An Amazon Prime membership’s benefits go way beyond giving you super-speedy deliveries for free – there’s also the fantastic Prime Video streaming service included, offering up loads of movies and TV shows for instant viewing.
Like Netflix, Amazon is constantly adding fresh eyeball fodder to its streaming library, so much so that it can be difficult to keep up with all the new stuff. So, as we do with Netflix each month, we’ve decided to dedicate a regularly-updated article to what’s new – as long as we deem it worth watching, of course.
Looking for the latest thing to stream? Read on, and allow us to guide you through all the best recent additions.
And why not check all these out with a free 30-day trial of Amazon Prime Video here.
Note: the newest stuff is at the top of the list, with material getting progressively older as you scroll down.
Alec Garland’s follow-up to Annihilation and Ex Machina is another cerebral genre flick, this time a horror movie that tackles a range of themes (possibly too many of them to feel focussed).
Jessie Buckley is excellent as Harper, a young woman who, having gone through an appalling experience at home in London, decides to escape to the English countryside for a solo holiday. But despite her destination having all the hallmarks of a rural idyll – a charming church, a cosy pub, a characterful old house and some of the lushest-looking woods and fields we’ve ever seen on screen – Harper finds relaxation hard to come by. There’s also the disquieting fact that every male inhabitant of the village has the same face (that of Rory Kinnear) – not that Harper seems to notice this jarring detail. With a denouement that’s not for the faint of heart or weak of stomach, Men is a curious slow burn that has divided critics and viewers. We think it’s certainly intriguing enough that you should give it a shot – if you’re not too squeamish.
Keanu Reeves does his best Keanu Reeves impression as John Wick, who was once a very bad man: an unstoppable assassin working for the nastiest of nasty gangsters; nothing less than “the guy you send to kill the boogieman”. But then he found love and retired his trigger fingers.
Inevitably his attempts at living the quiet life go horribly awry, culminating in the death of the cute puppy left to him by his late wife. Cue vengeful retaliation in the form of some of the finest gunplay committed to screen since, well, Keanu himself appeared in The Matrix. A truly wonderful action flick.
Three Pines (S1)
An author meets a gruesome death in a Canadian village – merely an unfortunate accident, or something more sinister? When wise Quebecois detective Armand Gamache (Alfred Molina, wonderful as ever) is sent to investigate, he quickly discovers that pretty much everyone in town had a motive for murder, and that the seemingly idyllic place is riven with secrets and shame.
That’s just the first in a series of four cases (each two episodes long) recounted in this original series, and there’s another plot, concerning the disappearance of an indigenous teenager, running throughout. Fans of Twin Peaks and other quirky crime stories will lap this up.
Silent Night, Deadly Night
There’s nothing holy or peaceful about this festive horror film. It’s about an axe-wielding Santa Claus, so it’s definitely not one for the kids to sit down to after Christmas dinner, but it does put a completely different spin on what Santa does to the badly behaved. Kind of.
When an orphaned young man witnesses something that revives his childhood trauma (seeing his parents murdered by a killer in a Santa costume), he suffers a mental break that sees him becoming a deadly Father Christmas himself. Made in 1984, it’s hardly sophisticated horror by today’s standards, but for those in search of a little-known seasonally appropriate slasher – well, it’s a gift.
Glengarry Glen Ross
Four real estate agents – played by no less than Al Pacino, Kevin Spacey, Ed Harris and Jack Lemmon – are led into a professional sales endgame in which only two can leave with their jobs in this film noted for its enjoyably profanity-laden script (adapted by David Mamet from his own 1984 play of the same name). Despite an unimpressive box office showing on release, its strong performances have cemented it as a bona fide cult classic. The scene in which Alec Baldwin’s foul-mouthed motivational trainer is sent to gee up the salesmen is particularly memorable.
David Fincher’s true-life tale of 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 the director’s movies and entirely lacking in the sort of hysterical, overly dramatic approach taken by many serial killer films (including Fincher’s own Seven), Zodiac will likely leave you with more questions than answers – a traditional whodunnit with a neat and satisfying conclusion, this ain’t.
Looking back years after its release, we think it’s one of the finest films of the noughties and a modern classic: creepy, funny, stylish and thought-provoking, with impeccable performances from Jake Gyllenhaal, Robert Downey Jr. and Mark Ruffalo.
