From meticulously planned robberies to spectacularly botched jobs, these are the greatest capers ever put on screen. The 30 best heist movies of all time, ranked From meticulously planned robberies to spectacularly botched jobs, these are the greatest capers ever put on screen. By Declan Gallagher on September 3, 2026 6:35 p.m. ET :maxbytes(150000):stripicc()/bestheistmovies082126468728e1a31342a99e5efda5fbd6b51c.jpg) Danny Ocean, Jackie Brown, and Sonny Wortzik. Credit: Ah, the heist picture. That beloved form that lets us live out our collective desire to lead a life of debonair thievery.

From meticulously planned robberies to spectacularly botched jobs, these are the greatest capers ever put on screen.

The 30 best heist movies of all time, ranked

From meticulously planned robberies to spectacularly botched jobs, these are the greatest capers ever put on screen.

By Declan Gallagher

on September 3, 2026 6:35 p.m. ET

Danny Ocean, Jackie Brown, and Sonny Wortzik. Credit:

Ah, the heist picture. That beloved form that lets us live out our collective desire to lead a life of debonair thievery. It was popularized by John Huston’s *The Asphalt Jungle* (1950) — which, while not technically the first heist film, did establish an influential template. The proliferation of crime pictures that arrived in cinemas over the following decade owes a debt to Huston’s classic, whose meticulous planning, execution, and aftermath would become hallmarks of the genre.

As the years went on, a litany of canonized directors memorably followed in those footsteps. Jules Dassin’s *Rififi* (1955) and Stanley Kubrick’s *The Killing* (1956) further refined the formula, while a number of decidedly sillier capers in the ’60s both parodied and advanced the genre, helping set the stage for the modern *Ocean’s* movies. By the ’70s and into the ’80s, filmmakers were again taking the heist seriously, often turning the form into procedural explorations of crime, professionalism, and masculinity.

The formula has proven remarkably durable. In recent years, filmmakers have continued to mash the heist picture together with other genres, from the superhero-inflected *Ant-Man* (2015) to the zombie-plagued *Army of the Dead* (2021). And in the near future, Margot Robbie and Bradley Cooper will headline a brand-new prequel in the suddenly sprawling *Ocean’s* franchise.

With no end to the genre’s popularity in sight, ** has ranked the 30 best heist movies of all time.

The Score (2001)

Two Vito Corleones and a secret Tyler Durden walk into a bar...

An all-star cast (Robert De Niro, Edward Norton, and Marlon Brando, in his final film role) leads this refreshingly old-fashioned caper about a hardened career criminal (De Niro) who joins forces with a brash young con (Norton) at the behest of his longtime friend and fence (Brando) to pull off, all together now, one last big job.

*The Score* is helmed by comedy icon (and voice of Miss Piggy) Frank Oz. He brings a bounciness to this classically structured thriller that another director might have missed. The film is most effective for its placement of character over action. It would be tempting to have firearms do the third-act heavy lifting. Yet *The Score* never devolves into pyrotechnic theatrics; it’s a thoughtful, tricky little thriller right until the final credit.

Where to watch *The Score*: Paramount+

Gambit (1966)

Michael Caine trying to find a head statue with the exact right “bash someone over the head but don’t kill them” weight ratio.

Michael Caine stars as a cat burglar out to steal a priceless piece of art from the world’s wealthiest businessman (Herbert Lom). Showgirl Nicole (Shirley MacLaine) assists by carrying out the elaborate robbery, but when the heist goes poorly, the two are left to cover their tracks at any cost.

This is a delightfully witty and stylish comic caper with plenty of swinging ’60s atmosphere to spare. Ronald Neame’s romp goes down smoothly, no matter how many times you watch it. Caine and MacLaine make for an eminently likable pair, imbuing both characters with more sympathy than you thought you might have for a couple of crooks.

Where to watch *Gambit*: Pluto TV

How to Steal a Million (1966)

Peter O’Toole and Audrey Hepburn work out the finer details of a very well-intentioned caper.

One of a pair of terrific comedy-heist pictures from 1966, this one is directed by Oscar-winning veteran William Wyler. Audrey Hepburn stars as the daughter of an art forger (Hugh Griffith) who reluctantly pairs up with a gentleman thief (Peter O’Toole) to steal a forged sculpture from a high-end Paris museum. The intentions are noble, in their way: She simply wants to prevent the ruse being discovered and thus keep Dad out of prison. (Falling in love with the handsome burglar in the process of pulling off the caper is, well, just an added bonus.)

Wyler directs this serpentine, amiable comedy with a deft hand, intricately drawing out the fine details that make the whole heist operation tick. They really don’t make out-and-out farces like this anymore.

Where to watch *How to Steal a Million*: Prime Video (to rent)

Widows (2018)

“I’m putting together a team... no, not that one... no, Killer Croc’s not on this one.... no, Harley Quinn’s not either...”.

Merrick Morton/Fox

Steve McQueen’s rollicking remake of the 1983 ITV series stars Liam Neeson as a master thief who, after his death in the opening minutes, leaves his wife (Viola Davis) to deal with the crime boss (Brian Tyree Henry) whose money his crew stole. She recruits the widows of Neeson’s fallen comrades to pull off a grand heist that will get the bad guys off their backs and earn themselves a hefty payday.

McQueen proves himself a masterful stylist of the modern blockbuster with this energetic action-thriller. The only criticism you could earnestly make is that it could be longer. The screenplay (by McQueen and Gillian Flynn) ultimately introduces twists both ludicrous and perverse, but the movie never topples under their weight.

Where to watch *Widows*: Prime Video (to rent)

Small Time Crooks (2000)

Tracey Ullman and Woody Allen as... not-exactly-professional criminals.

One of Woody Allen’s last great comedies stars Allen and Tracey Ullman as longtime married couple Ray and Frenchy. He’s an ex-con with dreams of one last score while she’s a “retired exotic dancer.” They decide to get rich by robbing a bank, opening a cookie shop as a front while Ray and his cohorts tunnel toward the vault.

*Small Time Crooks* is an old-fashioned farce with likable characters and a jocular pace. Its keen script often reinvents itself, morphing into something just left of what you expect. It’s also probably the last movie from the director’s catalogue to represent anything close to the real New York.

Hugh Grant, as a cad who romances Frenchy, and Elaine May, as her daffy cousin, are bright spots in an eccentric supporting cast.

Where to watch *Small Time Crooks*: Netflix

The Bank Job (2008)

Like every Jason Statham movie, ‘The Bank Job’ is based on a true story.

This uncommonly thoughtful Jason Statham vehicle is based on a real 1971 heist. The Stathe stars as a car dealer with a criminal past whose girlfriend (Saffron Burrows) presents him with an opportunity to burgle the safe deposit boxes of the wealthy clients of a Lloyds Bank branch on London’s Baker Street.

This is a cracking thriller that has just about everything you’d want from the genre. It has the oddballs-doing-a-robbery comedy of something like *The Ladykillers* or *Small Time Crooks*, plus a healthy dose of political intrigue and a dollop of the head-crunching action we expect from a Statham movie. *The Bank Job* is a bit more layered, though, and features some nice dramatic work from the entire cast.

Where to watch *The Bank Job*: Prime Video (to rent)

Triple Frontier (2019)

Yo I got a wicked idea, we can get wicked rich, it’ll be wicked easy, it’s wicked smaht. Melinda Sue Gordon/Netflix

Another damn fine Affleck heist thriller. This one was cowritten by Mark Boal and director J.C. Chandor, who brings an exhaustive realism to this story of former Special Forces ops executing a daring robbery in South America. It’s hardly a spoiler to say that things do not go as planned.

A premium cast including Oscar Isaac, Pedro Pascal, Charlie Hunnam, and Garrett Hedlund elevates this deceptively simple procedural. The film is beautifully shot, making terrific use of frames both expansive and intimate. It’s a shame that the movie, produced by Netflix, didn’t have a notable theatrical release, as it seems tailor-made for the big-screen experience.

Where to watch *Triple Frontier*: Netflix

The Town (2010)

Yo I got a wicked idea, we can get wicked rich, it’ll be wicked easy, it’s wicked smaht. Everett Collection

In Ben Affleck’s riff on *Heat*, he stars as the leader of a skilled Charlestown bank-robbing crew. He falls for the bank manager (Rebecca Hall) he terrorized in a robbery while planning a Fenway Park job that might be his mythical “last big score.” Jon Hamm plays the proverbial dogged FBI agent, with Jeremy Renner as Affleck’s unhinged triggerman.

