14 najlepszych filmów do obejrzenia za darmo na YouTube już teraz

cyberfeed.pl 2 dni temu

There are a ton of streaming services to choose from nowadays. There’s arguably never been a better time to watch a good movie from the comfort of your home, with platforms like Netflix, Hulu, Max, Criterion Channel, and more offering a cornucopia of fresh releases and classical titles all month.

YouTube happens to be 1 of these. Despite not getting nearly the same amount of attention as those aforementioned services erstwhile it comes to movie libraries, YouTube actually has wealth of large movies that are available to (legally) stream for free.

We’ve combed through the platform’s library of available titles to bring you the very best free movies on YouTube. Let’s dive in and see what they gotta offer!

10 Things I hatred About You

Image: Touchstone Pictures

Director: Gil Junger
Cast: Julia Stiles, Heath Ledger, Joseph Gordon-Levitt

There are far more than 10 things to love about this quintessential teen romanticist comedy. A soundtrack full of earworms. Breakout roles for Julia Stiles, Heath Ledger, and Joseph Gordon-Levitt. Cameos from the bands Letters to Cleo and Save Ferris. And all of it in a modern Shakespeare retelling.

Cameron (Gordon-Levitt) falls for Bianca (Larisa Oleynik), but her overprotective father won’t let her start dating before her proudly outcast sister, Kat (Stiles), does. Lovelorn Cameron hires secretly delicate bad boy Patrick (Ledger) to win Kat’s heart, but what happens erstwhile everybody in the movie catches feelings? Experience the cream of the crop of ’90s teen movies and watch 10 Things I hatred About You. —Susana Polo

The Dark Crystal

Directors: Jim Henson, Frank Oz
Cast: Stephen Garlick, Lisa Maxwell, Billie Whitelaw

Jim Henson is known for puppeteering, but to be into movie puppeteering at all, you’ve got to be beautiful open to out-there filmmaking. It doesn’t get more “out there” than leaping from puppet-driven musical comedies to an first fantasy movie where half the cast speaks a constructed language and there are no human characters at all. Yeah, the Skeksis language played so poorly in test screenings that the lines were redubbed in English, but you get the point.

The communicative of Jen the Gelfling’s quest to heal the Dark Crystal and prevent the cruel Skeksis from ruling the planet forever was a product of Henson’s post-Muppet ambitions of proving that movie puppetry could be a actual medium, not simply a novelty. Is The Dark Crystal good? That’s a complicated answer. Is it the product of an incredibly skilled production, led by a once-in-a-generation creative talent, that could not be made today? That’s certain. —SP

Alien

Director: Ridley Scott
Cast: Sigourney Weaver, Tom Skerritt, Veronica Cartwright

Alien’s greatness most likely doesn’t request to be restated. But even if you know how good it is, or think you’ve seen it plenty of times, you most likely owe this Ridley Scott masterpiece a rewatch. It’s the kind of movie that miraculously builds on its own legacy with each subsequent viewing, and only grows in impressiveness with each passing year.

So rewatch Alien again. Compare all component of the movie against something sci-fi films (or any genre, for that matter) have done since, and marvel at how far ahead Alien comes out. In the nearly 45 years since that movie was released, no movie has come close to matching how well it communicated the thought of being trapped in space with something more horrible than you knew could exist. No cast has always had specified perfect grizzled-trucker energy or crackly faces. It’s easy to look at movies from the 1970s and say they don’t make ’em present like they utilized to, and it’s true. But it’s besides actual that no 1 before or since has always made ’em like Alien, and we should all most likely appreciate that a small more frequently than we do. —Austen Goslin

Willow

Director: Ron Howard
Cast: Val Kilmer, Joanne Whalley, Warwick Davis

It may seem impossible now, but there was a time erstwhile Star Wars was new, and Hollywood was dying to do more stuff like it. Enter George Lucas and his buddy Ron Howard, who said: Let’s do Star Wars for medieval fantasy.

