Anna Karina stars is simply a welcome bonus. —Aubrey Folio
Jurassic Park
It's Jurassic Park , what is in that location to say? One ofSteven Spielberg'south best and one of the all-time blockbuster movies of all fourth dimension, Jurassic Park is %100, unadulterated cinematic magic. Information technology transports you to a world of wonders and terrors where dinosaurs roam, and it fulfills that promise in every possible mode with groundbreaking special effects, expertly conceived gear up pieces (Spielberg is a master of adventure, after all), and a cast of loveable characters who felt grounded in reality. Somehow, that magic never wears thin. Those characters never grow old. And in an age of constantly improving, spectacular visual effects, Jurassic Park is immune to the ravages of fourth dimension, selling the splendor just as much as the mean solar day it was released. —Haleigh Foutch
Elf
Elf is no masterpiece—it'south light-headed!—but a film need not exist perfect to qualify equally rewatchable. Indeed, what manager Jon Favreau pulled off with Elf is in some ways just as difficult, as he and star Will Ferrell ended upward crafting a Christmas classic; a film that is on heavy rotation every December, and that pretty much every family unit member can agree on equally a cracking picture-nighttime selection. I demand only look at the cloying Broadway musical adaptation to empathise the finely tuned abracadabra that Favreau and Ferrell capture in this picture, as it'south not easy to replicate. The story is outlandish simply Favreau sells information technology with throwback cease-move animation effects and an empathy for every grapheme, while Ferrell delivers a character that is outlandishly nutty but not also over the peak. It's a tightrope walk of sorts, and Elf performs it beautifully. So yeah, Goodfellas this is not, just rewatchable? You betcha. – Adam Chitwood
A Few Good Men
If this is ever on TNT (and it unremarkably is), I usually just let it play to the end. Aaron Sorkin's piece of work is incredibly rewatchable, but sometimes you're not in the mood to marathon Due west Fly episodes or comprehend the nastiness nowadays in The Social Network and Steve Jobs . Sometimes yous need the comfort of a court drama mixed with Sorkin's soaring dialogue, and that'south where A Few Expert Men comes in. Yes, we all know the Jessup voice communication, merely the film is packed with wall-to-wall great moments packaged in the warm blanket that is the court drama. It'southward not Sorkin's deepest piece of work or his most challenging, merely it's one I'm always happy to picket. – Matt Goldberg
Hot Fuzz
It was hard not to include every Edgar Wright film on this list, but in narrowing information technology down to two, Hot Fuzz certainly makes the cut. Just as with Shaun of the Dead , this twist on the buddy activity pic genre is lovingly realized and impeccably crafted, with attention paid to every single cut, every song choice, and every joke. The film plays out as a whodunit of sorts before that tremendous Wicker Human being -esque twist, and Wright and co-author Simon Pegg string the audience along by leaving bread crumbs to the true killer that, while they do pay off, don't necessarily pb in the direction one might assume. And that's all the better—you lot may "effigy it out", and you're not wrong but yous're not 100% right either. Plus, the motion-picture show is a downright delight, with Pegg and Nick Frost once again proving to exist a formidable comedic duo with a strong dose of heart, while Wright fills out the ensemble with impeccable British performers giving surprising turns. The greater good indeed. – Adam Chitwood
Back to the Future
Just like with A Few Good Men, if Back to the Future is ever on Television, I simply let it play. It'due south the perfectly paced gamble picture show. Information technology'southward a dispensary on economic storytelling (simply remember about how much information you lot go about the world and the characters earlier the opening credits are even finished), and while information technology certainly romanticizes elements of the 1950s while also flirting with Oedipal subtext, it's still a ridiculously fun and enjoyable movie. There's a reason Back to the Future is considered a classic, and while the sequels are enjoyable (Function Two more so than Part III), the original is the one I keep coming back to. – Matt Goldberg
The Matrix
At that place's aught similar watching The Matrix for the first fourth dimension. The closest thing to that experience is watching it over again and over again after the fact in order to figure out but what the heck is going on in this movie. It'southward a rare film that completely changes the way you lot watch it and the things you lot await for in one case you empathise the mechanism that drives it; The Matrix is one such film thanks to its nested realities, technopunk aesthetic, and incredible action sequences. Beyond that, information technology too delivers a solid anti-authoritarian message, one that's accessible across fourth dimension, space, and demographic boundaries. And even if you understand what's going on in The Matrix well before Neo does, information technology'due south fun to watch him try to puzzle it all out over and over again. – Dave Trumbore