Though it chickens out at the end — an original, darker ending was a better fit — *The Town* is a hard-edged, gripping thriller with a handful of anxious set pieces. A car chase through the city’s North End is a popular highlight, the camera perfectly capturing the whiplash-inducing turns; but a smaller late moment, featuring a manic Renner pursuing Hamm through a parking lot, is one of the most viscerally terrifying action beats in recent memory.

Where to watch *The Town*: HBO Max

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Fast Five (2011)

Paul Walker and Vin Diesel in ‘Fast Five’ pulling off literally their most plausible stunt of the franchise.

Jaimie Trueblood/Universal Pictures/Courtesy of Everett Collection

The *Fast* family rejuvenated their franchise with this smartly overhauled fifth installment. It’s honestly not worth explaining the plot, because you’ve either seen this 13 times or vowed to never go near it. Our heroes decide to pull off a massive heist in Brazil, stealing $100 million from a powerful crime lord in hopes of securing their freedom, all while being hunted by federal agent Luke Hobbs (Dwayne Johnson).

After a solid three entries that played fast and loose with linear continuity, *Fast Five* brilliantly reinvented the franchise with what remains the best installment. Justin Lin finds the perfect combination of brains and brawn — and the addition of Johnson is nothing short of revelatory. Without him, this series doesn’t seem like itself.

Where to watch *Fast Five*: Netflix

Good Time (2017)

Robert Pattinson in the midst of a very bad night.

Before *Uncut Gems *(2019), the Safdie Brothers cut their panic-attack-inducing teeth on this thriller, featuring Robert Pattinson and Benny Safdie as brothers entangled in a bank robbery gone spectacularly wrong.

*Good Time* takes the genre’s “elaborate design and preparation” expectation and upends it. Heist movies are meticulous, careful, and perfectly timed. This one is improvisational and reactive. There’s hardly a “plan” at all — just bad decisions made in fits of desperation. It’s a movie of running, chasing, escaping, doubling back, retracing steps, darting from one not-so-safe refuge to another. It’s urgent and jittery and scary because, in real life, heists are a bad idea.

As Pattinson spends a long night trying to rescue his brother, the Safdies weave a nightmarish, impressionistic vision of New York that ranks among the most unsettling cinematic depictions of the city.

Where to watch *Good Time*: Tubi

Sexy Beast (2000)

Ben Kingsley scaring the s*** out of himself. 20th Century Fox Film Corp/Courtesy Everett

Jonathan Glazer’s first film is this pared-down, ultra-creepy comic thriller starring Ray Winstone as a retired safecracker and Ben Kingsley as his wild-eyed, acid-tongued former associate, who arrives at Winstone’s oceanside retirement manse to talk him into one last score.

Glazer’s movie always zigs when you expect it to zag, never content to do anything by the book. It’s a guns-and-geezers movie that defies the taxing strictures of that subgenre and does something modern. Glazer is a terrifically original filmmaker — he’s never made a movie that’s anything less than astounding — but he seems most at home when trying on the hats of various genres. There’s an unpredictability to *Sexy Beast* that positions it as a solid contender for one of the best thrillers of the millennium.

Where to watch *Sexy Beast*: Prime Video (to rent)

The Sting (1973)

Okay, fine MAYBE Newman and Redford look as dapper as the Sutherland/Connery duo, but it’s still unattainable for us. Everett Collection

This seminal caper re-teams *Butch Cassidy and the Sundance Kid* (1969) costars Robert Redford and Paul Newman in a story of two con men taking revenge on the brutal crime boss (Robert Shaw) who murdered their friend.

To say more about director George Roy Hill’s remarkably gratifying thriller would risk spoiling it. *The Sting* is one of the defining examples of its genre — a movie that filmmakers continue to try to imitate, invariably falling short of the tremendously high mark it set. Redford and Newman build on their *Sundance Kid* chemistry to create a jovial, immersive crime epic with a surprisingly feel-good ending.

Where to watch *The Sting*: Prime Video (to rent)

The Lookout (2007)

Jeff Daniels offers sage wisdom to Joseph Gordon-Levitt in ‘The Lookout’.

Scott Frank — who wrote *Out of Sight* and created *The Queen’s Gambit* — made his directorial debut with this sharp, old-school thriller about a star athlete (Joseph Gordon-Levitt) who retreats from society after an accident leaves him with brain damage. He’s recruited by a manipulative former acquaintance (Matthew Goode) and a siren with the improbable name of Luvlee Lemons (Isla Fisher) to steal a fortune from a local bank.

*The Lookout* is consciously old-fashioned. The story and characters are nothing particularly new, nor is the way Frank shoots it. However, the film’s attention to detail and radical embrace of a bygone filmmaking language elevates it. Like all classic noirs, Frank cultivates a sweaty, visceral realism to the main character’s desire to have a better life at any cost.

Where to watch *The Lookout*: Pluto TV

Bottle Rocket (1996)

The Wilson brothers decide to pull off a heist.

Wes Anderson’s debut remains one of his best works. In a rare trifecta, it stars each of the Wilson brothers — Owen, Luke, and Andrew — in the roles that made them famous. After Anthony (Luke Wilson) leaves a psychiatric hospital, his longtime friend and consummate schemer Dignan (Owen Wilson) ropes him into an elaborate plan for a life of crime. Their misadventures eventually bring them into the orbit of local thief Mr. Henry (James Caan), with predictably disastrous results.

*Bottle Rocket* is interesting because it shows Anderson was close to fully formed, while also being more grounded and less stylized than his later movies. There’s a certain social grittiness to *Bottle Rocket* that the director never really found again. It’s an interesting flourish within his own style, one that makes the eccentricities pop even more.

Where to watch *Bottle Rocket*: Tubi

Inception (2010)

Yeah it’s still spinning.

Stephen Vaughan/Warner Bros./Courtesy Everett Collection

Christopher Nolan’s smash-hit brain-teaser follows Cobb (Leonardo DiCaprio) and his team of dream thieves into the subconscious of a businessman (Cillian Murphy) to implant an idea that will benefit his business rival Saito (Ken Watanabe). Complicating matters for our tormented hero is the shrewd protégé (Elliot Page) he’s training for the job, and the haunting specter of his late wife (Marion Cotillard) who keeps popping up in his dreams.

*Inception*, still one of Nolan’s definitive works, solidified his signature blend of heady ideas within a popcorn framework. Part of why *Inception*, and by extension much of the director’s filmography, works so well is that it utterly buys its own line and never winks at the audience.

Where to watch *Inception*: Prime Video (to rent)

The Great Train Robbery (1978)

There’s simply no way you’re ever going to look as dapper or as finely bearded as this, you should stop trying. United Artists/Sunset Boulevard/Corbis via Getty Images

Michael Crichton directed this taut procedural about a master criminal (Sean Connery) who plots to rob an immense steam train of its gold supply — with, per usual, the help of a ragtag collection of co-conspirators and specialists. As we all know, every good heist needs a good pickpocket (Donald Sutherland).

Crichton’s brainy thriller was based on his own book, itself loosely structured around a real crime committed in 1855. This is an almost impossibly entertaining picture, one which comes together in the most satisfying of ways and fulfills each of the genre’s most coveted tropes. With this and *Westworld *(1973), Crichton proved himself to be a more than capable director of heady popcorn flicks.

Where to watch *The Great Train Robbery*: Pluto TV

The Usual Suspects (1995)

The titular suspects in ‘The Usual Suspects’.

An exemplary script and dashes of stylish direction set this ’90s favorite apart from myriad Tarantino imitators. If you don’t know the twist, certainly one of cinema’s most famous, stop reading now and treat yourself to a great night at the movies.

To keep details to a minimum, it features Kevin Spacey as Verbal Kint, one part of a makeshift team of cons and thieves. In the aftermath of a job, Verbal unwinds a long, twisted story revolving around the notoriously elusive crime boss, Keyser Söze, who allegedly orchestrated the operation, loquaciously laying out every detail to a very determined detective (Chazz Palminteri). Bryan Singer’s ingenious thriller is both a graceful callback to ’50s potboilers and a savage modernization of them.

Where to watch *The Usual Suspects*: HBO Max

Snatch (2000)

A very young (but still bald) Jason Statham working out how to explain his criminal scheme in rhyming slang. Everett Collection

Guy Ritchie has basically spent the rest of his career chasing the giddy high of this screwball riff about a fight promoter (Jason Statham) who gets into hot water when his bare-knuckle brawler gets knocked out two days before his bout, and his replacement — Irish vagabond Mickey (Brad Pitt) — proves, to say the least, untrustworthy. Cue a litany of tough guys (and wannabe tough guys) coming for their dough — especially a giant, flawless diamond, which repeatedly changes hands (and stomachs) over the course of the film.