The result, Willow, is simply a loosely structured fantasy adventure comedy with cutting-edge peculiar effects that’s fun for the full household (give or take a couple of black magic scenes that absolutely seared into the brains of young viewers). Star Wars’ Warwick Davis plays the titular hero — a hapless but hopeful basically-a-Hobbit — on a quest to save a baby from an witch, with the aid of himbo swordsman Madmartigan, in possibly Val Kilmer’s most delightful role.

Willow is, frankly, phenomenally silly, but besides phenomenally fun. There’s a magic wand and a fairy queen and a sorceress who’s been turned into a kind of Australian possum. Give it a watch. —SP

Silence

Director: Martin Scorsese
Cast: Andrew Garfield, Adam Driver, Tadanobu Asano

Of all Martin Scorsese’s many terrific films, it’s hard not to feel that his 2016 adaptation of Shūsaku Endō’s fresh Silence is 1 of his most individual and important. The movie follows 2 Jesuit priests, Sebastião Rodrigues (Andrew Garfield) and Francisco Garupe (Adam Driver), on a mission to find another priest who is said to have renounced his religion in 17th-century Japan. At the time, Christians in the country were mostly forced into hiding at the hazard of torture and death, making the priests’ journey peculiarly difficult.

While the movie serves as a fascinating look at this period in Japan, it’s even more affecting as a crisis-of-faith movie for Rodrigues. Garfield’s performance is absolutely haunting, as we see Rodrigues slow lose not just his religion in God, but in everything he’s always stood for or known himself to be. Garfield communicates all of this pain mostly without dialogue, with a constant war of expressions on his face and in his eyes between his religion and his despair. All of this makes Silence feel like Scorsese’s top message on religion yet — peculiarly awesome erstwhile you consider that he made it in his sixth decade as a filmmaker. —AG

Heathers

Director: Michael Lehmann
Cast: Winona Ryder, Christian Slater, Shannen Doherty

Michael Lehmann’s classical 1989 dark comedy about solving toxic advanced school dynamics via execution looks even more arch, mannered, and over the top now than it did back in its day, but it’s inactive a ridiculously fun movie, full of memorable one-liners, cinematography that pops off the screen, and acquainted faces in their very young days. Christian Slater’s career-long Jack Nicholson impression has never been more pronounced than it is here. And after so many years of Stranger Things, it’s fascinating to revisit Winona Ryder from the era where her signature decision was blasé teen angst alternatively of agonized mom angst. The dialog has aged a bit, but the central conceits — that advanced school kinda sucked for most of us, and that people tend to be immense hypocrites about how they remember the dead — inactive land solidly, and with quite a few laughs. —Tasha Robinson

Spirit: Stallion of the Cimarron

Directors: Kelly Asbury, Lorna Cook
Cast: Matt Damon, James Cromwell, Daniel Studi

If you don’t care about this movie, I don’t care about you. It might be a niche take, but I love an animal movie that doesn’t make the animals talk with weird humanoid lips. Spirit is the communicative of a chaotic horse who’s taken into captivity by American settlers in the pre-1900s western U.S., and it’s responsible for about one-third of my personality.

Voiced by Matt Damon, Spirit is endlessly compassionate and filled with spunk. His journey to effort to escape captivity and return to his horse wife is fraught with physical abuse that mirrors the way the settlers abuse the land out west, but Spirit never loses his drive. The movie paints the settlers as evil and oppressive, and represents the Lakota man who takes him in as safe and respectful of his wildness — aka, it’s accurate.

This movie came out erstwhile I was 7 years old, and I remember sitting in the theater, quietly weeping for possibly the first time in my life. I wasn’t having a meltdown or a temper tantrum. I was going through the very real scope of emotions the movie evokes — fear erstwhile Spirit gets caught for the first time, rage erstwhile he’s branded, excitement erstwhile he learns to love riding, deep joy erstwhile he’s reunited with his horse baby mama, any blend of grief and anger at the realization that this situation happened to a lot of real-life horses.

