We know, we know: there’s too much choice on streaming services these days. You can’t just sit down and watch a movie because there are too many to choose from, so you just spend hours scrolling through potential films and then go to bed.
Not now, you don’t – everything on this list is worth watching. And we know, because we’ve watched them all. The lengths we go to keep you guys happy, eh…
Of course to watch the best things on Amazon Prime Video, you’ll need an Amazon Prime Video subscription. Come on, you didn’t think it was going to be free, did you?
You’re also going to need a player that supports it. Take your pick from any of the following: Roku players, Google Chromecast, Sony PlayStation, Microsoft Xbox and of course Amazon Fire TV and Amazon Fire Stick. Or maybe you have the Prime Video app built into your smart TV. You’re in a good place to check out the best things to watch on Amazon Prime Video.
Got Netflix too? Then you’ll want to check out our 40 best movies and TV shows on Netflix UK and New on Netflix UK lists.
Edge of Tomorrow
Tom Cruise plays a spineless military officer forced to fight on the front lines against an alien invasion in this ingenious and underrated sci-fi action movie. With no actual combat experience, he dies almost immediately – only to find himself waking up again that morning and repeating the experience, only slightly differently. Yes, you’ve guessed it: he’s only gone and got himself trapped in a time loop. How the heck is he going to get out of it? By saving the world, perhaps…
With great performances from Cruise and Emily Blunt, killer visual effects and a clever hook, it’s strange that Edge of Tomorrow didn’t prove a bigger hit. The bland title didn’t do it many favours (it’s often known as Live Die Repeat, which would’ve been a much bolder name to market it under), but despite its lacklustre box office performance it’s proved something of a slow-burn success – so much so that a sequel is currently in development.
Not many horror movies get nominated for Best Picture Academy Awards, but then Get Out isn’t your average slasher flick or ghost story – even if it does come with gallons of gore and plenty of otherworldly creepiness.
It’s instead a genre-bending piece that succeeds both as a straight-up scary movie and as a wry, insightful take on race relations. And, as you’d expect from a film written and directed by Jordan Peele, it’s not inadequately stocked with laughs either. Add in Daniel Kaluuya’s fantastic lead performance (also Oscar-nominated) and its box office smash status, and you can see why it’s attracted the Academy’s attention. But who needs Oscar’s seal of approval when you have Stuff’s?
No one believes their own hype as much as Quentin Tarantino, which is why his films these days tend to be very over-indulgent and over-long. That’s certainly the case with his Western (or should that be ‘Southern’?) Django Unchained but, as with most Tarantino movies, those flaws only slightly temper the overall brilliance.
This is another masterclass of witty, meandering dialogue, artful scene construction and brutal, brilliant action, and it contains some of the finest acting from some of this generation’s finest actors. Leonardo DiCaprio as a viper-like plantation owner is particularly nasty, evil perfection.
Once Upon a Time in America
Italian director Sergio Leone, famous for his spaghetti westerns, yearned to make a trilogy set in America – but ended up making one incredibly long movie instead. At a shade under four hours, Once Upon A Time in America requires both a bladder of iron and an extremely comfy sofa to get through in a single sitting but trust us: it’s totally worth it.
Weaving a tale of Jewish New York gangsters that spans five decades, this movie is Leone’s final film and is widely regarded as his masterpiece. Roger Ebert once called it the best film depicting the Prohibition era ever made, but it’s its touching representation of friendship, love and the passage of time that lingers longest in the memory.
Good Will Hunting
Matt Damon plays a blue-collar boy genius who mops floors at Harvard University at night – taking a break every now and then to solve unsolvable mathematical equations on the blackboard. But his prodigious talent comes with an excess of baggage from his childhood, and when his wayward behaviour leads him to reluctantly start seeing a therapist (Robin Williams in one of his career best performances), the past begins to catch up with him in destructive fashion.
If that makes the film sound serious and sentimental, you should know that it’s also riotously funny and eminently quotable, with an Oscar-winning script written by Damon and co-star Ben Affleck.
David Fincher’s cinematic deep dive on the Zodiac Killer and the men who tried to unmask him is a quiet masterpiece buoyed along by its tone, acting, editing and camerawork.
Less showy than some of Fincher’s previous movies and entirely lacking in the sort of hysterical approach taken by many serial killer films, Zodiac will leave you with more questions than answers; a traditional whodunnit, this ain’t. Looking back years after its release, we think it’s one of the finest films of the noughties and will be regarded as a future classic: creepy, funny and thought-provoking, with impeccable performances from Jake Gyllenhaal, Robert Downey Jr and Mark Ruffalo.