*Snatch* is far more clever than many similar ensemble capers, with a real nasty edge that remains comedic rather than nihilistic. Ritchie’s terrific rat-a-tat-tat script remains his best, performed by a cast at the height of their game.

Where to watch *Snatch*: Prime Video (to rent)

Point Break (1991)

Keanu Reeves and Patrick Swayze show us what true bromance is all about.

Kathryn Bigelow’s genre-defining extreme sports thriller follows FBI agent Johnny Utah (Keanu Reeves) who goes after a crew of bank robbers led by Bodhi (Patrick Swayze). Johnny’s undercover mission leads to an unexpected bromance as he gets drawn into his target’s world of illicit thrills. He finds himself split between his loyalty (and genuine affection) for Bodhi and his dogged commitment to the job.

Simply one of the most fun films ever made, *Point Break* has earned its status as a pop culture perennial and then some. It’s one of the few films that doesn’t disappoint despite the hype. Bigelow shoots with a clear-eyed ferocity that puts many modern action directors to shame. Reeves and Swayze, meanwhile, turn in two of the best performances of their lives.

Where to watch *Point Break*: Peacock

The Taking of Pelham One Two Three (1974)

Mr. Brown and Mr. Blue in ‘The Taking of Pelham One Two Three’.

Joseph Sargent’s gritty classic stars Robert Shaw as the leader of a crew who takes an entire subway car hostage and attempts to milk $1 million from New York City within 60 minutes. In a nifty wrinkle famously aped by Tarantino in *Reservoir Dogs *(1992), the group goes by color-coded aliases. Dealing directly with the mastermind (Mr. Blue) is a disgraced transit officer (Walter Matthau), who must navigate greedy politicians and hot-headed cops to come up with the money.

Flawlessly structured and paced, this is one of the very best ticking-clock thrillers you’ll ever see. It’s clearly an inspiration for *Die Hard* (1988) and countless other actioners. Yet the ground-level realism and authentic New York locales and characters lend *The Taking of Pelham One Two Three* an essence that is purely its own.

Where to watch *The Taking of Pelham One Two Three*: Tubi

Set It Off (1996)

Queen Latifah, Kimberly Elise, Vivica Fox, and Jada Pinkett hatch a plan in ‘Set It Off’.

New Line Cinema/Getty

Four women (Queen Latifah, Kimberly Elise, Jada Pinkett Smith, Vivica A. Fox) struggling to pay the rent decide to begin robbing banks to make ends meet. This initially nets them a tidy fortune and mythical status within the community, but a hard-driving detective (John C. McGinley) sets out to put their escapade to an end.

F. Gary Gray’s tremendous modern thriller, an obvious precursor to Steve McQueen’s *Widows*, manages to be both deeply emotional and unsentimental at once. It boasts great work from the entire cast, as well as a refreshingly complicated point of view regarding what people have to do to secure a comfortable life for themselves and their loved ones.

Where to watch *Set It Off*: Prime Video (to rent)

Dog Day Afternoon (1975)

Al Pacino, trying to remember the name of that prison where that riot happened, in ‘Dog Day Afternoon’.

Warner Bros/Courtesy Everett

This landmark crime flick stars Al Pacino as Sonny, a desperate man who undertakes an ill-advised Brooklyn robbery. As the cops and the media congregate outside the bank, what was expected to be a simple smash-and-grab stretches into a simmering day-and-night standoff as Sonny and his naive, nervous accomplice (John Cazale) try to find a way to get out alive and make it safely to, say, Wyoming.

Sidney Lumet’s queasy thriller is a high-water mark for both the heist genre and the New York cinema scene. Inspired by the true story of John Wojtowicz, the film is effective both as entertainment and polemic, having much to say about the way our society continues to treat those it deems less-than.

Where to watch *Dog Day Afternoon*: Prime Video (to rent)

Thief (1981)

James Caan catches up with his old pal Willie Nelson in ‘Thief’. Everett Collection

Frank (James Caan) has made a career of stealing jewels, and he’s always done it on his own terms, as his own boss. But he’s in a tough spot and has found himself in the welcoming arms of an avuncular crime boss (Robert Prosky). He agrees to work for him for one last big score — then he’s out. What Frank wants is an early retirement and a family with Jessie (Tuesday Weld).

Tangerine Dream’s tremendous score elevates Michael Mann’s neo-existential slow burn that works as both a tidy caper and a panic attack about masculine anxiety. Mann delivers a fascinating subversion of the genre, anchored by a riveting Caan performance and some of the most specific set design and camerawork of the director’s career.

Where to watch *Thief*: Tubi

Inside Man (2006)

Chiwetel Ejiofor and Denzel Washington work out an unusually complicated heist in ‘Inside Man’. Universal/Courtesy Everett Collection

Spike Lee’s labyrinthine thriller stars Denzel Washington as a hostage negotiator and Clive Owen as a bank robber holding customers hostage in a tony Manhattan branch. The fun of *Inside Man* is letting its revelations slowly roll out, so to say more about the plot would risk ruining the experience.

The movie is a Lee film through and through, though it finds the director trying his hand at a much more mainstream approach than his previous efforts. *Inside Man *has much to say about post-9/11 New York City, but Lee seems primarily focused on creating an upmarket adult thriller that would make Sidney Lumet proud.

Jodie Foster, as a fixer, and Christopher Plummer, as the bank’s chairman, turn in scene-stealing supporting roles.

Where to watch *Inside Man*: Netflix

Rififi (1955)

Robert Manuel and Jules Dassin (under a pseudonym) dreaming of a perfect jewel heist in ‘Rififi’. Everett Collection

Recently released from prison after five years, jewel thief Tony (Jean Servais) embarks with an old pal on what should be a quick and easy robbery. Yet when Tony realizes that his former girlfriend is now shacked up with a gangster, he turns the job into a much more complicated heist, threatening the lives of his entire crew.

Jules Dassin’s perfectly pitched noir played a huge role in shaping the modern heist genre as we know it. The film’s central robbery sequence was in fact based on a real 1899 burglary that occurred in France. Dassin brings real tension and realism to that section of the film, honing some of the gritty procedural elements that would come to be employed by directors like Michael Mann.

Where to watch *Rififi*: Not available to stream

The Killing (1956)

Elisha Cook Jr. and Marie Windsor as eager-to-please husband and hard-to-please wife in ‘The Killing’. Everett Collection

Early in his career, Stanley Kubrick delivered this gleefully deranged, thrilling noir starring Sterling Hayden as a criminal leading a motley crew in an elaborate racetrack heist. When one of the men tells his wife about the scheme, she conspires with her lover to steal the take for themselves.

Kubrick honed his signature style and attention to detail here in a film that’s constantly twisting and turning, intent on knocking its audience off their feet. Kubrick penned the screenplay, with celebrated pulp novelist Jim Thompson contributing dialogue, and though the film’s violence doesn’t get close to what Thompson’s books were known for, the entire film possesses the author’s singular nihilistic point of view. It’s tempered by Kubrick’s love for cinema and knowledge of genre, which pervades every frame.

Where to watch *The Killing*: Prime Video

Jackie Brown (1997)

Pam Grier gets the custom-made role of a lifetime in ‘Jackie Brown’.

Miramax Films/ Courtesy Everett Collection

Quentin Tarantino’s masterpiece revolves around the eponymous flight attendant (Pam Grier), who gets caught running money for gun dealer Ordell Robbie (Samuel L. Jackson). To reverse her fate, she teams with an ATF agent and an LAPD detective (Michael Keaton and Michael Bowen) to set Ordell up in a sting. But Jackie smells a payday; with the help of lovelorn bail bondsman Max Cherry (Robert Forster), she goes about deceiving both Ordell and the authorities.

A classic that was overshadowed for years, Tarantino’s low-key heist picture benefits from his keen sense of time and place, and his ear for dialogue (much of it lifted from Elmore Leonard’s source novel, *Rum Punch*). *Jackie Brown* finds him reining in his tawdry impulses. There’s no outrageous violence or unpleasant caricatures, and the 157-minute runtime feels breezy.

Where to watch* Jackie Brown*: Prime Video (to rent)

Ocean’s Eleven (2001)

George Clooney does it again! This time he has 10 buddies help him.

Bob Marshak/Warner Bros.

This breezy remake of the Rat Pack vehicle stars Clooney as professional thief Danny Ocean, who assembles a murderers’ row of crooked colleagues (Brad Pitt, Matt Damon, and Cheadle among them) to rip off casino boss Terry Benedict (Andy Garcia), who happens to be dating Ocean’s ex-wife, Tess (Julia Roberts).

