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Link Copied.With new cinema releases in response to the spread of the coronavirus, I’ve used these weeks of self-quarantine to cast an eye backward over the, to, and to fill in. Now I’ve begun evaluating films that, for whatever reason, didn’t get a fair shake when they were released. Some were blasted by critics, and others simply made no impression at the box office; all of them are available to watch online, just waiting to become cult classics. The 30 films I’ve chosen as the most underrated are all from the past 25 years, and many belong to genres (rom-com, sci-fi, thriller) that are overlooked in serious critical circles. Some of my selections might seem obvious and others ludicrous, but all were made in the spirit of enjoyable debate and discovery. The Box-Office FlopsKino Lorber Archipelago (2010, directed by Joanna Hogg)Joanna Hogg broke out in American art houses last year with her wonderful autobiographical work The Souvenir, but she’s been making terrific indie films for years.

DREDD 2012 IN HINDI - HOLLYWOOD HINDI DUBBED MOBILE MOVIE DOWNLOAD - AVI, MP4, 3GP. Jury and instant executioner. Known and feared throughout the city, Dredd is the ultimate Judge, challenged with ridding the city of its latest scourge - a dangerous drug epidemic that has users of 'Slo-Mo' experiencing reality at a fraction of its normal.

Archipelago might be her best. A quiet drama, it sees Edward (played by Tom Hiddleston, a year before Thor catapulted him to fame) gathering with his family on the remote British island of Tresco after quitting his job to travel the world.

Many long-simmering tensions boil to the surface; Hiddleston (who is in most of Hogg’s movies) gives one of his best screen performances, and Hogg depicts subtle, polite infighting with humor and insight. No filmmaker has a better handle on the ridiculous foibles of the English upper-middle class.

Babe: Pig in the City (1998, directed by George Miller)George Miller is the master of sequels. Each of his installments in the Mad Max series is innovative; his Happy Feet Two is quietly underrated. But he’s never made a follow-up as strange and beguiling as Babe: Pig in the City. Miller wrote and produced the first Babe, a charming, Oscar-winning success. In the director’s chair for part two, though, he turned the sweet fable of a pig who wanted to herd sheep into a grim fairy tale about life in the big city.

The movie was a commercial disaster, but it’s a rewarding, beautifully designed work set in a fantasy city that mashes up landmarks from every modern metropolis. The plot, such as it is, follows Babe as he goes on a trip and mixes it up with more streetwise animal brethren (the director Noah Baumbach that the film’s closest thematic companion is Stanley Kubrick’s Eyes Wide Shut). Watch it on:,Beyond the Lights (2014, directed by Gina Prince-Bythewood)A gorgeous romantic drama about the pain and pleasure of pop stardom, Gina Prince-Bythewood’s remarkable Beyond the Lights made little impression at the box office on release, despite a star-making turn from Gugu Mbatha-Raw. The actor plays a Rihanna-esque figure named Noni Jean who falls for a police officer (Nate Parker) and tries to escape the limelight. Prince-Bythewood, who also wrote and directed the incredible Love & Basketball, is one of only a few people in Hollywood still trying to film genuine love stories, and she deserves many more chances to do so on the big screen. Watch it on:,Killing Them Softly (2012, directed by Andrew Dominik)Killing Them Softly is Andrew Dominik’s brutal follow-up to his painterly revisionist Western, The Assassination of Jesse James by the Coward Robert Ford.

Also starring Brad Pitt, Killing Them Softly takes George V. Higgins’s hard-boiled ’70s crime novel Cogan’s Trade and updates it to the present day, following a mob robbery that goes wrong and the assassin (Pitt) hired to clean everything up. Dominik turns the web of competing criminal interests into a broad metaphor for the quagmire of the Iraq War. Killing Them Softly may have been too weird and slow for general audiences (it’s one of the few movies ever to ). But it’s bleakly funny and impressively acted by a cast that includes James Gandolfini, Ray Liotta, and Ben Mendelsohn.Watch it on:Kiss Kiss Bang Bang (2005, directed by Shane Black)The film that put Robert Downey Jr. Back on the map was critically praised but ignored at the box office in 2005. An extremely metatextual crime comedy, it follows a thief (Downey Jr.) pretending to be an actor who gets mixed up in a murder and goes on the lam with his acting coach, a private investigator (Val Kilmer).

The story line is as complicated as it sounds, but the thrill of Shane Black’s film lies in his hilariously punchy dialogue and his skill at making the most convoluted plotting flow with ease. The movie reintroduced Downey Jr. As a leading man after he’d spent years struggling with addiction: He was hired to play Iron Man mostly on the strength of this performance. Watch it on:Fox Searchlight Sunshine (2007, directed by Danny Boyle)This stunning space-mission drama from Danny Boyle and the screenwriter Alex Garland might be the Oscar-winning director’s best film. A wildly intense thriller about a last-gasp effort to restart the dying sun, Sunshine pits an outstanding cast (Cillian Murphy, Michelle Yeoh, Chris Evans, Rose Byrne, and more) against a monolithic enemy: the star at the center of our solar system, which Boyle depicts as an immovable, godlike force. As the voyagers’ ship gets closer to the sun, everything on board goes more and more haywire, and Boyle—who can depict the onset of madness better than almost anyone working—dials up the chaos.Watch it on:,Talk to Me (2007, directed By Kasi Lemmons), whose most recent work is 2019’s Harriet, has long been one of Hollywood’s most criminally unheralded directors, and Talk to Me never got the wide audience it deserved in 2007.

