The best movies on Redbox right now are mostly blockbusters from the last two years, but there are also some hidden gems among the big-budget movies plastered all over the Redbox display. Our guide to movies at Redbox includes Oscar winners, animated films, comedies, indie film, biopics and horror. And all of the movies listed here are available on DVD for $1.50 ($2 if you want Blu-Ray) right now or coming soon.
But if you’d rather stay home, check out our guides to the best movies on Netflix, Amazon, HBO, Hulu, iTunes, Showtime, Cinemax, in theaters and On Demand.
Here are the 10 best movies available on Redbox right now:
10. Captain Fantastic
Director: Matt Ross
In the opening scene of Captain Fantastic, we’re introduced to what looks like a feral clan headed by Ben (Viggo Mortensen). But even the youngest of Ben’s six children can quote the nation’s founding documents and opine on the views of “Uncle” Noam Chomsky, as well as defend themselves from an armed attacker. Ben and Leslie have taken their kids to live in the wilderness of the Pacific Northwest, part of an experiment to raise philosopher kings. But his wife is manic depressive and commits suicide before we ever meet her character. In the wake of her death, Ben must confront the world he’s left behind and decide what kind of life is really best for his family. Writer-director Matt Ross (who plays Gavin Belson on Silicon Valley) has created an original story that is sweet, sad, funny and full of openhearted joy—the kind of Sundance movie that will play well with a wider audience. Even if the lifestyle and views are unfamiliar to some, parents will recognize the honest look at the positive and negative effects we have on our children and the pressures to conform to others’ expectations.
9. Captain America: Civil War
Directors: Joe & Anthony Russo
In my review of the first Avengers movie, I said Joss Whedon’s blockbuster represented “the most complete manifestation of the superhero team aesthetic yet seen on film.” Four years later, we have a new champion in the category of “best team film.” The way in which Captain America: Civil War brings together a dozen or so heroes, sorts them into not one but two teams and then flings them at each other is its own special delight for comic book fans long accustomed to such things on the printed or digital page. Civil War maintains the same balance of action and significant (if brief) character development/interaction that made Winter Soldier so enjoyable. The fight and chase scenes are frenetic without being confusing, while the comic relief, mostly supplied by our bug-themed heroes, provides a Whedon-flavored lightening of the otherwise dark proceedings. If one thinks of the each MCU film as a juggling act—and each hero’s origin, “flavor” and power set as its own subset of items that must be kept in motion and in proper relation with each other—then as a series both Avengers films and Captain America: Civil War can be seen as an escalation of the routine that’s as impressive as it is necessary. After all, with each additional hero added, with each additional demand placed on the script in both action and dialogue, Kevin Feige and company are building toward Infinity.
8. Hacksaw Ridge
Director: Mel Gibson
“There’s little reason to doubt that Gibson and screenwriters Robert Schenkkan and Andrew Knight respect Doss’ thou-shalt-not-kill position. One key line finds Captain Oliver (Sam Worthington) explaining to Doss that while his compatriots don’t believe what he believes, they respect him for it. There’s enough to figuring out the nature of that belief that it warrants a deeper exploration. We know fear of punishment isn’t guiding Doss. And it’s unlikely that he believes in the relativity of his approach. But we wonder to what extent his refusal to kill is rooted in the fear of living with guilt or if it’s simply a matter of believing that it’s immoral by God’s will. If it’s the latter, it’s tough to reconcile his position with his willingness to fight alongside those who are taking lives.”
7. The Nice Guys
Director: Shane Black
Good performances can polish average movies with just enough elbow grease they end up looking like gems. Think Jennifer Lawrence in Silver Linings Playbook, or Alan Rickman in Robin Hood: Prince of Thieves. Every advance that Shane Black’s The Nice Guys takes toward quality is made on the strengths of Russell Crowe and Ryan Gosling. Black is as quick with action scenes as with punchlines. The Nice Guys is funny. It’s exciting. If you find yourself growing tired of wordplay, Black will turn things around and slide in some Three Stooges slapstick. If you get tired of that, he’ll set off a gun or throw a few punches, though it is impossible to imagine anybody finding the clownish sight of Gosling tumbling off of balconies or crashing through plate glass tiresome. Gosling and Crowe are a great pair, so great that their team-up should justify funding for a buddy picture series where Holland and Jackson undertake jobs that spiral out of hand and above their pay grades. Crowe plays it straight and grumpy, and you half expect him to declare that he’s too old for this shit at any given moment. Gosling, on the other hand, shapes Holland through boozy tomfoolery and pratfalls. They’re a standout odd couple, but Black’s films are defined by great odd couples as much as they are by great scripting. In The Nice Guys, he leaves it up to Gosling and Crowe to use the former to fill in the gaps left behind by the lack of the latter.