Breathlessly fun and eminently rewatchable, Soderbergh’s stylish caper followed an unusually serious, awards-heavy stretch for the filmmaker that included Oscar-winning dramas *Traffic* (2000) and *Erin Brockovich *(2000). The effervescent fizz of *Ocean’s Eleven* came as a bit of a surprise at the time, though Soderbergh has since established himself as one of the most versatile filmmakers in modern movie history.

Where to watch* Ocean’s Eleven*: Prime Video (to rent)

Out of Sight (1998)

George Clooney robs a bank with nothing but charisma in ‘Out of Sight’. Universal/Everett

In Steven Soderbergh’s crackling adaptation of Elmore Leonard’s novel, George Clooney plays career crook Jack Foley, who crosses paths with feisty U.S. marshal Karen Sisco (Jennifer Lopez) after escaping the pen. She gets swept up in Foley’s plan to eke out one last score by ripping off a white-collar big shot (Albert Brooks) he met in prison.

There are many things to love about Soderbergh’s masterfully crafted comic thriller. Lopez delivers a sly, perfectly self-aware performance, while the suspense is executed with effortless precision. But as with any good Leonard story, the best moments come from the characters, a rogues’ gallery of violent ruffians and neurotic, duplicitous scoundrels.

Michael Keaton even briefly reprises Ray Nicolette, the laid-back federal agent he played in *Jackie Brown*, creating a nifty crossover between the two Leonard adaptations.

Where to watch* Out of Sight*: Prime Video (to rent)

Le Cercle Rouge (1970)

Alain Delon, Yves Montand, and Gian Maria Volont plan out a heist, very Frenchly.

Jean-Pierre Melville’s classic concerns that old chestnut — an ex-con (Alain Delon) trying to pull off a labyrinthine jewel heist alongside a small crew of fellow ne’er-do-wells. Meanwhile, a dogged police inspector (André Bourvil) is hot on their tails.

Working within the procedural heist tradition exemplified by *Rififi*, Melville pushes the form even further to create a truly immersive crime thriller unlike almost any before or after it. More than most pictures about crooks and the men who chase them, Melville’s movie gets into the heads of its characters and the heart of their wicked deeds with surgical precision. Most of the time — most memorably during the film’s gripping, dialogue-free heist sequence — Melville does this without words at all. The entire picture plays a stunning magic trick.

Where to watch* Le Cercle Rouge*: Prime Video (to rent)

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The 30 best heist movies of all time, ranked

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Stream cinematic masterpieces and hidden gems without spending a single cent. The 25 best movies on Tubi to watch (for free!) Stream cinematic masterpieces and hidden gems without spending a single cent. By Kevin Jacobsen on September 4, 2026 9:09 a.m. ET Leave a Comment :maxbytes(150000):stripicc()/bestmoviesonTubi0804268565c248de294845bf55d49a9c99d7e1.jpg) Sam Neill as John Trent in ‘In the Mouth of Madness’; Parker Posey as Mary in ‘Party Girl’; Pam Grier as Flower Child ‘Coffy’ Coffin in ‘Coffy’.

Stream cinematic masterpieces and hidden gems without spending a single cent.

The 25 best movies on Tubi to watch (for free!)

Stream cinematic masterpieces and hidden gems without spending a single cent.

By Kevin Jacobsen

on September 4, 2026 9:09 a.m. ET

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Sam Neill as John Trent in ‘In the Mouth of Madness’; Parker Posey as Mary in ‘Party Girl’; Pam Grier as Flower Child ‘Coffy’ Coffin in ‘Coffy’. Credit:

New Line Cinema/Courtesy Everett Collection; First Look Pictures; Michael Ochs Archive/Getty

Tubi might not have the ubiquity of Netflix or other major streamers, but you’d be hard-pressed to find a more comprehensive list of movies of all genres. Running the gamut from Golden Age of Hollywood classics to modern-day, low-budget indies, there’s truly something for everyone without having to spend a dime, as long as you can tolerate ad breaks.

But the sheer volume of options on Tubi can be intimidating. Are you in the mood for some grungy horror? Well, there are hundreds of titles — most of which you’ve probably never heard of and have no sense of their quality. Looking to expand your appreciation of cinema history? There are numerous Oscar winners and canon-worthy classics at your disposal. But where to even begin?

Well, you’ve come to the right place. Ahead, we’ve narrowed it down to the 25 best movies streaming for free on Tubi.

12 Angry Men (1957)

(From left to right): E.G. Marshall as Juror 4, Henry Fonda as Juror 8, Lee J. Cobb as Juror 3, Edward Binns as Juror 6, Jack Klugman as Juror 5, George Voskovec as Juror 11, and Joseph Sweeney as Juror 9 in ‘12 Angry Men’.

Silver Screen Collection/Getty

Widely regarded as one of the greatest films of all time, *12 Angry Men* hardly needs an introduction. Yet, it’s remarkable how relevant this courtroom drama remains in its portrayal of debate, confirmation bias, and morality. The film takes place almost entirely in one location, a jury deliberation room, where 12 jurors must decide on a verdict in a case involving an 18-year-old accused of murdering his father. While 11 of the 12 men quickly agree on the teen’s guilt, Juror 8 (Henry Fonda) isn’t so sure, leading to a riveting debate enhanced by director Sidney Lumet’s genius camerawork. —*Kevin Jacobsen*

Where to watch *12 Angry Men*: Tubi

**Director:** Sidney Lumet

**Cast:** Henry Fonda, Lee J. Cobb, Ed Begley, E.G. Marshall, Jack Warden

Another Round (2020)

Mads Mikkelsen as Martin (center) in ‘Another Round’.

Henrik Ohsten/Samuel Goldwyn Films

We’ve seen numerous movies explore male midlife crises, but this Oscar-winning dramedy from writer-director Thomas Vinterberg provides a fresh perspective. The Danish film follows four teacher friends who add flavor to their listless lives with an odd experiment: try to maintain a blood alcohol level of 0.05 percent at all times for maximum creativity and relaxation. While the colleagues commit to the same drinking schedule, the results vary as one of them develops a troubling addiction. EW’s critic calls *Another Round* “an intoxicated tale of midlife angst and catharsis,” anchored by Mads Mikkelsen in one of his best performances. —*K.J.*

Where to watch *Another Round*: Tubi

**EW grade:** B

**Director:** Thomas Vinterberg

**Cast:** Mads Mikkelsen, Thomas Bo Larsen, Magnus Millang, Lars Ranthe

Boiling Point (2021)

Stephen Graham as Andy Jones in ‘Boiling Point’.

Saban Films/Courtesy Everett Collection

The 2025 British series *Adolescence* has wowed critics and audiences with its conceit of each episode comprising a single take, but star Stephen Graham was already quite familiar with this approach thanks to *Boiling Point*. This anxiety-riddled drama is set in an upscale restaurant, as head chef Andy Jones (Graham) juggles various personal and professional responsibilities — including a devastating audit — over the course of a chaotic night. The use of only one take makes for a highly immersive experience that will resonate with anyone who’s ever had a particularly bad day at work. —*K.J.*

Where to watch *Boiling Point*: Tubi

**Director:** Philip Barantini

**Cast:** Stephen Graham, Vinette Robinson, Alice Feetham, Hannah Walters, Malachi Kirby

Charade (1963)

Walter Matthau as Carson Dyle and Audrey Hepburn as Reggie Lampert in ‘Charade’.