The Lost Boys
A true cult classic, this tale of tearaway vampires and the teenagers hunting them (while trying to avoid becoming their next snack) is beloved by an entire generation – and even today it’s easy to see why. Stuffed with Hollywood icons of the era (Kiefer Sutherland, Jason Patric, both Corey Feldman and Corey Haim!) and an aesthetic that screams of its time and place (California in the 1980s), it’s also an involving story about the struggles of moving to a new place and starting a new life – all the more challenging when that place is plagued by a spate of mysterious murders and disappearances. A great teen horror flick that is rarely found on UK streaming services, so do drink deep of its campy delights while you can.
Can Harry Styles really act? And does it really matter? Michael Grandage’s drama sees the pop icon don the uniform of a Brighton bobby sitting at the point of a tragic love triangle: he’s married to a woman (played by The Crown’s Emma Corrin) whom he likes, but having an affair with a man (David Dawson) with whom he’s in love.
Next to the talented Dawson and Corrin, Harry does seem a tad out of his depth, but his slightly stilted turn does nothing to spoil the tragic nature of the story, which will doubtless cause millions of Styles stans and regular viewers alike to shed a few tears. Events play out over two timelines: one in the repressed 1950s and another in more enlightened modern times, where the trio (now played by Gina McKee, Linus Roache and Rupert Everett) find their lives pushed together again in very different circumstances.
Paul Verhoeven’s 1992 erotic thriller became notorious upon its release due to the convention-smashing nudity of leading lady Sharon Stone. It was a smash box office hit, spawning a number of subpar imitators over the next few years.
And yet despite its undeniably schlocky, sleazy nature, Basic Instinct is actually an enjoyably tense, fast-paced (and yes, sexy) murder mystery rich in noir overtones. Michael Douglas (in peak Michael Douglas mode) stars as a troubled San Francisco cop investigating the killing of a wealthy rock star, only to fall for the prime suspect: Stone’s femme fatale novelist.
The Peripheral (S1)
Based on the novel by cyberpunk supremo William Gibson, this Amazon-produced sci-fi series stars Chloe Grace Moretz as a small-town girl with big VR gaming skills in a near-future America. When her ex-military brother says she can earn some extra money playing a highly realistic sim she jumps at the chance, only to find herself whisked to London in the year 2100 – which seems far too real to be a digital game world.
Thus begins a mind-bending action-thriller set across two different timelines, packed with crazy technology like invisible cars and murderous robot bodyguards.
The Unbearable Weight of Massive Talent
Nicolas Cage plays himself (or more accurately an alternative-reality version of himself) in an enjoyably meta action-comedy that views the great man’s career and popular persona with a distinctly postmodern eye.
Struggling to get the parts he thinks he deserves and feeling his relationship with his teenage daughter grow more strained, Cage decides to quit acting, but not before taking one last job: guest of honour at the birthday party of a superfan (Pedro Pascal, clearly having a great time). Accompanied by the ghost of his digitally de-aged younger self, he travels to Spain for a final payday, depressed and resigned to a life out of the spotlight – only to find himself in the middle of a kidnapping plot.
The Lord of the Rings: The Rings of Power (S1)
Amazon jacking up Prime Video’s subscription fee by around 20% right before the arrival of its biggest ever original series might smack of cynical price-gouging, but let’s face it: given the state of the real world right now, most of us would gladly shell out a few extra quid to spend more time in J.R.R. Tolkien’s picturesque Middle-Earth.
Set thousands of years before the events depicted in Peter Jackson’s movies (Sauron appears to ‘just a bloke’ here) this drama is the first time Tolkien’s Second Age has been brought to the screen. You already know the drill: elves, orcs, swords, dwarves, Balrogs and weeping hobbits (sorry, ‘harfoots’). The series has had a mixed reception overall, and we can certainly agree that it takes a long time to get going, but fantasy fanatics will lap it all up gleefully.
David Ayer may be best known these days for directing two high-profile flops in Bright (Netflix’s big original movie release for Christmas 2017, which featured Will Smith as a tough Los Angeles cop forced to partner up with… an orc) and Suicide Squad, but a few years ago the he struck gold (or should that be steel?) with this grit-encrusted action-drama starring Brad Pitt as a tank commander in the last days of World War II.