Don’t get us wrong: we’re massive David Lynch fans here at Stuff. But James Herbert’s epic sci-fi novel has finally got the screen adaptation it deserves thanks to Denis Villeneuve and co.
With a huge all-star cast, breath-taking cinematography and sound design and a gripping story taking in war, betrayal, colonialism, family and big worms in the far-off future, Dune is an event movie that manages to provide far more than just spectacle. And with the sequel on the horizon, now is the perfect time to watch it.
It may be set in outer space, but Alfonso Cuarón’s thriller is remarkably contained; grounded, even. There are no flying saucers or little green men here, just a worryingly feasible disaster in orbit that leaves astronaut Ryan Stone stranded hundreds of miles above the Earth. It’s heavy on spectacle and big on intensity but for much of the film, the only person on screen is Sandra Bullock delivering a career-best performance as Dr Stone.
To achieve the film’s extraordinary long takes in zero gravity, Cuarón used innovative visual effects trickery: actors stood inside a box delivering their lines, while lights moved around them to simulate the lighting sources shifting as their characters moved. Then their faces were composited into CGI spacesuits for the final shot; in many sequences, the only real thing in the frame is Sandra Bullock’s face.
The Marvelous Mrs Maisel (S1-5)
Hankering for a grown-up TV show in the vein of Mad Men? One also set in mid-century Manhatten? The Marvelous Mrs Maisel might be the new series for you.
Rachel Brosnahan stars as Miriam “Midge” Maisel, a vivacious, quick-witted upper middle class housewife with what she thought was the perfect 1950s New York lifestyle: husband, kids, beautiful Upper West Side apartment; the works. When things take an unforeseen turn and flip that all upside down, she stumbles into trying out standup comedy – and discovers she has something of a talent for not only making people laugh, but for hitting upon life’s truths and enigmas while doing it.
The first season won three Golden Globes and five Emmys, suggesting this Amazon Original may have an even bigger future ahead than Transparent.
Triangle of Sadness
Wealth, beauty and social hierarchy are in the crosshairs of Ruben Östlund’s insightful, hilarious (and frequently disgusting) social satire, which won the Cannes Palme d’Or and was nominated for Best Picture at the 2023 Oscars.
In series of long chapters focussing on specific situations, Östlund delivers a pitch-black dissection of the hyper-rich, viewed through the eyes of a pair of (relatively poor) model-cum-influencers invited onto a luxury cruise. From painfully awkward interactions between members of different societal tiers, to a Captain’s dinner that goes terribly wrong, to a brilliant final section in which all manner of traditional roles – gender, class, race – are turned upside down, this is an enjoyable but bleak exploration of how the modern world keeps power and money intrinsically intertwined.
Everything Everywhere All at Once
The wackiest Best Picture Oscar winner in decades is a stunningly inventive action-comedy-drama – a true realm-hopping superhero story that leaves Marvel’s much-vaunted multi-verse movies looking decidedly one-dimensional. Michelle Yeoh (also a 2023 Academy Award winner, as were her co-stars Ke Huy Quan and Jamie Lee Curtis) shines as Chinese American immigrant Evelyn Wang, sucked into an adventure in which she explores all the many lives she could have led – allowing co-directors Daniel Kwan and Daniel Scheinert to swerve from genre to genre, visual style to visual style.
In her struggle to save the universe, Evelyn must confront her own thorny relationships with her husband, father and daughter, making this a film that feels both deeply personal and widely universal.
Created by Donald Glover and Janine Nabers, Swarm is a riotously creative comedy-horror series about the destructive potential of toxic fandom. Our anti-heroine Dre (superbly played by Dominique Fishback) is shy, quiet and socially inept, but feels empowered in her membership of ‘The Swarm’, the obsessive online fanbase surrounding global popstar Ni’Jah (clearly inspired by real-life idol Beyoncé).
When a family tragedy coincides with the surprise release of Ni’Jah’s latest album and video, the apparent relationship between the two events sends Dre over the edge into a deranged orgy of violent, psychotic behaviour. A dark, disturbing and entertaining exploration of ‘stan culture’ that’s among Prime’s best original series.
Not to be confused with the movie that inspired it – and from which it draws its winning blend of dark deeds, intricate plotting, looming dread and comic “Minnesota nice” dialogue – this is yet another TV series that begs to be binge-watched over a weekend.