This genre-bending classic pairs two of the most charismatic stars of their era, Audrey Hepburn and Cary Grant, in a twisty thrill ride. Hepburn plays Reggie, an American in Paris who learns her husband has been murdered. What follows is a complex web of mistrust and deception as she discovers he was involved in a shady business deal, and a group of criminals is after his money. And can she rely on the fellow American (Grant) she just met, who wants to help her? *Charade* raises the question of who Reggie can trust, but also who the audience should as well. —*K.J.*

Where to watch *Charade*: Tubi

**Director:** Stanley Donen

**Cast:** Cary Grant, Audrey Hepburn, Walter Matthau, George Kennedy, James Coburn**

Coffy (1973)

Pam Grier as Nurse Flower Child ‘Coffy’ Coffin and Robert DoQui as King George in ‘Coffy’. Everett Collection

Pam Grier became a cinematic icon with her badass performance in this cult favorite from the Blaxploitation era. The actress plays Flower Child Coffin, a.k.a. Coffy, an ER nurse who becomes a vigilante to take revenge on the men who got her young sister hooked on heroin. After succeeding in her mission, Coffy continues to use her particular set of skills by targeting other dangerous men in her community, kicking butt and taking names along the way. It’s an electrifying star turn and a fun time capsule for the early ‘70s. —*K.J.*

Where to watch *Coffy*: Tubi

**Director:** Jack Hill

**Cast:** Pam Grier, Booker Bradshaw, Sid Haig, Lisa Farringer, Robert DoQui

Drop Dead Gorgeous (1999)

Kirstie Alley as Gladys Leeman in ‘Drop Dead Gorgeous’. New Line Cinema/Courtesy Everett Collection

Some films take their time to become classics. This dark comedy mockumentary about the cutthroat world of beauty pageants had a mixed reception from critics in 1999, but its razor-sharp satire has helped it age like fine wine. Set in a small Minnesota town, the film follows a group of teen girls (and their mothers) as they do whatever it takes for a chance to compete in the national Sarah Rose Cosmetics American Teen Princess Pageant. And let’s just say the title *Drop Dead Gorgeous* is a hint of just how competitive things become. —*K.J.*

Where to watch *Drop Dead Gorgeous*: Tubi

**Director:** Michael Patrick Jann

**Cast:** Kirstie Alley, Ellen Barkin, Kirsten Dunst, Denise Richards, Allison Janney

Easy A (2010)

Emma Stone as Olive Penderghast and Penn Badgley as Todd in ‘Easy A’.

Adam Taylor/Screen Gems/Courtesy Everett Collection

Emma Stone achieved full star status with this 2010 teen comedy, which pays homage to *The Scarlet Letter*. She plays Olive, a California high schooler whose lie about losing her virginity spirals out of control and becomes a school-wide scandal as she comes to embrace her newfound status as a “promiscuous” person. While pretending to have sex with fellow students to boost their reputations, she also rekindles her relationship with Todd (Penn Badgley), her childhood crush who sees Olive for the real her, not people’s assumptions of who she is. Stone earned huge raves for her performance, with EW’s critic stating, “Stone has a speed and sparkle that may remind you of [Lindsay] Lohan in her *Mean Girls* prime.” —*K.J.*

Where to watch *Easy A*: Tubi

**Director:** Will Gluck

**Cast:** Emma Stone, Penn Badgley, Amanda Bynes, Patricia Clarkson, Stanley Tucci

Flee (2021)

Amin Nawabi (voice: Amin Nawabi) in ‘Flee’.

Neon/Courtesy Everett Collection

This genre-bending documentary tells the harrowing story of an Afghan man who has fled his home country. He uses the alias “Amin Nawabi” to protect his identity, while the film utilizes lyrical animation to depict his perilous journey from Afghanistan to Denmark as he tries to avoid authorities. *Flee* is a riveting story of resilience that also made history as the first movie to earn simultaneous Oscar nominations for Best Animated Feature, Best Documentary Feature, and Best International Feature Film. —*K.J.*

Where to watch *Flee*: Tubi

**Director:** Jonas Poher Rasmussen

**Cast:** Amin Nawabi, Daniel Karimyar, Fardin Mijdzadeh, Milad Eskandari, Belal Faiz

Heathers (1989)

Winona Ryder as Veronica Sawyer, Kim Walker as Heather Chandler, Lisanne Falk as Heather McNamara, and Shannen Doherty as Heather Duke in ‘Heathers’.

New World Pictures/Courtesy Everett Collection

The OG razor-sharp teen comedy,* **Heathers** *is the poisoned apple tree from which films like *Clueless* (1995), *Jawbreaker *(1999), and *Mean Girls* (2004) would later blossom. Winona Ryder stars as Veronica, one of the popular girls at a suburban high school where suicide has suddenly become the hottest new fad. Originally a box-office flop, this 1987 comedy has since become a completely quotable cult classic. —*Katie Rife*

Where to watch *Heathers*: Tubi

**Director:** Michael Lehmann

**Cast:** Winona Ryder, Christian Slater, Shannen Doherty

In the Mouth of Madness (1995)

Sam Neill as John Trent (right) in ‘In the Mouth of Madness’. New Line/Courtesy Everett Collection

This mind-bending ’90s horror film is an underrated entry in John Carpenter’s filmography, yet another to have a mixed critical reception initially but has come to be appreciated more with time. Sam Neill stars as an insurance investigator looking into the disappearance of celebrated horror author Sutter Cane. After learning of the dangerous effect of Cane’s novels on unsuspecting readers, he somehow ends up in the fictional town that serves as the setting for many of Cane’s works, and discovers untold horrors that shift his entire perspective on reality. Fans of surreal horror will enjoy the trippy descent into madness here, with Neill serving as the perfect skeptic reckoning with his entire belief system. —*K.J.*

Where to watch *In the Mouth of Madness*: Tubi

**Director:** John Carpenter

**Cast:** Sam Neill, Julie Carmen, Jürgen Prochnow, Charlton Heston

It Happened One Night (1934)

Clark Gable as Peter Warne and Claudette Colbert as Ellie Andrews in ‘It Happened One Night’. John Kobal Foundation/Getty

If you want to trace back the winning formula for a romantic comedy to one film, look no further than *It Happened One Night*. This classic centers on Ellie (Claudette Colbert), a pampered heiress who defies her father’s riches by eloping with a pilot who’s only after her money. Hitching a Greyhound to reunite with her husband, she meets Peter (Clark Gable), a newspaper reporter looking for a scoop, and the pair soon develop feelings for each other.**** Filled with memorable sequences (Ellie’s iconic leg display to attract a ride while hitchhiking; Peter going bare-chested), *It Happened One Night* is a masterpiece of its genre, winning the “Big Five” Oscars: Best Picture, Best Director, Best Actor, Best Actress, and Best Screenplay. —*K.J.*

Where to watch *It Happened One Night*: Tubi

**Director:** Frank Capra

**Cast:** Clark Gable, Claudette Colbert

Marjoe (1972)

Marjoe Gortner in ‘Marjoe’.

Courtesy Everett

This Oscar-winning documentary was decades ahead of its time, bravely exposing the manipulation tactics used by religious leaders. Centering on the charismatic Marjoe Gortner, the film chronicles his early life as a child preacher and his eventual disillusionment in adulthood when he returned to the revivalist circuit. “Part of what makes *Marjoe* such a knockout of a movie is not knowing exactly how to feel about it when its end credits come up,” writes EW’s critic. “And when was the last time a movie made you feel something as complicated as that?” —*K.J.*

Where to watch *Marjoe*: Tubi

**Directors:** Howard Smith, Sarah Kernochan

**Cast:** Marjoe Gortner

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Memento (2001)

Guy Pearce as Leonard Shelby in ‘Memento’.

Danny Rothenberg/Newmarket

Oscar-winning director Christopher Nolan burst onto the scene with his intricate, intellectual style already fully developed in *Memento*, his second feature film. Guy Pearce stars as Leonard, a broken man out for revenge for the murder of his wife — a mission that’s made more difficult by the fact that he has an untreatable condition that resets his short-term memory every 15 minutes. “*Memento* has a spooky repetitive urgency that takes on the clarity of a dream,” writes EW’s critic. “It’s like an Oliver Sacks case study played as malevolent film noir.” —*K.R.*

Where to watch *Memento*: Tubi

**EW grade:** A

**Director:** Christopher Nolan

**Cast:** Guy Pearce, Carrie-Anne Moss, Joe Pantoliano

The Night of the Hunter (1955)

Robert Mitchum as Harry Powell in ‘The Night of the Hunter’.

Courtesy Everett Collection

This disturbing thriller classic follows the exploits of Harry Powell (Robert Mitchum), a serial killer posing as a preacher. After learning about a brother and sister who have inherited a large cash sum, he methodically woos their widowed mother and does everything in his power to obtain the money. Oscar-winning actor Charles Laughton’s lone directorial venture, *The Night of the Hunter* is a masterful film noir and an unsettling descent into darkness that was decades ahead of its time. —*K.J.*

Where to watch *The Night of the Hunter*: Tubi

**Director:** Charles Laughton

**Cast:** Robert Mitchum, Shelley Winters, Lillian Gish

Paris, Texas (1984)

Harry Dean Stanton as Travis Henderson in ‘Paris, Texas’.