It’s a biopic of the controversial Washington, D.C., radio host Petey Greene (Don Cheadle) that’s unafraid to be messy, reflecting its subject’s surprising rise to fame as someone who fearlessly speaks his mind on the social and political issues of the 1970s. The film is grounded by excellent performances from Cheadle, Taraji P. Henson, and Chiwetel Ejiofor, who plays Greene’s put-upon manager, Dewey Hughes. Watch it on:,What If (2013, directed by Michael Dowse)Also known as The F Word (its title was changed in America for obvious reasons), this extremely charming slow-burn rom-com was unfairly overlooked on release. It follows two people (Daniel Radcliffe and Zoe Kazan) who become friends but spend the entire time wondering if they’d be better off as lovers. Many relationship hijinks ensue, but the movie works because of the performances at its center, along with energetic supporting turns from Adam Driver and Mackenzie Davis, who were both on their way to bigger, franchise fame.Watch it on:The Yards (2000, directed by James Gray)Back in 2000, James Gray’s operatic crime thriller was dumped unceremoniously into theaters by Harvey Weinstein and ignored by audiences. Like all the director’s films, though, it’s well worth viewing, combining hard-boiled storytelling with graceful visuals.

Mark Wahlberg gives one of his best performances as Leo, an ex-con who returns to the fold of his shady New York family and gets tangled up in city corruption surrounding the subway system. A shifty Joaquin Phoenix plays Leo’s ne’er-do-well friend who is embroiled in a dramatic relationship with a young woman (Charlize Theron), while James Caan is suitably menacing as Leo’s morally dubious benefactor. The Yards also showed the first signs of Gray’s considerable talent; he’d go on to make We Own the Night, Two Lovers, The Lost City of Z, and Ad Astra. Watch it on:,the critical bombsWarner Bros. Addicted to Love (1997, directed by Griffin DUnne)All of Griffin Dunne’s films (including the delightfully bizarre ) deserve more appreciation, but Addicted to Love is a personal favorite of mine, a largely forgotten romantic comedy that satirizes gooey Hollywood storytelling tropes. It casts Meg Ryan and Matthew Broderick, two stalwarts of the rom-com genre, as a bitter pair united by a hatred of their respective exes, who are now dating each other. Ryan and Broderick spy on their former partners and, of course, eventually fall for each other, but the film never sacrifices its acidic tone, even as their relationship turns tender.Watch it on:,Armageddon (1998, directed by Michael Bay)If nothing else, Armageddon is a crucial cultural artifact: a portent of American culture’s jingoism in the 2000s, when blockbuster action sequences had the tone and tenor of Budweiser commercials.

Where Michael Bay’s prior film, The Rock (which is much better regarded), had tapped into the U.S. Military’s dysfunction and despondency post-Vietnam, Armageddon sees the country uniting to obliterate an evil asteroid by turning to the oil industry.

(It also spends a good chunk of time mocking post-Soviet Russia.) Despite the ridiculous plotting and Bay’s frenetic editing of every set piece, Armageddon is the clearest distillation of his macho brand of propaganda, designed to have audiences cheering by the end (against their better judgment). Listen to Ben Affleck’s to triple the entertainment factor. Watch it on:,Blackhat (2015, directed by Michael Mann)Five years ago, one of the great contemporary directors still working made a globe-trotting cyber thriller starring Thor himself and was completely ignored. And dumped by its studio into the doldrums of January, Blackhat made only a shocking at the domestic box office. Yet it’s a in Michael Mann’s esteemed body of work (which includes other movies, such as Heat, Miami Vice, and Manhunter, that were underrated in their day).

Chris Hemsworth plays a hard-bodied hacker who’s released from prison to battle a shadowy online terrorist; like many of Mann’s later films, Blackhat is a story of the analog world’s struggle to confront its digital future, wrapped up in a very masculine action saga. If you can, try to catch the, which cleans up some of the film’s dense plotting and airs regularly on FX.Watch it on:The Box (2009, directed by Richard Kelly)This is the third film directed by Richard Kelly, a onetime wunderkind who burst onto the scene with the 2001 cult hit Donnie Darko. The Box is also his best, though few have recognized it as such.

It was a bomb on release, getting and the of an F from CinemaScore. But its wild ambition is second to none, spinning Richard Matheson’s mordant short story into a paranoid 1970s epic—part domestic drama, part psychological horror, part sci-fi fantasy revolving around a NASA expedition to Mars and magic portals. This movie has short, simple scares that I’ve never forgotten, and a plot convoluted enough to obsess over forever. I live in hope of a fourth film from Kelly. Watch it on:,Universal pictures The Fast and the Furious: Tokyo Drift (2006, directed by Justin Lin)After the success of the first Fast and the Furious movie, in 2001, Vin Diesel’s car-racing franchise struggled to stand out until 2009, when its original cast returned under Justin Lin’s direction for the surprise smash Fast & Furious.