Martin Freeman, Colin Hanks and Allison Tolman all deliver fine performances as residents of the snowbound titular town, but it’s Billy Bob Thornton, oozing malevolence and menace as drifter Lorne Malvo, who lingers longest in the memory.
Once that’s out of the way, the fantastic second, third and fourth series are also on Prime for you to devour too – and each features a different story, with a totally different cast, set at a totally different time.
Nathan For You (S1-4)
This brilliant spoof reality series, in which deadpan Canadian comedian Nathan Fielder swoops in to save ailing businesses with absolutely woeful (but somehow incredibly clever) advice, has largely flown under the radar this side of the pond, but do yourself a favour and give it a shot. Often so surreal, awkward and bizarre that it’s hard to believe Fielding’s unsuspecting clients aren’t in on the joke (they’re not), Nathan For You is a true comedy original.
Mad Men (S1-7)
Mad Men may be among the most painstakingly crafted television series of all time; it’s certainly among the best. Like The Sopranos, it succeeds in skirting the line between entertainment and “high art” brilliantly, all while being funnier than 90% of comedy shows.
On its most basic level, this is a drama series about people who work in advertising in 1960s New York. It succeeds on that front thanks to a brilliantly written cast of characters, an interesting plot and an almost absurd amount of attention to period detail, all of which make it an engaging and entertaining watch.
But just as The Sopranos used its mafia setting to interrogate wider themes about family, psychology and work, Mad Men uses advertising to explore capitalism, happiness and identity. You could probably call it existentialist if you were feeling fancy, and you’d be well within your rights – but it’s devilishly witty, moving and fun with it.
It’s the skeezy, sleazy 1970s, and a group of aspiring moviemakers descend upon a remote Texas farmstead to make an adult film, only to encounter something else that goes bump and grind in the night.
Brimming over with retro charm, Ti West’s movie wears its influences proudly – The Texas Chainsaw Massacre being perhaps the most obvious – but also succeeds in forging its own identity, being as much a treatise on fame, sexuality and aging as it is a gory, suspenseful stalk-and-slash flick. Mia Goth, playing two key roles, establishes herself as a bona fide scream queen here, but also look out for memorable turns from Scott “Kid Cudi” Mescudi and Wednesday’s Jenna Ortega.
The Boys (S1-3)
What if superheroes were not only real, but as messed up and prone to bad behaviour as the rest of us. That’s the premise behind this superb comic book adaptation, in the world’s most famous costumed crusaders are owned and controlled by Vought, a ruthless corporation that keeps their misdeeds – which range from voyeurism and drug abuse to outright murderous psychopathy – under wraps in order to keep the cash flowing.
When one outrage leaves a young man bereaved and hellbent on revenge, he joins a group of like-minded vigilantes with the aim of bringing down Vought once and for all. Effortlessly blending humour, action and drama, The Boys manages to be Amazon’s best original series in ages.
Lee Childs’ tremendously popular series of novels regularly describe their hero Jack Reacher as a 6’5” man mountain. His size and stature are pretty much the first thing anybody who meets him comments on – so casting the notably non-mountainous Tom Cruise as Reacher in two Hollywood movies always seemed like a misstep. Amazon’s original series remedies this by putting towering hunk Alan Ritchson in Reacher’s boots, but it’s also a brilliantly watchable, breakneck thriller that emulates the novels’ brisk, gripping pace.
Reacher is built like a brick outhouse and only marginally more talkative, but he’s blessed with a keen intelligence, a heart of gold and the ability to absolutely annihilate any lowlife who gets in his way. When he wanders into a small Georgia town and finds himself arrested for murder, all his wits, wiles and muscles are all called into action.
Nicolas Winding Refn’s thriller might arguably be a case of style over substance, but when the style – neon-lit noir meets synth-pop soundtrack – is this impressive, who cares? Ryan Gosling simmers as a reticent Hollywood stunt driver who supplements his income by working as a wheelman for a vicious gang of thieves, but soon finds his uncomplicated lifestyle upturned by the arrival of Carey Mulligan’s young single mother.
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The Walking Dead creator Robert Kirkman brings another of his cult comic books to the screen. This adult animated series tells the story of a teenage superhero coming to terms with his newfound powers – and dealing with the fact that his father is the most powerful and famous masked crusader on the planet.
If that sounds like something you’ve seen a thousand times before in superhero fiction, we urge you to give it a chance anyway: the show throws a shocking curveball early on that is guaranteed to make you pay attention. Stephen Yuen, J.K. Simmons, Sandra Oh, Mahershala Ali and Mark Hamill are among the star-studded voice cast.