20th Century Fox Film Corp/Courtesy Everett

Director Wim Wenders won the top prize at the 1984 Cannes Film Festival for this elegiac road-trip drama. Character actor Harry Dean Stanton stars as Travis, a quiet man who reunites with his brother and son after years apart. Seeking redemption, he brings his son along on a trip to find his wife (Nastassja Kinski) as the mystery behind his estrangement is subtly revealed. Tapping into poignant themes of trauma and absolution, *Paris, Texas* is one of the defining American masterpieces of the ‘80s. —*K.J.*

Where to watch *Paris, Texas*: Tubi

**Director:** Wim Wenders

**Cast:** Harry Dean Stanton, Nastassja Kinski, Dean Stockwell, Aurore Clément, Hunter Carson

Party Girl (1995)

Guillermo Díaz as Leo, Parker Posey as Mary, and Anthony DeSando as Derrick in ‘Party Girl’.

First Look Pictures/Everett

With the renewed appreciation of Parker Posey thanks to her scene-stealing role in season 3 of *The White Lotus*, there’s no better time to go back and watch her breakthrough performance in this quirky ‘90s comedy. Posey stars as Mary, a young, carefree woman who frequents the New York City nightlife. After her godmother bails her out of jail, Mary begrudgingly takes a job as a librarian to get the money to pay her back, which helps her grow as a person. It’s easy to see why Posey would become an indie darling after *Party Girl*’s release; her winning yet eccentric screen presence is already evident, and the role allows her to display her full comedic and dramatic range. —*K.J.*

Where to watch *Party Girl*: Tubi

**Director:** Daisy von Scherler Mayer

**Cast:** Parker Posey, Anthony DeSando, Guillermo Díaz, Donna Mitchell, Liev Schreiber

Point Break (1991)

Keanu Reeves as Johnny Utah and Patrick Swayze as Bodhi in ‘Point Break’.

20th Century Fox Film Corp./Courtesy Everett Collection

Kathryn Bigelow’s classic tale of male friendship has only gotten better with age. While initially receiving a mixed reception upon its 1991 release, *Point Break* crackles with the chemistry between FBI Agent Johnny Utah (Keanu Reeves) and surf-loving gang leader Bodhi (Patrick Swayze). As Johnny goes undercover with Bodhi and his crew, he soon develops an appreciation of their lifestyle, complicating matters as his superiors want him to bust the gang. “Reeves is an aloof but worthy adversary, and Swayze is the hardened zen master,” EW’s critic writes, “but their serious performances still ground an otherwise ridiculous premise.” —*K.J.*

Where to watch *Point Break*: Tubi

**Director:** Kathryn Bigelow

**Cast:** Patrick Swayze, Keanu Reeves, Gary Busey, Lori Petty

Secretary (2002)

Maggie Gyllenhaal as Lee Holloway in ‘Secretary’.

Mary Evans/Lionsgate Films/Ronald Grant/Everett Collection

This BDSM-themed rom-com stars Maggie Gyllenhaal as Lee, an emotionally unbalanced young woman who finds her purpose when she takes a job as a secretary for Mr. Grey (James Spader), a strict and demanding attorney. What starts as sexual tension soon turns into an elaborate, kinky role-playing game that consumes both boss and assistant. Could true love be far behind? —*K.R.*

Where to watch *Secretary*: Tubi

**Director:** Steven Shainberg

**Cast:** James Spader, Maggie Gyllenhaal, Jeremy Davies, Patrick Bauchau, Lesley Ann Warren

Short Term 12 (2013)

Brie Larson as Grace Howard and LaKeith Stanfield as Marcus in ‘Short Term 12’.

Cinedigm/Courtesy Everett Collection

Destin Daniel Cretton’s acclaimed indie drama is among the most significant launching pads for future 21st-century movie stars. The film, about the residents and staff of a group home for troubled teenagers, marked the feature debuts of LaKeith Stanfield (2018’s *Sorry to Bother You*) and Stephanie Beatriz (*Brooklyn Nine-Nine*), as well as early roles for Kaitlyn Dever (2019’s *Booksmart*) and Rami Malek (2018’s *Bohemian Rhapsody, Mr. Robot*). It was also the first lead movie role for future* *Captain Marvel* *Brie Larson, who reunited with the director in a mid-credits scene in 2021’s *Shang-Chi and the Legend of the Ten Rings*. —*K.R.*

Where to watch *Short Term 12*: Tubi

**Director:** Destin Daniel Cretton

**Cast:** Brie Larson, John Gallagher Jr., Kaitlyn Dever, Rami Malek, LaKeith Stanfield

Tangerine (2015)

Mya Taylor as Alexandra and Kitana Kiki Rodriguez as Sin-Dee Rella in ‘Tangerine’. Augusta Quirk/Magnolia Pictures

This exuberant indie dramedy centers on the chaotic lives of two transgender friends trying to find peace of mind in Los Angeles. Sin-Dee Rella (Kitana Kiki Rodriguez) and Alexandra (Mya Taylor), both sex workers, ramble across Santa Monica Boulevard hunting down the former’s boyfriend/pimp, who has been cheating on her.

Hilarious yet humanistic, *Tangerine* is a testament to the value of independent cinema, not only for its focus on characters not often seen in leading roles but also for the story behind its production; co-writer-director Sean Baker shot the whole film with iPhone 5S smartphones. —*K.J.***** Where to watch *Tangerine*: Tubi******Director:** Sean Baker******Cast:** Kitana Kiki Rodriguez, Mya Taylor, Karren Karagulian, Mickey O’Hagan, James Ransone

Titane (2021)

Adèle Guigue as young Alexia in ‘Titane’.

Neon/Courtesy Everett Collection

You’ve (probably) never seen anything like *Titane*, Julia Ducournau’s body horror thriller that miraculously won the top prize at the 2021 Cannes Film Festival. The film centers on Alexia (Agathe Rousselle), a woman who was in a car accident as a child that led to a titanium plate being implanted in her head. Years later, Alexia has become a serial killer with a highly sexual obsession with motor vehicles, leading her down an increasingly dangerous path. Ducournau’s audacious commitment to her vision is refreshing in its lack of compromise; as EW’s critic writes, she “forges something sensational from nerve and pure metal, and makes it new.” —*K.J.*

Where to watch *Titane*: Tubi

**EW grade:** B+

**Director:** Julia Ducournau

**Cast:** Agathe Rousselle, Vincent Lindon, Garance Marillier, Laïs Salameh

Tokyo Sonata (2008)

Kyoko Koizumi as Megumi Sasaki and Kōji Yakusho as the Robber in ‘Tokyo Sonata’.

The everyday struggles of an ordinary Tokyo family are woven together with a sometimes uncomfortable honesty in this affecting psychological drama from Kiyoshi Kurosawa. A father grapples with the loss of his job; his wife lives an unsatisfying existence as a housewife; their eldest son leaves home to join the U.S. military; their youngest son secretly takes piano lessons against his father’s wishes. All must go on a journey of self-discovery to find their place in the world, with Kurosawa exploring each character’s inner conflict with bracing realism before deftly shifting into something more expressionistic as he pushes them out of their comfort zones. —*K.J.*

Where to watch *Tokyo Sonata*: Tubi

**Director:** Kiyoshi Kurosawa

**Cast:** Teruyuki Kagawa, Kyōko Koizumi, Yū Koyanagi, Kai Inowaki, Kōji Yakusho

The Visitor (2007)

Richard Jenkins as Walter Vale and Haaz Sleiman as Tarek in ‘The Visitor’.

Overture Films/Courtesy Everett Collection

Richard Jenkins gives the performance of a lifetime in this small, unassuming drama as an economics professor who discovers an immigrant couple (Haaz Sleiman and Danai Gurira) squatting in his little-used NYC apartment. Rather than evicting them, he befriends them, bearing witness to the harsh inequalities of post-9/11 America when one of them is arrested and detained on immigration charges. What follows is a touching drama anchored by its Oscar-nominated leading man. —*K.R.*

Where to watch *The Visitor*: Tubi

**Director:** Tom McCarthy

**Cast:** Richard Jenkins, Hiam Abbass, Haaz Sleiman, Danai Gurira

What’s Up, Doc? (1972)

Barbra Streisand as Judy Maxwell and Ryan O’Neal as Howard Bannister in ‘What’s Up, Doc?’.

Courtesy Everett Collection

Peter Bogdanovich evoked the screwball comedies of the Golden Age of Hollywood with this farcical delight. Ryan O’Neal stars as a frequently befuddled musicologist who heads west with his nagging fiancée, Eunice (Madeline Kahn, hilarious in her film debut) for a potential research grant. At the hotel, he meets Judy (Barbra Streisand), an agent of chaos who takes a liking to him. Several switched suitcases and hilarious set pieces later, they all eventually find themselves on a high-speed chase through the streets of San Francisco.

With a plot that grows more absurd with each passing scene, plus committed performances from O’Neal and Streisand at their comedic best, *What’s Up, Doc?* is a total gem. —K.J.