Featuring some of the most convincing depictions of tank warfare in cinema – you can practically smell the grease, sweat and worse in the cramped confines of Pitt’s Sherman – there’s the occasional sense that Fury holds dramatic aspirations that it can’t quite match up to, but when the action is this electrifying, you’re unlikely to care that this isn’t quite Saving Private Ryan.
Paul Thomas Anderson is one of the most interesting and visionary film directors of the past 30 years, which makes every new film he releases something of an event picture – even this relatively low-key comedy drama set in Los Angeles’ San Fernando Valley in the 1970s. A coming-of-age story with two newcomers (Cooper Hoffman and Alana Haim) in the lead roles and a gently meandering plot about waterbeds, pinball, friendship and first love, Licorice Pizza is shot on vintage lenses to replicate the look of 70s movies – and genuinely feels like a film from a different, simpler era of cinema.
Of the seemingly endless number of serial killer movies that were released in the 90s and noughties, Seven stands apart. First, there’s its clever, gripping and tension-wracked plot, with a murderer punishing what he sees as society’s collective ‘sins’ in an unnamed, rain-soaked and thoroughly depressing American city. Second, there are the fine performances from Morgan Freeman (no surprises there) and hitherto pretty boy Brad Pitt, flexing his ‘I’m a serious actor’ muscles for perhaps the first time.
Then there’s the aesthetic, director David Fincher’s trademark desaturated colours, moody lighting and inventive camerawork giving the movie an unforgettable look that contributes to the overall feeling of bleakness. And that final, gut-wrenching twist? It’s simply to die for.
Jim Carrey is at his frenetic, rubber-faced early career best as the loser who turns into a manic, hot-stepping, zoot suit-wearing ball of confidence when he puts on an ancient cursed mask.
At the time of its release, The Mask was presented as a showcase for the most advanced CGI effects of the time (which, despite being noticeably ‘not real’, still hold up fairly well almost 30 years on), but it’s Carrey’s irresistible presence that makes everything work – and an honourable mention must go to Cameron Diaz in her breakout role as his femme fatale love interest. Schmmmmooookin’!
It takes a lot of tact to make a film about a delicate subject like Boston’s Catholic priest child sex abuse scandal, but the host of nominations and wins Spotlight earned over the 2016 award season should clue you in: director Tom McCarthy absolutely nailed it.
The star-studded cast helps, getting you invested in the hard-working team of Boston Globe investigative journalists right from the off. Michael Keaton, Liev Schreiber and Mark Ruffalo steal the show, but there are great performances from Stanley Tucci and Rachel McAdams too.
It’s tough to watch in places, but entirely engrossing and totally worth sticking through to the end – and a powerful reminder of why a free press is an essential part of any democracy.
Master and Commander: The Far Side of the World
Based on three novels from Patrick O’Brian’s cherished Aubrey-Maturin series, Peter Weir’s ripping Napoleonic Wars epic is one of the most historically accurate depictions of early 19th century naval life (and death) ever put on the silver screen. You can smell the sea salt, boiled cabbage, unwashed bodies and gunpowder as the crew of the HMS Surprise, led by Captain “Lucky” Jack Aubrey (Russell Crowe), pursue a French privateer across the South Atlantic and Pacific.
From tense evasive manoeuvres to boozy ship’s dinners to battles filled with smoke, flame and splintered wood, this movie’s authenticity and attention to detail shines through – and most of it achieved without CGI chicanery, too. It’s a crying shame no more Aubrey-Maturin movies followed – with 21 books in O’Brian’s entire series, there’s plenty of source material to work from.
The Texas Chainsaw Massacre (1974)
If you’re compiling a list of the top ten most iconic horror movies of all time, Tobe Hooper’s lo-fi shocker is going to be on there. After an introductory voice-over warns us of the atrocities to come, Hooper rachets up the tension as a group of road-tripping teenagers gets side-tracked on a rural Texas highway. To reveal more would risk ruining the delightful surprises to come, but it’s probably not spoiling anything to say that, yes, some unconventional use of a chainsaw does take place. Great stuff.