Phoebe Waller-Bridge writes and stars in this beloved sitcom about a single woman’s attempts to navigate the many pitfalls of modern London life: love, family, work. Even if that sounds like a hackneyed synopsis, or one that could describe something in the region of 10,000 British sitcoms, you should delve into Fleabag anyway; Waller-Bridge’s eyes-open approach – acerbic, unashamed, raw – doesn’t feel unoriginal in the slightest. It’s also extremely funny, which is probably worth mentioning too.
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Dawn of the Dead (1978)
George Romero’s Dawn of the Dead is one of the most iconic and influential horror movies of all time. When an outbreak of the undead ushers in the fall of civilization, a quartet of survivors decamp to an abandoned shopping mall in a bid for safety – only to discover that the shambling brain-chomping hordes have also found themselves drawn to this palace of consumerism.
You’d have to be braindead to miss the satire, sure – but there’s so much else going on here that it hardly matters. Zack Snyder’s 21st-century reimagining isn’t a patch on this for atmosphere, and the practical effects and prog-rock synth score give it an eerie atmosphere you simply don’t get with modern horror flicks.
This Australian indie horror movie is likely to stick with you for some time. In addition to all the thrills, spills and chills you’d expect from a standard horror flick, The Babadook has something extra hidden in its basement under the stairs: smarts.
Yes, this film will fray your nerves like wool dragged across a barbed wire fence, but it’s also a meditation on loss and trauma. Can widowed mother Amelia finally lay the repressed memory of her husband to rest and save her son Samuel from the malevolent force stalking them in the process? You’ll just have to watch this modern classic to find out.
Based on the novels by James Connelly, Bosch is among Amazon’s most reliable original series. A super-authentic (or at least it feels that way) police procedural set in Los Angeles following the travails of homicide detective Harry Bosch, it’s proof that sometimes sticking to a formula really does work.
Bosch himself sounds like a walking cliché: a grizzled, no-nonsense cop with dark secrets lurking in his past, a love of jazz music and a low tolerance for pen-pushing superiors – but thanks to strong writing and Titus Welliver’s game performance, rooting for him as he navigates political machinations, corrupt colleagues and murderous criminals is never a problem.
Emerging from a shallow (and somewhat premature) grave, trapper Hugh Glass sets out on the long, icy journey towards revenge, evading marauding Native Americans, foraging for sustenance and performing gruesome self-surgery in a series of incredible sequences. Alejandro González Iñárritu’s direction and the flawless camera work help the viewer feel every moment of Glass’ struggle to survive.
Despite uttering a mere handful of lines during the film’s nigh-on three hours of running time, DiCaprio bagged his first Best Actor Oscar for The Revenant. Seeing what he goes through here, you can see why the Academy was so impressed. As a pure physical performance, it’s remarkable – and it’s just one notable aspect of a movie packed with them.
Sound of Metal
Ruben is a noise-metal drummer, endlessly touring tiny venues with his partner Lou in a beaten-up RV, but the couple’s rootless but contented lifestyle comes to a sickening halt when Ruben begins to experience hearing loss. With the realisation that his career as a musician may be over, tempting him back to his old addict’s ways, Ruben checks himself into a rural deaf community – but he remains fiercely driven by a hope of fixing his affliction, getting back on tour and getting back to Lou.
Riz Ahmed is utterly fantastic in the lead role (Oscar-nominated, no less), but everything about Darius Marder’s debut movie works so well: the sound design that puts you in Ruben’s head; the supporting performances of Paul Raci and Olivia Cooke; and the themes of identity, dependence and acceptance that run through it.
Andy Samberg and Cristin Milioti, strangers who happen to be guests at the same wedding, find themselves stuck in a seemingly infinite time loop in this offbeat romantic comedy. If they fall asleep or die, they simple wake up once again and have to live the entire day through. Trapped together, the pair decide to make the most of their predicament, indulging in wilder and wilder behaviour in the knowledge that, whatever might happen, they’ll be back at square one eventually. Everything, it seems, has become meaningless.
If might sound like something you’ve seen before (“Groundhog Day!” we hear you scream), Palm Springs manages to feel different by dint of focussing on a pair of people rather than just one. The relationship and tensions between the two keep the film nicely involving – and it’s very funny to boot.
The political thriller sees Adam Driver’s character, Daniel Jones, set an assignment by the Senator Diane Feinstein (Annette Bening) to lead an investigation into the CIA’s ‘enhanced interrogation’ methods during the Bush era.