But the groundwork for that revitalization had been laid three years earlier with Tokyo Drift, Lin’s debut film in the series. Though Tokyo Drift introduces Sung Kang as the fan-favorite character Han, none of the series’s other beloved characters appears.

Yet Lin’s skill with crisp action and quick-paced banter—built up in his fantastic breakthrough, which also starred Kang—makes this one of the best in the franchise.Watch it on:,Hulk (2003, directed by Ang Lee)Coming off the resounding success of Crouching Tiger, Hidden Dragon, Ang Lee could’ve made any film he wanted. He picked an adaptation of Marvel Comics’ most tortured star, the Hulk (Eric Bana).

At the time, the movie was seen as odd, mocked for its wobbly CGI, and suffered one of the largest box-office drops in history for a blockbuster after its opening weekend. Viewed now, given the cookie-cutter format of contemporary superhero movies, it’s a startling experience. Lee turns his film into a living comic book, zooming in and out of and inventing a visual language that could’ve become an exciting norm for the medium. The story, which sees the Hulk doing Freudian battle with his demonic father (Nick Nolte) and unearthing dark family secrets, is bizarre, and thrillingly so.

Watch it on:In the Cut (2003, directed by Jane Campion)Every film Jane Campion has directed since her Oscar-winning The Piano (1993) is underrated and underseen, but In the Cut was perhaps her on release. That was partly because it subverted Meg Ryan’s usual bubbly onscreen persona, casting her as Frannie Avery, an introverted English teacher who starts dating the detective (Mark Ruffalo) investigating a murder case in her apartment building. It’s a sweaty, grisly, and sexually charged thriller that swerves from strange comedy to gory horror from scene to scene.

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But that tonal whiplash is one of Campion’s smartest storytelling tools, properly rattling viewers and plunging them into Frannie’s mixed-up headspace.Watch it on:Jennifer’s Body (2009, directed by Karyn Kusama)This is the movie that landed Karyn Kusama in for almost a decade: a gleefully bloody teen-horror comedy that was undone by the high expectations for its script. The writer, Diablo Cody, had won an Oscar the previous year for her Juno screenplay, and though this follow-up had that film’s humor, its intense gore and flippant humor were for critics at the time. Fortunately, Jennifer’s Body is already being reevaluated as a, a nastier update of movies like Heathers that turns the social competition of high school into a literal bloodbath. Kusama has also reemerged as a filmmaker, with the excellent indie horror. Watch it on:,Universal pictures Josie and the Pussycats (2001, directed by Harry Elfont and Deborah Kaplan)This knowing revival of the Archie Comics series was a failure on release, but has deservedly attracted a cult following in the years since.

It’s a pitch-perfect parody of the manufactured pop pipeline in the early 2000s, watching as the chipper rock band comprising Josie (Rachael Leigh Cook), Melody (Tara Reid), and Valerie (Rosario Dawson) is run through the major-label mill. Parker Posey and Alan Cumming play perfect corporate villains, and almost every scene is suffused with ostentatious subliminal advertising, with au courant brand names crowding the frame. It’s a bitingly clever work, with a great power-pop soundtrack that includes contributions from.Watch it on:,Jupiter Ascending (2015, directed by Lana Wachowski and Lilly Wachowski)In the 2010s, blockbuster studio filmmaking made a hard pivot to existing intellectual property for its biggest movies: Star Wars, comic books, anything audiences might have nostalgia for. The Wachowskis, as they often do, went their own route.

After giving cinema one of its greatest franchises in 1999 with, the duo took a different direction in 2015 with a loopily operatic sci-fi epic rooted in nothing but their own imaginations. Jupiter Ascending is a wonderfully absurd space fairy tale starring Channing Tatum as a dog-man, Eddie Redmayne as an immortal arch-capitalist villain, and Mila Kunis as a secret princess who unwittingly owns the property deeds to our solar system. If you can get on this movie’s wavelength, you’ll find much to enjoy in its many flights of fancy. Watch it on:,Pain & Gain (2013, directed by Michael Bay)Practically every Bay film has been dismissed by reviewers on release, and often for good reason. His high-octane storytelling style makes the simplest scenes of dialogue utterly hyperactive, and most of his recent efforts are about. But Pain & Gain was a sly departure for this director, a low-budget (by his standards) crime comedy that feels like a Coen Brothers movie on growth hormones.

Based on a true story, Pain & Gain is about three bodybuilders (played by Mark Wahlberg, Dwayne Johnson, and Anthony Mackie) who embark on a harebrained kidnapping scheme for easy money; naturally, things quickly go awry. Bay doesn’t abandon his trademark energy, but instead deploys it as satire—these characters might think they’re in a flashy action movie, but their circumstances are far more mundane and depressing.Watch it on:,We want to hear what you think about this article. To the editor or write to letters@theatlantic.com.