Ten Movies to Watch on Peacock

BY SCOTTIE KNOLLIN

NBCUniversal has jumped into the streaming wars with the launch of Peacock this week. The new streaming service will be the future home of popular NBC series like “The Office” once its finished its contract with Netflix. The service will also host a film library of movies dating back to the silent film era.

If you’re looking to add another service to your collection, Peacock offers multiple membership tiers, including a free tier. Click here to give Peacock a try.

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To help you make your way through the overwhelming of titles already available on Peacock, here are ten titles you should add to your must-watch list this weekend. If you discover other titles on the service people should see, share it with us in the comments section!

ALL QUIET ON THE WESTERN FRONT
1930, Lewis Milestone

Review (Irene Thirer, The New York Times): “It smack [sic] of directorial genius - nothing short of this; sensitive performances by a marvelous cast and the most remarkable camera work which has been performed on either silent or sound screen, round about the Hollywood studios.”

THE BRIDE OF FRANKENSTEIN
1935, James Whale

Review (Variety): “[It is] one of those rare instances where none can review it, or talk about it, without mentioning the camerman, art director, and score composer in the same breath as the actors and director.”

CHILDREN OF MEN
2006, Alfonso Cuaron

Review (Peter Travers, Rolling Stone): “I thought director Alfonso Cuaron’s film of P.D. James’ futuristic political-fable novel was good when it opened in 2006. After repeated viewings, I know Children of Men is indisputably great…No movie this decade was more redolent of sorrowful beauty and exhilarating action. You don’t just watch the car ambush scene (pure camera wizardry) - you live inside it. That’s Cuaron’s magic: He makes you believe.”

THE COOK, THE THIEF, HIS WIFE & HER LOVER
1989, Peter Greenaway

Review (Roger Ebert, The Chicago-Sun Times): “The film’s raw emotion and violent interpersonal conflict is a departure from Greenaway’s typically cerebral and intellectual films.”

THE LADY EVE
1941, Preston Sturges

Review (Bosley Crowther, The New York Times): “It isn’t often that this corner has good reason to band a gong and holler ‘Hurry, hurry, hurry!’ As a matter of fact, it is all too rare indeed that we have even moderate provocation to mark a wonder of the cinematic world.”

THE LAST TEMPTATION OF CHRIST
1988, Martin Scorsese

Review (Gene Siskel, The Chicago-Sun Times): “Dafoe manages to draw us into the mystery, anguish and joy of the holy life. This is anything but another one of those boring biblical costume epics. There is genuine challenge and hope in this movie.”

SHADOW OF A DOUBT
1943, Alfred Hitchcock

Review (Variety): “Hitchcock deftly etches his small-town characters and homey surroundings.”

SHORT TERM 12
2013, Destin Daniel Cretton

Review (Germain Lussier, /Film): “The whole thing just feels perfect or magical, a shining example of what cinema is all about.”

SIDE BY SIDE
2012, Chris Kenneally

Review (Rotten Tomatoes): “Keanu Reeves proves a groovy guide through this informative exploration of how technology is transforming cinema, with an even-handed defense for both the old and the new.”

TOPSY-TURVY
1999, Mike Leigh

Review (Janet Maslin, The New York Times): “One of those films that create a mix of erudition, pageantry and delectable acting opportunities, much as Shakespeare in Love did.”