The project engulfs Jones’ life, his relentless determination to complete his report almost jeopardizing his career and sacrificing any social or personal life, but the injustice and corruption at the heart of it are too important to ignore. The Report’s fast-paced narrative and sharp dialogue make it easy enough to follow, but some of the torture-scenes are hard to stomach. The fact it’s based on a true story is frightening.
American Gods (S1-3)
Based on the beloved Neil Gaiman novel, American Gods (exclusive to Amazon Prime currently, and available in 4K Ultra HD) weaves together cords of ancient mythology, modern mythology, Americana and pop culture to create a modern fantasy tale – a tale about immigration, above other things.
The cast includes the classy likes of Ian McShane, Peter Stormare and Gillian Anderson, but British viewers will be shocked to see former Hollyoaks hunk Ricky Whittle in the leading role – and doing a very decent job along with it. After a long wait amidst behind-the-camera turmoil, the second season has arrived too.
Genres get hacked up as much as the unfortunate characters in S. Craig Zahler’s brutal directorial debut. This film starts out in familiar Western territory, but gradually descends into a nightmarish, schlocky horror flick – albeit one with some tension-shattering comedic dialogue and character moments. There’s an old-school video nasty vibe to Bone Tomahawk that you don’t often see in modern movies, not to mention a refreshing tendency to take its time.
Kurt Russell leads the strong cast (familiar faces Richard Jenkins, Matthew Fox and Patrick Wilson also appear) as a stoic small-town sheriff spurred into action when a group of cave-dwelling Native Americans kidnap two of his townspeople. Resolving to rescue the victims and punish the perpetrators, a small posse ventures out into the dry, rocky wilderness, not realising what awaits them.
The Vast of Night
A New Mexico switchboard operator hears a mysterious sound on her headset, sparking off a series of creepily escalating revelations in this retro sci-fi movie from first-time director Andrew Patterson.
From its late 1950s small town America setting to its sound design and music, The Vast of Night gleefully channels classic mystery shows like The Twilight Zone, The Outer Limits and The X-Files, not to mention films like Super 8 and Close Encounters of the Third Kind. But it’s far from derivative, and its snappy dialogue and stylish camerawork give it a singular, stylish air. The plot might be fairly simple, the cast small and unknown, but Patterson makes the most of every cent of his tiny budget.
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Based on a short story by Elmore Leonard, this six-season series stars Timothy Olyphant as Raylan Givens, a modern-day US Marshal who brings an Old West sensibility to his job. Sent back to his hometown after falling out with his superiors, he’s quickly dragged into a feud with an old friend turned enemy, played with career-defining aplomb by Walton Goggins.
Michael Mann decided to remake his own TV movie LA Takedown into a huge, sprawling star-studded action-thriller – and the result is of the best action-thrillers of the 1990s.
Robert De Niro and Al Pacino grab the limelight as a meticulous bank robber and the obsessive cop driven to hunt him down, but there’s so much more to admire here aside from these titans’ (admittedly excellent) performances: the effortless style with which Mann directs everything from diner table conversations to huge shootouts; the supporting cast, packed with some of Hollywood’s finest character actors; the clarity with which its themes manifest themselves on screen.
Nitpickers will say that Pacino is perhaps a little OTT, or that some of Mann’s many subplots would have been better left on the cutting room floor – but you should ignore them and watch this anyway.
This Amazon-funded reimagining of the Dario Argento classic will divide audiences. Ponderously paced and tottering under the weight of more themes and ideas than it knows what to do with, Suspiria is peak arthouse horror – and many will find the eventual bloodshed too little reward for the investment. Others will appreciate the movie’s strong sense of place (late 1970s Berlin, a city riven with political turmoil) and the way it generates an atmosphere of oppressive discomfort throughout with its use of sound effects, strange camera angles and Thom Yorke’s krautrock-inspired score.
Dakota Johnson stars as an unworldly young dancer joining a prestigious all-female company that just might be a coven of witches, while Tilda Swinton impresses in three separate roles.
The Expanse (S1-6)
Amazon Prime recently acquired the first three seasons of this beloved space opera series, in which humanity has colonised the solar system amidst a looming conflict between Earth, Mars and the asteroid belt. It then financed and produced a fourth and fifth, injecting a bunch of cash into the series and giving the production values (already pretty high) a boost. At least one more season is coming too.