6. Hell or High Water
Director: David Mackenzie
The film builds up to a finale that thankfully goes not for a mindlessly violent showdown, but for a tension-filled dialogue-based confrontation which plays like a meeting of minds between characters who have more sympathy toward each other than they perhaps realized. Even as two of the main characters reach a kind of truce, however, Mackenzie comes up with an even more devastating image with which to end his film: He simply moves the camera from high in the air down to a batch of grass. It’s as if Mackenzie wanted to contextualize these human dramas for us—we all end up in the ground, ultimately. Here, in Hell or High Water, is a sterling example of genre craftsmanship at its intelligent and unexpectedly affecting best.
5. Love & Friendship
Director: Whit Stillman
The title of Whit Stillman’s latest comedy may be Love & Friendship, but while both are certainly present in the film, other, more negative qualities also abound: deception, manipulation, even outright hatred. Underneath its elegant period-picture surface—most obviously evident in Benjamin Esdraffo’s Baroque-style orchestral score and Louise Matthew’s ornate art direction—lies a darker vision of humanity that gives the film more of an ironic kick than one might have anticipated from the outset. Still, the humor in Love & Friendship is hardly of the misanthropic sort. As always with Stillman, his view of the foibles of the bourgeois is unsparing yet ultimately empathetic. Which means that, even as Stillman works his way toward a happy ending of sorts, the film leaves a slightly bitter aftertaste—which is probably as it should be. Such honesty has always been a hallmark of Stillman’s cinema, and even if Love & Friendship feels like more of a confection than his other films, that frankness, thankfully, still remains.
Director: Denis Villeneuve
“You can engage with Arrival for its text, which is powerful, striking, emotive and, most of all, abidingly compassionate. You can also engage with it for its subtext, should you actually look for it. This is, perhaps, the best-made movie in Villeneuve’s filmography to date, a robust but delicate work captured in stunning, calculated detail by cinematographer Bradford Young, and guided by Adams’ stellar work as Louise. Adams is a chameleonic actress of immense talent, and Arrival lets her wear each of her various camouflages over the course of its duration. She sweats, she cries, she bleeds, she struggles, and so much more that can’t be said here without giving away the film’s most awesome treasures. She also represents humankind with more dignity and grace than any other modern actor possibly could. If aliens do ever land on Earth, maybe we should just send her to greet them.”
3. The Lobster
Director: Yorgos Lanthimos
The Lobster presents a baffling vision of the future, where baffling people do baffling things and obey baffling laws. But through all the movie’s idiosyncrasies shines a beautiful and devastating examination of the human condition. Co-writer-director Yorgos Lanthimos (Dogtooth) creates a vivid reality and trusts the audience to put the pieces together and deduce the rules of this strange society. Colin Farrell plays a newly single man who checks into a resort hotel/prison where he must find a mate within 45 days or be turned into an animal. In this future, conversation has become mechanical and stilted, but that doesn’t stop the cast—especially Farrell and Rachel Weisz—from communicating a great deal of emotions through their mannered performances.
2. Manchester by the Sea
Director: Kenneth Lonergan
“If TIFF 2016 provided one of the most purely joyous cinematic experiences in recent memory in La La Land, it was in Manchester by the Sea that it provided one of the most emotionally devastating. Casey Affleck, one of our most underrated actors, gives perhaps the performance of his life, and Michelle Williams is affecting enough even in this tiny role that there are award whispers for her as well. I think it was Blue Valentine that last left me feeling so despondent at the end of a film. But in Kenneth Lonergan’s unflinching, sympathetic gaze, there’s a nobility as well.”
Director: Barry Jenkins
“Told in three segments, Moonlight is a devastating and moving portrait of a young life that asks us to engage in the nature-versus-nurture debate all over again. Played by three actors, Chiron is an African American growing up in Tampa as a child, a teenager and then in his 20s, and writer-director Barry Jenkins (Medicine for Melancholy) charts the different ages to see how questions of sexuality, racism and masculinity influence him at each stage. Naomie Harris astonishes as Chiron’s drug-addicted mother, and Mahershala Ali is a marvel as a local dealer who decides to take Chiron under his wing. Moonlight slowly becomes a love story, but not before it encompasses a very different kind of Boyhood: one in which a black child’s upbringing can be threatened by external and internal forces that others are privileged enough to ignore.”