The Terminal List (S1)
Chris Pratt as a Navy SEAL team leader? Who narrowly survives an ambush that might have been a setup? And now needs to protect the ones he loves from dark forces? Hm. This eight-part Amazon original series (directed by Training Day’s Antoine Fuqua) blends psychological thriller with action thriller as Pratt’s stony-faced operator tries to find the truth behind the massacre of his unit. Is he losing his mind? Paranoid? One thing’s for sure: a lot of bullets are going to be fired before he (and we) get the answers.
In the Loop
Before he was the twelfth Doctor Who, Peter Capaldi was best-known for playing fantastically foul-mouthed spin doctor Malcolm Tucker (a character inspired by New Labour’s Alastair Campbell). In this feature film – spun off from the BBC series The Thick of It – Tucker is part of a delegation sent to Washington to deal with rising tensions in the Middle East.
Writer Armando Iannucci’s take on the build-up to the Iraq War is at once farcical and bleak, as backstabbing politicos massage the evidence to create a case for intervention while scrambling to exclude each other from committees and action groups. Capaldi’s baroque cursing is the undoubted highlight, with the late James Gandolfini’s turn as an army general a close second.
Released an astonishing 30 years ago, Quentin Tarantino’s directorial debut has what would come to be seen as his trademark fingerprints all over it: think graphic violence, copious cussing, pop culture-peppered dialogue, a non-linear timeline and an achingly cool soundtrack. Nowadays these are the things we expect – nay, demand – from QT and his legions of imitators, but back in the early 90s this low-budget debut felt raw, vital and incredibly new.
After a jewellery store heist goes awry, the surviving theives reconvene in a warehouse to lay low and find out what went wrong. Was it mere bad luck or is had a mole tipped off the cops? Twisting, turning and carried along with great performances from Tim Roth, Harvey Keitel, Steve Buscemi and an unforgettably scary Michael Madsen, Reservoir Dogs may not be Tarantino’s best, but it’s a belter all the same.
Tom Hardy stars as shapeshifting, alien symbiote-infested antihero Brock in this Sony-produced Marvel movie, which exists in a separate “cinematic universe” to Disney’s shiny Avengers series. That gives the movie some leeway to be a tad darker and grittier than Marvel fans might be used to – somewhat refreshingly so, we reckon.
Don’t go into it expecting a classic or anything, but Hardy’s game performance and the creepiness of the extraterrestrial entity make for an enjoyably offbeat superhero romp.
On a remote Wyoming Indian reservation, a young Native American woman’s body is found in the snow – and whoever is responsible looks unlikely to be found, let alone brought to justice. Enter lone, out-of-her-depth FBI agent Elizabeth Olsen, who ropes in local tracker Jeremy Renner to bring the mystery to a shocking conclusion.
Despite the two A-list leads, Wind River flew somewhat under the radar upon its release – unfairly, we say: its fast-paced script (from Sicario and Hell or High Water writer Taylor Sheridan, who also directs) and well-drawn characters make it a must-watch for fans of gripping, thoughtful drama.
House of Gucci
An all-star line-up including Al Pacino, Jared Leto, Salma Hayek and Jeremy Irons makes Ridley Scott’s stylish tale of greed, family, intrigue and murder feel as sumptuous and ostentatious as the legendary fashion house’s clothes. Adam Driver and Lady Gaga lead the cast as Maurizio Gucci and his ambitious wife Patrizia Reggiani, who in spite of her humble roots is determined to remake the brand in her own image; if blood has to be spilled to make that happen, so be it.
Serving both as sequel to and reboot for the 1990s cult classic of the same name, Nia DaCosta’s horror film (co-written by Jordan Peele) once again explores the urban legend of a ghostly hook-wielding killer, summoned by speaking his name five times while looking into a mirror: Candyman, Candyman, Candyman, Candyman…
While it functions quite well as a straight-up scary movie, DaCosta and Peele make few attempts to hide the fact that they’re using Candyman as a vehicle to make Important Points About Society. Horror films have done this forever, of course – and Peele’s own Get Out is a masterpiece of this – but cloaking the satirical barb a little more opaquely may have made this film a more enjoyable watch.