Watch it with your kids or watch it alone, and just don’t think besides hard about how cringey the first Hans Zimmer songs are. —Zoë Hannah

13 Hours: The Secret Soldiers of Benghazi

Director: Michael Bay
Cast: John Krasinski, James Badge Dale, Max Martini

Michael Bay’s Benghazi movie never truly got a fair shake. Around its release, Republican politicians were inactive utilizing the 2012 Benghazi attacks as a weapon against presumptive Democratic presidential candidate Hillary Clinton, who was Secretary of State at the time of the attacks. due to that, the movie got written off by many due to claims that it was nothing more than Republican propaganda. However, nearly a decade removed from that context, it’s much easier to fit the excellent 13 Hours into the larger arc of themes Bay has spent his full career chasing: Institutions of power care more about rules and norms than they do about human lives, and to save lives, it’s up to individuals to break those rules.

Beyond the morals of the movie, however, 13 Hours is just absolutely terrific, thrilling filmmaking. Bay fundamentally turns the movie into his own individual version of the John Carpenter classical Assault on Precinct 13. What that means in practice is that Bay gives us about 40 minutes of discussion about the politics of Benghazi, the questionable U.S. presence in Libya as a destabilizing force for its government, and the indefensibility of the U.S. bases there. The another 100-ish minutes of the movie’s run time are then dedicated to any of the most expertly filmed firefights always put on film, where tension comes through in waves and characterization is built beautifully in the brief quiet moments between gunshots. —AG

Do the Right Thing

Director: Spike Lee
Cast: Danny Aiello, Spike Lee, Giancarlo Esposito

If you’re American, this movie is required viewing. Do the Right Thing, a Spike Lee joint, makes you feel everything it replicates on screen — the heat collecting on the concrete of a Brooklyn street, the tension between a Black man and his vicinity racists, the joy of a summertime block organization with excellent music, the perpetual grief of police force against Black Americans.

It’s no easy watch. The communicative centers on racial tensions between white police, Italian neighbors, and Black neighbors in 1980s Brooklyn, but the speech isn’t overly serious. Instead, Lee uses moments of humor and joy to underscore the multiple tragedies of the film, and the ending doesn’t tie things up nicely — in fact, it leaves you (or me, a white person) with a pit in your tummy that won’t go distant until you start protesting in the streets. And that’s a good thing. After all, the movie is (desperately, pleadingly) telling you to do the right thing.

But there’s a boatload of merit to this movie as a film, in addition to its merit as a required text to knowing race relations in the U.S. Like all another Spike Lee movie, the cinematography is unmatched, with his signature high-contrast colors and wacky, wide-lens, canted-angle shots to truly capture the vibe of the late ’80s. The acting from Lee himself, Giancarlo Esposito, and Rosie Perez stands out, and the music is legendary —particularly Public Enemy’s “Fight the Power,” which they wrote for the film. —ZH

Godzilla

Director: Ishirō Honda
Cast: Akira Takarada, Momoko Kōchi, Akihiko Hirata

If you haven’t seen the first 1954 Godzilla, it can be a real surprise how philosophical and principled it is, and how small of it is devoted to a giant rubber-suit monster stomping on Tokyo. (Though there surely is any of that!) Like so many franchise starters, the first Godzilla is much more complicated and nuanced than most of the followers that focused in on the kaiju fantasy action. It’s well worth watching Ishirō Honda’s classical about war, weapons, humanity, and the price of technological progress, just to see where this communicative started, realize how it’s mutated, and appreciate how different Japan’s version of Godzilla has always been from America’s version. —TR

Train to Busan

Director: Yeon Sang-ho
Cast: Gong Yoo, Jung Yu-mi, Ma Dong-seok

Zombies. Trains. South Korean political commentary. What else do you request from a horror-action-thriller?