Where to watch *What’s Up, Doc?*: Tubi

**EW grade:** A

**Director:** Peter Bogdanovich

**Cast:** Barbra Streisand, Ryan O’Neal, Kenneth Mars, Austin Pendleton, Madeline Kahn

The Worst Person in the World (2021)

Renate Reinsve as Julie in ‘The Worst Person in the World’. Sundance Institute

*The Worst Person in the World* plays like one of those great romantic comedies that start charming, only to sneak up on you with the emotional weight and authenticity of its depiction of modern relationships by its conclusion. The Norwegian film unfolds through 12 chapters of med student Julie’s (Renate Reinsve) life as she tries to figure out what she wants, falling in and out of love. Her relationship with a comic artist 15 years her senior leaves an indelible mark on her life.

Joachim Trier’s film may be classified as a rom-com (with admittedly heavy dramatic undertones), but it deftly plays with tropes of the genre to provide a fresh experience for the audience. EW’s critic writes, “It vibrates with real life, a film so fresh and untethered to rom-com cliché it might actually reshape the idea of what movies like this can be.” —*K.J.*

Where to watch *The Worst Person in the World*: Tubi

**EW grade:** A

**Director:** Joachim Trier

**Cast:** Renate Reinsve, Anders Danielsen Lie, Herbert Nordrum

- Movie Reviews & Recommendations

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Tom Cruise, Timothée Chalamet, Anne Hathaway, and Inde Navarrette’s breakout “Obsession” performance are potential awards contenders. Super early 2027 Oscars contenders, from The Odyssey to Obsession Tom Cruise, Timothée Chalamet, Anne Hathaway, and Inde Navarrette’s breakout “Obsession” performance are potential awards contenders. :maxbytes(150000):stripicc()/JoeyNolfiBiophotof93a23298bdd47ba9c13f53815fc469b.jpg) Joey Nolfi Joey Nolfi is a senior writer at . Since 2016, his work at EW includes RuPaul's Drag Race video interviews, Oscars predictions, and more.

Tom Cruise, Timothée Chalamet, Anne Hathaway, and Inde Navarrette’s breakout “Obsession” performance are potential awards contenders.

Super early 2027 Oscars contenders, from The Odyssey to Obsession

Tom Cruise, Timothée Chalamet, Anne Hathaway, and Inde Navarrette’s breakout “Obsession” performance are potential awards contenders.

Joey Nolfi

Joey Nolfi is a senior writer at *. *Since 2016, his work at EW includes RuPaul's Drag Race video interviews, Oscars predictions, and more.

EW's editorial guidelines

on September 4, 2026 12:25 p.m. ET

Inde Navarrette in ‘Obsession’. Credit:

Focus Features /Courtesy Everett Collection

- Early 2027 Oscars contenders have already popped up on the awards trail.

- Timothée Chalamet, Tom Cruise, Anne Hathaway, and more have high-profile projects in the works.

- Returning Oscar-favorite filmmakers are also in the mix, including Alejandro González Iñárritu, Christopher Nolan, Martin McDonagh, and more.

Like Barbra Streisand surprise-singing the legacy of Robert Redford into the annals of the past, the 2026 Oscars season is now but a sweet memory. So, it’s time to reignite the flames of contention as ** rounds up a list of super early 2027 Oscars contenders.

Perhaps more than last year at this point, a wealth of likely contenders (at least on paper) have captured early interest. From Tom Cruise‘s possible nod and Christopher Nolan‘s Best Picture follow-up, to the film that could finally win Anne Hathaway her second Oscar, likely contenders for the 2027 Academy Awards include Hollywood heavyweights from all corners of the industry.

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***Get your daily dose of entertainment news, celebrity updates, and what to watch with our ******EW Dispatch newsletter******.***

But, we’re not just singling out the most obvious, top-line players in the race ahead. EW has you covered for projections in the technical categories, too, as uniquely crafted works like *Undertone* and *Obsession* could stun in unexpected ways for their standout approaches to the medium — including potential capitalization on a well-deserved campaign for breakout star Inde Navarrette.

Though we’re still months away from next year’s Academy Awards, see EW’s roundup of *very* early 2027 Oscars contenders below.

Project Hail Mary

Ryan Gosling in ‘Project Hail Mary’.

Ryan Gosling’s sci-fi-drama looks to continue the recent trend of early-year releases hitting big at the box office and sustaining all the way through to Oscar season (*Barbie*, *Oppenheimer*, etc.) With nearly $700 million in global ticket sales and a widely heralded leading turn from Gosling, the film could finally land the actor in serious contention to take the Best Actor prize, after his prior nods (*Barbie*, *La La Land*, *Half Nelson*) ultimately didn’t connect enough with Academy voters.

Sebastian Stan and Renate Reinsve in ‘Fjord’.

A two-and-a-half-hour, internationally produced, major Cannes Film Festival hit? If *Anatomy of a Fall*, *Elle*, *Cold War*, (and, frankly, many more) are any indication, Oscar attention is imminent for *Fjord. *Critics and audiences alike on the festival circuit have heaped praise on the Palme d’Or-winning, Cristian Mungiu-directed drama starring Sebastian Stan and Renate Reinsve. Both stars are hot off praise for various projects over the years, with particular critical adoration for their leading turns in the Romania-backed film.

Cannes has proven to be a breeding ground for Oscar fodder in recent years, and Fjord is primed to set sail in the same direction.

Oscar-winning actress Julianne Moore.

Lyvans Boolaky/Getty Images

Far from Oscar winner Julianne Moore’s debut on the awards circuit, *The Debut*, however, does signal a new chapter in the storied actress’ career. It’s widely speculated that the Jesse Eisenberg-helmed film could lead to the star’s long-overdue second Academy Award (she was totally robbed for *May December*, let’s be real). Centering on a reserved woman’s unexpected casting in a local musical, the film feels squarely in line with what industry voters typically go for — especially for stars of Moore’s acting caliber. Telluride audiences will chart the course for this one, however, as the film is set to debut at the Oscar-positioning festival in the days ahead.

Inde Navarrette and Michael Johnston in ‘Obsession’.

Earning more than $500 million on a reported $750,000 budget is no laughing matter — and neither is the subject matter of Curry Barker’s nightmarishly good horror hit *Obsession*. While the film flexed financial might in terms of ticket sales, it also turned lead actress Inde Navarrette into a breakout rising star, as the 25-year-old’s work quickly led to her landing the role of Rogue in an upcoming *X-Men* film series installment.

Now, with fantastic goodwill behind her performance in the industry and beyond (coupled with recent news that she’ll officially campaign for a Best Actress nomination), it’s looking like the Academy might show repeat affection for a horror-centric performance after anointing Amy Madigan’s work in *Weapons*.

*The Odyssey *

On paper, it was the most obvious Oscar contender of the year even before it steamrolled the global box office. Christopher Nolan as director? Major studio energy? Oscar success is all but guaranteed. High-profile stars in a huge ensemble (Matt Damon, Anne Hathaway, Lupita Nyong’o, Charlize Theron, John Leguizamo, Tom Holland, Robert Pattinson) led the charge, with particular praise heralding Hathaway as the standout performance among a crowded cast.

*The Odyssey* is big, it’s buzzy, it’s got a wealth of industry-favorite stars lending their image to what will surely be a star-studded awards campaign, and it’s primed for an epic takeover of awards season.

Wild Horse Nine

Martin McDonagh‘s name doesn’t often come to mind when considering the best auteurs of the era, but his Oscars track record suggests that it certainly should. From *In Bruges*‘ lone nomination to *Three Billboards Outside Ebbing, Missouri *and* The Banshees of Inisherin *earning seven and nine nominations apiece (including in the Best Picture category), it’s clear that affection for McDonagh’s work is only growing among insider circles.

For his next project, he teams with a familiar face: Sam Rockwell (who previously won an Oscar for *Three Billboards*) returns to work with the filmmaker. It’s likely that, pending any disasters on the critical front, Oscar voters will, too.

The Social Reckoning

Mikey Madison in ‘The Social Reckoning’.

Sony Pictures Entertainment/Youtube

Aaron Sorkin just kind of feels *above* sequels, right? Well, not if it’s a continuation (of sorts) of a modern David Fincher masterpiece that Sorkin also wrote, apparently! *The Social Network 2 *doesn’t quite have the same ring to it, so *The Social Reckoning** *will do; and so will Sorkin’s sensibilities, as he jumps into the director’s chair to helm the second part of the story he and Fincher established in 2010.