The Lost Boys
A true classic, this tale of teenage vampires and the teenagers hunting them (while trying to avoid becoming their next snack) is beloved by an entire generation – and even today it’s easy to see why. Packed with screen icons of its era (Kiefer Sutherland, Jason Patric, both Corey Feldman and Corey Haim!) and an aesthetic that screams of its time and place (California in the 1980s), it’s also an involving and well-paced story about the struggles of moving to a new place and starting a new life – all the more challenging when that place is plagued by a spate of mysterious murders and disappearances. A great teen horror flick that has rarely been on UK streaming services – so drink deep of its campy delights while you can.
Children of Men
When it was first released back in 2006, Children of Men’s near-future British setting seemed like a particularly pessimistic take on the direction in which humanity was heading. A decade and a bit later, post-Brexit, COVID-19, war in Europe et al, it seems eerily prescient in its deft presentation of a green and pleasant land turned grey and grim, robbed of hope by multiple crises: climate change; a vast influx of refugees fleeing wars and failed foreign states; nuclear attacks; terrorism; and, worst of all, a lack of children.
The human race has become totally infertile, you see, with the last baby being born 18 years before the events of the film. But Children of Men does more than just build a depressingly plausible dystopia – it weaves together a thrilling noirish plot, featuring some of the best one-shot takes in modern cinema.
John Woo’s iconic action-thriller stars two of the most flamboyant scenery chewers in Hollywood and asks the question: what if we made each of them act as if he was the other? The result is some hilariously OTT late-90s mayhem, peppered with Woo’s signatures: dual-wielding guns, slo-mo birds and absolute bullet-ridden mayhem.
Nicolas Cage and John Travolta are about as far from subtle as it’s possible to be, but the premise – a tortured, noble FBI agent must surgically trade faces with an unhinged terrorist to find a bomb poised to devastate Los Angeles – calls for precisely these levels of excess. Fantastic stuff.
The Kids in the Hall (2022, S1)
The cult Canadian sketch show returns after almost 30 years, courtesy of Amazon’s millions. While we suspect this eight-episode collection won’t win over a legion of new fans, it’s surprisingly enjoyable given the huge amount of time since Dave Foley, Bruce McCulloch, Kevin McDonald, Mark McKinney and Scott Thompson last appeared together on our screens. You might forgive the Kids if they’d just rehashed a gaggle of old favourites for Gen X nostalgia-heads (and we do see some familiar characters), but there’s plenty of brand-new material here too.
Bosch: Legacy (S1)
Following seven excellent seasons on Prime Video, Los Angeles detective Harry Bosch is moving to its free, ad-supported sister service Amazon Freevee for this spin-off show.
Having left the LAPD, Bosch is now working as a P.I. for his former adversary, defence lawyer Honey Chandler – but he still finds himself butting up against the same sort of corruption and greed as in his cop days. Meanwhile, Bosch’s young daughter Maddie has made the opposite move, going from intern at Chandler’s office to trainee beat cop.
Bosch: Legacy may be a spin-off, but it feels more like a seamless continuation of the original show – and that’s definitely a good thing.
Spider-Man: Into the Spider-Verse
Spider-Man takes a break from the behemoth of the Marvel Cinematic Universe and finds a brand new direction in this wildly inventive animated movie, which uses the multiverse theory (essentially, that there are an infinite number of parallel dimensions co-existing on top of each other) to take the web-slinger we all know and love in all sorts of weird and wonderful directions.
To reveal too much would tarnish the joy of watching this alternate universe Spidey – Brooklyn schoolboy Miles Morales – undergo his own origin story, which brilliantly parallels the one we’ve already seen in so many other movies, comics and games. The fact that it’s all brought to life in an amazing (no pun intended) animation style is simply the icing on a tasty cinematic cake.
Outer Range (S1)
Prime Video’s latest original series is a genre-bending drama about a gruff Montana rancher (Josh Brolin) who discovers something truly mysterious on his land. Does this reality-defying entity have a link to the sudden disappearance of his daughter-in-law, can it help him save the failing ranch from slow financial ruin – and just who is the strangely confident, seemingly all-knowing young woman who’s camping out on the range?
No Time to Die
Amazon has pulled off something of a coup by adding not only this but every single James Bond movie to Prime Video; it’s the first time all the 007 films have been streaming on a single platform.