But that’s not to say that this is a show that lives and dies on its visuals. The Expanse will likely appeal to anyone who appreciates sprawling, critically-acclaimed and morally complex dramas – it’s like Game of Thrones with rail guns and zero-g instead of dragons and Valyrian steel. Better yet, it’s all available to stream in beautiful 4K UHD – provided you have a TV with the prerequisite number of pixels, natch.
Mr. Robot (S1-4)
An office drone by day, Elliott Alderson (played brilliantly by Rami Malek) is also a morphine-dependent keyboard vigilante who hacks the lives of everyone he meets. That is until he’s lured in by Mr. Robot (Christian Slater) to join the hacktivist group ‘F Society’, whose grand plan is to cancel world debt by attacking ubiquitous conglomerate E Corp (or Evil Corp, as Elliott calls it).
Cue a trip down a rabbit hole that twists through Lynchian dream sequences, episode-long musings about the hackability of human minds, and a mounting sense of paranoia that leaves you suspicious of everything down to Elliott’s malfunctioning radiator.
That Mr. Robot resists Hollywood’s ‘Computers for dummies’ approach to the Internet is just one of the reasons why it’s great. The others are that it’s stylishly shot, unpredictable and offers a new take on cyberpunk, while wearing its influences (The Matrix, Fight Club and American Psycho) as proudly as the badge on its title character’s shirt.
Seasons 1, 2, 3 and 4 are all available for binge-watching right now.
Red Oaks (S1-3)
A hidden gem in Amazon’s catalogue, Red Oaks‘ unremarkable premise belies a nuanced show that blends humour and pathos with surprising aplomb.
Set in ’80s New York suburbia, the show (now running to three full seasons) follows the bumbling but tumultuous life of David Myers. From the aloof love interest to parental turmoil at home, all the classic teen drama tropes are covered, with just enough of a twist to sustain your intrigue.
What really elevates this show above the many others that riff off a similar tune is its riotous roster of characters. Sleazy yet feckless tennis coach Nash alone is worth the price of admission.
The Man in the High Castle (S1-4)
What if the Allies had lost the Second World War, and America was currently ruled by Germany in its eastern half and Japan in its western half? Well, you can find out in this big budget Amazon Prime original series, a thriller which zips around a 1960s North America that’s more “Ja wohl!” than “Aw shucks!”.
Dealing with underground resistance groups, various plots and an alternative Cold War (waged between Imperial Japan and the German Reich, now the world’s only superpowers), it’s the kind of series that’ll appeal to history buffs, sci-fi fans and anyone who’s into high concept, high budget television.
This superlative adaptation of James Ellroy’s novel of the same name is a gripping journey into the gloomy, seedy underbelly of 1950s Los Angeles, exploring the spiral of bloody events that occur where Tinseltown, police corruption and the mob crash together.
Russell Crowe, Guy Pearce and Kevin Spacey all deliver fine performances as a trio of LAPD detectives with very different personalities, and L.A. Confidential‘s labyrinthine plot, its beautifully realised recreation of the tarnished dream of post-Golden Age Hollywood, and its sheer attention to detail all work together to make this one of the defining movies of the late 1990s.
The Walking Dead (S1-10)
The zombie apocalypse scenario has now been covered so many times that when the dead do eventually start clawing their way out of the ground in a shambling tide of brain-hungry violence, it’ll hardly be worth mentioning. That’s not to say that it doesn’t make cracking TV, though, and if you’re one of the few people who hasn’t yet seen The Walking Dead, there are a full nine seasons’ worth of horrific violence, bad decisions, cannibalism, baseball bats wrapped in barbed wire and more to enjoy!
Amazon’s been trying to “do a Netflix” by creating its very own blockbusting TV shows for ages now, but this is the first time it’s got it right. For a start, Transparent is really bold – it tells the story of a sixty-something divorcee announcing to his three grown-up kids that he’s always felt different and is now going to live as a woman.
Sounds heavy, and it sort of is, but it’s also darkly funny, with a degree of wit and sharpness that’s still rare even in this golden age of TV. The bickering between the three kids (each of whom is riddled with their own individual problems and peccadillos) is as chucklesome as it is awkward and real. Amazing telly.
This quirky espionage comedy-drama blends deadpan humour, action and a coterie of memorable characters into something that feels truly original. Michael Dorman excels as permanently put-upon CIA operative John Lakeman, who really just wants to be a folk singer – life, needless to say, has other plans for him. The smart plot takes in Iran, nuclear weapons, a single-minded Luxembourger cop and a lot more info about industrial piping than you’d ever need know. Patriot is one of Amazon’s best original series, which is why it’s a true shame that there are (currently) no plans for a third season.