*Reckoning* is also 2025 Best Actress winner Mikey Madison‘s first major release since taking the prize at last year’s ceremony, and afterglow nominations are a real phenomenon. There’s additionally a strong ensemble rounding out the cast (2026 nominee Wunmi Mosaku, 2025 nominee Jeremy Strong, Emmy favorite Jeremy Allen White, etc.), meaning *Reckoning* could sail through the season as both a strong writing *and* acting favorite.

Tom Cruise in ‘Digger’.

Warner Bros. Pictures

We saw the overdue narrative work (overwhelmingly) in Paul Thomas Anderson’s favor this year, as *One Battle After Another* took the longtime nominee into the champions’ circle three times over. Tom Cruise’s work as an actor (including, funnily enough, in Anderson’s *Magnolia*) has similarly long been nominated by the Academy. He finally got his flowers (sort of) when he received an honorary statuette last year, though his acting abilities haven’t captured voters’ attention in decades.

In his later career, Cruise has pigeonholed himself as a sort of action-legacy star, with his most recent successes combining established franchise familiarity (*Top Gun*, *Mission: Impossible*) with his inherent audience recognition. Now is Cruise’s perfect chance to shock the industry with a stellar performance in *Digger*, the latest film by Alejandro González Iñárritu, an Oscar favorite whose past work includes *21 Grams*, *Babel*, *Biutiful*, *Birdman*, and *The Revenant* — all of which received at least one acting nomination.

Cruise’s overdue narrative, coupled with baked-in goodwill for Iñárritu, could lead to awards season gold for the Hollywood staple.

Dune: Part Three

No, we’re not done with Timothée Chalamet yet. Despite weathering late-season controversy at the end of the 2025-26 awards season, the *Marty Supreme* nominee is gearing up to traverse the circuit once again for *Dune: Part Three*, the epic cinematic conclusion to filmmaker Denis Villeneuve‘s beloved adaptation of Frank Herbert’s sci-fi novels. The first two films in the series laid the foundation for a trio of successful awards entries, as both scored Best Picture nominations, with the first entry winning six Oscars at the 2022 ceremony.

This could go one of two ways, however: We could be looking at a* Lord of the Rings: The* *Return of the King*-style victory lap for Villeneuve’s final installment in the cinema series, or industry fatigue might smash this one’s chances down to spice-sized parcels as other epics rise in its place (see: *The Odyssey*).

Given the “new,” diversified Academy’s penchant for horror (*Sinners*, *Weapons*, and *Frankenstein* all won big across the board at the 2026 ceremony), it’s time to look at 2025 Fantasia Fest breakout *Undertone* as a potential technical player.

Lauded as an instant genre milestone for its ingenious, engrossing sound design, the film’s narrative and scares incorporate intense orchestration of immersive sounds in a plot that follows a podcast host plagued by horrifying audio recordings.

While it might not contend above the line, *Undertone *is* *shaping up to be a major Best Sound contender in the race ahead.* ***

Toy Story 5

Buzz Lightyear and Woody in ‘Toy Story 5’.

Courtesy of Disney/Pixar

Every entry in Disney‘s* Toy Story *franchise to date has received at least one Oscar nomination and/or win — including the original and its sequel, *Toy Story 2,* both of which were released before the Best Animated Feature category was implemented in 2001. *Toy Story 3* even earned a Best Picture nomination, a rare feat for animated films. With improved animation technology, a returning voice cast (Tom Hanks, Tim Allen, and more), and a timely story about toys fighting back against digital devices invading the minds of the world’s youth, *Toy Story 5* is a shoo-in (or, perhaps, boot-in, in Woody’s case) for at least a nod in the animation-specific bracket. And don’t count out Taylor Swift’s sentimental original song, the chart-topping hit “I Knew It, I Knew You.”

Sundance proves time and time again to be a powerful launching pad for awards-bound projects. This year’s Gemma Chan/Channing Tatum drama, *Josephine*, earned rave reviews and the festival’s Grand Jury Prize for dramatic features — a healthy sign for how it will play with audiences and critics once it (likely) rolls out wider later this year.

If there’s one thing that has the Academy in a hold tighter than Michael Jackson dangling a child over a railing, it’s music-oriented biographical dramas. Starring Jafaar Jackson as his famous uncle, the enduring popularity of the film’s central subject alone is strong enough to at least put this one at the forefront of the industry’s mind at this early stage.

Other early 2027 Oscars contenders on the radar:

- *All of a Sudden*

- *La Bola Negra*

- *Paper Tiger*

- *Prima Facie*

- Awards Shows & Events

- Academy Awards

- Oscars Predictions

Original Article on Source

Source: "EW Oscars"

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Source: Oscars

Published: September 4, 2026 at 11:38PM on Source: RED MAG

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2:01 PM

Super early 2027 Oscars contenders, from The Odyssey to Obsession

Tom Cruise, Timothée Chalamet, Anne Hathaway, and Inde Navarrette’s breakout “ Obsession ” performance are potential awards contenders. ...

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Automakers urge Congress to quickly pass law banning Chinese cars

Automakers urge Congress to quickly pass law banning Chinese cars By David Shepardson Fri, September 4, 2026 at 3:51 AM UTC 0 By David Shepardson WASHINGTON, Sept 3 (Reuters) A group representing major automakers on Thursday urged Congress to pass legislation permanently barring Chinese vehicles from the U.S. market before the end of the year. The Alliance for Automotive Innovation, which represents General Motors, Ford, Toyota, Volkswagen, Hyundai, Honda, Stellantis and other major automakers, called for quick action.

Automakers urge Congress to quickly pass law banning Chinese cars

By David Shepardson Fri, September 4, 2026 at 3:51 AM UTC

0

By David Shepardson

WASHINGTON, Sept 3 (Reuters) - A group representing major automakers on Thursday urged Congress to pass legislation permanently barring Chinese vehicles from the U.S. market before the end of the year.

The Alliance for Automotive Innovation, which represents General Motors, Ford, Toyota, Volkswagen, Hyundai, Honda, Stellantis and other major automakers, called for quick action.

"Right now, Chinese automakers are dumping subsidized vehicles with connected software and hardware around the world," the group's CEO John Bozzella wrote Congress in a letter seen by Reuters. "This hasn’t happened inside the U.S. yet, but given the scale and urgency of this threat, we urge you to enact a Chinese vehicle, software and hardware ban before adjourning this year and make this policy the law of the land."

In July, the Senate Commerce Committee approved legislation to toughen a government ‌ban on Chinese automakers entering the American market, but it still faces hurdles to winning final passage.

Bozzella said passing the bill "will send a clear and bipartisan message that China's strategy to dominate global automotive manufacturing will be met with a national security response from the American government."

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The Chinese embassy in Washington said it opposed the effort and said Beijing has abolished market access restrictions on foreign investment in manufacturing "and remains open to international car makers who can fully share in the dividends of China’s big market. Tesla, Buick, Toyota, and Ford have been household names in China."

The Alliance in July urged the committee to consider as part of the legislation explicitly prohibiting the Commerce Department from granting specific authorizations to Chinese automakers such as "BYD, Chery, SAIC Motor and others subsidized by the Chinese Communist Party to manufacture, sell or import connected vehicles to the U.S.," according to a previously unreported letter.

Republican Senator Bernie Moreno of Ohio and Senator Elissa Slotkin, a Michigan Democrat, proposed legislation to codify a regulation imposed by the ​Biden administration that effectively bans all Chinese automakers from selling or building passenger vehicles in the U.S. and takes other steps to prevent China from ​entering the U.S. light-duty market.

Senate Commerce Committee Chair Ted Cruz said a provision in the bill that would ban companies with more than 15% ownership by Chinese entities would bar Mercedes-Benz from selling vehicles in the ​United States because of its nearly 20% passive Chinese investment. Cruz said the bill required changes before it could become law.

In June, Polestar said the Trump administration was forcing the electric-vehicle maker to stop selling vehicles in the U.S beginning in the 2027 model year. The Sweden-based company is majority-owned by China's Geely Holding.

Bluetooth, Wi-Fi, cellular connectivity and some satellite communications technologies are covered under the rules based on national security concerns linked to the ability ​of vehicles to collect sensitive data on American owners.

(Reporting by David Shepardson; Editing by Franklin Paul, Philippa Fletcher and Christopher Cushing)

Original Article on Source

Source: "AOL Money"

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Source: Money

Published: September 4, 2026 at 07:18AM on Source: RED MAG

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byRed Roads Media

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10:00 PM

Automakers urge Congress to quickly pass law banning Chinese cars

Automakers urge Congress to quickly pass law banning Chinese cars By David Shepardson Fri, September 4, 2026 at 3:51 AM UTC 0 By...

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