Anyway, for most viewers No Time to Die will be the most exciting of the bunch owing to its relative newness. Daniel Craig’s final turn as the spy, this is a technically slick, visually stunning and consistently entertaining end to his tenure on Her Majesty’s secret service, and a decent end to the loose story arc that started with Casino Royale.
All the Old Knives
A very different type of spy movie to the one above, All the Old Knives is a talky thriller about sad, middle-aged C.I.A. operatives raking over the ashes of the past. In light of new evidence that there was an enemy mole inside his cell at the time, Chris Pine’s agent is sent to investigate the events surrounding a disastrous airplane hijacking from 12 years hence – and that means reconnecting with ex-lover Thandiwe Newton, who seems highly likely to be the traitor. There might not be a great deal of action here, but there’s a real hint of John Le Carré in the twists, turns and unglamorous portrayal of the amoral spy game.
Martin Scorsese channels Hitchcock in his stylish 1991 psychological thriller, a remake of a 1962 Gregory Peck/Robert Mitchum movie. Peck and Mitchum find supporting roles here too, with their original parts – a defence lawyer and the ex-con he failed to defend properly, now released and seeking revenge – played by Nick Nolte and Robert De Niro respectively. While this won’t go down as one of De Niro’s best performances, he’s still watchable as the unhinged, heavily tattooed and philosophy-spouting Max Cady, sadistically stalking his victim’s family in the name of justice.
The Big Lebowski
Louche, laidback and outwardly lightweight, Joel and Ethan Coen’s 1998 follow-up to the multiple award-winning thriller Fargo rewards the astute viewer. It’s packed to the gills with call-backs, references to classic movies and other clever touches to pick up on.
It’s also an absolute riot, as Jeff Bridges’ middle-aged hippy The Dude sets out to right a wrong (in a case of mistaken identity, two hoodlums broke into his apartment and “soiled” his beloved rug) and ends up sucked into a kidnapping case involving a German electropop group, ruthless pornographers, a paraplegic philanthropist, a laconic teenage car thief, the police chief of Malibu, a (possibly hallucinatory) cowboy… and bowling.
With an outstanding script and supporting cast including Julianne Moore, Steve Buscemi, John Turturro, Philip Seymour Hoffman and John Goodman, The Big Lebowski is a rare cinematic gift: one that keeps on giving with each subsequent viewing.
Everyone wants to be in the picturesque, quaint Belgian city of Bruges at Christmas time. Everyone except Irish hitman Ray (Colin Farrell), who promptly deems it a “sh*thole” on arrival.
There’s little evidence of the festive spirit elsewhere either, as Ray and fellow killer-for-hire Ken (played wonderfully by Brendan Gleeson) blunder their way through the darker recesses of the Venice of the North. There’s plenty of merry in Martin McDonagh’s film though, even if the comedy often comes from the blackest of sources.
Killing Them Softly
Despite starring Brad Pitt and a host of wonderful character actors (Richard Jenkins, Ray Liotta, Ben Mendelsohn, Scoot McNairy and the late James Gandolfini) Andrew Dominik’s crime drama ended up flying under the radar upon its release in 2012. Perhaps it was its slow, meandering scenes of dialogue that people didn’t take to? Or its parade of wholly unlikeable characters, without a single decent soul among them? Or perhaps its strong thematic suggestion that, whatever the optimism and hope in the wake of Barack Obama being elected president, modern America is just too sick and greedy to be saved? Viewed in 2022, the film’s pessimism seems entirely justified, and we strongly advise viewers turned off a decade ago give it another shot.
The film that warned an entire generation of teenagers off skinny dipping, Jaws remains one of the most iconic, most influential and best-loved summer blockbusters of all time. The premise is simplicity itself: a New Jersey seaside resort is being terrorised by a killer shark, and the local police chief decides to hunt it down. But it’s Jaws’ script, direction and iconic John Williams score that make it so effective. Steven Spielberg cranks up the tension through expert use of perspective and sound, keeping the viewer constantly on edge, but he isn’t afraid to break up the tension with lighter moments.
More than four decades on, it’s still a must watch – but do yourself a favour and swim well clear of the dodgy sequels.