Unlike Snowpiercer, the other scary train movie out of South Korea, Train to Busan is simply a truly fun watch. That isn’t to say it won’t hit you in the heart, though — the tale follows a frankly shitty father as he attempts to be little of a shitty father by bringing his daughter to see her parent in Busan on her birthday. Unfortunately for them both, a zombie attacks the train and thus begins a zombie apocalypse that plays out within the train cars.

It’s a master class in locked-room storytelling, with plenty of the comic and shocking elements that have become endemic to Korean film. Ultimately, you’ll watch the main character grow out of his tendency to disappoint his family. More importantly, you’ll watch him fight a bunch of well-CGI’d zombies. It’s a large first foray into Korean movie if you’re fresh to it, and a classical deserving of endless rewatches if you’ve already seen it. —ZH

Lady Bird

Director: Greta Gerwig
Cast: Saoirse Ronan, Laurie Metcalf, Tracy Letts

In the wake of Greta Gerwig’s box-office buster Barbie, it’s an excellent time to revisit her earlier, more delicately planed, but just as emotionally engaged work — peculiarly Lady Bird, her coming-of-age movie starring Saoirse Ronan as a teenager trying to find her own identity amid her relation with her mother. Reading a point-by-point game summary makes Lady Bird sound mundane and scattershot, but the wistful, sometimes dryly hilarious, sometimes heartbreaking way Ronan plays the title character holds it all together. This one’s a part of life that feels like real life — and like an arch, straight-faced comedy at the same time. —TR

Total Recall

Directors: Paul Verhoeven
Cast: Arnold Schwarzenegger, Rachel Ticotin, Sharon Stone

I will never forget the first time I watched Total Recall as a child. The sight of Arnold Schwarzenegger’s pained expression as he wrenched an oversized tracking device out of his nose canal fascinated me almost as much as the sight of his eyes popping out of his face on Mars haunted my sleepless childhood nights. Its macabre applicable peculiar effects aside, Total Recall remains an irrefutable banger of a sci-fi action flick that inactive holds up more than 3 decades since it was first released.

The reality-blurring romp about a salt-of-the-earth construction individual who may or may not be a Martian secret agent is packed to the brim with explosive action sequences, bizarre satirical world-building, and fantastic performances. If you haven’t seen Total Recall yet, don’t worry — you have. You just don’t remember it; you’re actually a Martian secret agent whose head was erased due to the fact that you got besides close to the truth. This is all a simulation. I’m communicating to you from the real world. I’m just kidding… or am I? —Toussaint Egan

True Grit

Directors: The Coen brothers
Cast: Jeff Bridges, Matt Damon, Josh Brolin

My father likes Westerns. A lot. To this day, I’ll frequently come down the stairs to find him watching any nondescript (to me), old-looking movie with 2 dudes talking like they have something in their mouths and swinging pistols around their fingers. While he succeeded in getting me into horror before the age of 10, I can’t say the same for Westerns — until we found ourselves watching the first 1969 True Grit 1 evening.

The communicative stars a girl — something I’d never seen in any of the John Wayne movies my dad liked — and she was competent, brave, and on a mission to avenge her father’s death. What better movie to watch with your dad?

Well, the better movie to watch with my dad came out a fewer years later, erstwhile 2010’s True Grit was released. We watched it together as shortly as we could, in theaters, and decided it deserved rave reviews. My opinion stands, having rewatched it respective times over the last 15 years. The communicative is the same as the original, but this version has Jeff Bridges alternatively of John Wayne and a 14-year-old Hailee Steinfeld alternatively of a 21-year-old Kim Darby. Between the more realistic age of the leading actor (the character of Mattie is 14) and the improved cinematography of the remake, the 2010 version of True Grit became 1 of my favourite movies, and a formative 1 at that. While the 1969 version is funnier and grittier, the drama of the newer remake is compelling and connected with me, a ’90s baby, in a way the 1969 version connected with my father, a ’60s baby. Both are well worth a watch, and both are free on YouTube. —ZH