Groundhog Twenty-four hours
It wouldn't exist a rewatchable movies list without Groundhog Day , as the fourth dimension-loop picture show'south entire conceit involves watching the aforementioned events play out over and over again. This is another example of two differing sensibilities ambivalent to issue in a perfect balance, as manager Harold Ramis' emphasis on one-act makes the picture hilarious while Bill Murray's insistence on delving into the philosophical implications of Phil Collins' situation brings in the thematic weight. This is a picture show that could have turned repetitive really fast, simply Ramis finds a way to keep the story fresh in each scene, while Murray delivers i of the all-time performances of his entire career. The film is delightfully mannerly and, thanks to Murray, dryly funny, but it'southward besides surprisingly nighttime, and it'south that willingness to become to uncomfortable places that I think has fabricated the film endure so long. – Adam Chitwood
Magic Mike XXL
Watching Magic Mike XXL is like getting invited to the best route trip party of all time. There's zero most it that's non fun -- well, actually,Bister Heard'south mopey, cooler-than-you hangabout is a major elevate, only literally every other partMagic Mike XXL is a giddy care for. From the moment Channing Tatum starts Pony-ing effectually his construction workshop in the film's opening scenes, XXL goes full tilt on just living large and having a expert fourth dimension. There is a whiff of a dramatic subplot wherein Mike finds that once he cleaned upwardly his act, got the girl, and started the business organization of his dreams, everything cruel apart, but XXL largely dispenses with its predecessor's introspection in favor of a not-stop political party. Everything virtuallyJoe Manganiello'south Big Dick Richie (but peculiarly his gas station trip the light fantastic break) is gleeful and joyous, equally isJada Pinkett Smith's commanding and surprising turn equally Mike'southward quondam flame/boss/ladypimp, Rome, and her mansion of gyrating wonders. And XXL is a rarity in that information technology'south got space entreatment to both men and women. I call back park of why information technology never hit at the box function is considering they marketed it purely to the ladies when XXL is actually i of the about bro films about dude bonding e'er fabricated. Magic Mike XXL is sexy and cheeky (just look at that title) and it'south always fun equally hell. —Haleigh Foutch
Harold & Maude
Though certainly one of the more polarizing of the '70s cult classics, the romantic charmer (and clear Wes Anderson influencer) flips the weepy on its head with a May/December romance between a immature, decease-obsessed misfit (Bud Cort) and a vivacious octogenarian (Ruth Gordon). A controversial premise, to be sure – just the picture show's soft eye, which oozes with of-the-moment rebellion and features life-affirming and tear-jerking moments in spades – couldn't be more universal. Buoyant and fiercely unique, Harold & Maude hands gets better with every rewatch. (Even though you'll nonetheless weep every fourth dimension.) Bonus points for that wildly catchy Cat Stevens soundtrack. —Aubrey Page
The Fifth Element
One signifier of a motion picture's rewatchability (technical term, that) is just how quotable information technology is. The Fifth Element , arguably Luc Besson's best directorial endeavour to date earns solid rewatchability points based on that metric alone. Fifty-fifty if y'all get to the signal where you can recite every quote-worthy bit of dialogue in sync with the actors or sing forth with Diva Plavalaguna, there's notwithstanding so much to enjoy on subsequent watches. It'south set far enough into a (hopefully) fictional future that the picture show's sci-fi elements don't feel archaic or even familiar, the characters are refreshingly bizarre each and every time they appear on screen, and the scene-chewing just never gets old. Information technology helps that the film'due south furnishings and costumes rely heavily on the practical side of things rather than quickly outdated computer-generated gimmicks. Perhaps best of all, there's no bad time of day (or twelvemonth) to lookout this thing, fifty-fifty if you've seen it dozens of times already; y'all don't even need a multi-pass! – Dave Trumbore
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Source: https://collider.com/most-rewatchable-movies/
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